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"content": "\u003cp>It’s a cliché in theater at this point: waxing rhapsodic about spending two hours in the dark with strangers, sharing an experience that’s impossible to replicate, and walking out onto the sidewalk bonded over your collective transformation.\u003c/p>\n\u003cp>The thing about \u003cem>The Jungle\u003c/em>, currently at the Curran Theater, is it’s true.\u003c/p>\n\u003cfigure id=\"attachment_13854504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg\" alt=\"Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I cannot accurately convey the experience of seeing \u003cem>The Jungle\u003c/em>. Oh, sure, I can tell you that in order to immerse the audience inside a refugee camp, the interior of the Curran Theater has been completely transformed with a brand-new floor, walls, ceiling and set built on top of the theater’s orchestra seating. (See a time-lapse video of it \u003ca href=\"https://www.youtube.com/watch?v=Xka8veAE4rc\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.) I can tell you that as attendees sit at tables in the theater, which has now become a restaurant, actors tumble into the audience, brush against seated attendee’s backs, spill water and oranges into their laps, and employ them to hold flashlights and drums. \u003c/p>\n\u003cp>But that doesn’t explain that this immersive set isn’t the gimmicky sort, utilized to augment a dull play. Rather, the wood bark on the floor, the ratty cardboard strewn about, the actual fruit flies inside the Curran—it all lends more impact to a story of refugees who, as one describes them, “are not people but between people, drowning in a sea of suffering.”\u003c/p>\n\u003cfigure id=\"attachment_13854505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg\" alt=\"Okot (John Pfumojena) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Okot (John Pfumojena) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Jungle\u003c/em> takes place in the recent past, at a makeshift cafe in the refugee camp at Calais, France. Nestled among thousands of people hoping to get to the UK from over two dozen different countries, the cafe serves as a meeting place for leaders from different countries’ camps to help each other, hold celebrations, and plan against evictions over naan and tea.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon, young British activists arrive, swiftly apologize on behalf of their country, and set out to help. They bring optimism about successfully fighting eviction of the camp by French police, along with some naïvete of the harrowing path its residents have taken to get there. Over the course of the play’s events, with the set used to dramatic effect—at one key moment producing loud gasps—they are accepted and trusted.\u003c/p>\n\u003cfigure id=\"attachment_13854503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg\" alt=\"Mohammed (Jonathan Nyati) and Salar (Ben Turner) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed (Jonathan Nyati) and Salar (Ben Turner) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ensemble cast here is top-notch, particularly cafe owner Salar (Ben Turner) and young, well-meaning Beth (Rachel Redford), whose inner turmoil over sending beaten, scarred refugee Okot (John Pfumojena) to be smuggled in a lorry across the English Channel is one of the play’s several emotional gut-punches.\u003c/p>\n\u003cp>Other highlights include Eton graduate Sam (Tommy Letts) as a one-man planning department, Hele (Nahel Tzegai) as the happy quitter who decides against immigrating to the UK due to its changing tolerance of immigrants, Boxer (Trevor Fox) as the camp’s drunken serenader and Little Amal (Zara Rasti) as the 6 year-old girl everyone knows they must protect. \u003c/p>\n\u003cp>It is impossible to watch \u003cem>The Jungle\u003c/em> without thinking of Brexit, or of Trump’s racist fearmongering over the U.S. border, or closer to home, the bulldozing of homeless camps in San Francisco. As the woman sitting next to me offered at intermission: “It’s so important, with everything that’s going on now. I’ve cried five times already.”\u003c/p>\n\u003cfigure id=\"attachment_13854508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg\" alt=\"Beth (Rachel Redford) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth (Rachel Redford) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What will ensure \u003cem>The Jungle\u003c/em> lasts in revivals when “everything that’s going on now” is a distant, shameful memory is the play’s innate understanding of grassroots organizing and communal living in desperate circumstances. \u003cem>The Jungle\u003c/em> is as much about activism’s unorganized hierarchy of responsibilities and duties as it is about refugees.\u003c/p>\n\u003cp>Inside the camp cafe, we see classic ego clashes, hair-brained schemes that actually work, fights driven by a shared passion, and hope in the face of insurmountable odds. Whether it be Calais, Occupy, the Dakota Access Pipeline or Ferguson, every movement has a similar array of figures and friction. Adding to the realism are two of the show’s actors, Yasin Moradi and Mohamed Sarrar, who actually lived in the camp in Calais upon which the play is based.\u003c/p>\n\u003cp>Despite a sudden shift in tone at the end (when Safi (Ammar Haj Ahmad) breaks the fourth wall to address the audience about ongoing grassroots efforts for refugees), \u003cem>The Jungle\u003c/em> creates a vivid world that’s intimate, raw, and real, particularly for those sitting among the action in the cafe’s table seating. It’s an incredible thing to be a part of for two and a half hours, and I can’t get it out of my head.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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 Jungle’ runs through May 19 at the Curran Theater in San Francisco. \u003ca href=\"https://sfcurran.com/shows/the-jungle/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a cliché in theater at this point: waxing rhapsodic about spending two hours in the dark with strangers, sharing an experience that’s impossible to replicate, and walking out onto the sidewalk bonded over your collective transformation.\u003c/p>\n\u003cp>The thing about \u003cem>The Jungle\u003c/em>, currently at the Curran Theater, is it’s true.\u003c/p>\n\u003cfigure id=\"attachment_13854504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg\" alt=\"Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I cannot accurately convey the experience of seeing \u003cem>The Jungle\u003c/em>. Oh, sure, I can tell you that in order to immerse the audience inside a refugee camp, the interior of the Curran Theater has been completely transformed with a brand-new floor, walls, ceiling and set built on top of the theater’s orchestra seating. (See a time-lapse video of it \u003ca href=\"https://www.youtube.com/watch?v=Xka8veAE4rc\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.) I can tell you that as attendees sit at tables in the theater, which has now become a restaurant, actors tumble into the audience, brush against seated attendee’s backs, spill water and oranges into their laps, and employ them to hold flashlights and drums. \u003c/p>\n\u003cp>But that doesn’t explain that this immersive set isn’t the gimmicky sort, utilized to augment a dull play. Rather, the wood bark on the floor, the ratty cardboard strewn about, the actual fruit flies inside the Curran—it all lends more impact to a story of refugees who, as one describes them, “are not people but between people, drowning in a sea of suffering.”\u003c/p>\n\u003cfigure id=\"attachment_13854505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg\" alt=\"Okot (John Pfumojena) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Okot (John Pfumojena) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Jungle\u003c/em> takes place in the recent past, at a makeshift cafe in the refugee camp at Calais, France. Nestled among thousands of people hoping to get to the UK from over two dozen different countries, the cafe serves as a meeting place for leaders from different countries’ camps to help each other, hold celebrations, and plan against evictions over naan and tea.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon, young British activists arrive, swiftly apologize on behalf of their country, and set out to help. They bring optimism about successfully fighting eviction of the camp by French police, along with some naïvete of the harrowing path its residents have taken to get there. Over the course of the play’s events, with the set used to dramatic effect—at one key moment producing loud gasps—they are accepted and trusted.\u003c/p>\n\u003cfigure id=\"attachment_13854503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg\" alt=\"Mohammed (Jonathan Nyati) and Salar (Ben Turner) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed (Jonathan Nyati) and Salar (Ben Turner) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ensemble cast here is top-notch, particularly cafe owner Salar (Ben Turner) and young, well-meaning Beth (Rachel Redford), whose inner turmoil over sending beaten, scarred refugee Okot (John Pfumojena) to be smuggled in a lorry across the English Channel is one of the play’s several emotional gut-punches.\u003c/p>\n\u003cp>Other highlights include Eton graduate Sam (Tommy Letts) as a one-man planning department, Hele (Nahel Tzegai) as the happy quitter who decides against immigrating to the UK due to its changing tolerance of immigrants, Boxer (Trevor Fox) as the camp’s drunken serenader and Little Amal (Zara Rasti) as the 6 year-old girl everyone knows they must protect. \u003c/p>\n\u003cp>It is impossible to watch \u003cem>The Jungle\u003c/em> without thinking of Brexit, or of Trump’s racist fearmongering over the U.S. border, or closer to home, the bulldozing of homeless camps in San Francisco. As the woman sitting next to me offered at intermission: “It’s so important, with everything that’s going on now. I’ve cried five times already.”\u003c/p>\n\u003cfigure id=\"attachment_13854508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg\" alt=\"Beth (Rachel Redford) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth (Rachel Redford) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What will ensure \u003cem>The Jungle\u003c/em> lasts in revivals when “everything that’s going on now” is a distant, shameful memory is the play’s innate understanding of grassroots organizing and communal living in desperate circumstances. \u003cem>The Jungle\u003c/em> is as much about activism’s unorganized hierarchy of responsibilities and duties as it is about refugees.\u003c/p>\n\u003cp>Inside the camp cafe, we see classic ego clashes, hair-brained schemes that actually work, fights driven by a shared passion, and hope in the face of insurmountable odds. Whether it be Calais, Occupy, the Dakota Access Pipeline or Ferguson, every movement has a similar array of figures and friction. Adding to the realism are two of the show’s actors, Yasin Moradi and Mohamed Sarrar, who actually lived in the camp in Calais upon which the play is based.\u003c/p>\n\u003cp>Despite a sudden shift in tone at the end (when Safi (Ammar Haj Ahmad) breaks the fourth wall to address the audience about ongoing grassroots efforts for refugees), \u003cem>The Jungle\u003c/em> creates a vivid world that’s intimate, raw, and real, particularly for those sitting among the action in the cafe’s table seating. It’s an incredible thing to be a part of for two and a half hours, and I can’t get it out of my head.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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 Jungle’ runs through May 19 at the Curran Theater in San Francisco. \u003ca href=\"https://sfcurran.com/shows/the-jungle/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Theater Workers ‘#LiftTheCurtain’ on Racism After Lawsuit",
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"content": "\u003cp>It was a standing room-only crowd as supporters of Stephen Buescher, the plaintiff in a discrimination lawsuit against his former employer American Conservatory Theater (ACT), gathered Wednesday evening to discuss racism in the theater world.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">a complaint filed a day prior\u003c/a>, Buescher alleges that ACT, where he held faculty and creative roles for ten years until 2018, created a racially hostile environment and systematically discriminated against black artists, staff and students.\u003c/p>\n\u003cp>[contextly_sidebar id=”flaueC6OR4YAZwC6XQROSareU5dK0Gtj”]\u003c/p>\n\u003cp>The event in the 92-seat theater at Pianofight in San Francisco was billed “#LiftTheCurtain on Racial Inequity in the Arts.” For more than an hour, Buescher, current staff and students at American Conservatory Theater and other theater figures passed a microphone to share their frustrations with being typecast, tokenized and silenced as black artists.\u003c/p>\n\u003cp>It began with poems from Jerrie Johnson, one of several ACT graduate students present, followed by Buescher. Choking up, he called his experience at the company a “long, silent, lonely road” before saying that, in the wake of the lawsuit, he’s heard from many theater figures with similar accounts. Most of the following speakers said they now felt emboldened.\u003c/p>\n\u003cfigure id=\"attachment_13851345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg\" alt=\"Margo Hall encouraged the audience to complicate black stereotypes.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall encouraged the audience to complicate black stereotypes. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Wilborn, community programs manager at ACT, read a prepared piece about being one of few black workers at the company, including references to colleagues inappropriately touching and commenting on her hair. “It means having a board member ask you your name for the fifth time and then ask what year you’re graduating,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ve worked at ACT for three years and what Stephen has courageously said to [the media] is true.” Wilborn continued, “I’ve seen it happen and it’s happened to me.”\u003c/p>\n\u003cp>Margo Hall, the prominent local actor and educator who recently appeared in \u003cem>Blindspotting\u003c/em>, drew shouts and applause as she encouraged the audience to complicate black stereotypes. “Hell, my uncle was a pimp—but he had a life, he had a story,” she said. “Don’t be afraid to embrace your stories because someone has created a narrative around those stories. We get to tell the truth about them. Keep thinking about that.” [contextly_sidebar id=”SxQaArjM4knABlFrFzPhB63EHl6NBVrd”]\u003c/p>\n\u003cp>Ellen Sebastian Chang, the longtime local theater fixture who co-created the site-specific ritual performance series \u003cem>House/Full of Black Women\u003c/em> with Amara Tabor-Smith, emphasized how the racial wealth gap colors the arts. And at the same time black people are alienated from arts organizations, she said, black cultural products are in demand.\u003c/p>\n\u003cp>“So when I get triggered by \u003cem>Fairview\u003c/em> at Berkeley Rep and the spirit comes over me and I jump up and say, ‘Look at how black women are doing CPR on the failing heart of America’—and doing it for fucking minimum wage—and then the white folks run up to me and go, ‘Are you okay?’” She continued, “Then I say fuck off, ‘cus I’m not okay!”\u003c/p>\n\u003cfigure id=\"attachment_13851344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg\" alt=\"Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the lawsuit, ACT issued a statement describing institutional changes including hiring a diversity, equity and inclusion consultant and a new human resources director. Buescher called the changes “superficial,” and other speakers made it a refrain.\u003c/p>\n\u003cp>“How many folks in this space are currently involved in some kind of diversity, equity and inclusion work?” asked artist and activist Claudia Alick. Dozens of hands shot up. “Okay, so, this is the question that I’ve been holding on to this week: Are we helping organizations perform the optics of justice while maintaining systems of injustice?”\u003c/p>\n\u003cp>Buescher’s complaint, filed by Oakland civil rights firm Medina Orthwein LLP, alleges ACT subjected him and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cfigure id=\"attachment_13851342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg\" alt='Artist and activist Claudia Alick asked listeners if they were only helping organizations \"perform the optics of justice.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and activist Claudia Alick asked listeners if they were only helping organizations “perform the optics of justice.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The complaint singles out former Artistic Director Carey Perloff and director Melissa Smith for making racially insensitive comments, explicitly refusing to advance black artists, and dismissing formal complaints from staff and students. After Buescher took his concerns to the board, the suit alleges, his pay and credit were withheld in retaliation.\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement. “As a former valued member of the American Conservatory Theater faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a standing room-only crowd as supporters of Stephen Buescher, the plaintiff in a discrimination lawsuit against his former employer American Conservatory Theater (ACT), gathered Wednesday evening to discuss racism in the theater world.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">a complaint filed a day prior\u003c/a>, Buescher alleges that ACT, where he held faculty and creative roles for ten years until 2018, created a racially hostile environment and systematically discriminated against black artists, staff and students.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The event in the 92-seat theater at Pianofight in San Francisco was billed “#LiftTheCurtain on Racial Inequity in the Arts.” For more than an hour, Buescher, current staff and students at American Conservatory Theater and other theater figures passed a microphone to share their frustrations with being typecast, tokenized and silenced as black artists.\u003c/p>\n\u003cp>It began with poems from Jerrie Johnson, one of several ACT graduate students present, followed by Buescher. Choking up, he called his experience at the company a “long, silent, lonely road” before saying that, in the wake of the lawsuit, he’s heard from many theater figures with similar accounts. Most of the following speakers said they now felt emboldened.\u003c/p>\n\u003cfigure id=\"attachment_13851345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg\" alt=\"Margo Hall encouraged the audience to complicate black stereotypes.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall encouraged the audience to complicate black stereotypes. