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"content": "\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "the-lehman-trilogy-review-san-francisco-act",
"title": "‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance",
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"headTitle": "‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance | KQED",
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"content": "\u003cp>\u003cem>The Lehman Trilogy\u003c/em>, which opened at A.C.T. Wednesday in San Francisco, is a three-and-a-half hour tour de force of impeccable acting talent. On Broadway, it won five Tony Awards, including Best Play. It is a thrill to watch. It will also evaporate your faith in this country’s financial system, and the willingness of theater to challenge its abuses.\u003c/p>\n\u003cp>A chronological telling of the Lehman Brothers as both a family and a company, the play opens in 1844, when Henry Lehman arrives in New York from Bavaria. Filled with reverence for the promise of America, he moves to Montgomery, Alabama, and is soon joined by his brothers Emanuel and Mayer, who help run the Lehman general store.\u003c/p>\n\u003cfigure id=\"attachment_13958916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), and Howard W. Overshown (Emanuel Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over three acts, the Lehmans serve as a proxy for a history of U.S. finance. Slavery, the Civil War, various tragedies and downturns — the Lehmans, as middlemen, find a way to profit from all of it. They go from buying and selling commodities to investing their millions into industry, technology and, ultimately, the intangible concept of investing itself. (As one character bellows: “Money is a ghost! Money is numbers! Money is air!”)\u003c/p>\n\u003cp>Every actor on stage delivers jaw-dropping performances. In \u003cem>The Lehman Trilogy\u003c/em>’s masterclass, actors John Hefferman, Aaron Krohn and Howard W. Overshown play their roles, narrate the action, occupy new characters and impersonate others, often in the same 10-second span. With exact pacing from famed director Sam Mendes, and a taut script by Stefano Massini, these are experts at their craft. The set design by Es Devlin is similarly dazzling — a plain office of boxes and furniture on a turntable, constantly and imaginatively transformed against a semicircle of projected backdrops.\u003c/p>\n\u003cfigure id=\"attachment_13958919\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), and Aaron Krohn (Mayer Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the end of each act, I had to ask myself: Where is any sort of indictment for the Lehmans’ rampant greed and exploitation?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a Horatio Alger story of the opportunity of America, \u003cem>The Lehman Trilogy\u003c/em> too often lionizes rather than criticizes the firm that played a leading role in the financial collapse and subsequent Great Recession. It jumps from the 1960s to 2008 in a short matter of minutes, skipping entirely over the Reagan era, deregulation, the repeal of the Glass-Steagall Act, adjustable rate mortgages, credit default swaps, foreclosed homes and the many who suffered and died at the hands of Wall Street run amok.\u003c/p>\n\u003cfigure id=\"attachment_13958918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), Aaron Krohn (Mayer Lehman), and John Heffernan (Henry Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I repeat: the acting is astonishing. But while the play’s final image on stage is mesmerizing, after three and a half hours of humanizing the Lehman Brothers firm, the play doesn’t present its bankruptcy and collapse as comeuppance so much as a sad loss of one family’s American dream.\u003c/p>\n\u003cp>Thousands of other American families, meanwhile, would like a word.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lehman Trilogy’ runs through June 23 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/the-lehman-trilogy/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Lehman Trilogy\u003c/em>, which opened at A.C.T. Wednesday in San Francisco, is a three-and-a-half hour tour de force of impeccable acting talent. On Broadway, it won five Tony Awards, including Best Play. It is a thrill to watch. It will also evaporate your faith in this country’s financial system, and the willingness of theater to challenge its abuses.\u003c/p>\n\u003cp>A chronological telling of the Lehman Brothers as both a family and a company, the play opens in 1844, when Henry Lehman arrives in New York from Bavaria. Filled with reverence for the promise of America, he moves to Montgomery, Alabama, and is soon joined by his brothers Emanuel and Mayer, who help run the Lehman general store.\u003c/p>\n\u003cfigure id=\"attachment_13958916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), and Howard W. Overshown (Emanuel Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over three acts, the Lehmans serve as a proxy for a history of U.S. finance. Slavery, the Civil War, various tragedies and downturns — the Lehmans, as middlemen, find a way to profit from all of it. They go from buying and selling commodities to investing their millions into industry, technology and, ultimately, the intangible concept of investing itself. (As one character bellows: “Money is a ghost! Money is numbers! Money is air!”)\u003c/p>\n\u003cp>Every actor on stage delivers jaw-dropping performances. In \u003cem>The Lehman Trilogy\u003c/em>’s masterclass, actors John Hefferman, Aaron Krohn and Howard W. Overshown play their roles, narrate the action, occupy new characters and impersonate others, often in the same 10-second span. With exact pacing from famed director Sam Mendes, and a taut script by Stefano Massini, these are experts at their craft. The set design by Es Devlin is similarly dazzling — a plain office of boxes and furniture on a turntable, constantly and imaginatively transformed against a semicircle of projected backdrops.\u003c/p>\n\u003cfigure id=\"attachment_13958919\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), and Aaron Krohn (Mayer Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the end of each act, I had to ask myself: Where is any sort of indictment for the Lehmans’ rampant greed and exploitation?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a Horatio Alger story of the opportunity of America, \u003cem>The Lehman Trilogy\u003c/em> too often lionizes rather than criticizes the firm that played a leading role in the financial collapse and subsequent Great Recession. It jumps from the 1960s to 2008 in a short matter of minutes, skipping entirely over the Reagan era, deregulation, the repeal of the Glass-Steagall Act, adjustable rate mortgages, credit default swaps, foreclosed homes and the many who suffered and died at the hands of Wall Street run amok.\u003c/p>\n\u003cfigure id=\"attachment_13958918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), Aaron Krohn (Mayer Lehman), and John Heffernan (Henry Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I repeat: the acting is astonishing. But while the play’s final image on stage is mesmerizing, after three and a half hours of humanizing the Lehman Brothers firm, the play doesn’t present its bankruptcy and collapse as comeuppance so much as a sad loss of one family’s American dream.\u003c/p>\n\u003cp>Thousands of other American families, meanwhile, would like a word.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lehman Trilogy’ runs through June 23 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/the-lehman-trilogy/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Soroche’ Brings High-Altitude Latin American Horror to SF’s Brava Theater",
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"content": "\u003cp>There’s a certain beauty in translating literature from other languages — a delicate art of re-interpretation that requires a fusing of author and translator to create a third voice. Even more intricate is when a translation undergoes another level of filtration as it’s adapted from the written word into a stage performance.\u003c/p>\n\u003cp>That’s exactly what happened when the notable Ecuadorian writer \u003ca href=\"https://www.instagram.com/monaojedaf/?hl=en\">Mónica Ojeda\u003c/a>’s short story “Soroche” was picked up for translation by San Francisco’s \u003ca href=\"https://www.instagram.com/twolinespress/\">Two Lines Press\u003c/a>, then morphed into a live stage adaptation by \u003ca href=\"https://www.cuenteroproductions.com/cuentos/soroche\">Cuentero Productions\u003c/a> and the \u003ca href=\"https://www.catranslation.org/\">Center for the Art of Translation\u003c/a>.\u003c/p>\n\u003cp>Initially translated from Spanish to English by Sarah Booker and Noelle de la Paz, the story — which details the dizzying erosion of social relationships during a group trip gone wrong in the Andes — was first included in a short story collection titled \u003ca href=\"https://www.catranslation.org/shop/book/through-the-night-like-a-snake-2/\">\u003ci>Through the Night Like a Snake: Latin American Horror Stories\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Rather than taking on the trope of an external monster, Ojeda explores the psychological horrors of flawed friendships and everyday hypocrisies that lurk beneath the surface of our relationships. Under pressure, these are the fissures that can disastrously combust. Fueled by the dissolution of a sex scandal, broken trust and an abusive partner — and told through the alternating perspectives of a group of women friends — the story exposes the horrors of inescapable humiliation and social isolation in the modern world.\u003c/p>\n\u003cp>The sonically and psychologically layered performance is slated for one-night only at San Francisco’s Brava Theater on Thursday, June 6 at 7 p.m. The play stars Catalina Plata Guevara, MJ García, Claudia Andrea Escobar and Laura Ubaté.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Camilo Garzón is spearheading the story’s stage adaptation — with a keen focus on cinematic sound design. Garzón appreciates the story’s setting as a rich backdrop for the characters’ emotional and mental fracturing, and fully aims to bring the characters’ psychological dimensions to life with a suggestive, indirect touch.\u003c/p>\n\u003cp>“The story is horrifying. We don’t want to retraumatize people [since] it gravitates around revenge porn and an abusive relationship,” Garzón, a former NPR radio producer, says. “Instead, we emphasize the mountains, the wind. How can you feel like you’re in the Andes? How does the heartbeat go faster? The audience is smart, and we can use the power of suggestion. It’s about being immersed in an insidious, under your skin way. The soundscapes can transport you there.”\u003c/p>\n\u003cp>As a Colombian who was born and raised in the Andes, Garzón is in many ways the ideal candidate to create a theatrical experience about Latin Americans navigating the high-altitude environment. He mentions the story’s namesake, soroche (an indigenous Quechuan term referring to altitude sickness), or “mal de montaña,” a kind of physical distress that can occur in your lungs when adjusting to the shortage of oxygen.\u003c/p>\n\u003cp>“How do you take the air out of a room?” Garzón contemplates. As another kind of effect, one of the story’s characters will not appear physically on stage, and will instead only operate as a voice through the theater’s speakers. “We want to make it ghostly,” he says. “When a voice is disembodied and talking about how disembodied they’ve felt, it feels even more intrusive and creates the horror of this story.”\u003c/p>\n\u003cp>In thinking through the many layers of translation and adaptation — including cultural, literary and physical — Garzón emphasizes the collaborative efforts required, particularly as a man working on a story about the experiences of women. He takes care to shout out Laura Ubaté and Catherine Girardeau, who helped create the sonic landscape and consulted on audio adaptation. Fellow Andean Colombians Daniel Murcia and composer María Linares worked on the project as sound designer and composer, respectively.\u003c/p>\n\u003cp>Despite the challenges of reworking the story for the stage, Garzón hopes that the heaviest themes in Ojeda’s writing — the everyday terrors that women experience — are conveyed.\u003c/p>\n\u003cp>“Altitude sickness in this story is a metaphor for condescension and looking down on someone, but condescension and sexism are part of all of our lives,” he says. “Patriarchy is part of our lives. These are the kind of horrors that happen often and aren’t in your face, and because of that they’re the most important to dismantle. It can just be one more unsaid thing in a larger cycle of abuse.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Soroche’ takes place at Brava Theater (2781 24th St., San Francisco) on June 6, 2024 at 7 p.m. \u003ca href=\"https://www.instagram.com/medicinefornightmares/\">Medicine for Nightmares\u003c/a> will host a book sale before and after the performance. A Q&A session with translators Sarah Booker and Noelle de la Paz, and Two Lines Press editor Sarah Coolidge, will take place after the show. Tickets are available \u003ca href=\"https://www.eventbrite.com/e/two-lines-press-cuentero-productions-present-soroche-live-at-the-brava-tickets-891297594097?aff=oddtdtcreator\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a certain beauty in translating literature from other languages — a delicate art of re-interpretation that requires a fusing of author and translator to create a third voice. Even more intricate is when a translation undergoes another level of filtration as it’s adapted from the written word into a stage performance.\u003c/p>\n\u003cp>That’s exactly what happened when the notable Ecuadorian writer \u003ca href=\"https://www.instagram.com/monaojedaf/?hl=en\">Mónica Ojeda\u003c/a>’s short story “Soroche” was picked up for translation by San Francisco’s \u003ca href=\"https://www.instagram.com/twolinespress/\">Two Lines Press\u003c/a>, then morphed into a live stage adaptation by \u003ca href=\"https://www.cuenteroproductions.com/cuentos/soroche\">Cuentero Productions\u003c/a> and the \u003ca href=\"https://www.catranslation.org/\">Center for the Art of Translation\u003c/a>.\u003c/p>\n\u003cp>Initially translated from Spanish to English by Sarah Booker and Noelle de la Paz, the story — which details the dizzying erosion of social relationships during a group trip gone wrong in the Andes — was first included in a short story collection titled \u003ca href=\"https://www.catranslation.org/shop/book/through-the-night-like-a-snake-2/\">\u003ci>Through the Night Like a Snake: Latin American Horror Stories\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Rather than taking on the trope of an external monster, Ojeda explores the psychological horrors of flawed friendships and everyday hypocrisies that lurk beneath the surface of our relationships. Under pressure, these are the fissures that can disastrously combust. Fueled by the dissolution of a sex scandal, broken trust and an abusive partner — and told through the alternating perspectives of a group of women friends — the story exposes the horrors of inescapable humiliation and social isolation in the modern world.\u003c/p>\n\u003cp>The sonically and psychologically layered performance is slated for one-night only at San Francisco’s Brava Theater on Thursday, June 6 at 7 p.m. The play stars Catalina Plata Guevara, MJ García, Claudia Andrea Escobar and Laura Ubaté.