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"content": "\u003cp>The U.S. theater world is seeing \u003ca href=\"https://ww2.kqed.org/arts/2017/01/31/berkeley-rep-artistic-director-tony-taccone-announces-departure/\" rel=\"noopener\" target=\"_blank\">widespread changes\u003c/a> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/23/pam-mackinnon-named-new-artistic-director-for-act/\" rel=\"noopener\" target=\"_blank\">in leadership\u003c/a>, and Bay Area theater professionals tracking the development say it’s an opportune time for theater companies to diversify.\u003c/p>\n\u003cp>A database started informally in 2015 by director Rebecca Novick \u003ca href=\"https://docs.google.com/spreadsheets/d/1J-OnNvSwaA0oh2olzuodjKQgU1uIGHyhEXAPeCO7IAQ/htmlview#\" rel=\"noopener\" target=\"_blank\">currently shows\u003c/a> 21 artistic director positions open, all at theaters around the country with budgets over $1 million. Only two of the outgoing directors at those theaters were women, and another two were persons of color. None of them were women of color.\u003c/p>\n\u003cp>“It’s disgusting,” Novick said. “I know at least 15 women of color that could apply for those positions.” \u003c/p>\n\u003cfigure id=\"attachment_13825165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/TheaterDatabase-800x351.jpg\" alt=\"A graph charting incoming and outgoing artistic directors at theaters across the U.S., from the 'American Theater Leadership Change' Google spreadsheet.\" width=\"800\" height=\"351\" class=\"size-medium wp-image-13825165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-800x351.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-768x337.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-1020x448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-960x422.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-240x105.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-520x228.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A graph charting incoming and outgoing artistic directors at theaters across the U.S., from the ‘American Theater Leadership Change’ Google spreadsheet.\u003c/figcaption>\u003c/figure>\n\u003cp>Novick says that now is the perfect time for these institutions to make changes for the better as the theater world undergoes “a giant generational shift.” Dozens of important theater positions have opened up since 2015, and many of those departing had held them for 20-30 years.\u003c/p>\n\u003cp>“These are jobs that don’t turn over frequently, and there’s never been a moment where so many turned over at once,” Novick said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Novick said she started the database in September, when she noticed more and more artistic and executive director positions open up. Thinking it would be smart to track developments on these positions, she started a Google spreadsheet and made it available to the public. Later, when the data became unwieldy, she brought in help from Evren Odcikin and Lia Kozatch to trim it down.\u003c/p>\n\u003cp>At first, the data showed incremental progress. In general, more women and people of color were hired for director-level positions; the American Theater Company in Chicago even hired a non-gender-conforming director.\u003c/p>\n\u003cfigure id=\"attachment_13825145\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-800x1202.jpg\" alt=\"Evren Odcikin\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-13825145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-520x781.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evren Odcikin. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the narrative changed when they broke down theater organizations by budget. All of the shift in diversity had occurred among the smaller theaters, and not those with budgets over $1 million. \u003c/p>\n\u003cp>“I’m sorry to say that I’m not surprised,” Novick said. “The theater has not been an easy place to be a woman or a person of color. In that kind of hostile environment, it’s harder to rise.”\u003c/p>\n\u003cp>There’s no clear answer as to why such lack of diversity persists at the upper levels of theater management. Novick feels the reason lies with the board members in charge of those institutions. Odcikin suggested that increasing diversity might not be a priority for them.\u003c/p>\n\u003cp>“We have a tendency to talk about diversity like it’s charity, which is false,” Odcikin said. “It’s actually about quality and relevance. The most important work being made right now is being made by women, people of color and non-gender conforming artists.”\u003c/p>\n\u003cp>Staying relevant to their communities is how theaters stick around, Novick added. \u003c/p>\n\u003cp>“It’s a do-or-die moment for American theater,” Novick said. “I don’t think I’m exaggerating when I say that either these institutions are going to make leadership choices that help them stay relevant, or they’ll be playing to shrinking houses.”\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>\u003ci>View the American Theater Leadership Change spreadsheet \u003ca href=\"https://docs.google.com/spreadsheets/d/1J-OnNvSwaA0oh2olzuodjKQgU1uIGHyhEXAPeCO7IAQ/htmlview#\" rel=\"noopener\" target=\"_blank\">here.\u003c/a>\u003c/i> \u003c/p>\n\n",
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"excerpt": "A database of U.S. theater companies shows dozens of open leadership positions over the past three years, signaling an opportunity for generational change.",
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"title": "Database Shows Time to Diversify Theater Leadership is Now | KQED",
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"headline": "Database Shows Time to Diversify Theater Leadership is Now",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The U.S. theater world is seeing \u003ca href=\"https://ww2.kqed.org/arts/2017/01/31/berkeley-rep-artistic-director-tony-taccone-announces-departure/\" rel=\"noopener\" target=\"_blank\">widespread changes\u003c/a> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/23/pam-mackinnon-named-new-artistic-director-for-act/\" rel=\"noopener\" target=\"_blank\">in leadership\u003c/a>, and Bay Area theater professionals tracking the development say it’s an opportune time for theater companies to diversify.\u003c/p>\n\u003cp>A database started informally in 2015 by director Rebecca Novick \u003ca href=\"https://docs.google.com/spreadsheets/d/1J-OnNvSwaA0oh2olzuodjKQgU1uIGHyhEXAPeCO7IAQ/htmlview#\" rel=\"noopener\" target=\"_blank\">currently shows\u003c/a> 21 artistic director positions open, all at theaters around the country with budgets over $1 million. Only two of the outgoing directors at those theaters were women, and another two were persons of color. None of them were women of color.\u003c/p>\n\u003cp>“It’s disgusting,” Novick said. “I know at least 15 women of color that could apply for those positions.” \u003c/p>\n\u003cfigure id=\"attachment_13825165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/TheaterDatabase-800x351.jpg\" alt=\"A graph charting incoming and outgoing artistic directors at theaters across the U.S., from the 'American Theater Leadership Change' Google spreadsheet.\" width=\"800\" height=\"351\" class=\"size-medium wp-image-13825165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-800x351.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-768x337.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-1020x448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-960x422.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-240x105.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase-520x228.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/TheaterDatabase.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A graph charting incoming and outgoing artistic directors at theaters across the U.S., from the ‘American Theater Leadership Change’ Google spreadsheet.