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Wilborn, community programs manager at ACT, read a prepared piece about being one of few black workers at the company, including references to colleagues inappropriately touching and commenting on her hair. “It means having a board member ask you your name for the fifth time and then ask what year you’re graduating,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve worked at ACT for three years and what Stephen has courageously said to [the media] is true.” Wilborn continued, “I’ve seen it happen and it’s happened to me.”\u003c/p>\n\u003cp>Margo Hall, the prominent local actor and educator who recently appeared in \u003cem>Blindspotting\u003c/em>, drew shouts and applause as she encouraged the audience to complicate black stereotypes. “Hell, my uncle was a pimp—but he had a life, he had a story,” she said. “Don’t be afraid to embrace your stories because someone has created a narrative around those stories. We get to tell the truth about them. Keep thinking about that.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ellen Sebastian Chang, the longtime local theater fixture who co-created the site-specific ritual performance series \u003cem>House/Full of Black Women\u003c/em> with Amara Tabor-Smith, emphasized how the racial wealth gap colors the arts. And at the same time black people are alienated from arts organizations, she said, black cultural products are in demand.\u003c/p>\n\u003cp>“So when I get triggered by \u003cem>Fairview\u003c/em> at Berkeley Rep and the spirit comes over me and I jump up and say, ‘Look at how black women are doing CPR on the failing heart of America’—and doing it for fucking minimum wage—and then the white folks run up to me and go, ‘Are you okay?’” She continued, “Then I say fuck off, ‘cus I’m not okay!”\u003c/p>\n\u003cfigure id=\"attachment_13851344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg\" alt=\"Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the lawsuit, ACT issued a statement describing institutional changes including hiring a diversity, equity and inclusion consultant and a new human resources director. Buescher called the changes “superficial,” and other speakers made it a refrain.\u003c/p>\n\u003cp>“How many folks in this space are currently involved in some kind of diversity, equity and inclusion work?” asked artist and activist Claudia Alick. Dozens of hands shot up. “Okay, so, this is the question that I’ve been holding on to this week: Are we helping organizations perform the optics of justice while maintaining systems of injustice?”\u003c/p>\n\u003cp>Buescher’s complaint, filed by Oakland civil rights firm Medina Orthwein LLP, alleges ACT subjected him and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cfigure id=\"attachment_13851342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg\" alt='Artist and activist Claudia Alick asked listeners if they were only helping organizations \"perform the optics of justice.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and activist Claudia Alick asked listeners if they were only helping organizations “perform the optics of justice.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The complaint singles out former Artistic Director Carey Perloff and director Melissa Smith for making racially insensitive comments, explicitly refusing to advance black artists, and dismissing formal complaints from staff and students. After Buescher took his concerns to the board, the suit alleges, his pay and credit were withheld in retaliation.\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement. “As a former valued member of the American Conservatory Theater faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Stephen Buescher, a former instructor and artistic team member at American Conservatory Theater, alleges in a lawsuit filed Tuesday that the San Francisco theater company created a racially hostile environment and systematically discriminated against black artists, faculty, staff and students.\u003c/p>\n\u003cp>The complaint, filed by Oakland civil-rights firm Medina Orthwein LLP, alleges American Conservatory Theater (ACT) subjected Buescher and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cp>The complaint accuses former Artistic Director Carey Perloff, who ceded the role to Pam MacKinnon in 2018 after 26 years with ACT, of explicitly refusing to advance black artists because “black plays don’t make money.” It goes on to say black students were forced to play subjugated roles and “costumed to look like minstrels and mammies” in addition to being instructed to act “more ‘ghetto’” while enduring racial epithets from white actors.\u003c/p>\n\u003cfigure id=\"attachment_13851270\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington.jpg\" alt=\"Stephen Buescher.\" width=\"400\" height=\"600\" class=\"size-full wp-image-13851270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington-160x240.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Buescher. \u003ccite>(Courtesy photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Treatment of students at ACT, the complaint alleges, involved “segregated youth programs” where minority students were surveilled and “treated like criminals” while white youth went relatively unsupervised and were given door codes. Buescher himself was “physically denied entry to ACT theaters on numerous occasions” by white theater workers, according to the suit.\u003c/p>\n\u003cp>ACT Director Melissa Smith, according to the complaint, dismissed collective statements from conservatory students concerned about insensitive casting, as well as Buescher’s concerns about racial inequality throughout the institutions. After Buescher took his objections to the ACT board in a formal letter, the suit says he was ostracized and deprived of resources in retaliation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The complaint alleges retaliation including withholding of pay and credit on ACT productions.\u003c/p>\n\u003cp>The suit says Buescher, who has extensive credits on ACT productions, was forced to resign last year. For most of his ten years, he was the only black member of the faculty and artistic team.\u003c/p>\n\u003cp>[contextly_sidebar id=”cyAzkVM56QMmPu2Ao1ANKtb4VyVxDPwX”]\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement to KQED. “As a former valued member of the [ACT] faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>The statement acknowledges Buescher raising issues with the board “that were inconsistent with our values,” but doesn’t address any of the complaint’s specific allegations. ACT’s statement goes on to list institutional changes such as hiring a diversity, equity, and inclusion consultant and a new human resources director as well as revising its grievance system and rewriting job postings. (In addition to MacKinnon replacing Perfloff as artistic director, ACT also replaced their interim executive director last year with Jennifer Bielstein.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The complaint seeks relief measures including a court order requiring ACT to implement programs remedying the hostile work environment, reinstating Buescher in his position or paying in lieu front benefits, and compensatory and punitive damages plus attorneys’ fees.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stephen Buescher, a former instructor and artistic team member at American Conservatory Theater, alleges in a lawsuit filed Tuesday that the San Francisco theater company created a racially hostile environment and systematically discriminated against black artists, faculty, staff and students.\u003c/p>\n\u003cp>The complaint, filed by Oakland civil-rights firm Medina Orthwein LLP, alleges American Conservatory Theater (ACT) subjected Buescher and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cp>The complaint accuses former Artistic Director Carey Perloff, who ceded the role to Pam MacKinnon in 2018 after 26 years with ACT, of explicitly refusing to advance black artists because “black plays don’t make money.” It goes on to say black students were forced to play subjugated roles and “costumed to look like minstrels and mammies” in addition to being instructed to act “more ‘ghetto’” while enduring racial epithets from white actors.\u003c/p>\n\u003cfigure id=\"attachment_13851270\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington.jpg\" alt=\"Stephen Buescher.\" width=\"400\" height=\"600\" class=\"size-full wp-image-13851270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington-160x240.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Buescher. \u003ccite>(Courtesy photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Treatment of students at ACT, the complaint alleges, involved “segregated youth programs” where minority students were surveilled and “treated like criminals” while white youth went relatively unsupervised and were given door codes. Buescher himself was “physically denied entry to ACT theaters on numerous occasions” by white theater workers, according to the suit.\u003c/p>\n\u003cp>ACT Director Melissa Smith, according to the complaint, dismissed collective statements from conservatory students concerned about insensitive casting, as well as Buescher’s concerns about racial inequality throughout the institutions. After Buescher took his objections to the ACT board in a formal letter, the suit says he was ostracized and deprived of resources in retaliation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The complaint alleges retaliation including withholding of pay and credit on ACT productions.\u003c/p>\n\u003cp>The suit says Buescher, who has extensive credits on ACT productions, was forced to resign last year. For most of his ten years, he was the only black member of the faculty and artistic team.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement to KQED. “As a former valued member of the [ACT] faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>The statement acknowledges Buescher raising issues with the board “that were inconsistent with our values,” but doesn’t address any of the complaint’s specific allegations. ACT’s statement goes on to list institutional changes such as hiring a diversity, equity, and inclusion consultant and a new human resources director as well as revising its grievance system and rewriting job postings. (In addition to MacKinnon replacing Perfloff as artistic director, ACT also replaced their interim executive director last year with Jennifer Bielstein.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The complaint seeks relief measures including a court order requiring ACT to implement programs remedying the hostile work environment, reinstating Buescher in his position or paying in lieu front benefits, and compensatory and punitive damages plus attorneys’ fees.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You know BD Wong even if you think you don’t: he’s the actor who’s played forensic psychologist George Huang on \u003cem>Law & Order: Special Victims Unit\u003c/em>; Dr. Henry Wu in \u003cem>Jurassic Park\u003c/em>; Father Ray Mukada on \u003cem>Oz\u003c/em> and the voice of Shang in \u003cem>Mulan\u003c/em>. But Wong’s story really begins on the stage: his multiple-award-winning Broadway debut in \u003cem>M. Butterfly\u003c/em>, for one, but even before then, his lead roles in the drama department at Lincoln High School right here in San Francisco.\u003c/p>\n\u003cp>Wong returns to the San Francisco stage in March as a head coach in the basketball drama \u003cem>The Great Leap\u003c/em> at ACT, and he drops by the Asian Art Museum on Feb. 14 for a discussion about the play, his enduring career (he \u003ca href=\"https://www.facebook.com/BDWongFanpage/photos/a.136481546395923/2297703246940398/?type=3&theater\" rel=\"noopener\" target=\"_blank\">most recently appeared in \u003cem>Bird Box\u003c/em>\u003c/a>), and his life growing up in San Francisco. But it’s also Valentine’s Day on Thursday, and I’ve got my money on Wong opening up a little about his love life, too—he just married his partner of eight years this past October. It starts at 6:30pm, and general admission tickets are $25. \u003ca href=\"http://www.asianart.org/events/1593\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "A Day at the Beach, Interrupted by Two Giant Lizards",
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"content": "\u003cp>Sometimes, most times, a day at the beach is just that. Sand beneath one’s feet, the crashing surf, a picnic lunch. Uneventful, idle, predictable.\u003c/p>\n\u003cp>But even in peak relaxation, Nancy and Charlie’s approach to idleness is very different. She’s been painting; he watching the water. She talks with the volubility of a woman accustomed to leading the conversation; he speaks with the precise sentences of a man who is not. She wants to retire properly, pack up the house, see the world; he wants to do “nothing.” Their day at the beach feels like one of thousands of perfectly forgettable days.\u003c/p>\n\u003cp>That is, until the giant lizards arrive.\u003c/p>\n\u003cfigure id=\"attachment_13849911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849911\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The giant lizards have arrived! Leslie (Seann Gallagher) approaches Nancy (Ellen McLaughlin) and Charlie (James Carpenter) on the beach. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the world of Edward Albee’s\u003cem> Seascape\u003c/em>, directed by A.C.T.’s new artistic director Pam MacKinnon, an unprepossessing slice of shoreline becomes the staging ground for a curious meeting of the minds. Not so much the minds of Nancy (Ellen McLaughlin) and Charlie (James Carpenter)—they’ve mostly given up on listening to each other—but with those of their reptilian visitors, Sarah (Sarah Nina Hayon) and Leslie (Seann Gallagher).\u003c/p>\n\u003cp>No mere metaphors, Sarah and Leslie sport iridescent green scales, decorative frills, and ninja-turtle belly-ridges: half \u003cem>Shape of Water\u003c/em>, half iguana-chic (costumes and scenic design by David Zinn). And while their appearance at first is startling, as soon as Nancy and Charlie discover that their lizard companions speak English, the four settle into an exchange of ideas, and species-specific differences in courtship rituals, childbearing, and the elusive nature of emotions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like many of Albee’s works—\u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, \u003cem>Zoo Story\u003c/em>, and \u003cem>A Delicate Balance\u003c/em> among them—most of the action takes place within the language, even while much of the conversation is expressed without. As Nancy chatters about seeing the world, she barely looks at Charlie, her eyes fixed on the horizon and her potential future. When he shares, not for the first time, his habit in childhood to force the air from his lungs so he could sit in peaceful solitude at the bottom of the cove, his face is similarly turned, but looking to the past. Even a confession that Nancy once contemplated leaving Charlie doesn’t bridge the unacknowledged distance between them, as evidenced by the rolling swaths of sand dune that separate them physically.\u003c/p>\n\u003cfigure id=\"attachment_13849914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Older marrieds, Charlie (James Carpenter) and Nancy (Ellen McLaughlin) maintaining their distance. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with the appearance of their very unexpected visitors they must unite, Nancy taking the lead, as they assume “submissive” poses and smile in what they consider a friendly manner. After Sarah and Leslie discuss whether Nancy and Charlie’s bared teeth constitute a threat, they make their approach, eager to unravel the mysteries of the world outside the water from which they have just emerged. Almost immediately, their own relationship dynamic is revealed, one not dissimilar to their human counterparts. And after a few prods and sniffs, the four realize they share a common language, and the tension dissipates for a bit.\u003c/p>\n\u003cp>Physically as well as linguistically there is enough similarity between the lizards and the humans that they can feel superficially at ease. The lizards stand on their two hind legs, learn to shake “hands” with their front ones, and only revert to all fours when scrambling over the dunes or hiding from the occasional planes flying loudly overhead. It’s their surface similarities, though, that underscore the real distance between them.\u003c/p>\n\u003cp>[contextly_sidebar id=”Qry4rifjRYAumQg5Kaa8yopyxi8iedEk”]\u003c/p>\n\u003cp>In evolutionary terms, Nancy and Charlie occupy what may be considered the top tier, though up until now they’ve not had the foresight to appreciate it. Sarah and Leslie, meanwhile, are just now considering a move to dry land. Their grasp of the English language is solid but lacking in dimension, and when confronted with the concept of emotions their confusion is palpable. The more that Charlie and Leslie try to parse out for the lizards what they are, exactly, the more it becomes evident that words alone are a poor medium for communication, no matter your species.\u003c/p>\n\u003cfigure id=\"attachment_13849916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849916\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Despite it all, Nancy (Ellen McLaughlin) and Charlie (James Carpenter) can still share a moment of intimacy. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Known as a formidable interpreter of Albee’s contemporary work, MacKinnon’s decision to direct this older, less frequently staged piece feels exactly like a bit of a beach holiday in January. Not as weighted as \u003cem>Virginia Woolf\u003c/em>, not as outright absurd as \u003cem>The Goat, or Who is Sylvia?\u003c/em>, \u003cem>Seascape \u003c/em>gives us some existential puzzles to work on at our leisure—much like the book of crosswords surely tucked into Nancy and Charlie’s picnic basket—without crushing us beneath their implications.\u003c/p>\n\u003cp>At its heart, the message is so simple a lizard could grasp it: within all creatures lies the imperative to evolve. Some of them, both human and not, are simply more open to it than others.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003cem>‘Seascape’ runs through Feb. 17 at the Geary Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/seascape.html\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"excerpt": "In Edward Albee’s 'Seascape,' an unprepossessing slice of shoreline hosts a curious meeting of the minds.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, most times, a day at the beach is just that. Sand beneath one’s feet, the crashing surf, a picnic lunch. Uneventful, idle, predictable.