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Camilo Garzón is spearheading the story’s stage adaptation — with a keen focus on cinematic sound design. Garzón appreciates the story’s setting as a rich backdrop for the characters’ emotional and mental fracturing, and fully aims to bring the characters’ psychological dimensions to life with a suggestive, indirect touch.\u003c/p>\n\u003cp>“The story is horrifying. We don’t want to retraumatize people [since] it gravitates around revenge porn and an abusive relationship,” Garzón, a former NPR radio producer, says. “Instead, we emphasize the mountains, the wind. How can you feel like you’re in the Andes? How does the heartbeat go faster? The audience is smart, and we can use the power of suggestion. It’s about being immersed in an insidious, under your skin way. The soundscapes can transport you there.”\u003c/p>\n\u003cp>As a Colombian who was born and raised in the Andes, Garzón is in many ways the ideal candidate to create a theatrical experience about Latin Americans navigating the high-altitude environment. He mentions the story’s namesake, soroche (an indigenous Quechuan term referring to altitude sickness), or “mal de montaña,” a kind of physical distress that can occur in your lungs when adjusting to the shortage of oxygen.\u003c/p>\n\u003cp>“How do you take the air out of a room?” Garzón contemplates. As another kind of effect, one of the story’s characters will not appear physically on stage, and will instead only operate as a voice through the theater’s speakers. “We want to make it ghostly,” he says. “When a voice is disembodied and talking about how disembodied they’ve felt, it feels even more intrusive and creates the horror of this story.”\u003c/p>\n\u003cp>In thinking through the many layers of translation and adaptation — including cultural, literary and physical — Garzón emphasizes the collaborative efforts required, particularly as a man working on a story about the experiences of women. He takes care to shout out Laura Ubaté and Catherine Girardeau, who helped create the sonic landscape and consulted on audio adaptation. Fellow Andean Colombians Daniel Murcia and composer María Linares worked on the project as sound designer and composer, respectively.\u003c/p>\n\u003cp>Despite the challenges of reworking the story for the stage, Garzón hopes that the heaviest themes in Ojeda’s writing — the everyday terrors that women experience — are conveyed.\u003c/p>\n\u003cp>“Altitude sickness in this story is a metaphor for condescension and looking down on someone, but condescension and sexism are part of all of our lives,” he says. “Patriarchy is part of our lives. These are the kind of horrors that happen often and aren’t in your face, and because of that they’re the most important to dismantle. It can just be one more unsaid thing in a larger cycle of abuse.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Soroche’ takes place at Brava Theater (2781 24th St., San Francisco) on June 6, 2024 at 7 p.m. \u003ca href=\"https://www.instagram.com/medicinefornightmares/\">Medicine for Nightmares\u003c/a> will host a book sale before and after the performance. A Q&A session with translators Sarah Booker and Noelle de la Paz, and Two Lines Press editor Sarah Coolidge, will take place after the show. Tickets are available \u003ca href=\"https://www.eventbrite.com/e/two-lines-press-cuentero-productions-present-soroche-live-at-the-brava-tickets-891297594097?aff=oddtdtcreator\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Battle Between Science and Religion, With Galileo Caught in the Middle",
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"content": "\u003cp>During the Renaissance era, the conflicting bedfellows of religion and science had clear delineations, dictated by Earth’s highest stewards to Heaven’s gates. “Science asks questions, but the Bible gives the answers,” thundered Pope Urban VIII, verbalizing the view of many in Europe’s 16th and 17th centuries. \u003c/p>\n\u003cp>While Galileo Galilei fancied himself a strong purveyor of both the scientific and theological, his moral core of truth at the center of his existence faced a brutal reckoning — one that ultimately ripped both his body and soul to shreds.\u003c/p>\n\u003cp>[aside postID='arts_13957684']In the spellbinding yet problematic world premiere musical \u003cem>Galileo\u003c/em>, which opened May 15 at Berkeley Repertory Theatre, discoveries made in both science and religion complicate matters. Its storyline is greatly informed by the modern-day war on truth, loaded with a ceaselessly high-octane rock music score exploited mightily by the wicked talents of director Michael Mayer. \u003c/p>\n\u003cfigure id=\"attachment_13958078\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Kushnier (Bishop Maffeo Barberini) and Raúl Esparza (Galileo Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galileo Galilei (Raúl Esparza) has taken root in his laboratory, a man of 45 who has trouble blindly accepting the religious view that Earth is the center of the universe. After all, that view had been challenged years prior by fellow polymath Nicolaus Copernicus in the famed heliocentric model, where Earth and other planets were shown to revolve around the sun.\u003c/p>\n\u003cp>An affirmation of those teachings, thanks to Galileo’s enhancement of the telescope, has proved unsatisfactory to the dominant biblical divinity of Catholic doctrine, which citizens believe to be infallible. Yet Galileo still carries some support, despite the dominance of Cardinal Morosini (Javier Muñoz), who gives no space for what he perceives as anti-Bible sentiments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13957845']The support of Galileo’s close ally Bishop Barberini (Jeremy Kushnier) contributes greatly to his desire to continue locking horns with the Catholic establishment, and when Barberini is elevated as pontiff and becomes Pope Urban VIII, Galileo is poised to break through and declare truth the victor. Yet an effort by the pope to slow the public acceleration of Galileo’s scientific theories, introduced in Galileo’s book comparing the Copernican system with the accepted and less truthful Ptolemaic system, comes with an offensive slight, accelerating Galileo’s demise. \u003c/p>\n\u003cfigure id=\"attachment_13958080\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei, center) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many elements of spectacle allow the musical to brew and breathe within a white-hot fire, with music thrusting itself to the top of the ticket. Composers Michael Weiner and Zoe Sarnak unleash consecutive bangers, challenging their vocalists with vein-popping verve, melodies and divine harmonies as persistent as Galileo himself. Those compositions are nestled neatly inside Danny Strong’s book. \u003c/p>\n\u003cp>Each challenge is accepted by the cast, led by Broadway stalwart Esparza, who digs mightily into every ounce of his scintillating, grizzled register. A delicious counterpoint to Esparza’s wide-ranging vocals is his commitment to Galileo’s painful and joyous discoveries. His eyes accentuate each arc in every moment, a broken and beaten man who is constantly reminded that power decides truth, not the other way around.\u003c/p>\n\u003cfigure id=\"attachment_13958077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christian Magby (Alessandro Tarantola) and Madalynn Mathews (Virginia Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Kushnier’s mellifluity lives within its own constellation, a buttery-smooth falsetto that spotlights tenderness and admiration for Galileo, especially in his solo “By Thy Light I See.” Muñoz, Esparza’s fellow Broadway star, commands respect as the uncompromising Morosini, and Madelynn Mathews as Galileo’s embattled daughter Virginia, whose illegitimacy thrusts her away from love and into a cloistered life, gives a master class in vocals and empathy. These four craft a narrative that elevates the entire company in a show that gets louder and louder as time passes. \u003c/p>\n\u003cp>Where the piece needs harnessing begins late in the second act, when a certain theme carries on much too long, ultimately diluting the critical nature of its voice. It’s as if the concept of truth and its virtues need constant repeating, which drags the entire narrative down. A piece that moves towards three hours needs to slap incessantly; this is not the case here. \u003c/p>\n\u003cfigure id=\"attachment_13958081\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, the show feels as if it’s hurtling somewhere with no expense spared, especially through the technical design. Scenic work by Tony Award winner Rachel Hauck pairs beautifully with Anita Yavich’s nuanced and sparkly costume plot. Jason H. Thompson, along with Kaitlyn Pietras, go all in on Christian symbolism through their passionate projection design, combined sharply with the lighting of Kevin Adams. \u003c/p>\n\u003cp>There are many morsels that challenge in Strong’s book, and a critical question is posed: “When does the truth cost too much?” Thankfully for Galileo, and in a lesson for the masses, a legacy and the truth are not for sale. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Galileo’ runs through June 23 at Berkeley Repertory Theatre in downtown Berkeley. \u003ca href=\"https://www.berkeleyrep.org/shows/galileo/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the Renaissance era, the conflicting bedfellows of religion and science had clear delineations, dictated by Earth’s highest stewards to Heaven’s gates. “Science asks questions, but the Bible gives the answers,” thundered Pope Urban VIII, verbalizing the view of many in Europe’s 16th and 17th centuries. \u003c/p>\n\u003cp>While Galileo Galilei fancied himself a strong purveyor of both the scientific and theological, his moral core of truth at the center of his existence faced a brutal reckoning — one that ultimately ripped both his body and soul to shreds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the spellbinding yet problematic world premiere musical \u003cem>Galileo\u003c/em>, which opened May 15 at Berkeley Repertory Theatre, discoveries made in both science and religion complicate matters. Its storyline is greatly informed by the modern-day war on truth, loaded with a ceaselessly high-octane rock music score exploited mightily by the wicked talents of director Michael Mayer. \u003c/p>\n\u003cfigure id=\"attachment_13958078\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Kushnier (Bishop Maffeo Barberini) and Raúl Esparza (Galileo Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galileo Galilei (Raúl Esparza) has taken root in his laboratory, a man of 45 who has trouble blindly accepting the religious view that Earth is the center of the universe. After all, that view had been challenged years prior by fellow polymath Nicolaus Copernicus in the famed heliocentric model, where Earth and other planets were shown to revolve around the sun.\u003c/p>\n\u003cp>An affirmation of those teachings, thanks to Galileo’s enhancement of the telescope, has proved unsatisfactory to the dominant biblical divinity of Catholic doctrine, which citizens believe to be infallible. Yet Galileo still carries some support, despite the dominance of Cardinal Morosini (Javier Muñoz), who gives no space for what he perceives as anti-Bible sentiments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The support of Galileo’s close ally Bishop Barberini (Jeremy Kushnier) contributes greatly to his desire to continue locking horns with the Catholic establishment, and when Barberini is elevated as pontiff and becomes Pope Urban VIII, Galileo is poised to break through and declare truth the victor. Yet an effort by the pope to slow the public acceleration of Galileo’s scientific theories, introduced in Galileo’s book comparing the Copernican system with the accepted and less truthful Ptolemaic system, comes with an offensive slight, accelerating Galileo’s demise. \u003c/p>\n\u003cfigure id=\"attachment_13958080\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei, center) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many elements of spectacle allow the musical to brew and breathe within a white-hot fire, with music thrusting itself to the top of the ticket. Composers Michael Weiner and Zoe Sarnak unleash consecutive bangers, challenging their vocalists with vein-popping verve, melodies and divine harmonies as persistent as Galileo himself. Those compositions are nestled neatly inside Danny Strong’s book. \u003c/p>\n\u003cp>Each challenge is accepted by the cast, led by Broadway stalwart Esparza, who digs mightily into every ounce of his scintillating, grizzled register. A delicious counterpoint to Esparza’s wide-ranging vocals is his commitment to Galileo’s painful and joyous discoveries. His eyes accentuate each arc in every moment, a broken and beaten man who is constantly reminded that power decides truth, not the other way around.\u003c/p>\n\u003cfigure id=\"attachment_13958077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christian Magby (Alessandro Tarantola) and Madalynn Mathews (Virginia Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Kushnier’s mellifluity lives within its own constellation, a buttery-smooth falsetto that spotlights tenderness and admiration for Galileo, especially in his solo “By Thy Light I See.” Muñoz, Esparza’s fellow Broadway star, commands respect as the uncompromising Morosini, and Madelynn Mathews as Galileo’s embattled daughter Virginia, whose illegitimacy thrusts her away from love and into a cloistered life, gives a master class in vocals and empathy. These four craft a narrative that elevates the entire company in a show that gets louder and louder as time passes. \u003c/p>\n\u003cp>Where the piece needs harnessing begins late in the second act, when a certain theme carries on much too long, ultimately diluting the critical nature of its voice. It’s as if the concept of truth and its virtues need constant repeating, which drags the entire narrative down. A piece that moves towards three hours needs to slap incessantly; this is not the case here. \u003c/p>\n\u003cfigure id=\"attachment_13958081\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, the show feels as if it’s hurtling somewhere with no expense spared, especially through the technical design. Scenic work by Tony Award winner Rachel Hauck pairs beautifully with Anita Yavich’s nuanced and sparkly costume plot. Jason H. Thompson, along with Kaitlyn Pietras, go all in on Christian symbolism through their passionate projection design, combined sharply with the lighting of Kevin Adams. \u003c/p>\n\u003cp>There are many morsels that challenge in Strong’s book, and a critical question is posed: “When does the truth cost too much?” Thankfully for Galileo, and in a lesson for the masses, a legacy and the truth are not for sale. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Galileo’ runs through June 23 at Berkeley Repertory Theatre in downtown Berkeley. \u003ca href=\"https://www.berkeleyrep.org/shows/galileo/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mother and Daughter Duet in Multi-Disciplinary ‘flowers and fog’ Show",