\u003c/figcaption>\u003c/figure>\n\u003cp>Novick says that now is the perfect time for these institutions to make changes for the better as the theater world undergoes “a giant generational shift.” Dozens of important theater positions have opened up since 2015, and many of those departing had held them for 20-30 years.\u003c/p>\n\u003cp>“These are jobs that don’t turn over frequently, and there’s never been a moment where so many turned over at once,” Novick said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Novick said she started the database in September, when she noticed more and more artistic and executive director positions open up. Thinking it would be smart to track developments on these positions, she started a Google spreadsheet and made it available to the public. Later, when the data became unwieldy, she brought in help from Evren Odcikin and Lia Kozatch to trim it down.\u003c/p>\n\u003cp>At first, the data showed incremental progress. In general, more women and people of color were hired for director-level positions; the American Theater Company in Chicago even hired a non-gender-conforming director.\u003c/p>\n\u003cfigure id=\"attachment_13825145\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-800x1202.jpg\" alt=\"Evren Odcikin\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-13825145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1-520x781.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/OdcikinBerne-1.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evren Odcikin. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the narrative changed when they broke down theater organizations by budget. All of the shift in diversity had occurred among the smaller theaters, and not those with budgets over $1 million. \u003c/p>\n\u003cp>“I’m sorry to say that I’m not surprised,” Novick said. “The theater has not been an easy place to be a woman or a person of color. In that kind of hostile environment, it’s harder to rise.”\u003c/p>\n\u003cp>There’s no clear answer as to why such lack of diversity persists at the upper levels of theater management. Novick feels the reason lies with the board members in charge of those institutions. Odcikin suggested that increasing diversity might not be a priority for them.\u003c/p>\n\u003cp>“We have a tendency to talk about diversity like it’s charity, which is false,” Odcikin said. “It’s actually about quality and relevance. The most important work being made right now is being made by women, people of color and non-gender conforming artists.”\u003c/p>\n\u003cp>Staying relevant to their communities is how theaters stick around, Novick added. \u003c/p>\n\u003cp>“It’s a do-or-die moment for American theater,” Novick said. “I don’t think I’m exaggerating when I say that either these institutions are going to make leadership choices that help them stay relevant, or they’ll be playing to shrinking houses.”\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>\u003ci>View the American Theater Leadership Change spreadsheet \u003ca href=\"https://docs.google.com/spreadsheets/d/1J-OnNvSwaA0oh2olzuodjKQgU1uIGHyhEXAPeCO7IAQ/htmlview#\" rel=\"noopener\" target=\"_blank\">here.\u003c/a>\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Mysteries of Harold Pinter's 'Birthday Party' Change Over Time",
"headTitle": "The Mysteries of Harold Pinter’s ‘Birthday Party’ Change Over Time | KQED",
"content": "\u003cp>Harold Pinter’s \u003cem>The Birthday Party\u003c/em>, receiving a slick and professional production at the \u003ca href=\"http://www.act-sf.org\">American Conservatory Theater\u003c/a> under Carey Perloff’s direction through Feb. 4, is a curious cultural artifact. Premiering at the Cambridge Arts Theater in 1958, the play snaked its way to a London opening that turned into one of those disastrous cause célèbres that artists can only dream of.\u003c/p>\n\u003cp>Closing after eight performances to dismissive reviews, the play’s reputation was buoyed and bolstered by Harold Hobson’s after-closing take in \u003cem>The Sunday Times\u003c/em>, proclaiming that Pinter “possesses the most original, disturbing and arresting talent in theatrical London.” By 1960, \u003cem>The Birthday Party\u003c/em> was broadcast on British television to great acclaim, and Pinter was well on his way to major playwright status and a \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2005/\">Stockholm christening\u003c/a>.\u003c/p>\n\u003cp>Pinter was the revolution that mid-century audiences wanted — and for almost 60 years he, along with Samuel Beckett, has stood for an ongoing theatrical revolt against conventional meaning. \u003cem>The Birthday Party\u003c/em> is a wonderful, early career case for how simple and allusive his plays can be.\u003c/p>\n\u003cfigure id=\"attachment_13819731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-800x451.jpg\" alt=\"Be careful what gifts you accept Stanley (Firdous Bamji), even if they're from your landlady Peg (Judith Ivey). Everything's dangerous in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Be careful what gifts you accept, Stanley (Firdous Bamji), even if they’re from your landlady Peg (Judith Ivey). Everything’s dangerous in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stanley Webber (played by Firdous Bamji), a former pianist who is wasting away his days at a decaying, seaside boarding house, suddenly finds himself subject to an investigation by a couple of maybe-gangsters — McCann and Goldberg (Marco Barricelli and Scott Wentworth). And to top it off, they and his elderly landlady Meg (Judith Ivey), who’s more than a little smitten with Stanley, are intent on throwing him an unwanted birthday party.\u003c/p>\n\u003cp>The play comes to a rather violent conclusion, though not a particularly enlightening one. We never know what’s motivating these characters, though they all seem terrified of unknown forces, even the villains. And so we might ask in these tense times, where many of us dream of political, aesthetic, and cultural change, just what the value is of Pinter’s assault on sense.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As strangely as the play ends, its beginning is rooted in a rather mundane realism. You can feel the stench of the everyday in the boarding house of Meg and her husband Petey (Dan Hiatt); cornflakes, newspapers, moldy tea, fried bread. It’s a stultifying scene and one any sensible person would try to escape.\u003c/p>\n\u003cfigure id=\"attachment_13819736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-800x452.jpg\" alt=\"Petey (Dan Hiatt) and Meg (Judith Ivey) go through the breakfast routine in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petey (Dan Hiatt) and Meg (Judith Ivey) go through the breakfast routine in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here is the British drawing-room farce gone to seed, the implosion of the delicate, domestic dramas of Terrance Rattigan, and the advent of mysteries that Agatha Christie (whose \u003ca href=\"https://en.wikipedia.org/wiki/The_Mousetrap\">\u003cem>Mousetrap\u003c/em>\u003c/a> was already up and running in 1958, and raking in the dough) could never solve. Pinter has his eye on the cosmic and the unanswerable, but he starts in the dirt, and that’s always promising.\u003c/p>\n\u003cp>Perloff’s production trades in the initial grime for a dithering cuteness. Nina Ball’s set is a little too clean and unworn for what Pinter’s after, and Judith Ivey’s Meg too much of a winning performance. She’s absolutely expert in her delivery, but she misses what the script calls for: Meg’s disgusting personification of her environment, a seedy slattern on the make who can’t keep her hands off her one boarder. There’s a nasty edge to Pinter’s work that the ACT production dulls at the onset. Why produce \u003cem>The Birthday Party\u003c/em> if you aren’t going to wallow with the pigs?