\u003c/p>\n\u003cp>But even in peak relaxation, Nancy and Charlie’s approach to idleness is very different. She’s been painting; he watching the water. She talks with the volubility of a woman accustomed to leading the conversation; he speaks with the precise sentences of a man who is not. She wants to retire properly, pack up the house, see the world; he wants to do “nothing.” Their day at the beach feels like one of thousands of perfectly forgettable days.\u003c/p>\n\u003cp>That is, until the giant lizards arrive.\u003c/p>\n\u003cfigure id=\"attachment_13849911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849911\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The giant lizards have arrived! Leslie (Seann Gallagher) approaches Nancy (Ellen McLaughlin) and Charlie (James Carpenter) on the beach. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the world of Edward Albee’s\u003cem> Seascape\u003c/em>, directed by A.C.T.’s new artistic director Pam MacKinnon, an unprepossessing slice of shoreline becomes the staging ground for a curious meeting of the minds. Not so much the minds of Nancy (Ellen McLaughlin) and Charlie (James Carpenter)—they’ve mostly given up on listening to each other—but with those of their reptilian visitors, Sarah (Sarah Nina Hayon) and Leslie (Seann Gallagher).\u003c/p>\n\u003cp>No mere metaphors, Sarah and Leslie sport iridescent green scales, decorative frills, and ninja-turtle belly-ridges: half \u003cem>Shape of Water\u003c/em>, half iguana-chic (costumes and scenic design by David Zinn). And while their appearance at first is startling, as soon as Nancy and Charlie discover that their lizard companions speak English, the four settle into an exchange of ideas, and species-specific differences in courtship rituals, childbearing, and the elusive nature of emotions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like many of Albee’s works—\u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, \u003cem>Zoo Story\u003c/em>, and \u003cem>A Delicate Balance\u003c/em> among them—most of the action takes place within the language, even while much of the conversation is expressed without. As Nancy chatters about seeing the world, she barely looks at Charlie, her eyes fixed on the horizon and her potential future. When he shares, not for the first time, his habit in childhood to force the air from his lungs so he could sit in peaceful solitude at the bottom of the cove, his face is similarly turned, but looking to the past. Even a confession that Nancy once contemplated leaving Charlie doesn’t bridge the unacknowledged distance between them, as evidenced by the rolling swaths of sand dune that separate them physically.\u003c/p>\n\u003cfigure id=\"attachment_13849914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Older marrieds, Charlie (James Carpenter) and Nancy (Ellen McLaughlin) maintaining their distance. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with the appearance of their very unexpected visitors they must unite, Nancy taking the lead, as they assume “submissive” poses and smile in what they consider a friendly manner. After Sarah and Leslie discuss whether Nancy and Charlie’s bared teeth constitute a threat, they make their approach, eager to unravel the mysteries of the world outside the water from which they have just emerged. Almost immediately, their own relationship dynamic is revealed, one not dissimilar to their human counterparts. And after a few prods and sniffs, the four realize they share a common language, and the tension dissipates for a bit.\u003c/p>\n\u003cp>Physically as well as linguistically there is enough similarity between the lizards and the humans that they can feel superficially at ease. The lizards stand on their two hind legs, learn to shake “hands” with their front ones, and only revert to all fours when scrambling over the dunes or hiding from the occasional planes flying loudly overhead. It’s their surface similarities, though, that underscore the real distance between them.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In evolutionary terms, Nancy and Charlie occupy what may be considered the top tier, though up until now they’ve not had the foresight to appreciate it. Sarah and Leslie, meanwhile, are just now considering a move to dry land. Their grasp of the English language is solid but lacking in dimension, and when confronted with the concept of emotions their confusion is palpable. The more that Charlie and Leslie try to parse out for the lizards what they are, exactly, the more it becomes evident that words alone are a poor medium for communication, no matter your species.\u003c/p>\n\u003cfigure id=\"attachment_13849916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849916\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Despite it all, Nancy (Ellen McLaughlin) and Charlie (James Carpenter) can still share a moment of intimacy. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Known as a formidable interpreter of Albee’s contemporary work, MacKinnon’s decision to direct this older, less frequently staged piece feels exactly like a bit of a beach holiday in January. Not as weighted as \u003cem>Virginia Woolf\u003c/em>, not as outright absurd as \u003cem>The Goat, or Who is Sylvia?\u003c/em>, \u003cem>Seascape \u003c/em>gives us some existential puzzles to work on at our leisure—much like the book of crosswords surely tucked into Nancy and Charlie’s picnic basket—without crushing us beneath their implications.\u003c/p>\n\u003cp>At its heart, the message is so simple a lizard could grasp it: within all creatures lies the imperative to evolve. Some of them, both human and not, are simply more open to it than others.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003cem>‘Seascape’ runs through Feb. 17 at the Geary Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/seascape.html\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This is America: Lynn Nottage’s 'Sweat' at ACT a Timeless Depiction of Working Class",
"headTitle": "This is America: Lynn Nottage’s ‘Sweat’ at ACT a Timeless Depiction of Working Class | KQED",
"content": "\u003cp>After the 2016 election of Donald Trump, almost every week brought a new book regarding race, or class, or both, many focusing on the plight of the economically forgotten residents in “red” states—such as \u003cem>Hillbilly Elegy\u003c/em> by J.D. Vance, and \u003cem>Strangers in Their Own Land\u003c/em>, by Arlie Hochschild. And while those books captured many salient aspects of the slow erosion of dreams in devastated communities, none of them captured as fully nuanced a portrait of their crisis, generations in the making, as Lynn Nottage’s Pulitzer-winning play \u003cem>Sweat\u003c/em>.\u003c/p>\n\u003cp>Set in the depressed steel town of Reading, Pennsylvania—for a time the poorest in the nation—\u003cem>Sweat \u003c/em>is the culmination of many months of research: Nottage interviewed the residents of Reading, hanging out in their bars, observing their day-to-day reality. Originally commissioned by the Oregon Shakespeare Festival for their American Revolution series, Nottage’s \u003cem>Sweat\u003c/em> takes place in 2000 and 2008, and debuted a full year before the 2016 election. Yet its clear-eyed portrayal of a factory-town population whose factories are shuttering stirred the \u003cem>New Yorker\u003c/em> to label it “the first theatrical landmark of the \u003cem>Trump era.” \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13842531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-375x251.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia (Tonye Patano) and Tracey (Lise Bruneau) argue at the bar as Stan (Rod Gnapp) looks on. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, two years into Trump’s presidency and with midterms looming on the horizon, \u003cem>Sweat\u003c/em> has become a timely (and timeless) ode to an American Dream-turned-nightmare, and to the struggles of a community poor in options but rich in spirit. As it is, Reading still lives with the real-life impact of the fictionalized events depicted onstage at A.C.T.’s Geary Theater.\u003c/p>\n\u003cp>Pulling no punches, \u003cem>Sweat\u003c/em>, directed by Magic Theatre’s Loretta Greco, begins in 2008 in a stark room where African-American parole officer Evan (Adrian Roberts) is patiently grilling his petulant charge, Jason (David Darrow), his face obscured by a crude mass of neo-nazi tattoos and a very prominent black eye. After dismissing Jason, Evan meets with another agitated ex-con, Chris (Kadeem Ali Harris), who reveals that he’d run into Jason, a figure from his past, and wasn’t prepared for the memories raised by their accidental reunion.\u003c/p>\n\u003cfigure id=\"attachment_13842533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1200x801.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1920x1282.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1180x788.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris (Kadeem Ali Harris) and Jason (David Darrow) have a beer at the bar. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Quickly rolling back in time to get the rest of their story and that of the tight-knit community that raised them, much of \u003cem>Sweat\u003c/em> takes place in 2000, in a bar where Stan (Rod Gnapp), himself a former factory worker, presides over the taps. Serving as the sounding board for the floor crew of Olstead’s (a fictional steel-tubing plant inspired by Reading’s real-life Hoffmann Industries), Stan is privy not just to the day-to-day dramas of his regulars, but to an understanding of the economic and political long game that will soon tear their aspirations apart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bar set, designed by Andrew Boyce, is detail-perfect, down to the mismatched stools and prepaid phone card billboard, and the equally attentive costuming by Ulises Alcala, lighting by Allen Lee Hughes, projections by Hana S. Kim and sound design by Jake Rodriguez give the production as strong a sense of time and place as the dated slang that punctuates Jason and Chris’ dialogue, and lines about NAFTA and George W. Bush.\u003c/p>\n\u003cp>As Tracey, Lise Bruneau gives a riveting performance of a woman whose life begins to unravel from the moment she dismisses Stan’s oracular forecast of the future of the factory line. (She also dismisses his flirtatious overtures.) Her bestie, Cynthia (Tonye Patano), serves as the perfect foil for Tracey’s tightly-wound personality. Her onstage manner is more even-keeled, (despite having been recently booked for disorderly conduct “in my own damn house”), and embodies the cautious optimism and determination of a person who’s finally daring to climb the ladder a little higher, a staple of the mythology of \u003cem>an\u003c/em> American Dream in which hard work and company loyalty is rewarded and respected. Sarah Nina Hayon as Jesse, the third in their trio, embodies the role of middle-aged barfly, replete with the poignant regrets of a person who let the notion of “possibility” melt away as soon as she began earning a steady paycheck.\u003c/p>\n\u003cfigure id=\"attachment_13842529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-375x251.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Jed Parsario) and Stan (Rod Gnapp) discuss the implications of Oscar’s desire to break the picket line and work at Olstead’s. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jason and Chris are Tracey and Cynthia’s sons. Through the course of the play, they come to their own brutal understanding of the ways in which their own possibilities have become illusions, occasionally helped in this understanding by Chris’ father Brucie (skillfully portrayed by \u003cspan class=\"st\">Chiké\u003c/span> Johnson), whose own downward spiral has been assisted by his struggles with addiction. Rounding out the storyline and the cast is Oscar (Jed Parsario), a somewhat sullen but ever-watchful Columbian-American busboy who’s been trying for a position at Olstead’s for two years. Blinded by their perceptions of the way things are “supposed” to be, the plant employees can’t accept that he may have just as much claim on the line as they do, even though, like them, he was born in Reading.\u003c/p>\n\u003cp>Ultimately it’s Oscar’s strategy of biding his time and waiting for opportunity that serves him best, though in a very unexpected way, and the play ends with his words and an act of personal compassion, leaving us to wrestle with the implications of both.\u003c/p>\n\u003cp>For \u003cem>Sweat\u003c/em>’s true strength lies in the vast reservoirs of empathy with which Nottage approaches and reveals each character, be it an ex-con with neo-nazi tattoos to a strike-breaking scab looking for a better paycheck, or a frustrated striker’s display of casual racism to a newly-minted supervisor forced to lock her own son out of the factory where they work together. The harder Nottage pushes her characters into uncomfortable moral positions, the more she allows their raw humanity to shine through.\u003c/p>\n\u003cfigure id=\"attachment_13842530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_Chike%CC%81Johnson_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris (Kadeem Ali Harris) and Brucie (Chiké Johnson) have a heart-to-heart in the bar. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Importantly, the play leaves the many questions it poses unanswered. How do we overcome those things that divide us to connect to what may unite us? What factors are most to blame for the erosion of the “American Dream?” What dreams can we collectively create to take its place?\u003c/p>\n\u003cp>As a playwright, Nottage is neither soothsayer nor financial consultant, but a skilled chronicler making visible our collective desires, rage, and shame. With \u003cem>Sweat\u003c/em>, she dares us to reconnect to our common ground before it’s too late.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>‘Sweat’ runs through Oct. 21 at A.C.T.’s Geary Theater. \u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat.highResolutionDisplay.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With midterm elections looming, there’s no better time for this ode to an American Dream-turned-nightmare.",
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"headline": "This is America: Lynn Nottage’s 'Sweat' at ACT a Timeless Depiction of Working Class",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After the 2016 election of Donald Trump, almost every week brought a new book regarding race, or class, or both, many focusing on the plight of the economically forgotten residents in “red” states—such as \u003cem>Hillbilly Elegy\u003c/em> by J.D. Vance, and \u003cem>Strangers in Their Own Land\u003c/em>, by Arlie Hochschild. And while those books captured many salient aspects of the slow erosion of dreams in devastated communities, none of them captured as fully nuanced a portrait of their crisis, generations in the making, as Lynn Nottage’s Pulitzer-winning play \u003cem>Sweat\u003c/em>.\u003c/p>\n\u003cp>Set in the depressed steel town of Reading, Pennsylvania—for a time the poorest in the nation—\u003cem>Sweat \u003c/em>is the culmination of many months of research: Nottage interviewed the residents of Reading, hanging out in their bars, observing their day-to-day reality. Originally commissioned by the Oregon Shakespeare Festival for their American Revolution series, Nottage’s \u003cem>Sweat\u003c/em> takes place in 2000 and 2008, and debuted a full year before the 2016 election. Yet its clear-eyed portrayal of a factory-town population whose factories are shuttering stirred the \u003cem>New Yorker\u003c/em> to label it “the first theatrical landmark of the \u003cem>Trump era.” \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13842531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-375x251.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia (Tonye Patano) and Tracey (Lise Bruneau) argue at the bar as Stan (Rod Gnapp) looks on. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, two years into Trump’s presidency and with midterms looming on the horizon, \u003cem>Sweat\u003c/em> has become a timely (and timeless) ode to an American Dream-turned-nightmare, and to the struggles of a community poor in options but rich in spirit. As it is, Reading still lives with the real-life impact of the fictionalized events depicted onstage at A.C.T.’s Geary Theater.\u003c/p>\n\u003cp>Pulling no punches, \u003cem>Sweat\u003c/em>, directed by Magic Theatre’s Loretta Greco, begins in 2008 in a stark room where African-American parole officer Evan (Adrian Roberts) is patiently grilling his petulant charge, Jason (David Darrow), his face obscured by a crude mass of neo-nazi tattoos and a very prominent black eye. After dismissing Jason, Evan meets with another agitated ex-con, Chris (Kadeem Ali Harris), who reveals that he’d run into Jason, a figure from his past, and wasn’t prepared for the memories raised by their accidental reunion.\u003c/p>\n\u003cfigure id=\"attachment_13842533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1200x801.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1920x1282.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1180x788.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris (Kadeem Ali Harris) and Jason (David Darrow) have a beer at the bar. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Quickly rolling back in time to get the rest of their story and that of the tight-knit community that raised them, much of \u003cem>Sweat\u003c/em> takes place in 2000, in a bar where Stan (Rod Gnapp), himself a former factory worker, presides over the taps. Serving as the sounding board for the floor crew of Olstead’s (a fictional steel-tubing plant inspired by Reading’s real-life Hoffmann Industries), Stan is privy not just to the day-to-day dramas of his regulars, but to an understanding of the economic and political long game that will soon tear their aspirations apart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bar set, designed by Andrew Boyce, is detail-perfect, down to the mismatched stools and prepaid phone card billboard, and the equally attentive costuming by Ulises Alcala, lighting by Allen Lee Hughes, projections by Hana S. Kim and sound design by Jake Rodriguez give the production as strong a sense of time and place as the dated slang that punctuates Jason and Chris’ dialogue, and lines about NAFTA and George W. Bush.\u003c/p>\n\u003cp>As Tracey, Lise Bruneau gives a riveting performance of a woman whose life begins to unravel from the moment she dismisses Stan’s oracular forecast of the future of the factory line. (She also dismisses his flirtatious overtures.) Her bestie, Cynthia (Tonye Patano), serves as the perfect foil for Tracey’s tightly-wound personality. Her onstage manner is more even-keeled, (despite having been recently booked for disorderly conduct “in my own damn house”), and embodies the cautious optimism and determination of a person who’s finally daring to climb the ladder a little higher, a staple of the mythology of \u003cem>an\u003c/em> American Dream in which hard work and company loyalty is rewarded and respected. Sarah Nina Hayon as Jesse, the third in their trio, embodies the role of middle-aged barfly, replete with the poignant regrets of a person who let the notion of “possibility” melt away as soon as she began earning a steady paycheck.