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"content": "\u003cp>For most of \u003ca href=\"https://www.melissalewis.art/\">Melissa Lewis Wong\u003c/a>’s adult life, no news was good news in their family – it was normal for Wong and their parents to go several weeks without talking. But when Covid hit, the dance and drag artist felt an urge to connect more frequently, and deeply, with their parents.\u003c/p>\n\u003cp>“The fear of them passing or having complications from Covid was really, really present for me,” Wong says. “It made me realize, especially with my mom, how much I felt that I didn’t know yet – that I hadn’t really asked, that I just wanted more information and connection around.”\u003c/p>\n\u003cp>[aside postID='news_11973503']Wong decided to funnel that fear and desire into a \u003ca href=\"https://vimeo.com/553398262\">short film project\u003c/a> in collaboration with their mother, Joy ChenYu Lewis, who is a singer and performer. They shot it remotely during the pandemic. Now, Wong and Lewis have adapted the project, titled \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">\u003ci>flowers and fog\u003c/i>\u003c/a>, for the stage; a two-weekend run opens with a preview on Friday, May 17 at the Gateway Theatre in San Francisco’s Chinatown.\u003c/p>\n\u003cp>The experimental show meditates on the relationship between parent and child – and the ups and downs it can go through – with contemporary dance, classical Chinese song, video projection, drag performance and a communal Mahjong game. Up to 12 people can also opt to attend a pre-performance picnic at Chinatown’s Portsmouth Square that includes Dim Sum, tea and storytelling. A different drag artist, including local favorites like \u003ca href=\"https://www.instagram.com/kinglotusboy/?hl=en\">LOTUS BOY\u003c/a> and \u003ca href=\"https://www.instagram.com/hennessy_williams/\">Hennessy Williams\u003c/a>, will open each show.\u003c/p>\n\u003cfigure id=\"attachment_13957848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13957848 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-2048x1339.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, and their mother Joy ChenYu Lewis combine Classical Chinese song, dance, drag and more in limited-run “flowers and fog” performances. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I do feel like looking at our own personal lives and histories and relationships with our family or loved ones [is] like a very precious creative truth,” Wong says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wong recalled learning during this reconnection phase that Lewis, who fled to Inner Mongolia during China’s Cultural Revolution before immigrating to the U.S. in 1980, had written a memoir about her life in Inner Mongolia. “It felt so cinematic to me,” Wong says of the revelation. (Lewis’ memoir will be published in 2025.)\u003c/p>\n\u003cp>[aside postID='arts_13956218']Wong also has their own memories of not feeling understood by their parents or peers, growing up as a queer, mixed Chinese and white kid in small-town Massachusetts. That lent to the distance Wong felt between themselves and their parents for much of their life.\u003c/p>\n\u003cp>While pulling from stories and experiences of their pasts, though, Wong and Lewis are fully embracing the present. The title \u003ci>flowers and fog\u003c/i> is inspired by the poem “Flower No Flower” by ancient Chinese musician and poet Bai JuYi that is about seizing the moment.\u003c/p>\n\u003cp>“The explanation of that poetry is to catch the spirit or the inspiration right away otherwise it disappears,” Lewis says. “And a flower can wilt and the fog will disappear, but when they appear, that’s the time to catch it.”\u003c/p>\n\u003cfigure id=\"attachment_13957849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13957849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-2048x1428.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1920x1339.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, with their mother Joy ChenYu Lewis. \u003ccite>( RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis, who recalled audience members coming up to her in tears after past previews and saying they want to know more about their parents or grandparents after seeing the show, says she hopes more audience members walk away feeling that impulse.\u003c/p>\n\u003cp>“We were a little late to start [our] interest in each other,” Lewis says of herself and her daughter. “But you’re never too late. Catch it and then you will never feel sorry about it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘flowers and fog’ runs weekends, May 17–26, at the Gateway Theatre in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most of \u003ca href=\"https://www.melissalewis.art/\">Melissa Lewis Wong\u003c/a>’s adult life, no news was good news in their family – it was normal for Wong and their parents to go several weeks without talking. But when Covid hit, the dance and drag artist felt an urge to connect more frequently, and deeply, with their parents.\u003c/p>\n\u003cp>“The fear of them passing or having complications from Covid was really, really present for me,” Wong says. “It made me realize, especially with my mom, how much I felt that I didn’t know yet – that I hadn’t really asked, that I just wanted more information and connection around.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wong decided to funnel that fear and desire into a \u003ca href=\"https://vimeo.com/553398262\">short film project\u003c/a> in collaboration with their mother, Joy ChenYu Lewis, who is a singer and performer. They shot it remotely during the pandemic. Now, Wong and Lewis have adapted the project, titled \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">\u003ci>flowers and fog\u003c/i>\u003c/a>, for the stage; a two-weekend run opens with a preview on Friday, May 17 at the Gateway Theatre in San Francisco’s Chinatown.\u003c/p>\n\u003cp>The experimental show meditates on the relationship between parent and child – and the ups and downs it can go through – with contemporary dance, classical Chinese song, video projection, drag performance and a communal Mahjong game. Up to 12 people can also opt to attend a pre-performance picnic at Chinatown’s Portsmouth Square that includes Dim Sum, tea and storytelling. A different drag artist, including local favorites like \u003ca href=\"https://www.instagram.com/kinglotusboy/?hl=en\">LOTUS BOY\u003c/a> and \u003ca href=\"https://www.instagram.com/hennessy_williams/\">Hennessy Williams\u003c/a>, will open each show.\u003c/p>\n\u003cfigure id=\"attachment_13957848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13957848 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-2048x1339.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, and their mother Joy ChenYu Lewis combine Classical Chinese song, dance, drag and more in limited-run “flowers and fog” performances. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I do feel like looking at our own personal lives and histories and relationships with our family or loved ones [is] like a very precious creative truth,” Wong says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wong recalled learning during this reconnection phase that Lewis, who fled to Inner Mongolia during China’s Cultural Revolution before immigrating to the U.S. in 1980, had written a memoir about her life in Inner Mongolia. “It felt so cinematic to me,” Wong says of the revelation. (Lewis’ memoir will be published in 2025.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wong also has their own memories of not feeling understood by their parents or peers, growing up as a queer, mixed Chinese and white kid in small-town Massachusetts. That lent to the distance Wong felt between themselves and their parents for much of their life.\u003c/p>\n\u003cp>While pulling from stories and experiences of their pasts, though, Wong and Lewis are fully embracing the present. The title \u003ci>flowers and fog\u003c/i> is inspired by the poem “Flower No Flower” by ancient Chinese musician and poet Bai JuYi that is about seizing the moment.\u003c/p>\n\u003cp>“The explanation of that poetry is to catch the spirit or the inspiration right away otherwise it disappears,” Lewis says. “And a flower can wilt and the fog will disappear, but when they appear, that’s the time to catch it.”\u003c/p>\n\u003cfigure id=\"attachment_13957849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13957849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-2048x1428.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1920x1339.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, with their mother Joy ChenYu Lewis. \u003ccite>( RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis, who recalled audience members coming up to her in tears after past previews and saying they want to know more about their parents or grandparents after seeing the show, says she hopes more audience members walk away feeling that impulse.\u003c/p>\n\u003cp>“We were a little late to start [our] interest in each other,” Lewis says of herself and her daughter. “But you’re never too late. Catch it and then you will never feel sorry about it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘flowers and fog’ runs weekends, May 17–26, at the Gateway Theatre in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Your Guide to the Best Plays and Musicals in the Bay Area This Summer",
"headTitle": "Your Guide to the Best Plays and Musicals in the Bay Area This Summer | KQED",
"content": "\u003cp>This summer, Bay Area theater offers something for everyone. Whether you’re seeking out experimental offerings, a tried-and-true Shakespeare classic under the stars, or some hefty song and dance Broadway style, the Bay Area’s summer has you covered.\u003c/p>\n\u003cp>Here are 10 shows in the Bay Area from June to early September that are not to be missed. \u003c/p>\n\u003cfigure id=\"attachment_13957713\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_.jpg\" alt=\"\" width=\"1920\" height=\"1432\" class=\"size-full wp-image-13957713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-1536x1146.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fact-checking and copy editing take center stage in ‘The Lifespan of a Fact’ at Aurora Theatre this summer. \u003ccite>(Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.auroratheatre.org/fact\">The Lifespan of a Fact\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aurora Theatre, Berkeley\u003cbr>\nJune 21–July 25, 2024\u003c/em>\u003c/p>\n\u003cp>Jim Fingal is a newly minted Harvard grad who takes a job at a consequential magazine as a fact-checker. That consequence has softened, however, since the magazine is now hanging by a thread. An essay from mega-talent John D’Agata, about a teen boy’s suicide, could change the magazine’s fortunes.\u003c/p>\n\u003cp>There’s one major problem — the actual facts of the story are shaky at best, placing both characters into a battle between truth and fiction. (The play’s heralded 2018 Broadway run featured actors Bobby Cannavale, Daniel Radcliffe and Cherry Jones.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s no better time to support Aurora, a gem of a small theater in Berkeley. Like many theaters post-pandemic, the company faces a major funding shortfall, and are in \u003ca href=\"https://givebutter.com/AuroraSpring24\">an active campaign\u003c/a> to save their artistic outlet.\u003c/p>\n\u003cfigure id=\"attachment_13957720\" class=\"wp-caption aligncenter\" style=\"max-width: 1665px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych.jpg\" alt=\"\" width=\"1665\" height=\"1143\" class=\"size-full wp-image-13957720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych.jpg 1665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-1536x1054.jpg 1536w\" sizes=\"(max-width: 1665px) 100vw, 1665px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Rhys Williams is Lawrence Jameson and Keith Pinto is Freddy Benson in the San Jose Stage production of ‘Dirty Rotten Scoundrels.’ \u003ccite>(San Jose Stage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thestage.org/\">Dirty Rotten Scoundrels\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Jose Stage\u003cbr>\nJune 5–30, 2024\u003c/em>\u003c/p>\n\u003cp>Based on the popular 1988 film and directed by Stage Associate Artist Johnny Moreno, this French Riviera con caper follows two men who compete for the heart of a wealthy American heiress. Featuring a jazzy score from composer David Yazbek (\u003cem>The Full Monty\u003c/em>, \u003cem>The Band’s Visit\u003c/em>), the Stage is digging into another example of what they do so well — the quirky summer musical. \u003c/p>\n\u003cfigure id=\"attachment_13957712\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13957712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bridgette Loriaux is Beatrice and Johnny Moreno is Benedick in ‘Much Ado About Nothing.’\u003cbr> \u003ccite>(Marin Shakespeare Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/\">Much Ado About Nothing\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Marin Shakespeare Company, San Rafael\u003cbr>\nJune 28–July 28, 2024\u003c/em>\u003c/p>\n\u003cp>In this wild Shakespearean romp, Beatrice and Benedick engage in a war of words while the soldier Claudio falls for the fair Hero. After the requisite bickering commences, love is discovered, vows are exchanged and all is well. \u003c/p>\n\u003cp>Popular Bay Area director and educator Domenique Lozano handles the direction, with Bridgette Loriaux playing Beatrice and Johnny Moreno tackling Benedick. And while the play’s the thing, renting some cushions and plopping them down inside the spacious seating area for a show under the North Bay stars can’t be beat. \u003c/p>\n\u003cp>Preshow pro tip – enjoy a Cubano sandwich at Sol Food down the street while taking in some salsa beats from the live band that plays on the sidewalk.\u003cbr>\nAnd if you’re looking for even more Shakespearean comedy under the summer stars, the return of Cal Shakes in Orinda to regular theater programming includes the 50th anniversary production of \u003cem>\u003ca href=\"https://calshakes.org/as-you-like-it-2024/\">As You Like It\u003c/a>\u003c/em> at Bruns Memorial Amphitheater in September.\u003c/p>\n\u003cfigure id=\"attachment_13957709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4.jpg\" alt=\"\" width=\"1920\" height=\"1885\" class=\"size-full wp-image-13957709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-1020x1001.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-1536x1508.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Williams comes to Oakland for the role of Tommy DeVito in the Woodminster Summer Musicals production ‘Jersey Boys’ in July.\u003cbr> \u003ccite>(Ryan J. Zirngibl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.woodminster.com/\">Jersey Boys\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Woodminster Summer Musicals, Oakland\u003cbr>\nJuly 12–21, 2024\u003c/em>\u003c/p>\n\u003cp>The story of Frankie Valli and the Four Seasons has had productions all over the world, with Broadway and off-Broadway productions still running while multiple national tours stop often in the Bay Area. (The production made its regional premiere via the first national tour in December of 2006 at the Curran Theatre in San Francisco.)