\u003c/p>\n\u003cp>And yet there are pleasures to be had with both play and production: longtime ACT stalwart Marco Barricelli and a dandy Scott Wentworth make for a terrific McCann and Goldberg, especially in the play’s rousing second act that ends in the birthday party Stanley wishes to avoid.\u003c/p>\n\u003cfigure id=\"attachment_13819733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-800x450.jpg\" alt=\"McCann (Marco Barricelli) and Goldberg (Scott Wentworth) give Stanley (Firdou Bamji) the once over in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">McCann (Marco Barricelli) and Goldberg (Scott Wentworth) give Stanley (Firdou Bamji) the once-over in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watch the way Barricelli sings McCann’s Irish love song, or methodically tears a newspaper to pieces, or tries to think. The actions (both of character and actor) are so specific and self-contained that they possess a sense of reason and logic. We don’t worry about what we don’t understand — like Meg and Petey’s cheap decor, we simply accept the overwhelming reality before us.\u003c/p>\n\u003cp>One can get lost in the joy that Wentworth’s Goldberg takes in playing both psychological and actual games. He practically waltzes through a round of Blind Man’s Bluff, while simultaneously torturing Stanley and seducing a young woman. His eyes are a riot of childish opportunities, as if the holiday spirit had taken a shine to evil. Whatever his motives, he’s dazzlingly alive, and there’s nothing meaningless about that.\u003c/p>\n\u003cp>Faced with precise action and an abundance of detail, we can accept a world filled with unexplained mysteries. It’s when that loss of sense becomes an idea, a philosophical stance, or worse, an aesthetic style that we should revolt and ask real questions. It’s not surprising that McCann and Goldberg reduce Stanley to a grunting, spastic mute; the problem is that the play rushes and forces its way to that conclusion.\u003c/p>\n\u003cfigure id=\"attachment_13819734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-800x450.jpg\" alt=\"Goldberg (Scott Wentworth) dances around Peg (Judith Ivey) with the spirit of the devil in his eye during a game of Blind Man's Bluff in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goldberg (Scott Wentworth) dances around Peg (Judith Ivey) with the spirit of the devil in his eye during a game of Blind Man’s Bluff in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the third act, Pinter rejects the richness and precision of the first two, and indulges in a surface absurdity that actively eschews sense. Whatever was motivating these characters (and I’m not saying we need to know) is lost to a series of arbitrary and random stabs at high style absurdist drivel. The whole thing collapses far before Stanley does.\u003c/p>\n\u003cp>A less reverential production, such as \u003ca href=\"https://www.nytimes.com/2016/02/13/theater/review-the-room-a-pinter-play-that-wont-be-onstage-for-long.html\">The Wooster Group’s\u003c/a> take on Pinter’s \u003cem>The Room\u003c/em>, might have found a more potent third-act solution. Instead, what we get here are the limits of illogic and the remains of a 60-year revolution. It’s a fine enough presentation as the status quo goes, but you just feel there’s so much more to be had — in the world, and in Pinter.\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>\u003cem>The Birthday Party\u003c/em> runs through Sunday, Feb. 4 at the Geary Theater in San Francisco. For tickets and information, \u003ca href=\"http://www.act-sf.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Revolutionary in 1958, the play receives a clean, professional production at A.C.T. under the direction of Carey Perloff, and means something entirely different in 2017.",
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"description": "Revolutionary in 1958, the play receives a clean, professional production at A.C.T. under the direction of Carey Perloff, and means something entirely different in 2017.",
"title": "The Mysteries of Harold Pinter's 'Birthday Party' Change Over Time | KQED",
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"headline": "The Mysteries of Harold Pinter's 'Birthday Party' Change Over Time",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harold Pinter’s \u003cem>The Birthday Party\u003c/em>, receiving a slick and professional production at the \u003ca href=\"http://www.act-sf.org\">American Conservatory Theater\u003c/a> under Carey Perloff’s direction through Feb. 4, is a curious cultural artifact. Premiering at the Cambridge Arts Theater in 1958, the play snaked its way to a London opening that turned into one of those disastrous cause célèbres that artists can only dream of.\u003c/p>\n\u003cp>Closing after eight performances to dismissive reviews, the play’s reputation was buoyed and bolstered by Harold Hobson’s after-closing take in \u003cem>The Sunday Times\u003c/em>, proclaiming that Pinter “possesses the most original, disturbing and arresting talent in theatrical London.” By 1960, \u003cem>The Birthday Party\u003c/em> was broadcast on British television to great acclaim, and Pinter was well on his way to major playwright status and a \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2005/\">Stockholm christening\u003c/a>.\u003c/p>\n\u003cp>Pinter was the revolution that mid-century audiences wanted — and for almost 60 years he, along with Samuel Beckett, has stood for an ongoing theatrical revolt against conventional meaning. \u003cem>The Birthday Party\u003c/em> is a wonderful, early career case for how simple and allusive his plays can be.\u003c/p>\n\u003cfigure id=\"attachment_13819731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-800x451.jpg\" alt=\"Be careful what gifts you accept Stanley (Firdous Bamji), even if they're from your landlady Peg (Judith Ivey). Everything's dangerous in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Be careful what gifts you accept, Stanley (Firdous Bamji), even if they’re from your landlady Peg (Judith Ivey). Everything’s dangerous in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stanley Webber (played by Firdous Bamji), a former pianist who is wasting away his days at a decaying, seaside boarding house, suddenly finds himself subject to an investigation by a couple of maybe-gangsters — McCann and Goldberg (Marco Barricelli and Scott Wentworth). And to top it off, they and his elderly landlady Meg (Judith Ivey), who’s more than a little smitten with Stanley, are intent on throwing him an unwanted birthday party.\u003c/p>\n\u003cp>The play comes to a rather violent conclusion, though not a particularly enlightening one. We never know what’s motivating these characters, though they all seem terrified of unknown forces, even the villains. And so we might ask in these tense times, where many of us dream of political, aesthetic, and cultural change, just what the value is of Pinter’s assault on sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As strangely as the play ends, its beginning is rooted in a rather mundane realism. You can feel the stench of the everyday in the boarding house of Meg and her husband Petey (Dan Hiatt); cornflakes, newspapers, moldy tea, fried bread. It’s a stultifying scene and one any sensible person would try to escape.