\u003c/p>\n\u003cfigure id=\"attachment_13842529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-375x251.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Jed Parsario) and Stan (Rod Gnapp) discuss the implications of Oscar’s desire to break the picket line and work at Olstead’s. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jason and Chris are Tracey and Cynthia’s sons. Through the course of the play, they come to their own brutal understanding of the ways in which their own possibilities have become illusions, occasionally helped in this understanding by Chris’ father Brucie (skillfully portrayed by \u003cspan class=\"st\">Chiké\u003c/span> Johnson), whose own downward spiral has been assisted by his struggles with addiction. Rounding out the storyline and the cast is Oscar (Jed Parsario), a somewhat sullen but ever-watchful Columbian-American busboy who’s been trying for a position at Olstead’s for two years. Blinded by their perceptions of the way things are “supposed” to be, the plant employees can’t accept that he may have just as much claim on the line as they do, even though, like them, he was born in Reading.\u003c/p>\n\u003cp>Ultimately it’s Oscar’s strategy of biding his time and waiting for opportunity that serves him best, though in a very unexpected way, and the play ends with his words and an act of personal compassion, leaving us to wrestle with the implications of both.\u003c/p>\n\u003cp>For \u003cem>Sweat\u003c/em>’s true strength lies in the vast reservoirs of empathy with which Nottage approaches and reveals each character, be it an ex-con with neo-nazi tattoos to a strike-breaking scab looking for a better paycheck, or a frustrated striker’s display of casual racism to a newly-minted supervisor forced to lock her own son out of the factory where they work together. The harder Nottage pushes her characters into uncomfortable moral positions, the more she allows their raw humanity to shine through.\u003c/p>\n\u003cfigure id=\"attachment_13842530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_Chike%CC%81Johnson_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris (Kadeem Ali Harris) and Brucie (Chiké Johnson) have a heart-to-heart in the bar. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Importantly, the play leaves the many questions it poses unanswered. How do we overcome those things that divide us to connect to what may unite us? What factors are most to blame for the erosion of the “American Dream?” What dreams can we collectively create to take its place?\u003c/p>\n\u003cp>As a playwright, Nottage is neither soothsayer nor financial consultant, but a skilled chronicler making visible our collective desires, rage, and shame. With \u003cem>Sweat\u003c/em>, she dares us to reconnect to our common ground before it’s too late.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>‘Sweat’ runs through Oct. 21 at A.C.T.’s Geary Theater. \u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat.highResolutionDisplay.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Artistic Director Pam MacKinnon on ACT’s Season of 'Big American Plays'",
"headTitle": "New Artistic Director Pam MacKinnon on ACT’s Season of ‘Big American Plays’ | KQED",
"content": "\u003cp>Buffalo, New York is known as a theater town: a frequent stop on the way to or from Broadway due to its close proximity to New York City, and a city that maintains a strong season of homegrown shows. But Buffalo is also a “rust belt” city hit hard by the deindustrialization of the region. While it’s making a quiet comeback as a stronghold of entrepreneurship, its hard times won’t be forgotten anytime soon.\u003c/p>\n\u003cp>For Pam MacKinnon, growing up from the age of 10 in Erie County, this combination of can-do tenacity and arts appreciation has been a constant in life since she was in junior high school, in Clarence, New York. When loss of funding caused her school’s drama club to disband, one of her classmates, Will Crosby, took the reins and started his own after-school theater across the street in a United Methodist Church, wrangling MacKinnon and other members of the defunct drama department to put on a season of shows on their own until they graduated to High School.\u003c/p>\n\u003cp>This was the first time MacKinnon, the new artistic director for American Conservatory Theater (ACT), found herself, in her words, the “beneficiary of someone else’s entrepreneurial spirit.” It wouldn’t be her last. After a stint in academia, studying for a PhD in Political Science she never received, MacKinnon moved to New York to pursue theater, becoming one of the first go-to directors of New York’s Clubbed Thumb and growing in reputation as a freelance director on and off Broadway.\u003c/p>\n\u003cp>Among her achievements since are a Tony for her directing of \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, an Obie for directing Bruce Norris’ \u003cem>Clybourne Park\u003c/em>, and helping usher the musical \u003cem>Amélie\u003c/em> to the Broadway stage. ACT will be her first permanent “artistic home,” as she calls it—though she’s currently wrapping up a pair of freelance projects, including the world premiere of Norris’ new play \u003cem>Downstate\u003c/em>, which opened at Steppenwolf Theatre on Sept. 20.\u003c/p>\n\u003cfigure id=\"attachment_13841534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Nottage, Pulitzer-winning playwright of ‘Sweat.’ \u003ccite>(John D. & Catherine T. MacArthur Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the first mainstage production of MacKinnon’s inaugural season at ACT, Lynn Nottage’s \u003cem>Sweat\u003c/em> not only speaks to the issues of our day, but also with MacKinnon’s own background. Set in the union town of Reading, Pennsylvania, the Pulitzer-winning \u003cem>Sweat\u003c/em> explores labor issues, the forced decline of American manufacturing, racial identity, and how the personal and political intersect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although set in the early 2000s, the play’s combination of concerns is all too relevant to even the least politicized among us. It certainly feels relevant to MacKinnon, whose Buffalo roots and current union membership (she is the president of the Stage Directors and Choreographers Society) give \u003cem>Sweat \u003c/em>a personal resonance as well.\u003c/p>\n\u003cp>“\u003cem>Sweat\u003c/em> is a future classic American play… that I think will be done 50 years from now,” MacKinnon says. “It tells a political story on such immediate personal terms that you can read it as an ‘American’ story, but also as a family story.”\u003c/p>\n\u003cfigure id=\"attachment_13841533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-960x720.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-520x390.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble cast of Lynn Nottage’s ‘Sweat’ in rehearsal at American Conservatory Theater. \u003ccite>(Beryl Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking beyond the season opener, MacKinnon is eager to see which shows in the upcoming season will appeal to Bay Area audiences most. A robust lineup of what she calls “big American plays,” the season includes works by younger contemporary playwrights such as Jacklyn Backhaus (whose gender-swapping Manifest Destiny sendup \u003cem>Men in Boats\u003c/em> opens in October at the Strand) and San Francisco’s own Lauren Yee (whose basketball drama \u003cem>The Great Leap\u003c/em> hits the Geary Stage in March 2019).\u003c/p>\n\u003cp>Even that classic of European absurdism, \u003cem>Rhinoceros\u003c/em>, scheduled for May and June of 2019, feels contextually very “American” to MacKinnon, with its “mob mentality” and “group of people…blindly participating in something that is ridiculous.” Her own directorial debut as ACT’s artistic director will be of Edward Albee’s \u003cem>Seascape\u003c/em> in January 2019.\u003c/p>\n\u003cp>“Somebody said they felt that (the season) was lower-case ‘p’ political, but also playful. That those two things were in all the pieces,” she muses. “I also think the theme of transition is in all of them, which makes sense given that I personally exploded my own life, very happily, to move to San Francisco after 24 years in New York. So transition, exploration, and discovery is also in all of these pieces.”\u003c/p>\n\u003cp>As part of that transition, MacKinnon is particularly excited about facilitating the multiple spaces of ACT, as well as the greater Bay Area theater community as a whole, to “be in conversation with each other.” On a basic level, that includes producing shows across ACT’s spaces that build on each other’s momentum, such as having Lauren Yee’s \u003cem>Hookman \u003c/em>performed in October by the Young Conservatory, anticipating the mainstage production of \u003cem>The Great Leap\u003c/em> in March.\u003c/p>\n\u003cp>It also includes reaching out to theaters and theater-makers in order to create larger frames for certain plays and playwrights. For example, inviting the Magic Theatre’s Loretta Greco to direct \u003cem>Sweat\u003c/em> creates an immediate bridge to that audience, followed by Greco and MacKinnon’s joint plan to produce two of Mfoniso Udofia’s plays in concert with each other: first \u003cem>Her Portmanteau\u003c/em>, at ACT in February 2019, followed a month later by \u003cem>In Old Age\u003c/em> at the Magic. As Parts Four and Five of Udofia’s ambitious nine-play “Ufot Cycle” (Parts One and Three played at the Magic in 2016), the back-to-back plays will hopefully inspire future collaborative productions on a Bay Area-wide scale.\u003c/p>\n\u003cfigure id=\"attachment_13841536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-960x720.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-520x390.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble cast of Lynn Nottage’s ‘Sweat’ in rehearsal at American Conservatory Theater. \u003ccite>(Beryl Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One person MacKinnon is particularly excited to welcome to the Bay Area is Berkeley Repertory Theatre’s incoming artistic director (and former ACT associate artistic director) Johanna Pfaelzer, who will take the reins from Tony Taccone in September 2019. “She and I go way back,” MacKinnon says, “so I’m super excited about [the possibility of] having Berkeley Rep and ACT work in concert.”\u003c/p>\n\u003cp>Even in this, MacKinnon’s small-town roots and stick-to-it-ness shows.\u003c/p>\n\u003cp>“I’m interested in conversations across spaces,” she emphasizes, “and I feel that San Francisco is very welcoming of that kind of stuff…and it’s a (tight-knit) enough community that we can work together.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>‘Sweat’ runs through Oct. 21 at the Geary Theater in San Francisco. \u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat.html\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Buffalo, New York is known as a theater town: a frequent stop on the way to or from Broadway due to its close proximity to New York City, and a city that maintains a strong season of homegrown shows. But Buffalo is also a “rust belt” city hit hard by the deindustrialization of the region. While it’s making a quiet comeback as a stronghold of entrepreneurship, its hard times won’t be forgotten anytime soon.\u003c/p>\n\u003cp>For Pam MacKinnon, growing up from the age of 10 in Erie County, this combination of can-do tenacity and arts appreciation has been a constant in life since she was in junior high school, in Clarence, New York. When loss of funding caused her school’s drama club to disband, one of her classmates, Will Crosby, took the reins and started his own after-school theater across the street in a United Methodist Church, wrangling MacKinnon and other members of the defunct drama department to put on a season of shows on their own until they graduated to High School.\u003c/p>\n\u003cp>This was the first time MacKinnon, the new artistic director for American Conservatory Theater (ACT), found herself, in her words, the “beneficiary of someone else’s entrepreneurial spirit.” It wouldn’t be her last. After a stint in academia, studying for a PhD in Political Science she never received, MacKinnon moved to New York to pursue theater, becoming one of the first go-to directors of New York’s Clubbed Thumb and growing in reputation as a freelance director on and off Broadway.\u003c/p>\n\u003cp>Among her achievements since are a Tony for her directing of \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, an Obie for directing Bruce Norris’ \u003cem>Clybourne Park\u003c/em>, and helping usher the musical \u003cem>Amélie\u003c/em> to the Broadway stage. ACT will be her first permanent “artistic home,” as she calls it—though she’s currently wrapping up a pair of freelance projects, including the world premiere of Norris’ new play \u003cem>Downstate\u003c/em>, which opened at Steppenwolf Theatre on Sept. 20.\u003c/p>\n\u003cfigure id=\"attachment_13841534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Nottage, Pulitzer-winning playwright of ‘Sweat.’ \u003ccite>(John D. & Catherine T. MacArthur Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the first mainstage production of MacKinnon’s inaugural season at ACT, Lynn Nottage’s \u003cem>Sweat\u003c/em> not only speaks to the issues of our day, but also with MacKinnon’s own background. Set in the union town of Reading, Pennsylvania, the Pulitzer-winning \u003cem>Sweat\u003c/em> explores labor issues, the forced decline of American manufacturing, racial identity, and how the personal and political intersect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although set in the early 2000s, the play’s combination of concerns is all too relevant to even the least politicized among us. It certainly feels relevant to MacKinnon, whose Buffalo roots and current union membership (she is the president of the Stage Directors and Choreographers Society) give \u003cem>Sweat \u003c/em>a personal resonance as well.\u003c/p>\n\u003cp>“\u003cem>Sweat\u003c/em> is a future classic American play… that I think will be done 50 years from now,” MacKinnon says. “It tells a political story on such immediate personal terms that you can read it as an ‘American’ story, but also as a family story.”\u003c/p>\n\u003cfigure id=\"attachment_13841533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-960x720.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-520x390.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble cast of Lynn Nottage’s ‘Sweat’ in rehearsal at American Conservatory Theater. \u003ccite>(Beryl Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking beyond the season opener, MacKinnon is eager to see which shows in the upcoming season will appeal to Bay Area audiences most. A robust lineup of what she calls “big American plays,” the season includes works by younger contemporary playwrights such as Jacklyn Backhaus (whose gender-swapping Manifest Destiny sendup \u003cem>Men in Boats\u003c/em> opens in October at the Strand) and San Francisco’s own Lauren Yee (whose basketball drama \u003cem>The Great Leap\u003c/em> hits the Geary Stage in March 2019).\u003c/p>\n\u003cp>Even that classic of European absurdism, \u003cem>Rhinoceros\u003c/em>, scheduled for May and June of 2019, feels contextually very “American” to MacKinnon, with its “mob mentality” and “group of people…blindly participating in something that is ridiculous.” Her own directorial debut as ACT’s artistic director will be of Edward Albee’s \u003cem>Seascape\u003c/em> in January 2019.\u003c/p>\n\u003cp>“Somebody said they felt that (the season) was lower-case ‘p’ political, but also playful. That those two things were in all the pieces,” she muses. “I also think the theme of transition is in all of them, which makes sense given that I personally exploded my own life, very happily, to move to San Francisco after 24 years in New York. So transition, exploration, and discovery is also in all of these pieces.”\u003c/p>\n\u003cp>As part of that transition, MacKinnon is particularly excited about facilitating the multiple spaces of ACT, as well as the greater Bay Area theater community as a whole, to “be in conversation with each other.” On a basic level, that includes producing shows across ACT’s spaces that build on each other’s momentum, such as having Lauren Yee’s \u003cem>Hookman \u003c/em>performed in October by the Young Conservatory, anticipating the mainstage production of \u003cem>The Great Leap\u003c/em> in March.\u003c/p>\n\u003cp>It also includes reaching out to theaters and theater-makers in order to create larger frames for certain plays and playwrights. For example, inviting the Magic Theatre’s Loretta Greco to direct \u003cem>Sweat\u003c/em> creates an immediate bridge to that audience, followed by Greco and MacKinnon’s joint plan to produce two of Mfoniso Udofia’s plays in concert with each other: first \u003cem>Her Portmanteau\u003c/em>, at ACT in February 2019, followed a month later by \u003cem>In Old Age\u003c/em> at the Magic. As Parts Four and Five of Udofia’s ambitious nine-play “Ufot Cycle” (Parts One and Three played at the Magic in 2016), the back-to-back plays will hopefully inspire future collaborative productions on a Bay Area-wide scale.\u003c/p>\n\u003cfigure id=\"attachment_13841536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-960x720.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-520x390.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble cast of Lynn Nottage’s ‘Sweat’ in rehearsal at American Conservatory Theater. \u003ccite>(Beryl Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One person MacKinnon is particularly excited to welcome to the Bay Area is Berkeley Repertory Theatre’s incoming artistic director (and former ACT associate artistic director) Johanna Pfaelzer, who will take the reins from Tony Taccone in September 2019. “She and I go way back,” MacKinnon says, “so I’m super excited about [the possibility of] having Berkeley Rep and ACT work in concert.”\u003c/p>\n\u003cp>Even in this, MacKinnon’s small-town roots and stick-to-it-ness shows.\u003c/p>\n\u003cp>“I’m interested in conversations across spaces,” she emphasizes, “and I feel that San Francisco is very welcoming of that kind of stuff…and it’s a (tight-knit) enough community that we can work together.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>‘Sweat’ runs through Oct. 21 at the Geary Theater in San Francisco. \u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat.html\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fall Into Theater: 9 Bay Area Stage and Performance Picks",
"headTitle": "Fall Into Theater: 9 Bay Area Stage and Performance Picks | KQED",