\u003c/p>\n\u003cp>There are several reasons for the production’s popularity, namely the non-stop hit parade that is the music of Valli and songwriter Bob Gaudio, whose handshake agreement lasting decades is the stuff of legend. But the one thing that could usurp the show’s quality is the venue itself, nestled neatly within Joaquin Miller Park in the idyllic Oakland hills. When night falls, it’s one of the most picturesque views in the Bay. \u003c/p>\n\u003cfigure id=\"attachment_13957715\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1.jpg\" alt=\"\" width=\"1180\" height=\"664\" class=\"size-full wp-image-13957715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-768x432.jpg 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Octavio Solis’ ‘Mother Road,’an adaptation of ‘The Grapes of Wrath,’ explores the story of Martín, a descendant of the Joad family. \u003ccite>(Anne Hamersky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/mother-road/\">Mother Road\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre\u003cbr>\nJune 14–July 21, 2024\u003c/em>\u003c/p>\n\u003cp>Octavio Solis, who spent decades in the Bay Area before moving to Oregon, makes one of his frequent Bay Area returns with \u003cem>Mother Road\u003c/em>. The story is a spinoff of \u003cem>The Grapes of Wrath\u003c/em>, taking the story’s iconic blue-collar hero Tom Joad and offering the new narrative of his descendant named Martín, a Mexican-American migrant worker. \u003c/p>\n\u003cp>Terminally ill William Joad learns of Martín as an heir to the family farm, and together they return to Oklahoma, the site of the Joad family’s perilous journey that serves as the soul of the original source material. Solis’ realism and poetic sensibilities are placed in the hands of the Rep’s associate artistic director David Mendizábal, who will direct the piece.\u003c/p>\n\u003cfigure id=\"attachment_13957706\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka.jpg\" alt=\"\" width=\"1920\" height=\"1417\" class=\"size-full wp-image-13957706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-1536x1134.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Naomi Iizuka is spending the bulk of her summer in San Francisco, with the world premiere of her play ‘Garuda’s Wing’ debuting in June, and her translation of Shakespeare’s ‘Richard II’ opening in August.\u003cbr> \u003ccite>(Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://magictheatre.org/calendar/garudas-wing\">Garuda’s Wing\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Magic Theatre, San Francisco\u003cbr>\nJune 5–July 23, 2024\u003c/em>\u003c/p>\n\u003cp>Playwright Naomi Iizuka is getting cozy inside the iconic theater space at Fort Mason for the entire summer, kicking things off with a ghost play. It’s an international investigation, and an intergenerational exploration, set across locales such as Jakarta and Borneo. A search unearths murder, while exposing the effects of revolution and colonialism. Lorraine Hansberry Theatre artistic director Margo Hall directs.\u003c/p>\n\u003cp>To further expand on Iizuka’s time in San Francisco, her translation of the intense and timely \u003cem>Richard II\u003c/em>, directed by Santa Clara University professor Karina Gutierrez, follows in August.\u003c/p>\n\u003cfigure id=\"attachment_13957708\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1272\" class=\"size-full wp-image-13957708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Former TheatreWorks Silicon Valley artistic director Robert Kelley returns for the world premiere of ‘Being Alive: A Sondheim Celebration’ this June in Mountain View. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/mainstage/being-alive/\">Being Alive: A Sondheim Celebration\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>TheatreWorks Silicon Valley, Mountain View\u003cbr>\nJune 5–30, 2024\u003c/em>\u003c/p>\n\u003cp>Since Stephen Sondheim’s passing in November of 2021, the master composer and lyricist has continued his dominance over every ounce of the musical theater landscape. Now, longtime collaborators Robert Kelley, who served TheatreWorks as artistic director for 50 years, and resident musical director William Liberatore are offering up another new take on Sondheim’s wonderful life. \u003c/p>\n\u003cp>TheatreWorks is a perfect spot for this world premiere, considering Sondheim is the company’s most produced composer. Expect many of Sondheim’s most iconic hits to make their way onto the stage, performed by a stellar six-person cast. (And for those who need even more Sondheim, the 2022 Broadway revival of \u003cem>\u003ca href=\"https://www.broadwaysf.com/events/company/\">Company\u003c/a>\u003c/em>, in which the single 35-year-old Bobbie is gender-swapped for a woman, lunches at BroadwaySF’s Orpheum Theatre in San Francisco for the month of June.) \u003c/p>\n\u003cfigure id=\"attachment_13957710\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped.jpg\" alt=\"\" width=\"1920\" height=\"1224\" class=\"size-full wp-image-13957710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-1536x979.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Michael Wayne Turner III will perform as Dr. Martin Luther King, Jr. in ‘The Ghost of King’ in Oakland.\u003cbr> \u003ccite>(Oakland Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/\">The Ghost of King\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oakland Theater Project\u003cbr>\nJune 6–23, 2024\u003c/em>\u003c/p>\n\u003cp>Michael Wayne Turner III is both the creator and featured performer of this exploration of Dr. Martin Luther King, Jr., digging into the famed civil rights leader and his tireless advocacy to ensure that the underclass are given justice and opportunity.\u003c/p>\n\u003cp>Oakland Theater Project is doing what they do very well — develop, develop, develop — and Turner weaves the life and conflicts of King together with his poetry and most memorable speeches. Details and research inform this insightful deep dive into the iconic leader and orator, gunned down in 1968 a few months past his 39th birthday. \u003c/p>\n\u003cfigure id=\"attachment_13957704\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13957704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Heikki Koskinen and Nan Busse in “Happened Change,” an entry in this year’s San Francisco Fringe Festival, running at the Exit Theatre in August.\u003cbr> \u003ccite>(Steve Bronson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theexit.org/\">San Francisco Fringe Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Exit Theatre, San Francisco\u003cbr>\nAug. 9–25, 2024\u003c/em>\u003c/p>\n\u003cp>The 33rd installment of San Francisco Fringe is all about quirky, poignant fun that exists off the beaten path from run-of-the-mill theatrical fare. Many of the shows are of the solo variety, and Exit Theatre’s festival continues to provide voices and opportunity for theater makers to sharpen both their art and their voices. This year’s festival features a whopping 45 performances of 15 different shows. \u003c/p>\n\u003cfigure id=\"attachment_13957703\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie.jpg\" alt=\"\" width=\"1920\" height=\"1279\" class=\"size-full wp-image-13957703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Everybody’s Talking About Jamie,’ Romelo Urbi plays the title role of Jamie, a 16-year-old high schooler in Sheffield who privately dreams of drag queen stardom. \u003ccite>(Shane Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.rayoflighttheatre.com/jamie\">Everybody’s Talking About Jamie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ray of Light Theatre, San Francisco\u003cbr>\nJune 1–23, 2024\u003c/em>\u003c/p>\n\u003cp>British denizens fell in love with the luminous 16-year-old gay teen Jamie, who was a fixture on London’s West End toward the end of the past decade. Sadly, Americans had to wait. Despite a critically acclaimed 2021 film version, productions of the musical in the United States have been scarce.\u003c/p>\n\u003cp>In June, Ray of Light Theatre gives the Bay an opportunity to fall head over stiletto heels for Jamie, an outcast who dreams of becoming a fabulous drag queen and finding superstar status on the biggest stages. It’s a tender story that shows what allyship and acceptance can mean to a young person looking to soar within their individuality in every aspect of life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A delightful local cast steps in for this one, with Romelo Urbi taking on the title role, and the entire production is led by director Alex Kirschner. Fittingly, the show’s opening night coincides with the annual start to Pride month across the nation. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This summer, Bay Area theater offers something for everyone. Whether you’re seeking out experimental offerings, a tried-and-true Shakespeare classic under the stars, or some hefty song and dance Broadway style, the Bay Area’s summer has you covered.\u003c/p>\n\u003cp>Here are 10 shows in the Bay Area from June to early September that are not to be missed. \u003c/p>\n\u003cfigure id=\"attachment_13957713\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_.jpg\" alt=\"\" width=\"1920\" height=\"1432\" class=\"size-full wp-image-13957713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lifespan.rev_-1536x1146.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fact-checking and copy editing take center stage in ‘The Lifespan of a Fact’ at Aurora Theatre this summer. \u003ccite>(Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.auroratheatre.org/fact\">The Lifespan of a Fact\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aurora Theatre, Berkeley\u003cbr>\nJune 21–July 25, 2024\u003c/em>\u003c/p>\n\u003cp>Jim Fingal is a newly minted Harvard grad who takes a job at a consequential magazine as a fact-checker. That consequence has softened, however, since the magazine is now hanging by a thread. An essay from mega-talent John D’Agata, about a teen boy’s suicide, could change the magazine’s fortunes.\u003c/p>\n\u003cp>There’s one major problem — the actual facts of the story are shaky at best, placing both characters into a battle between truth and fiction. (The play’s heralded 2018 Broadway run featured actors Bobby Cannavale, Daniel Radcliffe and Cherry Jones.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s no better time to support Aurora, a gem of a small theater in Berkeley. Like many theaters post-pandemic, the company faces a major funding shortfall, and are in \u003ca href=\"https://givebutter.com/AuroraSpring24\">an active campaign\u003c/a> to save their artistic outlet.\u003c/p>\n\u003cfigure id=\"attachment_13957720\" class=\"wp-caption aligncenter\" style=\"max-width: 1665px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych.jpg\" alt=\"\" width=\"1665\" height=\"1143\" class=\"size-full wp-image-13957720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych.jpg 1665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pino.diptych-1536x1054.jpg 1536w\" sizes=\"(max-width: 1665px) 100vw, 1665px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Rhys Williams is Lawrence Jameson and Keith Pinto is Freddy Benson in the San Jose Stage production of ‘Dirty Rotten Scoundrels.’ \u003ccite>(San Jose Stage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thestage.org/\">Dirty Rotten Scoundrels\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Jose Stage\u003cbr>\nJune 5–30, 2024\u003c/em>\u003c/p>\n\u003cp>Based on the popular 1988 film and directed by Stage Associate Artist Johnny Moreno, this French Riviera con caper follows two men who compete for the heart of a wealthy American heiress. Featuring a jazzy score from composer David Yazbek (\u003cem>The Full Monty\u003c/em>, \u003cem>The Band’s Visit\u003c/em>), the Stage is digging into another example of what they do so well — the quirky summer musical. \u003c/p>\n\u003cfigure id=\"attachment_13957712\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13957712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Untitled-design-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bridgette Loriaux is Beatrice and Johnny Moreno is Benedick in ‘Much Ado About Nothing.’\u003cbr> \u003ccite>(Marin Shakespeare Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/\">Much Ado About Nothing\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Marin Shakespeare Company, San Rafael\u003cbr>\nJune 28–July 28, 2024\u003c/em>\u003c/p>\n\u003cp>In this wild Shakespearean romp, Beatrice and Benedick engage in a war of words while the soldier Claudio falls for the fair Hero. After the requisite bickering commences, love is discovered, vows are exchanged and all is well. \u003c/p>\n\u003cp>Popular Bay Area director and educator Domenique Lozano handles the direction, with Bridgette Loriaux playing Beatrice and Johnny Moreno tackling Benedick. And while the play’s the thing, renting some cushions and plopping them down inside the spacious seating area for a show under the North Bay stars can’t be beat. \u003c/p>\n\u003cp>Preshow pro tip – enjoy a Cubano sandwich at Sol Food down the street while taking in some salsa beats from the live band that plays on the sidewalk.\u003cbr>\nAnd if you’re looking for even more Shakespearean comedy under the summer stars, the return of Cal Shakes in Orinda to regular theater programming includes the 50th anniversary production of \u003cem>\u003ca href=\"https://calshakes.org/as-you-like-it-2024/\">As You Like It\u003c/a>\u003c/em> at Bruns Memorial Amphitheater in September.\u003c/p>\n\u003cfigure id=\"attachment_13957709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4.jpg\" alt=\"\" width=\"1920\" height=\"1885\" class=\"size-full wp-image-13957709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-1020x1001.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ryan-Williams-4-1536x1508.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Williams comes to Oakland for the role of Tommy DeVito in the Woodminster Summer Musicals production ‘Jersey Boys’ in July.\u003cbr> \u003ccite>(Ryan J. Zirngibl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.woodminster.com/\">Jersey Boys\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Woodminster Summer Musicals, Oakland\u003cbr>\nJuly 12–21, 2024\u003c/em>\u003c/p>\n\u003cp>The story of Frankie Valli and the Four Seasons has had productions all over the world, with Broadway and off-Broadway productions still running while multiple national tours stop often in the Bay Area. (The production made its regional premiere via the first national tour in December of 2006 at the Curran Theatre in San Francisco.)\u003c/p>\n\u003cp>There are several reasons for the production’s popularity, namely the non-stop hit parade that is the music of Valli and songwriter Bob Gaudio, whose handshake agreement lasting decades is the stuff of legend. But the one thing that could usurp the show’s quality is the venue itself, nestled neatly within Joaquin Miller Park in the idyllic Oakland hills. When night falls, it’s one of the most picturesque views in the Bay. \u003c/p>\n\u003cfigure id=\"attachment_13957715\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1.jpg\" alt=\"\" width=\"1180\" height=\"664\" class=\"size-full wp-image-13957715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/OctavioSolisAnneHamerskycropped-1180x664-1-768x432.jpg 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Octavio Solis’ ‘Mother Road,’an adaptation of ‘The Grapes of Wrath,’ explores the story of Martín, a descendant of the Joad family. \u003ccite>(Anne Hamersky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/mother-road/\">Mother Road\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre\u003cbr>\nJune 14–July 21, 2024\u003c/em>\u003c/p>\n\u003cp>Octavio Solis, who spent decades in the Bay Area before moving to Oregon, makes one of his frequent Bay Area returns with \u003cem>Mother Road\u003c/em>. The story is a spinoff of \u003cem>The Grapes of Wrath\u003c/em>, taking the story’s iconic blue-collar hero Tom Joad and offering the new narrative of his descendant named Martín, a Mexican-American migrant worker. \u003c/p>\n\u003cp>Terminally ill William Joad learns of Martín as an heir to the family farm, and together they return to Oklahoma, the site of the Joad family’s perilous journey that serves as the soul of the original source material. Solis’ realism and poetic sensibilities are placed in the hands of the Rep’s associate artistic director David Mendizábal, who will direct the piece.