\u003c/p>\n\u003cfigure id=\"attachment_13819736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-800x452.jpg\" alt=\"Petey (Dan Hiatt) and Meg (Judith Ivey) go through the breakfast routine in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petey (Dan Hiatt) and Meg (Judith Ivey) go through the breakfast routine in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here is the British drawing-room farce gone to seed, the implosion of the delicate, domestic dramas of Terrance Rattigan, and the advent of mysteries that Agatha Christie (whose \u003ca href=\"https://en.wikipedia.org/wiki/The_Mousetrap\">\u003cem>Mousetrap\u003c/em>\u003c/a> was already up and running in 1958, and raking in the dough) could never solve. Pinter has his eye on the cosmic and the unanswerable, but he starts in the dirt, and that’s always promising.\u003c/p>\n\u003cp>Perloff’s production trades in the initial grime for a dithering cuteness. Nina Ball’s set is a little too clean and unworn for what Pinter’s after, and Judith Ivey’s Meg too much of a winning performance. She’s absolutely expert in her delivery, but she misses what the script calls for: Meg’s disgusting personification of her environment, a seedy slattern on the make who can’t keep her hands off her one boarder. There’s a nasty edge to Pinter’s work that the ACT production dulls at the onset. Why produce \u003cem>The Birthday Party\u003c/em> if you aren’t going to wallow with the pigs?\u003c/p>\n\u003cp>And yet there are pleasures to be had with both play and production: longtime ACT stalwart Marco Barricelli and a dandy Scott Wentworth make for a terrific McCann and Goldberg, especially in the play’s rousing second act that ends in the birthday party Stanley wishes to avoid.\u003c/p>\n\u003cfigure id=\"attachment_13819733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-800x450.jpg\" alt=\"McCann (Marco Barricelli) and Goldberg (Scott Wentworth) give Stanley (Firdou Bamji) the once over in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">McCann (Marco Barricelli) and Goldberg (Scott Wentworth) give Stanley (Firdou Bamji) the once-over in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watch the way Barricelli sings McCann’s Irish love song, or methodically tears a newspaper to pieces, or tries to think. The actions (both of character and actor) are so specific and self-contained that they possess a sense of reason and logic. We don’t worry about what we don’t understand — like Meg and Petey’s cheap decor, we simply accept the overwhelming reality before us.\u003c/p>\n\u003cp>One can get lost in the joy that Wentworth’s Goldberg takes in playing both psychological and actual games. He practically waltzes through a round of Blind Man’s Bluff, while simultaneously torturing Stanley and seducing a young woman. His eyes are a riot of childish opportunities, as if the holiday spirit had taken a shine to evil. Whatever his motives, he’s dazzlingly alive, and there’s nothing meaningless about that.\u003c/p>\n\u003cp>Faced with precise action and an abundance of detail, we can accept a world filled with unexplained mysteries. It’s when that loss of sense becomes an idea, a philosophical stance, or worse, an aesthetic style that we should revolt and ask real questions. It’s not surprising that McCann and Goldberg reduce Stanley to a grunting, spastic mute; the problem is that the play rushes and forces its way to that conclusion.\u003c/p>\n\u003cfigure id=\"attachment_13819734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-800x450.jpg\" alt=\"Goldberg (Scott Wentworth) dances around Peg (Judith Ivey) with the spirit of the devil in his eye during a game of Blind Man's Bluff in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goldberg (Scott Wentworth) dances around Peg (Judith Ivey) with the spirit of the devil in his eye during a game of Blind Man’s Bluff in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the third act, Pinter rejects the richness and precision of the first two, and indulges in a surface absurdity that actively eschews sense. Whatever was motivating these characters (and I’m not saying we need to know) is lost to a series of arbitrary and random stabs at high style absurdist drivel. The whole thing collapses far before Stanley does.\u003c/p>\n\u003cp>A less reverential production, such as \u003ca href=\"https://www.nytimes.com/2016/02/13/theater/review-the-room-a-pinter-play-that-wont-be-onstage-for-long.html\">The Wooster Group’s\u003c/a> take on Pinter’s \u003cem>The Room\u003c/em>, might have found a more potent third-act solution. Instead, what we get here are the limits of illogic and the remains of a 60-year revolution. It’s a fine enough presentation as the status quo goes, but you just feel there’s so much more to be had — in the world, and in Pinter.\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>\u003cem>The Birthday Party\u003c/em> runs through Sunday, Feb. 4 at the Geary Theater in San Francisco. For tickets and information, \u003ca href=\"http://www.act-sf.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, the American Conservatory Theater (A.C.T.) hired a new artistic director. Pam MacKinnon comes to San Francisco with a slew of Broadway credits and accolades — including a Tony Award — to her name. KQED caught up with her at A.C.T.’s office in downtown San Francisco the day after the appointment was announced to find out more about the director’s vision for the Bay Area’s flagship theater company.\u003c/p>\n\u003cp>[contextly_sidebar id=”YzUpb1ornxz5VYDAJVqoKH6hyNZxQ5u5″]\u003c/p>\n\u003cp>\u003cstrong> You have a powerful career in New York with many Broadway credits. Why does coming to San Francisco seem like a good career move for you at this stage?\u003c/strong>\u003c/p>\n\u003cp>I’ve always been a freelance director. I’ve never been attached to an institution and I’ve thought about it for a number of years. When the opportunity at A.C.T. came up, it struck me as an interesting thing to pursue because I am very interested in moving beyond simply thinking about my own work. I want to continue my own work, but I don’t want that to simply be what I do. I want to have the opportunity to think beyond my own rehearsal hall, to make marriages with great artists, to think about social justice, to become a more politically engaged person in a community as an artist telling stories. That’s what an institution can afford.\u003c/p>\n\u003cp>\u003cstrong>But why A.C.T.? Why San Francisco? A lot of people consider this to be a bit of a theatrical backwater.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oh, I don’t consider it a backwater at all. There are so many smaller companies in addition to A.C.T. — Berkeley Rep and TheatreWorks that are producing great work, work with playwrights that I feel very close to. And it’s a scene that’s on the rise. A.C.T. is part of that. A.C.T. is also a flagship regional theater with an incredible 50-year-plus history. It has the Geary Theater, which is that traditional, big-bones, “Broadway” house that I’ve been directing in these last six years with my Broadway career. So that feels like a home base. That’s something that I continue to want to explore. What are the stories for those big rooms? And then to also have these smaller, newer spaces at the Strand, which are just ripe with potential. And how do those spaces all then talk to each other? It feels like a very exciting time for this theater and San Francisco.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Acceptance Speech: Pam MacKinnon (2013)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IN16XLBwFTk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What would you say are your two or three biggest priorities?\u003c/strong>\u003c/p>\n\u003cp>I’m already in the throes of season programming. Carey [Perloff, the outgoing artistic director] and I are programming the next season together. So that’s already started, me hitting the ground running. I also really want to understand a bit more, learn a bit more. This is an amazing organization that in addition to what they put on their stages, has an MFA training program, a conservatory program, a young conservatory program, a commissioning wing, and an education and community outreach program. It’s just this multifaceted, gigantic organization that it’s my turn to dig into. I’m calling this moment a “listening tour” where I get to go in as the new person and at times ask the naive questions, which I think an organization that has been sort of dealing with the day-to-day sometimes forgets to ask. Like, “what is the umbrella?” “What is the bird’s eye view?” “How does this actually relate to our mission statement?” And I think this is a crucial time to relate back to the mission statement.