"content": "\u003cp>Autumn in the Bay Area is a vibrant time for the performing arts, the only real limit being the number of days in a week to fit it all in. During a time when theater companies are either ending seasons or beginning new ones, the overlap creates a truly staggering array of options. World premieres, revisited triumphs, anniversary celebrations, and international visitors fill this season’s arts calendar. Here are but a few of its offerings worth seeing.\u003c/p>\n\u003cfigure id=\"attachment_13840018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg\" alt=\"Young Jean Lee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Jean Lee. \u003ccite>(Blaine Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Church’\u003c/h2>\n\u003cp>\u003cb>Crowded Fire Theatre Company, Portrero Stage, San Francisco\u003cbr>\nSept. 13–Oct 6, 2018\u003c/b>\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/church/\">Details Here\u003c/a>\u003c/p>\n\u003cp>Written over 10 years ago, Young Jean Lee’s faith-finding mission \u003cem>Church\u003c/em> consistently resonates with those who struggle with the losing-my-religion syndrome of the pragmatic empiricist. Raised in a Korean-American evangelical family, Lee knows all too well the feeling of comfort and familiarity a well-timed church service can offer even a skeptic. In \u003cem>Church\u003c/em>, directed for Crowded Fire by Mina Morita, she explores the various manifestations of faith-based thinking for believers and non-believers alike.\u003c/p>\n\u003cfigure id=\"attachment_13839813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band YASSOU scores ‘FURY’ at the Midway. \u003ccite>(Austin Hobart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘FURY’\u003c/h2>\n\u003cp>\u003cstrong>The Midway, San Francisco\u003cbr>\nSept. 14–15, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.furyshow.com/\">Details Here\u003c/a>\u003c/p>\n\u003cp>An ambitious collaboration with Mill Valley-based indie rockers YASSOU and a coterie of high-level Bay Area ballet dancers, \u003cem>FURY\u003c/em> brings the core narrative of \u003cem>Mad Max: Fury Road\u003c/em> to the club. Combining live music, projections, and dance, the show contains themes of hope, heroism, and homecoming for adventurous audiences. Installed at the Midway, a multi-use space in the Dogpatch perhaps best known for late-night electronic music events, \u003cem>FURY\u003c/em>seeks to challenge the norms of ballet performance by integrating it with pop culture touchstones to create a vibrant, immersive experience.\u003c/p>\n\u003cfigure id=\"attachment_13839815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839815\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-%E2%80%99s-2017-production-of-Marcus-Gardley%E2%80%99s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of California Shakespeare Theater’s 2017 production of ‘black odyssey.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘black odyssey’\u003c/h2>\n\u003cp>\u003cstrong>California Shakespeare Theater, Bruns Amphitheater, Orinda\u003cbr>\nSept. 25–Oct. 7, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This revival of Marcus Gardley’s Homeric epic updates the pain and poetry of a man in exile, as one Ulysses Jackson struggles to return home to Oakland after being shipwrecked in another time and place. His journey to find himself, physically and metaphorically, includes the squabbling gods and patient wife of the Greek original, mixed with modern references to Afghanistan, Hurricane Katrina, and the cold-blooded assassinations of black men throughout history. Gardley has a longtime connection to the East Bay, and closes out the Cal Shakes 2018 season with a heroic flourish.\u003c/p>\n\u003cfigure id=\"attachment_13840016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg\" alt=\"Pulitzer-winning playwright Lynn Nottage.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pulitzer-winning playwright Lynn Nottage.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sweat’\u003c/h2>\n\u003cp>\u003cstrong>ACT Geary Theater, San Francisco\u003cbr>\nSept. 26–Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat/about.html\">Details Here\u003c/a>\u003c/p>\n\u003cp>The first play under the tenure of ACT’s new artistic director Pam MacKinnon, \u003cem>Sweat\u003c/em> is set in a Pennsylvania factory town, where union strife, racial tension, and recession woes are tearing longtime relationships apart. Playwright Lynn Nottage famously spent over two years interviewing the citizens of Reading, Pennsylvania in order to distill their hopes and fears in this very timely and Pulitzer-winning play, hailed by the \u003cem>New Yorker\u003c/em> as “the first theatrical landmark of the Trump era.” Directed by Magic Theatre’s Loretta Greco.\u003c/p>\n\u003cfigure id=\"attachment_13839822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christoph Gawenda in Schaubühne Theater’s ‘An Enemy of the People.’ \u003ccite>(Arno Declair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Schaubühne Theater’s ‘An Enemy of the People’\u003c/h2>\n\u003cp>\u003cstrong>Cal Performances, Zellerbach Hall, Berkeley\u003cbr>\nOct. 12–13, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/theater/schaubuhne-an-enemy-of-the-people.php\">Details Here\u003c/a>\u003c/p>\n\u003cp>One of Europe’s top-rated theater companies, Berlin-based Schaubühne Theater first staged its controversial take on Ibsen’s ode to a whistleblower, \u003cem>An Enemy of the People\u003c/em>, in 2012. Rather than lose any of the urgency with which Ibsen imbued it in 1882, this touring production has stirred impassioned audience responses from Avignon to London to New York. Adapted and updated by Floriam Borchmeyer, featuring \u003ca href=\"https://www.schaubuehne.de/en/personen/christoph-gawenda.html\">Christoph Gawenda\u003c/a> as a scruffy, hipster Stockmann, who nonetheless takes his responsibility to the public good seriously, the play is performed in the cast’s native German, with English supertitles.\u003c/p>\n\u003cfigure id=\"attachment_13839820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Hellman in ‘Traumboy’ at CounterPulse. \u003ccite>(Raphael Hadad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Weekend at CounterPulse: ‘The Homophobes, a Clown Show’ and ‘Traumboy’\u003c/h2>\n\u003cp>\u003cstrong>CounterPulse, San Francisco\u003cbr>\nOct. 17–19 and Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://counterpulse.org\">Details Here\u003c/a>\u003c/p>\n\u003cp>CounterPulse has long championed genre-defying work from both hyperlocal performers and touring ones, and in October the venue co-hosts two edgy out-of-town performances: \u003cem>The Homophobes, a Clown Show\u003c/em>, brought by longtime queer artmaker and director Dino Dinco, and \u003cem>Traumboy \u003c/em>starring Daniel Hellman, a Swiss-born male prostitute and performance artist, in conjunction with the \u003ca href=\"https://www.zurichmeetssanfrancisco.org/events\" target=\"_blank\" rel=\"noopener\">Zürich Meets San Francisco Festival\u003c/a>. \u003cem>The Homophobes\u003c/em>, a genderqueered divine comedy by Argentinean playwright Susana Cook, features a pregnant reverend whose congregation is taken aback by the implications of tangible immaculate conception. \u003cem>Traumboy\u003c/em>, meanwhile, explores the realities and fantasies of male sex work from Hellman’s perspective. Both shows should prove to be fascinating forays, whether on their own or in tandem.\u003c/p>\n\u003cfigure id=\"attachment_13839814\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839814\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg\" alt=\"\" width=\"700\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-520x260.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">American playwright Robert O’Hara returns to Brava Theater. \u003ccite>(Zack Dezon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An American Ma(u)l’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 18–Nov. 11, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/18/an-american-maul\">Details Here\u003c/a>\u003c/p>\n\u003cp>The satirical genius of playwright Robert O’Hara has found a solid home with Black Artists Contemporary Cultural Experience, who presented his subversive \u003cem>Bootycandy\u003c/em> in 2017. This fall, they produce his \u003cem>American Ma(u)l\u003c/em>, an irreverent script that brings the cotton gin and all its attendant social and political implications to a futurist America (an improbable scenario which nonetheless seems more and more believable as the current administration progresses). Directed by Edris Cooper-Anifowoshe at Brava Theater.\u003c/p>\n\u003cfigure id=\"attachment_13839819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839819\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Epifano, founder of San Francisco Trolley Dances, prepares for adventure. \u003ccite>(Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Trolley Dances 15-year Anniversary\u003c/h2>\n\u003cp>\u003cstrong>Mission Creek Park, N-Judah Muni Line, San Francisco\u003cbr>\nOct. 20–21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://epiphanydance.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>For lovers of the \u003ca href=\"http://www.munidiaries.com/\">Muni Diaries\u003c/a>, SF’s robust, homegrown dance scene, and the hybrid performance/tour model, there’s nothing like this year’s 15-year anniversary for Epiphany Dance Theater’s charming \u003cem>Trolley Dances\u003c/em>, a site-integrated, transit-minded showcase. For the price of a MUNI ticket, riders join the trolley dancers as they meet up at Mission Creek Park, then jump on the N-Judah line to head over to SFMOMA—stopping along the way to experience mini dance performances. A diverse array of companies is involved, including SF stalwarts such as ODC/Dance and Robert Moses’ Kin, traveling guests from San Diego Dance Theater, and festival newcomers such as Aisan Hoss and Dancers and the Hālau Makana Polynesian Cultural Arts company.\u003c/p>\n\u003cfigure id=\"attachment_13839816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Medea Project’s Rhodessa Jones. \u003ccite>(Thatcher Hayward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘When Did Your Hands Become a Weapon?’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 25–Nov. 4, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/25/when-did-your-hands-become-a-weapon\">Details Here\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Within Bay Area arts organization Cultural Odyssey are nested several long-term performance projects, including the Medea Project, Theater for Incarcerated Women and HIV Circle. Helmed by Cultural Odyssey’s Rhodessa Jones, the almost-30-year-old Medea Project collaborates with and performs works by incarcerated women and women living with HIV, combining urgent storytelling with physical movement, music, and ritual. \u003cem>When Did Your Hands Become a Weapon?\u003c/em> tackles themes of domestic violence and sexual abuse, as well as the mechanisms we use to survive and heal from it, part of Cultural Odyssey’s 40-year anniversary season.\u003c/p>\n\n",
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"excerpt": "Autumn is always a busy time for theater; here are nine of the best shows to see this season.",
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"description": "Autumn is always a busy time for theater; here are nine of the best shows to see this season.",
"title": "Fall Into Theater: 9 Bay Area Stage and Performance Picks | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Autumn in the Bay Area is a vibrant time for the performing arts, the only real limit being the number of days in a week to fit it all in. During a time when theater companies are either ending seasons or beginning new ones, the overlap creates a truly staggering array of options. World premieres, revisited triumphs, anniversary celebrations, and international visitors fill this season’s arts calendar. Here are but a few of its offerings worth seeing.\u003c/p>\n\u003cfigure id=\"attachment_13840018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg\" alt=\"Young Jean Lee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Jean Lee. \u003ccite>(Blaine Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Church’\u003c/h2>\n\u003cp>\u003cb>Crowded Fire Theatre Company, Portrero Stage, San Francisco\u003cbr>\nSept. 13–Oct 6, 2018\u003c/b>\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/church/\">Details Here\u003c/a>\u003c/p>\n\u003cp>Written over 10 years ago, Young Jean Lee’s faith-finding mission \u003cem>Church\u003c/em> consistently resonates with those who struggle with the losing-my-religion syndrome of the pragmatic empiricist. Raised in a Korean-American evangelical family, Lee knows all too well the feeling of comfort and familiarity a well-timed church service can offer even a skeptic. In \u003cem>Church\u003c/em>, directed for Crowded Fire by Mina Morita, she explores the various manifestations of faith-based thinking for believers and non-believers alike.\u003c/p>\n\u003cfigure id=\"attachment_13839813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band YASSOU scores ‘FURY’ at the Midway. \u003ccite>(Austin Hobart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘FURY’\u003c/h2>\n\u003cp>\u003cstrong>The Midway, San Francisco\u003cbr>\nSept. 14–15, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.furyshow.com/\">Details Here\u003c/a>\u003c/p>\n\u003cp>An ambitious collaboration with Mill Valley-based indie rockers YASSOU and a coterie of high-level Bay Area ballet dancers, \u003cem>FURY\u003c/em> brings the core narrative of \u003cem>Mad Max: Fury Road\u003c/em> to the club. Combining live music, projections, and dance, the show contains themes of hope, heroism, and homecoming for adventurous audiences. Installed at the Midway, a multi-use space in the Dogpatch perhaps best known for late-night electronic music events, \u003cem>FURY\u003c/em>seeks to challenge the norms of ballet performance by integrating it with pop culture touchstones to create a vibrant, immersive experience.\u003c/p>\n\u003cfigure id=\"attachment_13839815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839815\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-%E2%80%99s-2017-production-of-Marcus-Gardley%E2%80%99s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of California Shakespeare Theater’s 2017 production of ‘black odyssey.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘black odyssey’\u003c/h2>\n\u003cp>\u003cstrong>California Shakespeare Theater, Bruns Amphitheater, Orinda\u003cbr>\nSept. 25–Oct. 7, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This revival of Marcus Gardley’s Homeric epic updates the pain and poetry of a man in exile, as one Ulysses Jackson struggles to return home to Oakland after being shipwrecked in another time and place. His journey to find himself, physically and metaphorically, includes the squabbling gods and patient wife of the Greek original, mixed with modern references to Afghanistan, Hurricane Katrina, and the cold-blooded assassinations of black men throughout history. Gardley has a longtime connection to the East Bay, and closes out the Cal Shakes 2018 season with a heroic flourish.\u003c/p>\n\u003cfigure id=\"attachment_13840016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg\" alt=\"Pulitzer-winning playwright Lynn Nottage.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pulitzer-winning playwright Lynn Nottage.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sweat’\u003c/h2>\n\u003cp>\u003cstrong>ACT Geary Theater, San Francisco\u003cbr>\nSept. 26–Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat/about.html\">Details Here\u003c/a>\u003c/p>\n\u003cp>The first play under the tenure of ACT’s new artistic director Pam MacKinnon, \u003cem>Sweat\u003c/em> is set in a Pennsylvania factory town, where union strife, racial tension, and recession woes are tearing longtime relationships apart. Playwright Lynn Nottage famously spent over two years interviewing the citizens of Reading, Pennsylvania in order to distill their hopes and fears in this very timely and Pulitzer-winning play, hailed by the \u003cem>New Yorker\u003c/em> as “the first theatrical landmark of the Trump era.” Directed by Magic Theatre’s Loretta Greco.\u003c/p>\n\u003cfigure id=\"attachment_13839822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christoph Gawenda in Schaubühne Theater’s ‘An Enemy of the People.’ \u003ccite>(Arno Declair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Schaubühne Theater’s ‘An Enemy of the People’\u003c/h2>\n\u003cp>\u003cstrong>Cal Performances, Zellerbach Hall, Berkeley\u003cbr>\nOct. 12–13, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/theater/schaubuhne-an-enemy-of-the-people.php\">Details Here\u003c/a>\u003c/p>\n\u003cp>One of Europe’s top-rated theater companies, Berlin-based Schaubühne Theater first staged its controversial take on Ibsen’s ode to a whistleblower, \u003cem>An Enemy of the People\u003c/em>, in 2012. Rather than lose any of the urgency with which Ibsen imbued it in 1882, this touring production has stirred impassioned audience responses from Avignon to London to New York. Adapted and updated by Floriam Borchmeyer, featuring \u003ca href=\"https://www.schaubuehne.de/en/personen/christoph-gawenda.html\">Christoph Gawenda\u003c/a> as a scruffy, hipster Stockmann, who nonetheless takes his responsibility to the public good seriously, the play is performed in the cast’s native German, with English supertitles.\u003c/p>\n\u003cfigure id=\"attachment_13839820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Hellman in ‘Traumboy’ at CounterPulse. \u003ccite>(Raphael Hadad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Weekend at CounterPulse: ‘The Homophobes, a Clown Show’ and ‘Traumboy’\u003c/h2>\n\u003cp>\u003cstrong>CounterPulse, San Francisco\u003cbr>\nOct. 17–19 and Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://counterpulse.org\">Details Here\u003c/a>\u003c/p>\n\u003cp>CounterPulse has long championed genre-defying work from both hyperlocal performers and touring ones, and in October the venue co-hosts two edgy out-of-town performances: \u003cem>The Homophobes, a Clown Show\u003c/em>, brought by longtime queer artmaker and director Dino Dinco, and \u003cem>Traumboy \u003c/em>starring Daniel Hellman, a Swiss-born male prostitute and performance artist, in conjunction with the \u003ca href=\"https://www.zurichmeetssanfrancisco.org/events\" target=\"_blank\" rel=\"noopener\">Zürich Meets San Francisco Festival\u003c/a>. \u003cem>The Homophobes\u003c/em>, a genderqueered divine comedy by Argentinean playwright Susana Cook, features a pregnant reverend whose congregation is taken aback by the implications of tangible immaculate conception. \u003cem>Traumboy\u003c/em>, meanwhile, explores the realities and fantasies of male sex work from Hellman’s perspective. Both shows should prove to be fascinating forays, whether on their own or in tandem.