\u003c/p>\n\u003cfigure id=\"attachment_13957706\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka.jpg\" alt=\"\" width=\"1920\" height=\"1417\" class=\"size-full wp-image-13957706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/naomi_iizuka-1536x1134.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Naomi Iizuka is spending the bulk of her summer in San Francisco, with the world premiere of her play ‘Garuda’s Wing’ debuting in June, and her translation of Shakespeare’s ‘Richard II’ opening in August.\u003cbr> \u003ccite>(Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://magictheatre.org/calendar/garudas-wing\">Garuda’s Wing\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Magic Theatre, San Francisco\u003cbr>\nJune 5–July 23, 2024\u003c/em>\u003c/p>\n\u003cp>Playwright Naomi Iizuka is getting cozy inside the iconic theater space at Fort Mason for the entire summer, kicking things off with a ghost play. It’s an international investigation, and an intergenerational exploration, set across locales such as Jakarta and Borneo. A search unearths murder, while exposing the effects of revolution and colonialism. Lorraine Hansberry Theatre artistic director Margo Hall directs.\u003c/p>\n\u003cp>To further expand on Iizuka’s time in San Francisco, her translation of the intense and timely \u003cem>Richard II\u003c/em>, directed by Santa Clara University professor Karina Gutierrez, follows in August.\u003c/p>\n\u003cfigure id=\"attachment_13957708\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1272\" class=\"size-full wp-image-13957708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Robert-Kelley3_DavidAllenPhoto-scaled-1-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Former TheatreWorks Silicon Valley artistic director Robert Kelley returns for the world premiere of ‘Being Alive: A Sondheim Celebration’ this June in Mountain View. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/mainstage/being-alive/\">Being Alive: A Sondheim Celebration\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>TheatreWorks Silicon Valley, Mountain View\u003cbr>\nJune 5–30, 2024\u003c/em>\u003c/p>\n\u003cp>Since Stephen Sondheim’s passing in November of 2021, the master composer and lyricist has continued his dominance over every ounce of the musical theater landscape. Now, longtime collaborators Robert Kelley, who served TheatreWorks as artistic director for 50 years, and resident musical director William Liberatore are offering up another new take on Sondheim’s wonderful life. \u003c/p>\n\u003cp>TheatreWorks is a perfect spot for this world premiere, considering Sondheim is the company’s most produced composer. Expect many of Sondheim’s most iconic hits to make their way onto the stage, performed by a stellar six-person cast. (And for those who need even more Sondheim, the 2022 Broadway revival of \u003cem>\u003ca href=\"https://www.broadwaysf.com/events/company/\">Company\u003c/a>\u003c/em>, in which the single 35-year-old Bobbie is gender-swapped for a woman, lunches at BroadwaySF’s Orpheum Theatre in San Francisco for the month of June.) \u003c/p>\n\u003cfigure id=\"attachment_13957710\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped.jpg\" alt=\"\" width=\"1920\" height=\"1224\" class=\"size-full wp-image-13957710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/The_Ghost_of_King_2024_8649_cropped-1536x979.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Michael Wayne Turner III will perform as Dr. Martin Luther King, Jr. in ‘The Ghost of King’ in Oakland.\u003cbr> \u003ccite>(Oakland Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/\">The Ghost of King\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oakland Theater Project\u003cbr>\nJune 6–23, 2024\u003c/em>\u003c/p>\n\u003cp>Michael Wayne Turner III is both the creator and featured performer of this exploration of Dr. Martin Luther King, Jr., digging into the famed civil rights leader and his tireless advocacy to ensure that the underclass are given justice and opportunity.\u003c/p>\n\u003cp>Oakland Theater Project is doing what they do very well — develop, develop, develop — and Turner weaves the life and conflicts of King together with his poetry and most memorable speeches. Details and research inform this insightful deep dive into the iconic leader and orator, gunned down in 1968 a few months past his 39th birthday. \u003c/p>\n\u003cfigure id=\"attachment_13957704\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13957704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Left-to-right-Heikki-Koskinen-and-Nan-Busse-in-Happened-Change-Photo-credit-Steve-Bronson-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Heikki Koskinen and Nan Busse in “Happened Change,” an entry in this year’s San Francisco Fringe Festival, running at the Exit Theatre in August.\u003cbr> \u003ccite>(Steve Bronson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theexit.org/\">San Francisco Fringe Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Exit Theatre, San Francisco\u003cbr>\nAug. 9–25, 2024\u003c/em>\u003c/p>\n\u003cp>The 33rd installment of San Francisco Fringe is all about quirky, poignant fun that exists off the beaten path from run-of-the-mill theatrical fare. Many of the shows are of the solo variety, and Exit Theatre’s festival continues to provide voices and opportunity for theater makers to sharpen both their art and their voices. This year’s festival features a whopping 45 performances of 15 different shows. \u003c/p>\n\u003cfigure id=\"attachment_13957703\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie.jpg\" alt=\"\" width=\"1920\" height=\"1279\" class=\"size-full wp-image-13957703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jamie-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Everybody’s Talking About Jamie,’ Romelo Urbi plays the title role of Jamie, a 16-year-old high schooler in Sheffield who privately dreams of drag queen stardom. \u003ccite>(Shane Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.rayoflighttheatre.com/jamie\">Everybody’s Talking About Jamie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ray of Light Theatre, San Francisco\u003cbr>\nJune 1–23, 2024\u003c/em>\u003c/p>\n\u003cp>British denizens fell in love with the luminous 16-year-old gay teen Jamie, who was a fixture on London’s West End toward the end of the past decade. Sadly, Americans had to wait. Despite a critically acclaimed 2021 film version, productions of the musical in the United States have been scarce.\u003c/p>\n\u003cp>In June, Ray of Light Theatre gives the Bay an opportunity to fall head over stiletto heels for Jamie, an outcast who dreams of becoming a fabulous drag queen and finding superstar status on the biggest stages. It’s a tender story that shows what allyship and acceptance can mean to a young person looking to soar within their individuality in every aspect of life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A delightful local cast steps in for this one, with Romelo Urbi taking on the title role, and the entire production is led by director Alex Kirschner. Fittingly, the show’s opening night coincides with the annual start to Pride month across the nation. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each",
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"content": "\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burrell is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burrell is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Betty Reid Soskin’s Incredible Life Comes to the Stage in ‘Sign My Name to Freedom’",
"headTitle": "Betty Reid Soskin’s Incredible Life Comes to the Stage in ‘Sign My Name to Freedom’ | KQED",
"content": "\u003cfigure id=\"attachment_13955111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The four Betty Reid Soskins of ‘Sign My Name to Freedom’ (L–R): Cathleen Riddley, Aidaa Peerzada, Lucca Troutman and Tierra Allen. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not one, not two, but four different Betty Reid Soskins take the stage in \u003cem>Sign My Name to Freedom\u003c/em>, the world-premiere play that opened in San Francisco Friday night. And honestly, four still seems inadequate for its fascinating, multifaceted subject.\u003c/p>\n\u003cp>As this excellent and affecting production demonstrates, \u003ca href=\"https://www.kqed.org/news/tag/betty-reid-soskin\">Betty Reid Soskin\u003c/a>, the woman best known as a \u003ca href=\"https://www.kqed.org/news/11914312/betty-reid-soskin-at-100-the-life-of-the-nations-oldest-park-ranger-in-her-own-words\">park ranger\u003c/a> at Richmond’s \u003ca href=\"https://www.nps.gov/rori/index.htm\">Rosie the Riveter National Historic Park\u003c/a>, has lived at least a dozen lives, if not more. Hers is a quintessentially Bay Area story, encompassing the Great Migration, grassroots arts and political activism, experiences of thinly veiled liberal racism, the independent hustle, the trap of the suburbs, dancing the pain away and, yes, doom-loop crime. \u003c/p>\n\u003cfigure id=\"attachment_13955110\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Betty (Tierra Allen) learns where life will take her from the 95-year-old Betty Reid Soskin (Cathleen Riddley) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play opens with a robber breaking into the modest apartment of Soskin (Cathleen Riddley) who, at 95 years of age, adroitly fends him off. Her stocktaking of stolen items with her fellow park ranger friend Renee (Jasmine Milan Williams) turns into an inventory of her life. Soon, Little Betty (Tierra Allen) shows up for a reenactment, replete with billowy blue fabric and aerial dancers, of the hurricane of 1927 that blew Soskin’s family all the way from New Orleans to Oakland.\u003c/p>\n\u003cp>Little Betty and older Betty begin talking, in awe of each other: Little Betty for the places she’ll go, and older Betty for where she’s been. Throughout the mostly chronological telling of Soskin’s life, playing out like a beautifully written memoir on the stage, we meet two more Soskins. There’s Married Betty, who overcomes constant challenges, and, occupying much of Act Two, the songwriting, speech-delivering Revolutionary Betty. \u003c/p>\n\u003cfigure id=\"attachment_13955115\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lucca Troutman (Revolutionary Betty), Cathleen Riddley (Betty Reid Soskin), Tierra Allen (Little Betty) and Aidaa Peerzada (Married Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an achievement by playwright Michael Gene Sullivan and director Elizabeth Carter that this approach doesn’t get too crowded, or confuse the audience. By the end of the play, when these four Bettys have told Soskin’s remarkable story, their group conversation arrives at a mutual understanding of a life and what it’s lived for. Sullivan’s dialogue is smart but not showy, thoughtfully considered and frequently very funny. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13952570']As Soskin, Riddley has her work cut out for her. Assessing her 95 years, she movingly retells prior challenges and regrets while standing strong. Allen starts out with a bit of childhood overplaying for Little Betty, but grows into the indispensable role. \u003c/p>\n\u003cp>Married Betty (Aidaa Peerzada) faces the most ups and downs, marrying music impresario Mel Reid, adopting one child and having three more, and raising them while running the family record store, \u003ca href=\"https://www.kqed.org/arts/13850266/reids-records-berkeley-gospel-mainstay-to-close-after-75-years\">Reid’s Records\u003c/a> (if you thought Too Short was the first to sell records out of the trunk, think again). Married Betty moves to Walnut Creek and fights in vain at a school board meeting to change its white supremacist culture, and eventually divorces after Mel blows their money on gambling and other women. \u003c/p>\n\u003cfigure id=\"attachment_13955117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Jeremy Brooks (Dancer/Ensemble), Marc Cunanan Chappelle (Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer), Ahja Henry (Dance Captain/Dancer/Ensemble) and Markaila Dyson (Dancer/Ensemble) dance at a house party in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Revolutionary Betty (Lucca Troutman), who stands on Soskin’s kitchen table to announce her new identity: folk singing Civil Rights activist. When Married Betty explains that she moved to Walnut Creek for her family, Revolutionary Betty retorts: “If you gave a damn about your family, you wouldn’t’ve moved them out here with all these threaten-to-burn-your-house-down-’cause-they’re-suburban-crackers in the first place!”\u003c/p>\n\u003cp>Soskin’s songs — \u003ca href=\"https://www.kqed.org/arts/13952570/betty-reid-soskin-music-documentary-sign-my-name-to-freedom\">recently unearthed on reel-to-reel tapes\u003c/a> stored in a box for decades — address police brutality, Black identity, and the spate of church burnings in the South, with shades of Odetta and Nina Simone. After we learn that Soskin stops writing songs amid the crack epidemic in order to save the family record store, we hear one of her most beautiful compositions, with complex jazz chords played on guitar by Troutman.\u003c/p>\n\u003cfigure id=\"attachment_13955118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lucca Troutman (Revolutionary Betty) plays and sings an original song by Betty Reid Soskin as Tierra Allen (Little Betty) listens in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additional songs by the show’s music director Daniel Savio propel scenes of tragedy and joy. A lonely saxophone soundtracks a ship explosion in \u003ca href=\"https://www.kqed.org/news/142082/how-a-deadly-explosion-70-years-ago-led-to-integrating-the-navy\">Port Chicago\u003c/a> that kills 320 people, including the predominantly Black servicemen chosen to handle dangerous ammunition and torpedoes. And an upbeat jazz number enlivens a house party that allows Laura Elaine Ellis’ choreography, and standout dancers Ahja Henry and Marc Cunanan Chappelle, to shine. \u003c/p>\n\u003cp>If anyone out there wants to throw a million dollars at this play, please do; a higher production budget could give it the polish it deserves. Mikiko Uesugi’s set design is sparse, just a bed, dresser, table and door, and the offstage band does an able job with the constraints of their size. Both should have more texture. Especially because, aside from a recurring, not-fully-fleshed-out thread involving Soskin’s son David (and a tad too much interpretive aerial dance for my personal tastes), the play itself is nearly flawless. \u003c/p>\n\u003cfigure id=\"attachment_13955114\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeremy Brooks (Dancer/Ensemble), Ahja Henry (Dance Captain/Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Aidaa Peerzada (Married Betty), Marc Cunanan Chappelle (Dancer/Ensemble), Tierra Allen (Little Betty), William Brewton Fowler Jr. (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer) and Lucca Troutman (Revolutionary Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key moment comes early, when the \u003cem>San Francisco Chronicle\u003c/em> calls the apartment, hearing of the break-in and wanting to include Soskin in a story about the uptick in Bay Area crime. “No,” Soskin says, dreaming aloud of the day the newspaper calls instead to talk about harmful toxins in Richmond’s air and water, or the income inequality between the hills and the flatlands. \u003c/p>\n\u003cp>Soskin didn’t wait for the call. She told her own story, her way. With skill and heart, \u003cem>Sign My Name to Freedom\u003c/em> brings it to a new audience that should leave the theater like I did: inspired.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sign My Name to Freedom’ runs at Z Space (450 Florida St., San Francisco) through April 13. Tickets and details here. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The tremendous new play about Richmond’s most famous park ranger doubles as a history of the Bay Area itself.",