\u003c/p>\n\u003cp>\u003cstrong>Presumably listening is something you will continue to do beyond your initial “listening tour.” How long do you expect this initial listening period to last?\u003c/strong>\u003c/p>\n\u003cp>How can I know? I become the artistic director on July 1. Of course I will continue to listen. But I am the artistic leader of this organization. So at a certain point, it’s not about not listening anymore, but it’s actually about actualizing things and putting things into practice.\u003c/p>\n\u003cp>\u003cstrong>And do you have a sense of what some of those things might be?\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>What about some of the actual artists and plays you’re thinking about? What work might we expect to see?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13819922\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg\" alt=\"Pam MacKinnon photographed at the New York Times studio in New York in 2013. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pam MacKinnon photographed at the New York Times’ studio in New York in 2013. \u003ccite>(Photo: Chad Batka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s way too early to get super specific. I certainly come from a background of new plays as well as American classics. Carey and I are both interested in plays that have interesting language, that use language as action. So that will continue. In some respects I have much more sort of a big experience in the American, “big-bone” plays as well as a big interest in new plays. So expect more of that than what has been on A.C.T.’s stages in the last few years.\u003c/p>\n\u003cp>\u003cstrong>So will we see more of playwrights you’ve championed in the past, like Edward Albee and Itamar Moses for example?\u003c/strong>\u003c/p>\n\u003cp>Absolutely, and Bruce Norris. I’d love to get Bruce back here, as well as younger writers. I have a longstanding relationship with a downtown New York company called Clubbed Thumb, and want to continue to support younger writers. Also, you think of the Strand perhaps as, “that’s where the new plays belong.” I’m also really interested in getting writers to think of the Geary as a place for a new play, and think about writing a play that can survive in the 1,000-seat room. Plays used to be written with that in mind. Some plays shouldn’t be put into that space, but others should be there, and I want to encourage writers to write for the Geary as well as the Strand.\u003c/p>\n\u003cp>\u003cstrong>That strikes me as a huge risk, because the Geary is such a huge space. Unless you’re talking about a playwright with the track record and brand recognition of Edward Albee, I imagine it would be hard to fill. Even Broadway theaters can’t sell plays anymore.\u003c/strong>\u003c/p>\n\u003cp>But the gift of the Geary is also that it’s only a four-and-a-half-week run. Broadway has a very particular model. It’s a very different world.\u003c/p>\n\u003cfigure id=\"attachment_13819927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg\" alt=\"A scene from Pam MacKinnon's world premiere production of 'Amélie' at Berkeley Repertory Theatre. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pam MacKinnon’s world premiere production of ‘Amélie’ at Berkeley Repertory Theatre. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What would you say, from where you’re standing now, seem to be the biggest challenges you face going forward with this new gig?\u003c/strong>\u003c/p>\n\u003cp>It’s challenges and opportunities. Programming the Geary is hard. That’s a challenge. As is bringing new audiences into the fold. The tech industry and tech employees tend not to be that interested in live theater — well, why not? What are some stories that maybe will bring them in and make them then interested in other stories? I don’t think it’s about putting stories about people who work in tech on stage. What excites me about theater is seeing stuff that I don’t immediately relate to. And then all of a sudden you’re in a story that is at once so personal and universal you get sucked in. What are some stories that can be gateway introductions to hook people?\u003c/p>\n\u003cp>\u003cstrong>For example?\u003c/strong>\u003c/p>\n\u003cp>A.C.T.’s associate artistic director Andy Donald and I have talked a lot about sports plays. I’ve been developing a sports play with [playwright] Lydia Diamond. It’s a play about this woman, Toni Stone, who was a longtime resident of San Francisco and then Oakland. She was the first woman to play baseball in the Negro Leagues in the late 1940s. Lydia and I have been in development of this play for probably five years. It’s an amazing story of an amazing woman that should be told in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>A.C.T. has a long, standout legacy of having a resident company of actors. The resident company doesn’t exist at A.C.T. these days. What are your views on resident companies? Do you think this will be part of your focus going forward?\u003c/strong>\u003c/p>\n\u003cp>There is an incredible talent pool in the Bay Area that I want to get to know. But moving forward the next couple years, I do not see A.C.T. reinstating its core acting company. There’s so much stuff going on, that would be an addition as opposed to a deepening of what is already here.\u003c/p>\n\u003cp>\u003cstrong>Are you still living in New York or have you moved yet?\u003c/strong>\u003c/p>\n\u003cp>I still have a lot of commitments in New York and am directing a show in the spring, prior to coming out here. My partner, actor John Procaccino, and I decided to take the pressure off a little bit. And so instead of moving to San Francisco and packing everything up and immediately throwing a dart or hanging out with a real estate agent and seeing a ton of places, we’re going to AirBnB it for a little while. We’d like to learn about the city before making a crazy commitment.\u003c/p>\n\u003cp>\u003cstrong>That’s smart. One last question: what are you most excited about beyond the job stuff?\u003c/strong>\u003c/p>\n\u003cp>I’m really looking forward to a chapter in my life where I am minutes away from awe-inspiring natural beauty. San Francisco has that.\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, the American Conservatory Theater (A.C.T.) hired a new artistic director. Pam MacKinnon comes to San Francisco with a slew of Broadway credits and accolades — including a Tony Award — to her name. KQED caught up with her at A.C.T.’s office in downtown San Francisco the day after the appointment was announced to find out more about the director’s vision for the Bay Area’s flagship theater company.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong> You have a powerful career in New York with many Broadway credits. Why does coming to San Francisco seem like a good career move for you at this stage?\u003c/strong>\u003c/p>\n\u003cp>I’ve always been a freelance director. I’ve never been attached to an institution and I’ve thought about it for a number of years. When the opportunity at A.C.T. came up, it struck me as an interesting thing to pursue because I am very interested in moving beyond simply thinking about my own work. I want to continue my own work, but I don’t want that to simply be what I do. I want to have the opportunity to think beyond my own rehearsal hall, to make marriages with great artists, to think about social justice, to become a more politically engaged person in a community as an artist telling stories. That’s what an institution can afford.