\u003c/p>\n\u003cfigure id=\"attachment_13839814\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839814\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg\" alt=\"\" width=\"700\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-520x260.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">American playwright Robert O’Hara returns to Brava Theater. \u003ccite>(Zack Dezon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An American Ma(u)l’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 18–Nov. 11, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/18/an-american-maul\">Details Here\u003c/a>\u003c/p>\n\u003cp>The satirical genius of playwright Robert O’Hara has found a solid home with Black Artists Contemporary Cultural Experience, who presented his subversive \u003cem>Bootycandy\u003c/em> in 2017. This fall, they produce his \u003cem>American Ma(u)l\u003c/em>, an irreverent script that brings the cotton gin and all its attendant social and political implications to a futurist America (an improbable scenario which nonetheless seems more and more believable as the current administration progresses). Directed by Edris Cooper-Anifowoshe at Brava Theater.\u003c/p>\n\u003cfigure id=\"attachment_13839819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839819\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Epifano, founder of San Francisco Trolley Dances, prepares for adventure. \u003ccite>(Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Trolley Dances 15-year Anniversary\u003c/h2>\n\u003cp>\u003cstrong>Mission Creek Park, N-Judah Muni Line, San Francisco\u003cbr>\nOct. 20–21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://epiphanydance.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>For lovers of the \u003ca href=\"http://www.munidiaries.com/\">Muni Diaries\u003c/a>, SF’s robust, homegrown dance scene, and the hybrid performance/tour model, there’s nothing like this year’s 15-year anniversary for Epiphany Dance Theater’s charming \u003cem>Trolley Dances\u003c/em>, a site-integrated, transit-minded showcase. For the price of a MUNI ticket, riders join the trolley dancers as they meet up at Mission Creek Park, then jump on the N-Judah line to head over to SFMOMA—stopping along the way to experience mini dance performances. A diverse array of companies is involved, including SF stalwarts such as ODC/Dance and Robert Moses’ Kin, traveling guests from San Diego Dance Theater, and festival newcomers such as Aisan Hoss and Dancers and the Hālau Makana Polynesian Cultural Arts company.\u003c/p>\n\u003cfigure id=\"attachment_13839816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Medea Project’s Rhodessa Jones. \u003ccite>(Thatcher Hayward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘When Did Your Hands Become a Weapon?’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 25–Nov. 4, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/25/when-did-your-hands-become-a-weapon\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within Bay Area arts organization Cultural Odyssey are nested several long-term performance projects, including the Medea Project, Theater for Incarcerated Women and HIV Circle. Helmed by Cultural Odyssey’s Rhodessa Jones, the almost-30-year-old Medea Project collaborates with and performs works by incarcerated women and women living with HIV, combining urgent storytelling with physical movement, music, and ritual. \u003cem>When Did Your Hands Become a Weapon?\u003c/em> tackles themes of domestic violence and sexual abuse, as well as the mechanisms we use to survive and heal from it, part of Cultural Odyssey’s 40-year anniversary season.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Crash Landing for ACT’s ‘A Walk on the Moon’",
"headTitle": "A Crash Landing for ACT’s ‘A Walk on the Moon’ | KQED",
"content": "\u003cp>It’s the summer of 1969 and everything is on the cusp. Neil Armstrong is about to make one giant leap for mankind. Woodstock is set to define the era. Altamont has yet to end it. The free-love revolution is at its peak, but for the vacationers at Dr. Fogler’s Bungalow Colony in upstate New York, it may as well be 1959.\u003c/p>\n\u003cp>A working-class Catskills resort, Fogler’s hosts a coterie of summer regulars, women and children deposited there for the season while their husbands remain in the city to work, coming up only on the weekends. For the ladies, it’s a breeze: no cooking, no cleaning, no sex.\u003c/p>\n\u003cp>For 14-year-old Alison Kantrowitz, being stuck at an old-fashioned family camp while the rest of the world explodes into newness is unbearable. For her mother Pearl, just a scant 16 years older than Alison, it’s a restless summer of regular duties suddenly dulled by an empty ache that she just can’t define. Over the course of A.C.T.’s world premiere musical, \u003cem>A Walk on the Moon\u003c/em>, the two women will find their lives changed by lust, NASA, cheap blouses, and rock ‘n’ roll.\u003c/p>\n\u003cfigure id=\"attachment_13835359\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681.jpg\" alt=\"(L–R) Bunny (Molly Hager), Rhoda (Monique Hafen), Eleanor (Ariela Morgenstern), and Pearl (Katie Brayben) get together for an afternoon of mah-jongg in the world-premiere musical, 'A Walk on the Moon.' Background: Marty’s mother, Lillian (Kerry O’Malley).\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Bunny (Molly Hager), Rhoda (Monique Hafen), Eleanor (Ariela Morgenstern), and Pearl (Katie Brayben) get together for an afternoon of mah-jongg in the world-premiere musical, ‘A Walk on the Moon.’ Background: Marty’s mother, Lillian (Kerry O’Malley). \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as in 1959, men are the agent of change. Alison (an outstanding Brigid O’Brien) will meet teenaged Ross (Nick Sacks) and begin her journey to womanhood. Pearl (Katie Brayben) will meet Walker Jerome (Zak Resnick), a blouse salesman working to earn enough bread to blow out of the Catskills and into San Francisco, and be forced to reconsider her life.\u003c/p>\n\u003cp>Pearl’s husband Marty (Jonah Platt), a TV repairman overwhelmed at work fixing sets in advance of the televised moon walk, his mother Lillian (Kerry O’Malley), and son Danny (Elijah Cooper the night of review) round out the Kantrowitz’s tiny cabin. Of course there are neighboring families and of course, there is mah-jongg.\u003c/p>\n\u003cfigure id=\"attachment_13835357\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850.jpg\" alt=\"Pearl (Katie Brayben) sings about her youthful dream of being a reporter and wonders why she stopped believing it was possible in the world-premiere musical, 'A Walk on the Moon.'\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13835357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-520x346.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Pearl (Katie Brayben) sings about her youthful dream of being a reporter and wonders why she stopped believing it was possible in the world-premiere musical, ‘A Walk on the Moon.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on screenwriter Pamela Gray’s 1999 movie of the same name, the musical’s book was also written by Gray — which is where the trouble begins. The film and musical follow exactly the same arc, and share much verbatim dialogue. Both are overly long and sentimental; both celebrate constancy and family over impetuousness and change; and both trap their characters in stereotypes of unfulfilled housewife and harried husband. In the film, the clichés are made bearable by the unique sexual tension that Diane Lane and Viggo Mortensen bring to their roles as Pearl and Walker. In the musical, staged nearly 20 years later, the sexual connection is clumsily managed and the clichés feel lazy. Directed by Sheryl Kaller, Resnick embarrassingly paws at and nuzzles Brayben’s breasts and seemingly no one has thought to take a 21st century look at mid-20th century ennui with fresh eyes.\u003c/p>\n\u003cfigure id=\"attachment_13835360\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d.jpg\" alt=\"Alison (Brigid O’Brien) and Ross (Nick Sacks) flirt while discussing their favorite musicians in 'A Walk on the Moon.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Brigid O’Brien) and Ross (Nick Sacks) flirt while discussing their favorite musicians in ‘A Walk on the Moon.’ \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, the ’40s-era swing, ’50s pop songs, and ’60s rock that enlivened the film don’t make the transition to stage. The musical, while featuring some 20 original songs by Paul Scott Goodman, makes nearly no reference to the rock revolution in which it’s set. Rather, \u003cem>Moon\u003c/em> serves up generic Broadway-style music with none of the fun, verve, or imagination that makes big Broadway shows so thrilling. Most cruelly of all, there is nothing to hum. Goodman’s lyrics tend to such empty fodder as “when I was lost and lonely you came into my life and set me free,” and the cringe-inducing “We Made You,” in which shooting stars and semen share metaphor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While lighting designer Robert Wierzel has one moment of gorgeous poetry limming the morning after Pearl and Walker consummate their love, the delights of set and staging are few. While scenic designer Donyale Werle creates clever interior cut-aways of the Kantrowitz’s cabin, the business of the stage with trees and houses and kitchen tables constantly moving—the fake trees occasionally shuddering under the weight of the magic—is distracting to a fault. Most disappointing are costume designer Linda Cho’s actually ugly clothes. This era offers nothing but far-out choices, and Cho dresses Pearl in frumpy garments that do nothing to enhance either Brayben’s natural loveliness or the pleasure of spectacle.\u003c/p>\n\u003cfigure id=\"attachment_13835358\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8.jpg\" alt=\"The guests at the bungalow colony watch the moon landing live on TV in the world-premiere musical, 'A Walk on the Moon.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The guests at the bungalow colony watch the moon landing live on TV in the world-premiere musical, ‘A Walk on the Moon.’ \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps that speaks to \u003cem>A Walk on the Moon\u003c/em>’s biggest fault: It doesn’t delight. It doesn’t even aspire to delight. This is a love story that doesn’t bring a tear to your eye, a musical without a song to remember, and period piece without an original thought about its period.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/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>‘A Walk on the Moon’ runs through July 1 at A.C.T.’s Geary Theater in San Francisco. \u003ca href=\"http://www.act-sf.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Set in the Catskills of 1969, the world-premiere musical fails to move, delight, or even convey a proper nostalgia for the era.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the summer of 1969 and everything is on the cusp. Neil Armstrong is about to make one giant leap for mankind. Woodstock is set to define the era. Altamont has yet to end it. The free-love revolution is at its peak, but for the vacationers at Dr. Fogler’s Bungalow Colony in upstate New York, it may as well be 1959.\u003c/p>\n\u003cp>A working-class Catskills resort, Fogler’s hosts a coterie of summer regulars, women and children deposited there for the season while their husbands remain in the city to work, coming up only on the weekends. For the ladies, it’s a breeze: no cooking, no cleaning, no sex.\u003c/p>\n\u003cp>For 14-year-old Alison Kantrowitz, being stuck at an old-fashioned family camp while the rest of the world explodes into newness is unbearable. For her mother Pearl, just a scant 16 years older than Alison, it’s a restless summer of regular duties suddenly dulled by an empty ache that she just can’t define. Over the course of A.C.T.’s world premiere musical, \u003cem>A Walk on the Moon\u003c/em>, the two women will find their lives changed by lust, NASA, cheap blouses, and rock ‘n’ roll.\u003c/p>\n\u003cfigure id=\"attachment_13835359\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681.jpg\" alt=\"(L–R) Bunny (Molly Hager), Rhoda (Monique Hafen), Eleanor (Ariela Morgenstern), and Pearl (Katie Brayben) get together for an afternoon of mah-jongg in the world-premiere musical, 'A Walk on the Moon.' Background: Marty’s mother, Lillian (Kerry O’Malley).\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Bunny (Molly Hager), Rhoda (Monique Hafen), Eleanor (Ariela Morgenstern), and Pearl (Katie Brayben) get together for an afternoon of mah-jongg in the world-premiere musical, ‘A Walk on the Moon.’ Background: Marty’s mother, Lillian (Kerry O’Malley). \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as in 1959, men are the agent of change. Alison (an outstanding Brigid O’Brien) will meet teenaged Ross (Nick Sacks) and begin her journey to womanhood. Pearl (Katie Brayben) will meet Walker Jerome (Zak Resnick), a blouse salesman working to earn enough bread to blow out of the Catskills and into San Francisco, and be forced to reconsider her life.\u003c/p>\n\u003cp>Pearl’s husband Marty (Jonah Platt), a TV repairman overwhelmed at work fixing sets in advance of the televised moon walk, his mother Lillian (Kerry O’Malley), and son Danny (Elijah Cooper the night of review) round out the Kantrowitz’s tiny cabin. Of course there are neighboring families and of course, there is mah-jongg.\u003c/p>\n\u003cfigure id=\"attachment_13835357\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850.jpg\" alt=\"Pearl (Katie Brayben) sings about her youthful dream of being a reporter and wonders why she stopped believing it was possible in the world-premiere musical, 'A Walk on the Moon.'\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13835357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-520x346.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Pearl (Katie Brayben) sings about her youthful dream of being a reporter and wonders why she stopped believing it was possible in the world-premiere musical, ‘A Walk on the Moon.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on screenwriter Pamela Gray’s 1999 movie of the same name, the musical’s book was also written by Gray — which is where the trouble begins. The film and musical follow exactly the same arc, and share much verbatim dialogue. Both are overly long and sentimental; both celebrate constancy and family over impetuousness and change; and both trap their characters in stereotypes of unfulfilled housewife and harried husband. In the film, the clichés are made bearable by the unique sexual tension that Diane Lane and Viggo Mortensen bring to their roles as Pearl and Walker. In the musical, staged nearly 20 years later, the sexual connection is clumsily managed and the clichés feel lazy. Directed by Sheryl Kaller, Resnick embarrassingly paws at and nuzzles Brayben’s breasts and seemingly no one has thought to take a 21st century look at mid-20th century ennui with fresh eyes.\u003c/p>\n\u003cfigure id=\"attachment_13835360\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d.jpg\" alt=\"Alison (Brigid O’Brien) and Ross (Nick Sacks) flirt while discussing their favorite musicians in 'A Walk on the Moon.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Brigid O’Brien) and Ross (Nick Sacks) flirt while discussing their favorite musicians in ‘A Walk on the Moon.’ \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, the ’40s-era swing, ’50s pop songs, and ’60s rock that enlivened the film don’t make the transition to stage. The musical, while featuring some 20 original songs by Paul Scott Goodman, makes nearly no reference to the rock revolution in which it’s set. Rather, \u003cem>Moon\u003c/em> serves up generic Broadway-style music with none of the fun, verve, or imagination that makes big Broadway shows so thrilling. Most cruelly of all, there is nothing to hum. Goodman’s lyrics tend to such empty fodder as “when I was lost and lonely you came into my life and set me free,” and the cringe-inducing “We Made You,” in which shooting stars and semen share metaphor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While lighting designer Robert Wierzel has one moment of gorgeous poetry limming the morning after Pearl and Walker consummate their love, the delights of set and staging are few. While scenic designer Donyale Werle creates clever interior cut-aways of the Kantrowitz’s cabin, the business of the stage with trees and houses and kitchen tables constantly moving—the fake trees occasionally shuddering under the weight of the magic—is distracting to a fault. Most disappointing are costume designer Linda Cho’s actually ugly clothes. This era offers nothing but far-out choices, and Cho dresses Pearl in frumpy garments that do nothing to enhance either Brayben’s natural loveliness or the pleasure of spectacle.\u003c/p>\n\u003cfigure id=\"attachment_13835358\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8.jpg\" alt=\"The guests at the bungalow colony watch the moon landing live on TV in the world-premiere musical, 'A Walk on the Moon.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The guests at the bungalow colony watch the moon landing live on TV in the world-premiere musical, ‘A Walk on the Moon.’ \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps that speaks to \u003cem>A Walk on the Moon\u003c/em>’s biggest fault: It doesn’t delight. It doesn’t even aspire to delight. This is a love story that doesn’t bring a tear to your eye, a musical without a song to remember, and period piece without an original thought about its period.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/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>‘A Walk on the Moon’ runs through July 1 at A.C.T.’s Geary Theater in San Francisco. \u003ca href=\"http://www.act-sf.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "infinite-possibilities-8-theater-productions-to-take-in-this-summer",