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"description": "The tremendous new play about Richmond’s most famous park ranger doubles as a history of the Bay Area itself.",
"title": "Betty Reid Soskin’s Incredible Life Comes to the Stage in ‘Sign My Name to Freedom’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The four Betty Reid Soskins of ‘Sign My Name to Freedom’ (L–R): Cathleen Riddley, Aidaa Peerzada, Lucca Troutman and Tierra Allen. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not one, not two, but four different Betty Reid Soskins take the stage in \u003cem>Sign My Name to Freedom\u003c/em>, the world-premiere play that opened in San Francisco Friday night. And honestly, four still seems inadequate for its fascinating, multifaceted subject.\u003c/p>\n\u003cp>As this excellent and affecting production demonstrates, \u003ca href=\"https://www.kqed.org/news/tag/betty-reid-soskin\">Betty Reid Soskin\u003c/a>, the woman best known as a \u003ca href=\"https://www.kqed.org/news/11914312/betty-reid-soskin-at-100-the-life-of-the-nations-oldest-park-ranger-in-her-own-words\">park ranger\u003c/a> at Richmond’s \u003ca href=\"https://www.nps.gov/rori/index.htm\">Rosie the Riveter National Historic Park\u003c/a>, has lived at least a dozen lives, if not more. Hers is a quintessentially Bay Area story, encompassing the Great Migration, grassroots arts and political activism, experiences of thinly veiled liberal racism, the independent hustle, the trap of the suburbs, dancing the pain away and, yes, doom-loop crime. \u003c/p>\n\u003cfigure id=\"attachment_13955110\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Betty (Tierra Allen) learns where life will take her from the 95-year-old Betty Reid Soskin (Cathleen Riddley) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play opens with a robber breaking into the modest apartment of Soskin (Cathleen Riddley) who, at 95 years of age, adroitly fends him off. Her stocktaking of stolen items with her fellow park ranger friend Renee (Jasmine Milan Williams) turns into an inventory of her life. Soon, Little Betty (Tierra Allen) shows up for a reenactment, replete with billowy blue fabric and aerial dancers, of the hurricane of 1927 that blew Soskin’s family all the way from New Orleans to Oakland.\u003c/p>\n\u003cp>Little Betty and older Betty begin talking, in awe of each other: Little Betty for the places she’ll go, and older Betty for where she’s been. Throughout the mostly chronological telling of Soskin’s life, playing out like a beautifully written memoir on the stage, we meet two more Soskins. There’s Married Betty, who overcomes constant challenges, and, occupying much of Act Two, the songwriting, speech-delivering Revolutionary Betty. \u003c/p>\n\u003cfigure id=\"attachment_13955115\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lucca Troutman (Revolutionary Betty), Cathleen Riddley (Betty Reid Soskin), Tierra Allen (Little Betty) and Aidaa Peerzada (Married Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an achievement by playwright Michael Gene Sullivan and director Elizabeth Carter that this approach doesn’t get too crowded, or confuse the audience. By the end of the play, when these four Bettys have told Soskin’s remarkable story, their group conversation arrives at a mutual understanding of a life and what it’s lived for. Sullivan’s dialogue is smart but not showy, thoughtfully considered and frequently very funny. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As Soskin, Riddley has her work cut out for her. Assessing her 95 years, she movingly retells prior challenges and regrets while standing strong. Allen starts out with a bit of childhood overplaying for Little Betty, but grows into the indispensable role. \u003c/p>\n\u003cp>Married Betty (Aidaa Peerzada) faces the most ups and downs, marrying music impresario Mel Reid, adopting one child and having three more, and raising them while running the family record store, \u003ca href=\"https://www.kqed.org/arts/13850266/reids-records-berkeley-gospel-mainstay-to-close-after-75-years\">Reid’s Records\u003c/a> (if you thought Too Short was the first to sell records out of the trunk, think again). Married Betty moves to Walnut Creek and fights in vain at a school board meeting to change its white supremacist culture, and eventually divorces after Mel blows their money on gambling and other women. \u003c/p>\n\u003cfigure id=\"attachment_13955117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Jeremy Brooks (Dancer/Ensemble), Marc Cunanan Chappelle (Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer), Ahja Henry (Dance Captain/Dancer/Ensemble) and Markaila Dyson (Dancer/Ensemble) dance at a house party in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Revolutionary Betty (Lucca Troutman), who stands on Soskin’s kitchen table to announce her new identity: folk singing Civil Rights activist. When Married Betty explains that she moved to Walnut Creek for her family, Revolutionary Betty retorts: “If you gave a damn about your family, you wouldn’t’ve moved them out here with all these threaten-to-burn-your-house-down-’cause-they’re-suburban-crackers in the first place!”\u003c/p>\n\u003cp>Soskin’s songs — \u003ca href=\"https://www.kqed.org/arts/13952570/betty-reid-soskin-music-documentary-sign-my-name-to-freedom\">recently unearthed on reel-to-reel tapes\u003c/a> stored in a box for decades — address police brutality, Black identity, and the spate of church burnings in the South, with shades of Odetta and Nina Simone. After we learn that Soskin stops writing songs amid the crack epidemic in order to save the family record store, we hear one of her most beautiful compositions, with complex jazz chords played on guitar by Troutman.\u003c/p>\n\u003cfigure id=\"attachment_13955118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lucca Troutman (Revolutionary Betty) plays and sings an original song by Betty Reid Soskin as Tierra Allen (Little Betty) listens in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additional songs by the show’s music director Daniel Savio propel scenes of tragedy and joy. A lonely saxophone soundtracks a ship explosion in \u003ca href=\"https://www.kqed.org/news/142082/how-a-deadly-explosion-70-years-ago-led-to-integrating-the-navy\">Port Chicago\u003c/a> that kills 320 people, including the predominantly Black servicemen chosen to handle dangerous ammunition and torpedoes. And an upbeat jazz number enlivens a house party that allows Laura Elaine Ellis’ choreography, and standout dancers Ahja Henry and Marc Cunanan Chappelle, to shine. \u003c/p>\n\u003cp>If anyone out there wants to throw a million dollars at this play, please do; a higher production budget could give it the polish it deserves. Mikiko Uesugi’s set design is sparse, just a bed, dresser, table and door, and the offstage band does an able job with the constraints of their size. Both should have more texture. Especially because, aside from a recurring, not-fully-fleshed-out thread involving Soskin’s son David (and a tad too much interpretive aerial dance for my personal tastes), the play itself is nearly flawless. \u003c/p>\n\u003cfigure id=\"attachment_13955114\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeremy Brooks (Dancer/Ensemble), Ahja Henry (Dance Captain/Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Aidaa Peerzada (Married Betty), Marc Cunanan Chappelle (Dancer/Ensemble), Tierra Allen (Little Betty), William Brewton Fowler Jr. (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer) and Lucca Troutman (Revolutionary Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key moment comes early, when the \u003cem>San Francisco Chronicle\u003c/em> calls the apartment, hearing of the break-in and wanting to include Soskin in a story about the uptick in Bay Area crime. “No,” Soskin says, dreaming aloud of the day the newspaper calls instead to talk about harmful toxins in Richmond’s air and water, or the income inequality between the hills and the flatlands. \u003c/p>\n\u003cp>Soskin didn’t wait for the call. She told her own story, her way. With skill and heart, \u003cem>Sign My Name to Freedom\u003c/em> brings it to a new audience that should leave the theater like I did: inspired.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sign My Name to Freedom’ runs at Z Space (450 Florida St., San Francisco) through April 13. Tickets and details here. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Students Protest Removal of Art Teachers to San Francisco School Board",
"headTitle": "Students Protest Removal of Art Teachers to San Francisco School Board | KQED",
"content": "\u003cp>A large crowd of high school students, parents, faculty and other supporters spilled onto the sidewalk from the entrance of the San Francisco Unified School District building on Tuesday, chanting: “When teachers are under attack, what do we do? Stand up! Fight back!”\u003c/p>\n\u003cp>Dressed in green, \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=10\">playing drums and cheering loudly\u003c/a> at the honks of passing cars, the \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">Ruth Asawa School of the Arts\u003c/a> (RASOTA) students had assembled to protest the March 18 removal of two faculty members from the school’s technical theater department.\u003c/p>\n\u003cp>RASOTA, San Francisco’s only dedicated public high school for the arts, admits students based on audition into one of eight subject areas, which include dance, music, visual arts, theatre and technical theater.\u003c/p>\n\u003cp>The teachers in question are Paul Kwapy, the director of the school’s technical theater program, and Annette Ribeiro, an artist in residence for the costume department. Both have taught at RASOTA for over 13 years. \u003c/p>\n\u003cfigure id=\"attachment_13954840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg\" alt='Hand holding hand painted \"Got Tech?\" sign' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A large crowd gathered outside 555 Franklin St. in San Francisco on the evening of March 26, playing drums and chanting. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a March 25 letter to the RASOTA community, Principal Stella Kim and Assistant Superintendent Davina Goldwasser wrote, “We cannot comment on any personnel matters and need to maintain confidentiality, we are not able to provide more details, or a specific timeline.” In public statements and letters to the school board, faculty and parents have alluded to the removals as an overreach by the school district in response to the teachers’ disciplinary handling of a safety incident in class.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What was clear Tuesday evening was just how much RASOTA technical theater students value their two missing teachers — and how well they had mobilized a show of support from other departments. Over 100 people showed up in advance of the night’s school board meeting.\u003c/p>\n\u003cp>Many remained for the meeting’s open session, during which public comment was limited to remarks about third grade literacy. Some tried to comment about the RASOTA situation regardless.\u003c/p>\n\u003cp>“Our teachers cannot truly focus on our students unless they’re fully protected,” said senior technical theater student Angelina Costa to the school board. “Having the same teachers from year to year, that really makes all the difference.” She was cut off at the one-minute mark.\u003c/p>\n\u003cp>Board President Lainie Motamedi thanked the RASOTA students and supporters for their participation. “I do want to note that the board also receives your emails and reads your emails,” she said. “So you have been heard. And we do take those very, very seriously.”\u003c/p>\n\u003cfigure id=\"attachment_13954838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg\" alt='Young people hold a large painted banner reading \"SOTA needs Kwapy and Annette\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The two faculty members were removed from their positions on March 18; the technical theater students have been on strike ever since. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited access to public comment, the RASOTA protestors were able to meet with assistant superintendents, and \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=2\">report a scheduled meeting\u003c/a> with Superintendent Dr. Matt Wayne to discuss their concerns.\u003c/p>\n\u003cp>Since Monday, some 60 technical theater students at RASOTA have been on strike in protest of the faculty removals.\u003c/p>\n\u003cp>“Tech students will no longer be participating in any shows outside of school hours,” an Instagram account run by the students explains. “Our participation in shows will not resume until our directors Paul Kwapy and Annette Ribeiro return.”\u003c/p>\n\u003cp>[aside postID='news_11978035']That means last weekend’s orchestra performances took place unamplified, without mics or student ushers. Students in the tech department typically run a production’s lighting, sound, sets, costumes and props. The spring semester is a busy one, with dance, music and acting showcases scheduled through the end of the school year. Seniors from the costume department have opted for a photoshoot of their designs in lieu of a regularly scheduled fashion show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we treat our educators as expendable, it’s no wonder that we have over 300 vacancies at the beginning of a school year,” Costa had planned to say to the school board. “When we fail to listen to the concerns of our students, it’s no wonder that we are being forced to close schools due to a lack of enrollment.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A large crowd of high school students, parents, faculty and other supporters spilled onto the sidewalk from the entrance of the San Francisco Unified School District building on Tuesday, chanting: “When teachers are under attack, what do we do? Stand up! Fight back!”\u003c/p>\n\u003cp>Dressed in green, \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=10\">playing drums and cheering loudly\u003c/a> at the honks of passing cars, the \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">Ruth Asawa School of the Arts\u003c/a> (RASOTA) students had assembled to protest the March 18 removal of two faculty members from the school’s technical theater department.\u003c/p>\n\u003cp>RASOTA, San Francisco’s only dedicated public high school for the arts, admits students based on audition into one of eight subject areas, which include dance, music, visual arts, theatre and technical theater.\u003c/p>\n\u003cp>The teachers in question are Paul Kwapy, the director of the school’s technical theater program, and Annette Ribeiro, an artist in residence for the costume department. Both have taught at RASOTA for over 13 years. \u003c/p>\n\u003cfigure id=\"attachment_13954840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg\" alt='Hand holding hand painted \"Got Tech?