\u003c/p>\n\u003cp>\u003cstrong>But why A.C.T.? Why San Francisco? A lot of people consider this to be a bit of a theatrical backwater.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oh, I don’t consider it a backwater at all. There are so many smaller companies in addition to A.C.T. — Berkeley Rep and TheatreWorks that are producing great work, work with playwrights that I feel very close to. And it’s a scene that’s on the rise. A.C.T. is part of that. A.C.T. is also a flagship regional theater with an incredible 50-year-plus history. It has the Geary Theater, which is that traditional, big-bones, “Broadway” house that I’ve been directing in these last six years with my Broadway career. So that feels like a home base. That’s something that I continue to want to explore. What are the stories for those big rooms? And then to also have these smaller, newer spaces at the Strand, which are just ripe with potential. And how do those spaces all then talk to each other? It feels like a very exciting time for this theater and San Francisco.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Acceptance Speech: Pam MacKinnon (2013)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IN16XLBwFTk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What would you say are your two or three biggest priorities?\u003c/strong>\u003c/p>\n\u003cp>I’m already in the throes of season programming. Carey [Perloff, the outgoing artistic director] and I are programming the next season together. So that’s already started, me hitting the ground running. I also really want to understand a bit more, learn a bit more. This is an amazing organization that in addition to what they put on their stages, has an MFA training program, a conservatory program, a young conservatory program, a commissioning wing, and an education and community outreach program. It’s just this multifaceted, gigantic organization that it’s my turn to dig into. I’m calling this moment a “listening tour” where I get to go in as the new person and at times ask the naive questions, which I think an organization that has been sort of dealing with the day-to-day sometimes forgets to ask. Like, “what is the umbrella?” “What is the bird’s eye view?” “How does this actually relate to our mission statement?” And I think this is a crucial time to relate back to the mission statement.\u003c/p>\n\u003cp>\u003cstrong>Presumably listening is something you will continue to do beyond your initial “listening tour.” How long do you expect this initial listening period to last?\u003c/strong>\u003c/p>\n\u003cp>How can I know? I become the artistic director on July 1. Of course I will continue to listen. But I am the artistic leader of this organization. So at a certain point, it’s not about not listening anymore, but it’s actually about actualizing things and putting things into practice.\u003c/p>\n\u003cp>\u003cstrong>And do you have a sense of what some of those things might be?\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>What about some of the actual artists and plays you’re thinking about? What work might we expect to see?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13819922\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg\" alt=\"Pam MacKinnon photographed at the New York Times studio in New York in 2013. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pam MacKinnon photographed at the New York Times’ studio in New York in 2013. \u003ccite>(Photo: Chad Batka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s way too early to get super specific. I certainly come from a background of new plays as well as American classics. Carey and I are both interested in plays that have interesting language, that use language as action. So that will continue. In some respects I have much more sort of a big experience in the American, “big-bone” plays as well as a big interest in new plays. So expect more of that than what has been on A.C.T.’s stages in the last few years.\u003c/p>\n\u003cp>\u003cstrong>So will we see more of playwrights you’ve championed in the past, like Edward Albee and Itamar Moses for example?\u003c/strong>\u003c/p>\n\u003cp>Absolutely, and Bruce Norris. I’d love to get Bruce back here, as well as younger writers. I have a longstanding relationship with a downtown New York company called Clubbed Thumb, and want to continue to support younger writers. Also, you think of the Strand perhaps as, “that’s where the new plays belong.” I’m also really interested in getting writers to think of the Geary as a place for a new play, and think about writing a play that can survive in the 1,000-seat room. Plays used to be written with that in mind. Some plays shouldn’t be put into that space, but others should be there, and I want to encourage writers to write for the Geary as well as the Strand.\u003c/p>\n\u003cp>\u003cstrong>That strikes me as a huge risk, because the Geary is such a huge space. Unless you’re talking about a playwright with the track record and brand recognition of Edward Albee, I imagine it would be hard to fill. Even Broadway theaters can’t sell plays anymore.\u003c/strong>\u003c/p>\n\u003cp>But the gift of the Geary is also that it’s only a four-and-a-half-week run. Broadway has a very particular model. It’s a very different world.\u003c/p>\n\u003cfigure id=\"attachment_13819927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg\" alt=\"A scene from Pam MacKinnon's world premiere production of 'Amélie' at Berkeley Repertory Theatre. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pam MacKinnon’s world premiere production of ‘Amélie’ at Berkeley Repertory Theatre. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What would you say, from where you’re standing now, seem to be the biggest challenges you face going forward with this new gig?\u003c/strong>\u003c/p>\n\u003cp>It’s challenges and opportunities. Programming the Geary is hard. That’s a challenge. As is bringing new audiences into the fold. The tech industry and tech employees tend not to be that interested in live theater — well, why not? What are some stories that maybe will bring them in and make them then interested in other stories? I don’t think it’s about putting stories about people who work in tech on stage. What excites me about theater is seeing stuff that I don’t immediately relate to. And then all of a sudden you’re in a story that is at once so personal and universal you get sucked in. What are some stories that can be gateway introductions to hook people?\u003c/p>\n\u003cp>\u003cstrong>For example?\u003c/strong>\u003c/p>\n\u003cp>A.C.T.’s associate artistic director Andy Donald and I have talked a lot about sports plays. I’ve been developing a sports play with [playwright] Lydia Diamond. It’s a play about this woman, Toni Stone, who was a longtime resident of San Francisco and then Oakland. She was the first woman to play baseball in the Negro Leagues in the late 1940s. Lydia and I have been in development of this play for probably five years. It’s an amazing story of an amazing woman that should be told in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>A.C.T. has a long, standout legacy of having a resident company of actors. The resident company doesn’t exist at A.C.T. these days. What are your views on resident companies? Do you think this will be part of your focus going forward?\u003c/strong>\u003c/p>\n\u003cp>There is an incredible talent pool in the Bay Area that I want to get to know. But moving forward the next couple years, I do not see A.C.T. reinstating its core acting company. There’s so much stuff going on, that would be an addition as opposed to a deepening of what is already here.