"title": "Infinite Possibilities: 8 Theater Productions to Take in this Summer",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-medium wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Maybe it’s the longer daylight hours, or a trace memory of childhood summers “off,” but whatever the reason, there’s no denying that summertime in the Bay Area is the time to play. And fortunately for those of us whose idea of a good time is a riveting monologue or imaginative mise-en-scène, we can spend both the warmer days outdoors and chillier evenings inside watching some of the best performers the Bay Area has to offer. Here are our top picks for summertime theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832476\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg\" alt=\"Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in 'A Thousand Splendid Suns'\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13832476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in ‘A Thousand Splendid Suns’ \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>A Thousand Splendid Suns\u003c/em>\u003c/h3>\n\u003ch4>July 17–29\u003cbr>\nACT’s Geary Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/suns.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>If you missed Carey Perloff and Ursula Rani Sarma’s smash 2017 adaptation of Khaled Hosseini’s \u003cem>A Thousand Splendid Suns\u003c/em>, fret not. You can make up for it with this resurrection of the show, Perloff’s last hurrah at American Conservatory Theater, where she’s recently stepped down as artistic director after 26 years. Set in Afghanistan, this female-led work offers a look inside a Taliban-run Kabul through the intimate lens of a single household. It’s riveting, essential, transcendent drama, and an appropriate send-off for the woman who first ushered it onto the stage.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832483\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg\" alt=\"FURY Factory\" width=\"800\" height=\"893\" class=\"size-medium wp-image-13832483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1075x1200.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1180x1317.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-375x419.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein.jpg 1352w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FURY Factory \u003ccite>(Bob Epstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>FURY Factory\u003c/h3>\n\u003ch4>July 10–22\u003cbr>\nZ Below, NOHspace, and Joe Goode Annex (San Francisco) and The Flight Deck (Oakland)\u003cbr>\n\u003ca href=\"http://foolsfury.org/fury/furyfactory/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Every other year, experimental theater company fools FURY invites like-minded ensembles from all around the country for a festival of devised and collaborative ensemble work, which they’ve dubbed FURY Factory. Not only does FURY Factory provided opportunities for Bay Area audiences to connect with the work of such nationally-recognized companies as Pig Iron and Teatro Luna, but it ably showcases the wild diversity of Bay Area-based performance ensembles, from dance companies to clowns to the purely uncategorizable. And this year, to ensure that audiences on both sides of the Bay will get a shot at FURY, they’re expanding their programming to include Oakland’s Flight Deck as one of their venues.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832493\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg\" alt=\"Keith Hennessy in 'Crotch'\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-13832493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-798x1200.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy in ‘Crotch’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Crotch\u003c/em>\u003c/h3>\n\u003ch4>June 7–9\u003cbr>\nThe Lab, San Francisco\u003cbr>\n\u003ca href=\"https://www.thelab.org/projects/2018/6/7/keith-hennessy-crotch\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Looking for something out of the box? At The Lab, in the Mission District, San Francisco queer performance artist Keith Hennessy dusts off his Bessie award-winning \u003cem>Crotch\u003c/em> for its 10-year anniversary. A powerful and playful work that uses the German Fluxus artist/activist Joseph Beuys as a muse, and combines raw physicality, installation art, a lecture in art history and community ritual, this rare revival will inspire.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832495\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg\" alt=\"Andrew Chung and Marissa Skudlarek, 2017's Shortlived winners, performing 'All the Worlds Are Stages,' written by Ruben Gijalva & directed by Alejandro Torres. \" width=\"800\" height=\"534\" class=\"size-medium wp-image-13832495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Chung and Marissa Skudlarek, 2017’s Shortlived winners, performing ‘All the Worlds Are Stages,’ written by Ruben Gijalva & directed by Alejandro Torres. \u003ccite>(Daniel Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>PianoFight’s Shortlived VII\u003c/h3>\n\u003ch4>June 14–Aug. 25\u003cbr>\nPianoFight’s Main Stage, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-vii/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Can theater-going be as thrilling as a high-stakes sporting match? The fine folks at PianoFight think so, and they’re willing to put up $5,000 to prove it. Attendees at the seventh annual ShortLived competition Thursday-Saturday, from mid-June to the end of August, will cheer 48 competitors into the final round, where the winning play of the year walks away with a $5,000 cash prize and bragging rights for life.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832504\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg\" alt=\"Marga Gomez, who will star in 'King Of Cuba' \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13832504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez, who will star in ‘King Of Cuba’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>King of Cuba\u003c/em>\u003c/h3>\n\u003ch4>July 21–Aug. 19\u003cbr>\nBerkeley City Club, Berkeley\u003cbr>\n\u003ca href=\"http://centralworks.org/king-of-cuba/#showtab=details\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Ushering its 60th world premiere production into the public eye, 27 year-old Central Works presents an adaptation of Cristina García’s (2003) novel \u003cem>King of Cuba\u003c/em>, as adapted by García herself as part of Central Works’ Writer’s Workshop. A comedic speculation of the fate of an aging Cuban dictator, “El Comandante,” and his nemesis Goyo, who plots against him from Miami, this brash imagining stars Bay Area comedy legend Marga Gomez—and Steve Ortiz as her would-be assassin, with live percussion from Havana-born “bongocero” Carlos Caro.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832507\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AngelsSummer2-800x1200.jpg\" alt=\"Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of 'Angels in America, Part Two: Perestroika.'\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13832507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of ‘Angels in America, Part Two: Perestroika.’ \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Angels in America \u003c/em>\u003c/h3>\n\u003ch4>Through July 22\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>It may have opened in May, but Berkeley Rep’s superlative production of Tony Kushner’s barrier-breaking \u003cem>Angels in America\u003c/em> runs through July 22, making it the summer’s hottest theater pick. Consisting of two epic plays running in repertory, each around three-and-a-half hours long, \u003cem>Angels\u003c/em> is definitely a commitment, but once you start watching, you may never want it to end. In fact, it’s recommended to clear the calendar and see a marathon day of both shows back-to-back (presented mostly on Saturdays). Consider it a mini-vacation to an exotic realm.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832513\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg\" alt=\"Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in 'Seeing Red: A Time-Traveling Musical'\" width=\"800\" height=\"1143\" class=\"size-medium wp-image-13832513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-1020x1457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-840x1200.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-960x1371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-520x743.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in ‘Seeing Red: A Time-Traveling Musical’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>\u003c/h3>\n\u003ch4>Various Locations\u003cbr>\nThrough Sept. 9\u003cbr>\n\u003ca href=\"http://www.sfmt.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>This summer, declare independence from specious “Independence Day” traditions that glorify war toys and frighten your pets. Then spend a leisurely afternoon with the San Francisco Mime Troupe in Dolores Park, where they open their 59th Season with company member Rotimi Agbabiaka’s \u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>. Like Easter Sunday with the Sisters of Perpetual Indulgence, July 4 with the SFMT is an inclusive, surprisingly family-friendly reminder that the Bay Area is not Kansas, and if we wanna celebrate that most bellicose of American holidays with a comic musical about American socialism, then who’s to say we shouldn’t? (Perhaps the NEA, who pulled the Mime Troupe’s funding this season?) This year, it’s up to us to support them.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832540\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg\" alt=\"James Ijames\" width=\"800\" height=\"400\" class=\"size-medium wp-image-13832540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Ijames \u003ccite>(Kim Carson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shotgun Players’ \u003cem>White\u003c/em>\u003c/h3>\n\u003ch4>July 6–Aug. 5\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"https://goo.gl/4shmNu\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>With this West Coast premiere of Pennsylvania-based playwright James Ijames’ provocative comedy about racial identity, cultural appropriation, fine art, and what it means to challenge the gatekeepers, Shotgun Players remains committed to new works with fresh takes on hot topics. In a farce reminiscent of the \u003ca href=\"https://hyperallergic.com/131687/i-amjoe-%20scanlan/\" rel=\"noopener\" target=\"_blank\">Joe Scanlan/Donelle Woolford controversy\u003c/a> at the Whitney Biennial in 2014, \u003cem>White\u003c/em> imagines a scenario in which rising artist Gus (Adam Donovan), a white man, hires Vanessa (Santoya Fields), a black woman, to pretend to be the artist behind his work so he can get into a museum exhibition. What happens next surprises even them, and certainly the audience.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Infinite Possibilities: 8 Theater Productions to Take in this Summer | KQED",
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"headline": "Infinite Possibilities: 8 Theater Productions to Take in this Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-medium wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Maybe it’s the longer daylight hours, or a trace memory of childhood summers “off,” but whatever the reason, there’s no denying that summertime in the Bay Area is the time to play. And fortunately for those of us whose idea of a good time is a riveting monologue or imaginative mise-en-scène, we can spend both the warmer days outdoors and chillier evenings inside watching some of the best performers the Bay Area has to offer. Here are our top picks for summertime theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832476\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg\" alt=\"Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in 'A Thousand Splendid Suns'\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13832476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in ‘A Thousand Splendid Suns’ \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>A Thousand Splendid Suns\u003c/em>\u003c/h3>\n\u003ch4>July 17–29\u003cbr>\nACT’s Geary Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/suns.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>If you missed Carey Perloff and Ursula Rani Sarma’s smash 2017 adaptation of Khaled Hosseini’s \u003cem>A Thousand Splendid Suns\u003c/em>, fret not. You can make up for it with this resurrection of the show, Perloff’s last hurrah at American Conservatory Theater, where she’s recently stepped down as artistic director after 26 years. Set in Afghanistan, this female-led work offers a look inside a Taliban-run Kabul through the intimate lens of a single household. It’s riveting, essential, transcendent drama, and an appropriate send-off for the woman who first ushered it onto the stage.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832483\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg\" alt=\"FURY Factory\" width=\"800\" height=\"893\" class=\"size-medium wp-image-13832483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1075x1200.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1180x1317.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-375x419.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein.jpg 1352w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FURY Factory \u003ccite>(Bob Epstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>FURY Factory\u003c/h3>\n\u003ch4>July 10–22\u003cbr>\nZ Below, NOHspace, and Joe Goode Annex (San Francisco) and The Flight Deck (Oakland)\u003cbr>\n\u003ca href=\"http://foolsfury.org/fury/furyfactory/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Every other year, experimental theater company fools FURY invites like-minded ensembles from all around the country for a festival of devised and collaborative ensemble work, which they’ve dubbed FURY Factory. Not only does FURY Factory provided opportunities for Bay Area audiences to connect with the work of such nationally-recognized companies as Pig Iron and Teatro Luna, but it ably showcases the wild diversity of Bay Area-based performance ensembles, from dance companies to clowns to the purely uncategorizable. And this year, to ensure that audiences on both sides of the Bay will get a shot at FURY, they’re expanding their programming to include Oakland’s Flight Deck as one of their venues.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832493\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg\" alt=\"Keith Hennessy in 'Crotch'\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-13832493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-798x1200.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy in ‘Crotch’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Crotch\u003c/em>\u003c/h3>\n\u003ch4>June 7–9\u003cbr>\nThe Lab, San Francisco\u003cbr>\n\u003ca href=\"https://www.thelab.org/projects/2018/6/7/keith-hennessy-crotch\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Looking for something out of the box? At The Lab, in the Mission District, San Francisco queer performance artist Keith Hennessy dusts off his Bessie award-winning \u003cem>Crotch\u003c/em> for its 10-year anniversary. A powerful and playful work that uses the German Fluxus artist/activist Joseph Beuys as a muse, and combines raw physicality, installation art, a lecture in art history and community ritual, this rare revival will inspire.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832495\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg\" alt=\"Andrew Chung and Marissa Skudlarek, 2017's Shortlived winners, performing 'All the Worlds Are Stages,' written by Ruben Gijalva & directed by Alejandro Torres. \" width=\"800\" height=\"534\" class=\"size-medium wp-image-13832495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Chung and Marissa Skudlarek, 2017’s Shortlived winners, performing ‘All the Worlds Are Stages,’ written by Ruben Gijalva & directed by Alejandro Torres. \u003ccite>(Daniel Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>PianoFight’s Shortlived VII\u003c/h3>\n\u003ch4>June 14–Aug. 25\u003cbr>\nPianoFight’s Main Stage, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-vii/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Can theater-going be as thrilling as a high-stakes sporting match? The fine folks at PianoFight think so, and they’re willing to put up $5,000 to prove it. Attendees at the seventh annual ShortLived competition Thursday-Saturday, from mid-June to the end of August, will cheer 48 competitors into the final round, where the winning play of the year walks away with a $5,000 cash prize and bragging rights for life.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832504\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg\" alt=\"Marga Gomez, who will star in 'King Of Cuba' \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13832504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez, who will star in ‘King Of Cuba’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>King of Cuba\u003c/em>\u003c/h3>\n\u003ch4>July 21–Aug. 19\u003cbr>\nBerkeley City Club, Berkeley\u003cbr>\n\u003ca href=\"http://centralworks.org/king-of-cuba/#showtab=details\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Ushering its 60th world premiere production into the public eye, 27 year-old Central Works presents an adaptation of Cristina García’s (2003) novel \u003cem>King of Cuba\u003c/em>, as adapted by García herself as part of Central Works’ Writer’s Workshop. A comedic speculation of the fate of an aging Cuban dictator, “El Comandante,” and his nemesis Goyo, who plots against him from Miami, this brash imagining stars Bay Area comedy legend Marga Gomez—and Steve Ortiz as her would-be assassin, with live percussion from Havana-born “bongocero” Carlos Caro.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832507\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AngelsSummer2-800x1200.jpg\" alt=\"Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of 'Angels in America, Part Two: Perestroika.'\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13832507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of ‘Angels in America, Part Two: Perestroika.’ \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Angels in America \u003c/em>\u003c/h3>\n\u003ch4>Through July 22\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>It may have opened in May, but Berkeley Rep’s superlative production of Tony Kushner’s barrier-breaking \u003cem>Angels in America\u003c/em> runs through July 22, making it the summer’s hottest theater pick. Consisting of two epic plays running in repertory, each around three-and-a-half hours long, \u003cem>Angels\u003c/em> is definitely a commitment, but once you start watching, you may never want it to end. In fact, it’s recommended to clear the calendar and see a marathon day of both shows back-to-back (presented mostly on Saturdays). Consider it a mini-vacation to an exotic realm.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832513\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg\" alt=\"Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in 'Seeing Red: A Time-Traveling Musical'\" width=\"800\" height=\"1143\" class=\"size-medium wp-image-13832513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-1020x1457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-840x1200.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-960x1371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-520x743.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in ‘Seeing Red: A Time-Traveling Musical’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>\u003c/h3>\n\u003ch4>Various Locations\u003cbr>\nThrough Sept. 9\u003cbr>\n\u003ca href=\"http://www.sfmt.