\" sign' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A large crowd gathered outside 555 Franklin St. in San Francisco on the evening of March 26, playing drums and chanting. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a March 25 letter to the RASOTA community, Principal Stella Kim and Assistant Superintendent Davina Goldwasser wrote, “We cannot comment on any personnel matters and need to maintain confidentiality, we are not able to provide more details, or a specific timeline.” In public statements and letters to the school board, faculty and parents have alluded to the removals as an overreach by the school district in response to the teachers’ disciplinary handling of a safety incident in class.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What was clear Tuesday evening was just how much RASOTA technical theater students value their two missing teachers — and how well they had mobilized a show of support from other departments. Over 100 people showed up in advance of the night’s school board meeting.\u003c/p>\n\u003cp>Many remained for the meeting’s open session, during which public comment was limited to remarks about third grade literacy. Some tried to comment about the RASOTA situation regardless.\u003c/p>\n\u003cp>“Our teachers cannot truly focus on our students unless they’re fully protected,” said senior technical theater student Angelina Costa to the school board. “Having the same teachers from year to year, that really makes all the difference.” She was cut off at the one-minute mark.\u003c/p>\n\u003cp>Board President Lainie Motamedi thanked the RASOTA students and supporters for their participation. “I do want to note that the board also receives your emails and reads your emails,” she said. “So you have been heard. And we do take those very, very seriously.”\u003c/p>\n\u003cfigure id=\"attachment_13954838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg\" alt='Young people hold a large painted banner reading \"SOTA needs Kwapy and Annette\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The two faculty members were removed from their positions on March 18; the technical theater students have been on strike ever since. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited access to public comment, the RASOTA protestors were able to meet with assistant superintendents, and \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=2\">report a scheduled meeting\u003c/a> with Superintendent Dr. Matt Wayne to discuss their concerns.\u003c/p>\n\u003cp>Since Monday, some 60 technical theater students at RASOTA have been on strike in protest of the faculty removals.\u003c/p>\n\u003cp>“Tech students will no longer be participating in any shows outside of school hours,” an Instagram account run by the students explains. “Our participation in shows will not resume until our directors Paul Kwapy and Annette Ribeiro return.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That means last weekend’s orchestra performances took place unamplified, without mics or student ushers. Students in the tech department typically run a production’s lighting, sound, sets, costumes and props. The spring semester is a busy one, with dance, music and acting showcases scheduled through the end of the school year. Seniors from the costume department have opted for a photoshoot of their designs in lieu of a regularly scheduled fashion show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we treat our educators as expendable, it’s no wonder that we have over 300 vacancies at the beginning of a school year,” Costa had planned to say to the school board. “When we fail to listen to the concerns of our students, it’s no wonder that we are being forced to close schools due to a lack of enrollment.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-far-country-berkeley-rep-angel-island-review",
"title": "‘The Far Country’ Explores Memory, Family and Angel Island’s Detention Horrors",
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"content": "\u003cp>What if walls could talk?\u003c/p>\n\u003cp>In the case of \u003ca href=\"https://www.aiisf.org/poems-and-inscriptions\">Angel Island\u003c/a>, the walls do in fact talk. Imprisoned upon arrival in the early 20th century, Chinese immigrants etched their pain into the walls as poetry that has been preserved for posterity. \u003c/p>\n\u003cp>Berkeley Repertory Theatre’s harrowing production of Lloyd Suh’s Pulitzer-finalist play \u003cem>The Far Country\u003c/em> exists in a world where even the most remote and desolate land carries its own richness. The play’s magic, exposed by Jennifer Chang’s exquisite direction, is that it feels epic in scope, beautifully balanced between struggle, hope and decadent artistry.\u003c/p>\n\u003cfigure id=\"attachment_13954199\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Feodor Chin (Gee/Three), Aaron Wilton (Harriwell/Interpreter), and Whit K. Lee (Yip/One) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play begins on Angel Island, in the San Francisco Bay, in 1909. It’s 27 years after the implementation of the Chinese Exclusion Act, which severely limited Chinese immigration and brought horrific consequences.\u003c/p>\n\u003cp>Despite the conventional belief that Angel Island functioned similarly to Ellis Island in New York, the island was primarily a detention center, devoid of any romanticism for those yearning to breathe free. It is there where we first meet Gee (Feodor Chin) as he is interrogated by an American inspector (John Keebler), assisted by his interpreter (Aaron Wilton). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gee is charming and funny, stating that his paperwork proving American citizenship was destroyed in the infamous earthquake three years earlier. Through Chin’s commitment to each critical moment, Gee moves from professional groveler to shrewd businessman in the span of the exchange, making one wonder about his authenticity. Is he the soft soul that made the grizzled, white inspector smile, or a soulless heathen only interested in favorable transactions — or both? \u003c/p>\n\u003cfigure id=\"attachment_13954200\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tess Lina (Low/Two) and Tommy Bo (Moon Gyet) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having gained passage back to China, Gee makes a tempting offer to a widow, Low (Tess Lina). For a hefty fee, most of which is free labor, Gee will take Low’s son Moon Gyet (Tommy Bo) to the United States, where labor will become currency in the freedom of a new land. In multiple scenes, Lina oscillates between heartache and pragmatism, informed by each calculated thought with a regal smoothness. \u003c/p>\n\u003cp>It’s a pact with the devil, to be sure, and one where admission isn’t guaranteed — even the devil might not be able to crack Angel Island inspectors’ relentless interrogation. Admission for Moon Gyet and the many other Chinese migrants trying to enter the steel doors of America is dependent on the tiniest of details: How many steps were at your house? How about the steps at your school? Are these lies? \u003cem>Don’t they all lie\u003c/em>?\u003c/p>\n\u003cp>Suh’s use of language and translation in these scenes is exceptional, where exacting words in Angel Island’s interrogation room by both inspector and translator spoken within seconds of each other is a balancing act of delicate precision.\u003c/p>\n\u003cfigure id=\"attachment_13954201\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Bo (Moon Gyet) and Sharon Shao (Yuen/Four) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bo portrays Moon Gyet’s high-stakes game with steely, sharp resolve. Moon Gyet later makes his own transactional offer to Yuen (Sharon Shao): a marriage proposal that, as it turns out, dismisses her hopes of lifelong love (shaking hands after accepting the offer will do that). Shao plays tender and skittish charm beautifully, serving as an effective foil for Moon Gyet’s scheming.\u003c/p>\n\u003cp>As director, Chang is best when creating savory tableaus, pacing each moment with what’s necessary. In her hands, not only does the drama provide tension, but offers artistry and a clean blend of humor necessary for the audience to take a breath and process.\u003c/p>\n\u003cp>[aside postID='arts_13954121']Moments within Angel Island are loaded with desperate warmth, the details filled with artistic strokes incorporating Minjoo Kim’s wonderful lighting design. It is there where the hope of a people, those whose poetry sustained them within the most soul-crushing circumstances, rises beyond the clay that covers each word. \u003c/p>\n\u003cp>The story’s denouement offers critical lessons with humane subtlety. As one grows and ages, the totality of a life is clearest just before the memory starts to fade. No one will live forever, but a legacy can. Just listen to the walls — they will tell all. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Far Country’ runs now through April 14 at Berkeley Rep. \u003ca href=\"https://www.berkeleyrep.org/shows/the-far-country/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "At Berkeley Rep, Lloyd Suh’s masterful, Pulitzer-finalist play is set during the Chinese Exclusion Act.",
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"title": "Review: ‘The Far Country’ at Berkeley Rep and Angel Island’s Detention Horrors | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What if walls could talk?\u003c/p>\n\u003cp>In the case of \u003ca href=\"https://www.aiisf.org/poems-and-inscriptions\">Angel Island\u003c/a>, the walls do in fact talk. Imprisoned upon arrival in the early 20th century, Chinese immigrants etched their pain into the walls as poetry that has been preserved for posterity. \u003c/p>\n\u003cp>Berkeley Repertory Theatre’s harrowing production of Lloyd Suh’s Pulitzer-finalist play \u003cem>The Far Country\u003c/em> exists in a world where even the most remote and desolate land carries its own richness. The play’s magic, exposed by Jennifer Chang’s exquisite direction, is that it feels epic in scope, beautifully balanced between struggle, hope and decadent artistry.\u003c/p>\n\u003cfigure id=\"attachment_13954199\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Feodor Chin (Gee/Three), Aaron Wilton (Harriwell/Interpreter), and Whit K. Lee (Yip/One) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play begins on Angel Island, in the San Francisco Bay, in 1909. It’s 27 years after the implementation of the Chinese Exclusion Act, which severely limited Chinese immigration and brought horrific consequences.\u003c/p>\n\u003cp>Despite the conventional belief that Angel Island functioned similarly to Ellis Island in New York, the island was primarily a detention center, devoid of any romanticism for those yearning to breathe free. It is there where we first meet Gee (Feodor Chin) as he is interrogated by an American inspector (John Keebler), assisted by his interpreter (Aaron Wilton). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gee is charming and funny, stating that his paperwork proving American citizenship was destroyed in the infamous earthquake three years earlier. Through Chin’s commitment to each critical moment, Gee moves from professional groveler to shrewd businessman in the span of the exchange, making one wonder about his authenticity. Is he the soft soul that made the grizzled, white inspector smile, or a soulless heathen only interested in favorable transactions — or both? \u003c/p>\n\u003cfigure id=\"attachment_13954200\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tess Lina (Low/Two) and Tommy Bo (Moon Gyet) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having gained passage back to China, Gee makes a tempting offer to a widow, Low (Tess Lina). For a hefty fee, most of which is free labor, Gee will take Low’s son Moon Gyet (Tommy Bo) to the United States, where labor will become currency in the freedom of a new land. In multiple scenes, Lina oscillates between heartache and pragmatism, informed by each calculated thought with a regal smoothness. \u003c/p>\n\u003cp>It’s a pact with the devil, to be sure, and one where admission isn’t guaranteed — even the devil might not be able to crack Angel Island inspectors’ relentless interrogation. Admission for Moon Gyet and the many other Chinese migrants trying to enter the steel doors of America is dependent on the tiniest of details: How many steps were at your house? How about the steps at your school? Are these lies? \u003cem>Don’t they all lie\u003c/em>?\u003c/p>\n\u003cp>Suh’s use of language and translation in these scenes is exceptional, where exacting words in Angel Island’s interrogation room by both inspector and translator spoken within seconds of each other is a balancing act of delicate precision.\u003c/p>\n\u003cfigure id=\"attachment_13954201\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Bo (Moon Gyet) and Sharon Shao (Yuen/Four) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bo portrays Moon Gyet’s high-stakes game with steely, sharp resolve. Moon Gyet later makes his own transactional offer to Yuen (Sharon Shao): a marriage proposal that, as it turns out, dismisses her hopes of lifelong love (shaking hands after accepting the offer will do that). Shao plays tender and skittish charm beautifully, serving as an effective foil for Moon Gyet’s scheming.\u003c/p>\n\u003cp>As director, Chang is best when creating savory tableaus, pacing each moment with what’s necessary. In her hands, not only does the drama provide tension, but offers artistry and a clean blend of humor necessary for the audience to take a breath and process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Moments within Angel Island are loaded with desperate warmth, the details filled with artistic strokes incorporating Minjoo Kim’s wonderful lighting design. It is there where the hope of a people, those whose poetry sustained them within the most soul-crushing circumstances, rises beyond the clay that covers each word. \u003c/p>\n\u003cp>The story’s denouement offers critical lessons with humane subtlety. As one grows and ages, the totality of a life is clearest just before the memory starts to fade. No one will live forever, but a legacy can. Just listen to the walls — they will tell all. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Far Country’ runs now through April 14 at Berkeley Rep. \u003ca href=\"https://www.berkeleyrep.org/shows/the-far-country/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "larry-the-musical-brava-theater-larry-itliong-filipino-labor-organizer",
"title": "A Labor Leader’s Legacy Is Set in Song With ‘Larry the Musical’",
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"headTitle": "A Labor Leader’s Legacy Is Set in Song With ‘Larry the Musical’ | KQED",