\u003c/p>\n\u003cp>\u003cstrong>Are you still living in New York or have you moved yet?\u003c/strong>\u003c/p>\n\u003cp>I still have a lot of commitments in New York and am directing a show in the spring, prior to coming out here. My partner, actor John Procaccino, and I decided to take the pressure off a little bit. And so instead of moving to San Francisco and packing everything up and immediately throwing a dart or hanging out with a real estate agent and seeing a ton of places, we’re going to AirBnB it for a little while. We’d like to learn about the city before making a crazy commitment.\u003c/p>\n\u003cp>\u003cstrong>That’s smart. One last question: what are you most excited about beyond the job stuff?\u003c/strong>\u003c/p>\n\u003cp>I’m really looking forward to a chapter in my life where I am minutes away from awe-inspiring natural beauty. San Francisco has that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Pam MacKinnon, the New York-based, Tony-winning theatre director, has been named the new artistic director for A.C.T., the organization announced today.\u003c/p>\n\u003cp>MacKinnon replaces longtime artistic director Carey Perloff, who will step down after the 2017–18 season after 25 years with A.C.T.\u003c/p>\n\u003cp>A director proficient in the plays of Edward Albee, MacKinnon won the Tony Award for best director for the 2012-13 run of \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> at the Booth Theatre. MacKinnon also directed the 2011 Broadway production of \u003cem>Clybourne Park\u003c/em>, by Bruce Norris, garnering a Tony Award nomination for best director yet again.\u003c/p>\n\u003cp>MacKinnon, also an OBIE and Drama Desk award recipient, is known for her unflinching portrayals of the human experience. \u003c/p>\n\u003cp>“I look for fully rounded characters,” MacKinnon \u003ca href=\"https://broadwaydirect.com/women-helm-pam-mackinnon/\" rel=\"noopener\" target=\"_blank\">told Broadway Direct in 2017\u003c/a>. “I want women and men to be portrayed as messy human beings, because that’s the way we go through life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MacKinnon will plan the 2018-2019 season side-by-side with Perloff. “I am eager to build on the company’s rich legacy of artistic excellence and expand the vision and achievements of Carey Perloff, Edward Hastings, and founder William Ball to ensure that A.C.T. remains at the forefront of American theater,” MacKinnon said in a statement. “I look forward to furthering A.C.T. as a creative home for world-class artists and a place of rigorous artistic exploration and commitment in the Bay Area.”\u003c/p>\n\u003cp>MacKinnon will also partner with the heads of A.C.T.’s actor training programs and community programs. \u003c/p>\n\u003cp>Uma Thurman, who is currently starring in Beau Willimon’s \u003cem>The Parisian Woman\u003c/em> on Broadway, directed by MacKinnon, praised A.C.T.’s choice in a short, simple statement.\u003c/p>\n\u003cp>“New York’s loss,” Thurman said in a statement. “Pure gold, Pam MacKinnon, to whom I am forever grateful. Congratulations, San Francisco!”\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pam MacKinnon, the New York-based, Tony-winning theatre director, has been named the new artistic director for A.C.T., the organization announced today.\u003c/p>\n\u003cp>MacKinnon replaces longtime artistic director Carey Perloff, who will step down after the 2017–18 season after 25 years with A.C.T.\u003c/p>\n\u003cp>A director proficient in the plays of Edward Albee, MacKinnon won the Tony Award for best director for the 2012-13 run of \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> at the Booth Theatre. MacKinnon also directed the 2011 Broadway production of \u003cem>Clybourne Park\u003c/em>, by Bruce Norris, garnering a Tony Award nomination for best director yet again.\u003c/p>\n\u003cp>MacKinnon, also an OBIE and Drama Desk award recipient, is known for her unflinching portrayals of the human experience. \u003c/p>\n\u003cp>“I look for fully rounded characters,” MacKinnon \u003ca href=\"https://broadwaydirect.com/women-helm-pam-mackinnon/\" rel=\"noopener\" target=\"_blank\">told Broadway Direct in 2017\u003c/a>. “I want women and men to be portrayed as messy human beings, because that’s the way we go through life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MacKinnon will plan the 2018-2019 season side-by-side with Perloff. “I am eager to build on the company’s rich legacy of artistic excellence and expand the vision and achievements of Carey Perloff, Edward Hastings, and founder William Ball to ensure that A.C.T. remains at the forefront of American theater,” MacKinnon said in a statement. “I look forward to furthering A.C.T. as a creative home for world-class artists and a place of rigorous artistic exploration and commitment in the Bay Area.”\u003c/p>\n\u003cp>MacKinnon will also partner with the heads of A.C.T.’s actor training programs and community programs. \u003c/p>\n\u003cp>Uma Thurman, who is currently starring in Beau Willimon’s \u003cem>The Parisian Woman\u003c/em> on Broadway, directed by MacKinnon, praised A.C.T.’s choice in a short, simple statement.\u003c/p>\n\u003cp>“New York’s loss,” Thurman said in a statement. “Pure gold, Pam MacKinnon, to whom I am forever grateful. Congratulations, San Francisco!”\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"title": "‘Bondage’ Unleashes a Destabilizing Force Between Black and White",
"headTitle": "‘Bondage’ Unleashes a Destabilizing Force Between Black and White | KQED",
"content": "\u003cp>America sometimes seems an endless conversation between black and white, as if slavery, the Civil War, the emergence of the Klan, the Civil Rights Movement, the southern strategy, Afrofuturism, and the tiki-torch return of white nationalism were one long dance of opposites. That rigid oppositional framing, though, is shaky, and especially in the face, the hair, and the skin of all Americans who slip between black and white.\u003c/p>\n\u003cp>And so part of the pleasure of AlterTheater’s bare-bones, well-acted production of Star Finch’s gothic shocker \u003cem>Bondage\u003c/em>, ably directed by Elizabeth Carter, is the way Finch catches the destabilizing force of simply being neither black nor white. As William Carlos Williams memorably summed it up, “the pure products of America go crazy.”\u003c/p>\n\u003cfigure id=\"attachment_13819307\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819307 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-800x450.jpg\" alt=\"Zuri (Dezi Soléy) is a destabilizing force just by being alive in 'Bondage' by Star Finch.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zuri (Dezi Soléy) is a destabilizing force just by being alive in ‘Bondage’ by Star Finch. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finch places us in an island nether world some time before the Civil War, and begins with the outlines of a simple tale — 13-year old Emily’s father and aunt are trying to find her a suitable husband, though she would rather play with her cousin, Zuri, a mulatta slave and her handmaiden. The play begins with the cousins staring off at the distant sea. Zuri dances a bit, swaying to music of her own making, and Emily wants that too: to move as her cousin moves.\u003c/p>\n\u003cp>It’s a canny take on white desire. Zuri can barely understand Emily’s needs or has any inclination to fulfill them — “There’s nothing to teach,” she offhandedly remarks. Yet we know from a thousand movies that it’s supposedly Zuri’s job to teach her white cousin to dance — \u003ca href=\"http://tvtropes.org/pmwiki/pmwiki.php/Film/SaveTheLastDance\" target=\"_blank\" rel=\"noopener\">that’s the trope\u003c/a>. It’s a risible notion if there ever were one, but one deeply entrenched in the American psyche. Finch doesn’t so much critique the cliché as makes it inoperable.