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>This summer, declare independence from specious “Independence Day” traditions that glorify war toys and frighten your pets. Then spend a leisurely afternoon with the San Francisco Mime Troupe in Dolores Park, where they open their 59th Season with company member Rotimi Agbabiaka’s \u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>. Like Easter Sunday with the Sisters of Perpetual Indulgence, July 4 with the SFMT is an inclusive, surprisingly family-friendly reminder that the Bay Area is not Kansas, and if we wanna celebrate that most bellicose of American holidays with a comic musical about American socialism, then who’s to say we shouldn’t? (Perhaps the NEA, who pulled the Mime Troupe’s funding this season?) This year, it’s up to us to support them.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832540\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg\" alt=\"James Ijames\" width=\"800\" height=\"400\" class=\"size-medium wp-image-13832540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Ijames \u003ccite>(Kim Carson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shotgun Players’ \u003cem>White\u003c/em>\u003c/h3>\n\u003ch4>July 6–Aug. 5\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"https://goo.gl/4shmNu\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>With this West Coast premiere of Pennsylvania-based playwright James Ijames’ provocative comedy about racial identity, cultural appropriation, fine art, and what it means to challenge the gatekeepers, Shotgun Players remains committed to new works with fresh takes on hot topics. In a farce reminiscent of the \u003ca href=\"https://hyperallergic.com/131687/i-amjoe-%20scanlan/\" rel=\"noopener\" target=\"_blank\">Joe Scanlan/Donelle Woolford controversy\u003c/a> at the Whitney Biennial in 2014, \u003cem>White\u003c/em> imagines a scenario in which rising artist Gus (Adam Donovan), a white man, hires Vanessa (Santoya Fields), a black woman, to pretend to be the artist behind his work so he can get into a museum exhibition. What happens next surprises even them, and certainly the audience.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Vietgone\u003c/em> is Qui Nguyen’s comedy drama about Vietnamese refugees arriving in the US after the fall of Saigon. The play hilariously mocks U.S. culture, with the American characters speaking a pidgin-English loaded with words like “cheeseburger” and “yee-haw.” The Vietnamese characters, which Nguyen says are sort-of based on his refugee parents, tell their stories in rap. The rapping works beautifully sometimes, and then feels contrived and cliched at others. But at its best, \u003cem>Vietgone\u003c/em> offers real insights into the way these patriotic South Vietnamese lost everything when they fled their country, and their struggles to rebuild their lives in the U.S. \u003c/p>\n\u003cp>\u003cem>Vietgone\u003c/em> continues through April 29 at the Strand Theater in San Francisco.\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/vietgone.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13828202\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg\" alt=\"Members of the cast of 'Vietgone' at ACT's Strand Theater\" width=\"576\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-520x346.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Members of the cast of ‘Vietgone’ at ACT’s Strand Theater \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Vietgone\u003c/em> is Qui Nguyen’s comedy drama about Vietnamese refugees arriving in the US after the fall of Saigon. The play hilariously mocks U.S. culture, with the American characters speaking a pidgin-English loaded with words like “cheeseburger” and “yee-haw.” The Vietnamese characters, which Nguyen says are sort-of based on his refugee parents, tell their stories in rap. The rapping works beautifully sometimes, and then feels contrived and cliched at others. But at its best, \u003cem>Vietgone\u003c/em> offers real insights into the way these patriotic South Vietnamese lost everything when they fled their country, and their struggles to rebuild their lives in the U.S. \u003c/p>\n\u003cp>\u003cem>Vietgone\u003c/em> continues through April 29 at the Strand Theater in San Francisco.\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/vietgone.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13828202\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg\" alt=\"Members of the cast of 'Vietgone' at ACT's Strand Theater\" width=\"576\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-520x346.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Members of the cast of ‘Vietgone’ at ACT’s Strand Theater \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "ACT's 'Vietgone' Lands Somewhere Between Brilliant and Awful",
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"content": "\u003cp>Two months ago during the intermission of Star Finch’s terrific \u003cem>Bondage\u003c/em>, I spent fifteen absurd minutes with three random theatergoers parsing and debating the meaning of the title of Qui Nguyen’s \u003cem>Vietgone\u003c/em>, the new play receiving its Bay Area premiere under Jaime Casteneda’s lively direction at ACT’s Strand Theater.\u003c/p>\n\u003cp>I thought the title was an obvious, straightforward reference to the fall of Saigon and the plight of South Vietnamese refugees; a woman wearing a fox fur boa thought it was a clever pun on the Vietcong. “Too clever,” countered a balding gentleman in a plaid jacket, only to be counter-countered by a full-bearded fellow in a black cowboy hat and rhinestone boots. He claimed that all our interpretations “could be subsumed under the playwright’s obvious allusion to Sophocles’ \u003cem>Antigone \u003c/em>and that the play was probably about burying the dead, exile, the proper way to mourn the loss of family, country, and a way of life.”\u003c/p>\n\u003cfigure id=\"attachment_13827086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg\" alt=\"(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We all nodded in unison. “Impressive,” baldy in plaid murmured. “Well, whatever it means,” fox fur added, “It must have been agony.” Laughing at her witticism, the house manager ushered us in for the second act. It says a great deal about Nguyen’s roving imagination that everything we said was true, though none of us could have guessed how terrific and awful \u003cem>Vietgone\u003c/em> would be, perhaps the most unbalanced play in terms of quality I’ve seen in some time — or ever for that matter.\u003c/p>\n\u003cp>At his best, Nguyen has written a haunting, neo-Brechtian, rap-infused epic that follows party girl Tong and family man-fighter pilot Quang (a brilliant James Seol) as they escape Saigon, end up in a refugee camp in Arkansas, and discover just how vast America is. That it all ends at a dining room table in 2015 is a wonderful demonstration of how every epic takes us home, even when returning home is an impossibility.\u003c/p>\n\u003cp>Nguyen catches the richness and imperfection of Tong and Quang’s lives in Saigon. Tong is resisting the repeated proposals of the hapless fellow she’s sleeping with from time to time, desperate to escape the expectations of her family to marry and settle down. And Quang is certain of South Vietnamese victory (with American help) or at least not sudden defeat, while yearning to see his young children. When his wife visits him without bringing his son and daughter, he’s devastated, already a ghost to his own life.\u003c/p>\n\u003cfigure id=\"attachment_13827087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg\" alt=\"Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173.jpg 1361w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neither of these two ordinary people are ready for the Vietcong’s victory. Through no fault of their own they’re catapulted out of one world and into another uncertain American one — Tong with her disapproving mother and Quang with his best friend Nhan. \u003cem>Vietgone\u003c/em> is deadly effective when it’s at its simplest, just people talking to one another about what they care for and what they’ve lost. And Quang and Tong’s hip-hop soliloquies are a perfect example of this.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1975 hip-hop was just a glimmer in the Sugarhill Gang’s collective unconscious. Nguyen’s ahistorical redeployment of the form is a lovely kind of cultural appropriation before the fact. When you hear Tong and Quang rap to Shammy Dee’s haunting minor key score, you understand how rapping is a solace to all those who are dispossessed and angry. At moments like these you can’t deny that \u003cem>Vietgone\u003c/em> possesses a kind of conceptual genius, and that Nguyen has found or reinvigorated a more fluid and expressive form of playwriting than we’re used to in the American theater.\u003c/p>\n\u003cp>So here’s the damning, sad fact of it all. In the midst of all this brilliance is some truly dreadful writing — weak-minded parodies, sitcom tripe, and post-modern juvenilia. The play begins with the playwright (one of the actors playing Nguyen) laying out the rules of the play. It’s the type of postmodern knowingness and false experimentalism that masks what essentially is a conservative and retrograde impulse: let me lead you by the hand so you do not have to think.\u003c/p>\n\u003cfigure id=\"attachment_13827088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827088\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg\" alt=\"(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life.\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than slip into the subtleties of a complex world, the play too often panders to our supposed ignorance and disinterest. Tong’s mother is drawn in such broad, unrealistic strokes that the only way Cindy Im can play her is to wallow in the worst kind of comic shtick. She’s not so much a character as a series of gimmicks and many of her scenes cripple the play’s delicate sense of reality.\u003c/p>\n\u003cp>In not trusting the audience to understand what’s before them, you can sense Nguyen losing trust in his material. In the second act he relies on a series of movie parodies to both move along and comment on the action. Every one of them is a disaster of nonsense, from a montage of rom-com classics (\u003cem>Say Anything\u003c/em>, \u003cem>Ghost\u003c/em>) to a \u003cem>Kill Bill\u003c/em> fight sequence that only serves to remind you what a dedicated and precise artist Quentin Tarantino is.\u003c/p>\n\u003cp>But then there’s the last scene, where the fictionalized playwright Nguyen, who turns out to be Quang’s son, interviews his father. It’s a lovely, funny, and searching conversation that in many ways is a rebuke to Nguyen’s lack of artistic discipline. Hectoring his father to tell him the truth of the Vietnam war, or at least the truth a young liberal artist would want to hear, Quang sets him straight, both politically (“When America come [to fight], they gave us hope”) and artistically — “Stick to writing funny plays, son, this stuff too sad for old man like me to recount just to help you write another war story.”\u003c/p>\n\u003cfigure id=\"attachment_13827092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg\" alt=\"Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac).\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac). \u003ccite>(Pho0to: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sharp critique from a fictional father to a fictional son of Nguyen’s own making, and real advice that the real Nguyen should have heeded.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>‘Vietgone’ runs through Sunday, April 22, at the Strand Theater in San Francisco. For tickets and information click \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A mix of war, motorcycles and hip-hop adds up to one of the most unbalanced plays in recent memory.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two months ago during the intermission of Star Finch’s terrific \u003cem>Bondage\u003c/em>, I spent fifteen absurd minutes with three random theatergoers parsing and debating the meaning of the title of Qui Nguyen’s \u003cem>Vietgone\u003c/em>, the new play receiving its Bay Area premiere under Jaime Casteneda’s lively direction at ACT’s Strand Theater.\u003c/p>\n\u003cp>I thought the title was an obvious, straightforward reference to the fall of Saigon and the plight of South Vietnamese refugees; a woman wearing a fox fur boa thought it was a clever pun on the Vietcong. “Too clever,” countered a balding gentleman in a plaid jacket, only to be counter-countered by a full-bearded fellow in a black cowboy hat and rhinestone boots. He claimed that all our interpretations “could be subsumed under the playwright’s obvious allusion to Sophocles’ \u003cem>Antigone \u003c/em>and that the play was probably about burying the dead, exile, the proper way to mourn the loss of family, country, and a way of life.”\u003c/p>\n\u003cfigure id=\"attachment_13827086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg\" alt=\"(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We all nodded in unison. “Impressive,” baldy in plaid murmured. “Well, whatever it means,” fox fur added, “It must have been agony.” Laughing at her witticism, the house manager ushered us in for the second act. It says a great deal about Nguyen’s roving imagination that everything we said was true, though none of us could have guessed how terrific and awful \u003cem>Vietgone\u003c/em> would be, perhaps the most unbalanced play in terms of quality I’ve seen in some time — or ever for that matter.\u003c/p>\n\u003cp>At his best, Nguyen has written a haunting, neo-Brechtian, rap-infused epic that follows party girl Tong and family man-fighter pilot Quang (a brilliant James Seol) as they escape Saigon, end up in a refugee camp in Arkansas, and discover just how vast America is. That it all ends at a dining room table in 2015 is a wonderful demonstration of how every epic takes us home, even when returning home is an impossibility.\u003c/p>\n\u003cp>Nguyen catches the richness and imperfection of Tong and Quang’s lives in Saigon. Tong is resisting the repeated proposals of the hapless fellow she’s sleeping with from time to time, desperate to escape the expectations of her family to marry and settle down. And Quang is certain of South Vietnamese victory (with American help) or at least not sudden defeat, while yearning to see his young children. When his wife visits him without bringing his son and daughter, he’s devastated, already a ghost to his own life.\u003c/p>\n\u003cfigure id=\"attachment_13827087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg\" alt=\"Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173.jpg 1361w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neither of these two ordinary people are ready for the Vietcong’s victory. Through no fault of their own they’re catapulted out of one world and into another uncertain American one — Tong with her disapproving mother and Quang with his best friend Nhan. \u003cem>Vietgone\u003c/em> is deadly effective when it’s at its simplest, just people talking to one another about what they care for and what they’ve lost. And Quang and Tong’s hip-hop soliloquies are a perfect example of this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1975 hip-hop was just a glimmer in the Sugarhill Gang’s collective unconscious. Nguyen’s ahistorical redeployment of the form is a lovely kind of cultural appropriation before the fact. When you hear Tong and Quang rap to Shammy Dee’s haunting minor key score, you understand how rapping is a solace to all those who are dispossessed and angry. At moments like these you can’t deny that \u003cem>Vietgone\u003c/em> possesses a kind of conceptual genius, and that Nguyen has found or reinvigorated a more fluid and expressive form of playwriting than we’re used to in the American theater.\u003c/p>\n\u003cp>So here’s the damning, sad fact of it all. In the midst of all this brilliance is some truly dreadful writing — weak-minded parodies, sitcom tripe, and post-modern juvenilia. The play begins with the playwright (one of the actors playing Nguyen) laying out the rules of the play. It’s the type of postmodern knowingness and false experimentalism that masks what essentially is a conservative and retrograde impulse: let me lead you by the hand so you do not have to think.\u003c/p>\n\u003cfigure id=\"attachment_13827088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827088\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg\" alt=\"(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life.\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than slip into the subtleties of a complex world, the play too often panders to our supposed ignorance and disinterest. Tong’s mother is drawn in such broad, unrealistic strokes that the only way Cindy Im can play her is to wallow in the worst kind of comic shtick. She’s not so much a character as a series of gimmicks and many of her scenes cripple the play’s delicate sense of reality.\u003c/p>\n\u003cp>In not trusting the audience to understand what’s before them, you can sense Nguyen losing trust in his material. In the second act he relies on a series of movie parodies to both move along and comment on the action. Every one of them is a disaster of nonsense, from a montage of rom-com classics (\u003cem>Say Anything\u003c/em>, \u003cem>Ghost\u003c/em>) to a \u003cem>Kill Bill\u003c/em> fight sequence that only serves to remind you what a dedicated and precise artist Quentin Tarantino is.\u003c/p>\n\u003cp>But then there’s the last scene, where the fictionalized playwright Nguyen, who turns out to be Quang’s son, interviews his father. It’s a lovely, funny, and searching conversation that in many ways is a rebuke to Nguyen’s lack of artistic discipline. Hectoring his father to tell him the truth of the Vietnam war, or at least the truth a young liberal artist would want to hear, Quang sets him straight, both politically (“When America come [to fight], they gave us hope”) and artistically — “Stick to writing funny plays, son, this stuff too sad for old man like me to recount just to help you write another war story.”\u003c/p>\n\u003cfigure id=\"attachment_13827092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg\" alt=\"Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac).\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac). \u003ccite>(Pho0to: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sharp critique from a fictional father to a fictional son of Nguyen’s own making, and real advice that the real Nguyen should have heeded.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>‘Vietgone’ runs through Sunday, April 22, at the Strand Theater in San Francisco. For tickets and information click \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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