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"content": "\u003cp>In California labor history lessons, the names Cesar Chavez and Dolores Huerta are well known. Less taught, however, is the name of Larry Itliong, an influential Filipino labor organizer. A new stage production called \u003ca href=\"https://www.larrythemusical.com/\">\u003ci>Larry the Musical: An American Journey\u003c/i>\u003c/a>, which begins previews on March 16 and opens March 23 at the Brava Theater in San Francisco, hopes to change that.\u003c/p>\n\u003cp>“You must talk about the Filipino contribution when you talk about the farm labor movement,” says Gayle Romasanta, writer and executive producer of \u003ci>Larry the Musical\u003c/i> and co-author of the book \u003ca href=\"https://www.bridgedelta.com/purchase/journey-for-justice-the-life-of-larry-itliong\">\u003ci>Journey for Justice: The Life of Larry Itliong\u003c/i>\u003c/a> with late historian Dawn Mabalon.\u003c/p>\n\u003cfigure id=\"attachment_13954123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954123\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg\" alt=\"Women in casual clothes sit in folder changes in a row.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast members in ‘Larry the Musical’ in a scene for the song ‘Train.’ \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, Romasanta says, you must talk about how Itliong and Filipino farm workers initiated the \u003ca href=\"https://www.nps.gov/articles/000/workers-united-the-delano-grape-strike-and-boycott.htm\">Delano Grape Strike\u003c/a> in 1965, which led to the launch of the United Farm Workers coalition, and brought Filipino workers, led by Itliong, and Mexican farm workers, led by Chavez and Huerta, together. But Romasanta says that activism by Filipino Americans during that time – and decades leading up to the strike – was often overlooked, both then and now.\u003c/p>\n\u003cp>“There was an anti-Asian sentiment in the media,” Romasanta says of coalition coverage. “It was a global campaign, but you didn’t see us. And in many of the murals today, you don’t see us.”\u003c/p>\n\u003cp>After publishing \u003ci>Journey for Justice\u003c/i> in 2018, Romasanta knew she wanted to bring Itliong’s story to life in other ways. After attending the Bay Area premiere of \u003ci>Allegiance\u003c/i>, a musical inspired by the life of Japanese American actor George Takei, she was spurred to action.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Most of the actors were Filipino, playing Japanese,” Romasanta says. “And we were thinking like, well, when is it our time? When can we actually do Broadway, but put our story in it? Larry Itliong’s story and the Filipino American community’s story.”\u003c/p>\n\u003cp>One of the Filipino actors in \u003ci>Allegiance\u003c/i> was \u003ca href=\"https://www.bryanpangilinan.com/\">Bryan Pangilinan\u003c/a>, a veteran in the Bay Area musical theater scene and a friend of Romasanta. Together, they started writing and composing the musical just before the pandemic hit. Now the show is hitting the stage, with a groundbreaking all-Filipino cast and creative team.\u003c/p>\n\u003cfigure id=\"attachment_13954124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg\" alt=\"A group photos of many Filipino men and women on a stage.\" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1020x610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1536x919.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1920x1148.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage.jpg 1956w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast and creative team members for ‘Larry the Musical’ on stage at the Brava Theater in San Francisco. \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical includes songs with titles like “Watsonville & Stockton,” about \u003ca href=\"https://calendar.eji.org/racial-injustice/jan/19\">the violence Filipinos faced\u003c/a> in the 1930s at the hands of white mobs, and “Solidarity Forever, Unity Always,” about the challenge of overcoming efforts from white growers to divide and conquer Filipino and Mexican farm workers fighting for workers’ rights.\u003c/p>\n\u003cp>“I honestly have to pinch myself a lot. Sometimes I can’t believe that we’re doing this,” says Pangilinan, who also executive produced alongside Romasanta. “I’m so excited to have the opportunity to infuse [song elements] that we grew up with and be unapologetically Filipino in the music.”\u003c/p>\n\u003cp>To co-compose the music, Pangilinan collaborated with another longtime Filipino artist in the Bay Area theater scene, \u003ca href=\"https://www.seankana.com/\">Sean Kana\u003c/a>. Kana, who also serves as music director, says audiences can look forward to a lot of musical styles reflecting Filipino culture.\u003c/p>\n\u003cp>“You’re going to hear pop, you’re going to hear jazz, you’re going to hear folk, you’re going to hear tango,” says Kana. “Which is all reminiscent of Filipino pop music. It’s a big mixtape.”\u003c/p>\n\u003cp>Hand in hand, the mixtape-style musical delivers a timely message about the fight for equal rights and the hard work of building solidarity to grow a movement for social change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Larry the Musical: An American Journey’ runs from March 15 to April 14 at the Brava Theater (2781 24th St., San Francisco). \u003ca href=\"https://www.larrythemusical.com/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The new musical at Brava Theater, with an all-Filipino cast and creative team, honors organizer Larry Itliong.",
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"title": "‘Larry the Musical’ Sets a Labor Leader’s Story to Song | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In California labor history lessons, the names Cesar Chavez and Dolores Huerta are well known. Less taught, however, is the name of Larry Itliong, an influential Filipino labor organizer. A new stage production called \u003ca href=\"https://www.larrythemusical.com/\">\u003ci>Larry the Musical: An American Journey\u003c/i>\u003c/a>, which begins previews on March 16 and opens March 23 at the Brava Theater in San Francisco, hopes to change that.\u003c/p>\n\u003cp>“You must talk about the Filipino contribution when you talk about the farm labor movement,” says Gayle Romasanta, writer and executive producer of \u003ci>Larry the Musical\u003c/i> and co-author of the book \u003ca href=\"https://www.bridgedelta.com/purchase/journey-for-justice-the-life-of-larry-itliong\">\u003ci>Journey for Justice: The Life of Larry Itliong\u003c/i>\u003c/a> with late historian Dawn Mabalon.\u003c/p>\n\u003cfigure id=\"attachment_13954123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954123\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg\" alt=\"Women in casual clothes sit in folder changes in a row.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast members in ‘Larry the Musical’ in a scene for the song ‘Train.’ \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, Romasanta says, you must talk about how Itliong and Filipino farm workers initiated the \u003ca href=\"https://www.nps.gov/articles/000/workers-united-the-delano-grape-strike-and-boycott.htm\">Delano Grape Strike\u003c/a> in 1965, which led to the launch of the United Farm Workers coalition, and brought Filipino workers, led by Itliong, and Mexican farm workers, led by Chavez and Huerta, together. But Romasanta says that activism by Filipino Americans during that time – and decades leading up to the strike – was often overlooked, both then and now.\u003c/p>\n\u003cp>“There was an anti-Asian sentiment in the media,” Romasanta says of coalition coverage. “It was a global campaign, but you didn’t see us. And in many of the murals today, you don’t see us.”\u003c/p>\n\u003cp>After publishing \u003ci>Journey for Justice\u003c/i> in 2018, Romasanta knew she wanted to bring Itliong’s story to life in other ways. After attending the Bay Area premiere of \u003ci>Allegiance\u003c/i>, a musical inspired by the life of Japanese American actor George Takei, she was spurred to action.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Most of the actors were Filipino, playing Japanese,” Romasanta says. “And we were thinking like, well, when is it our time? When can we actually do Broadway, but put our story in it? Larry Itliong’s story and the Filipino American community’s story.”\u003c/p>\n\u003cp>One of the Filipino actors in \u003ci>Allegiance\u003c/i> was \u003ca href=\"https://www.bryanpangilinan.com/\">Bryan Pangilinan\u003c/a>, a veteran in the Bay Area musical theater scene and a friend of Romasanta. Together, they started writing and composing the musical just before the pandemic hit. Now the show is hitting the stage, with a groundbreaking all-Filipino cast and creative team.\u003c/p>\n\u003cfigure id=\"attachment_13954124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg\" alt=\"A group photos of many Filipino men and women on a stage.\" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1020x610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1536x919.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1920x1148.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage.jpg 1956w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast and creative team members for ‘Larry the Musical’ on stage at the Brava Theater in San Francisco. \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical includes songs with titles like “Watsonville & Stockton,” about \u003ca href=\"https://calendar.eji.org/racial-injustice/jan/19\">the violence Filipinos faced\u003c/a> in the 1930s at the hands of white mobs, and “Solidarity Forever, Unity Always,” about the challenge of overcoming efforts from white growers to divide and conquer Filipino and Mexican farm workers fighting for workers’ rights.\u003c/p>\n\u003cp>“I honestly have to pinch myself a lot. Sometimes I can’t believe that we’re doing this,” says Pangilinan, who also executive produced alongside Romasanta. “I’m so excited to have the opportunity to infuse [song elements] that we grew up with and be unapologetically Filipino in the music.”\u003c/p>\n\u003cp>To co-compose the music, Pangilinan collaborated with another longtime Filipino artist in the Bay Area theater scene, \u003ca href=\"https://www.seankana.com/\">Sean Kana\u003c/a>. Kana, who also serves as music director, says audiences can look forward to a lot of musical styles reflecting Filipino culture.\u003c/p>\n\u003cp>“You’re going to hear pop, you’re going to hear jazz, you’re going to hear folk, you’re going to hear tango,” says Kana. “Which is all reminiscent of Filipino pop music. It’s a big mixtape.”\u003c/p>\n\u003cp>Hand in hand, the mixtape-style musical delivers a timely message about the fight for equal rights and the hard work of building solidarity to grow a movement for social change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Larry the Musical: An American Journey’ runs from March 15 to April 14 at the Brava Theater (2781 24th St., San Francisco). \u003ca href=\"https://www.larrythemusical.com/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Star actress \u003ca href=\"https://www.kqed.org/arts/tag/zendaya\">Zendaya\u003c/a> has made a large donation to the California Shakespeare Theater (Cal Shakes) that’s expected to have a major impact on the company’s upcoming 50th anniversary season.\u003c/p>\n\u003cp>[aside postid='arts_13891785']\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">The Oakland-born star\u003c/a> of \u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">\u003cem>Dune\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em> \u003c/a>facilitated a $100,000 grant to the theater’s \u003ca href=\"https://calshakes.org/support/\">North Star Fund\u003c/a> via the Women Donors Network (WDN).\u003c/p>\n\u003cp>“We hope that our funding supports your work and helps further your strategic vision, wherever funds are most needed,” said WDN’s President and CEO Leena Barakat in a statement.\u003c/p>\n\u003cp>The North Star Fund is dedicated toward launching a development program for young acting talent, improving sound and lighting at the Bruns Amphitheater in Orinda, and upgrading Cal Shakes’ cafe facilities. The fund will also finance the theater’s \u003ca href=\"https://calshakes.org/calshakes50_pr/\">50th anniversary production of \u003c/a>\u003cem>\u003ca href=\"https://calshakes.org/calshakes50_pr/\">As You Like It\u003c/a>,\u003c/em> set to be directed by Elizabeth Carter.\u003c/p>\n\u003cp>“To me, \u003cem>As You Like It\u003c/em> is ultimately about the freedom to uncover ourselves,” Carter said when the play was announced, “being loved for our true selves, and that the least of us is the most of us.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='pop_95643']Zendaya, 27, has been closely linked to Cal Shakes since her childhood. Her mother, elementary school teacher Claire Stoermer, worked as the house manager for 12 summers. Zendaya often accompanied her mom to the theater, helping out by selling raffle tickets and handing out programs.\u003c/p>\n\u003cp>The actress began taking classes at Cal Shakes at the age of 8, encouraged by her mom. Within six years, Zendaya began starring in the Disney Channel series, \u003cem>Shake it Up\u003c/em>. In 2020, she became the youngest actor to ever win an Emmy Award for her work on \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cp>The $100,000 donation follows a pattern of Zendaya representing her hometown of Oakland and supporting its community programs. Last year, with boyfriend Tom Holland, she \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/zendaya-and-boyfriend-tom-holland-made-a-secret-trip-to-her-oakland-school\">visited her alma mater Oakland School for the Arts\u003c/a> to talk with students. In 2018, she \u003ca href=\"https://www.essence.com/celebrity/zendaya-google-computer-science-roses-oakland/\">helped fund a grant supporting computer science curriculum\u003c/a> at Oakland’s Roses In Concerete Community School.\u003c/p>\n\u003cp>Zendaya remains a regular visitor to the Cal Shakes’ theater in Orinda, and was made aware of its post-pandemic challenges in conversations with Executive Director Clive Worsley and others at Cal Shakes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are deeply grateful to Zendaya and the WDN for their partnership,” Worsley said in a statement. “This gift helps keep Cal Shakes going strong.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Zendaya, 27, has been closely linked to Cal Shakes since her childhood. Her mother, elementary school teacher Claire Stoermer, worked as the house manager for 12 summers. Zendaya often accompanied her mom to the theater, helping out by selling raffle tickets and handing out programs.\u003c/p>\n\u003cp>The actress began taking classes at Cal Shakes at the age of 8, encouraged by her mom. Within six years, Zendaya began starring in the Disney Channel series, \u003cem>Shake it Up\u003c/em>. In 2020, she became the youngest actor to ever win an Emmy Award for her work on \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cp>The $100,000 donation follows a pattern of Zendaya representing her hometown of Oakland and supporting its community programs. Last year, with boyfriend Tom Holland, she \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/zendaya-and-boyfriend-tom-holland-made-a-secret-trip-to-her-oakland-school\">visited her alma mater Oakland School for the Arts\u003c/a> to talk with students. In 2018, she \u003ca href=\"https://www.essence.com/celebrity/zendaya-google-computer-science-roses-oakland/\">helped fund a grant supporting computer science curriculum\u003c/a> at Oakland’s Roses In Concerete Community School.\u003c/p>\n\u003cp>Zendaya remains a regular visitor to the Cal Shakes’ theater in Orinda, and was made aware of its post-pandemic challenges in conversations with Executive Director Clive Worsley and others at Cal Shakes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are deeply grateful to Zendaya and the WDN for their partnership,” Worsley said in a statement. “This gift helps keep Cal Shakes going strong.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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