\u003c/p>\n\u003cp>One might describe \u003cem>Bondage\u003c/em> as an unlearning play. Emily, in what she sees as an act of kindness, wishes she could turn her cousin white; Zuri responds, “But my skin is pale now. How much whiter would you wish me?” In her refusal or inability to understand the world around her, Zuri turns everything into an absurdity. That’s part of the brilliance of the play: you can’t help but see our present world as the inhuman result of the craziness she can’t get her mind around.\u003c/p>\n\u003cfigure id=\"attachment_13819304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-800x450.jpg\" alt=\"The hand of Azucar (Cathleen Riddley) tries to protect and silence Zuri (Dezi Soléy) in 'Bondage' by Star Finch.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328.jpg 1602w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The hand of Azucar (Cathleen Riddley) tries to protect and silence Zuri (Dezi Soléy) in ‘Bondage’ by Star Finch. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Emily’s father Phillip looks at Zuri, he’s not only caught in the allure of desires he feels are illicit and enticing — her age (13), her heritage, his daughter’s truest friend — but also a way out of a meaningless life. For him, the indeterminate nature of her race becomes a sign of another way, an escape from limits and the opening up of new possibilities. One of Finch’s slyest jokes in the script is Phillip’s crazy wish to take Zuri to Bombay, where they can be artists together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In late 18th century America, Phillip’s dream is ludicrous, but enticing enough for Zuri to wonder just how real it might be. “What do you think life might be like in Bombay?” she asks Azucar, an older mulatta slave, “Could I pass for one of them [whites]?” In the world Finch creates in \u003cem>Bondage\u003c/em>, it takes a sexual predator to see a way outside injustice and grasp for new ways of thinking and being.\u003c/p>\n\u003cp>Zuri is both too much and not enough of everything. Caught between father and daughter, adult and child, white and black, slave and relative (a cousin that Emily wishes were a sister), she unbalances the world by her mere presence. If you’ve read your gothic titans (the Brontë sisters and Daphne du Maurier), you know that the world, society, and its designated authorities will and must redress that imbalance.\u003c/p>\n\u003cfigure id=\"attachment_13819309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819309\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-800x462.jpg\" alt=\"Azucar (Cathleen Ridley) watches in the background as Aunt Ruby (Emilie Talbot) goes in for the kill in 'Bondage' by Star Finch.\" width=\"800\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-800x462.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-768x444.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-520x300.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269.jpg 1018w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azucar (Cathleen Ridley) watches in the background as Aunt Ruby (Emilie Talbot) goes in for the kill in ‘Bondage’ by Star Finch.\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Bondage\u003c/em> the redressing comes from Emily’s Aunt Ruby — Phillip’s sister-in-law, and, rather obliquely, Zuri’s half-aunt. Both Zuri and Emily’s mothers died under mysterious circumstances, and Aunt Ruby enters the scene as a restoration of the maternal and social order. Only this order is out of control and rule-bound to the point of sadism.\u003c/p>\n\u003cp>Finch has a keen eye for how inbred and savage America’s racial hierarchies are, but she also takes a perverse pleasure in setting up and watching evil take its course. Aunt Ruby is more than an obvious villain: she’s a theatrical wellspring of insidious joy and chaos, and incisively performed by Emilie Talbot. The effect isn’t exactly sympathy for the devil, just sympathy for how difficult the maintenance of injustice is.\u003c/p>\n\u003cfigure id=\"attachment_13819311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-800x451.jpg\" alt=\"Zuri (Dezi Soléy) knows there's only one way to escape in 'Bondage' by Star Finch.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904.jpg 1633w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zuri (Dezi Soléy) knows there’s only one way to escape in ‘Bondage’ by Star Finch.\u003c/figcaption>\u003c/figure>\n\u003cp>At the point Zuri informs Emily that she thinks Aunt Ruby “intends to kill” her, there’s a part of you that says, of course, that would right the books, untangle the mess before us, and give that poor sadistic woman a rest. It’s probably the ugliest of the many ugly thoughts that \u003cem>Bondage \u003c/em>unleashes, and an unsparing depiction of the evil of logic, systems, and rigid forms of racial classification.\u003c/p>\n\u003cp>Though Finch’s ambitious play falters towards the end, Zuri’s story is a vicious and unsettling account of the vast, shifty landscape that is neither black nor white. We might call that landscape America if we could only see it for more than a moment. What we do see, though, is a shock to the system and well worth seeking out.\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>\u003c/p>\n\u003cp>\u003cem>‘Bondage’ runs through Jan. 20 in rep with ‘\u003cem>Cow Pie Bingo\u003c/em>‘ at the Costume Shop in San Francisco. For tickets and information, \u003ca href=\"https://www.altertheater.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Star Finch's story of two cousins in 18th century America is an unsettling account of the vast, shifty landscape that is neither black nor white.",
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"description": "Star Finch's story of two cousins in 18th century America is an unsettling account of the vast, shifty landscape that is neither black nor white.",
"title": "‘Bondage’ Unleashes a Destabilizing Force Between Black and White | KQED",
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"headline": "‘Bondage’ Unleashes a Destabilizing Force Between Black and White",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America sometimes seems an endless conversation between black and white, as if slavery, the Civil War, the emergence of the Klan, the Civil Rights Movement, the southern strategy, Afrofuturism, and the tiki-torch return of white nationalism were one long dance of opposites. That rigid oppositional framing, though, is shaky, and especially in the face, the hair, and the skin of all Americans who slip between black and white.\u003c/p>\n\u003cp>And so part of the pleasure of AlterTheater’s bare-bones, well-acted production of Star Finch’s gothic shocker \u003cem>Bondage\u003c/em>, ably directed by Elizabeth Carter, is the way Finch catches the destabilizing force of simply being neither black nor white. As William Carlos Williams memorably summed it up, “the pure products of America go crazy.”\u003c/p>\n\u003cfigure id=\"attachment_13819307\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819307 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-800x450.jpg\" alt=\"Zuri (Dezi Soléy) is a destabilizing force just by being alive in 'Bondage' by Star Finch.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zuri (Dezi Soléy) is a destabilizing force just by being alive in ‘Bondage’ by Star Finch. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finch places us in an island nether world some time before the Civil War, and begins with the outlines of a simple tale — 13-year old Emily’s father and aunt are trying to find her a suitable husband, though she would rather play with her cousin, Zuri, a mulatta slave and her handmaiden. The play begins with the cousins staring off at the distant sea. Zuri dances a bit, swaying to music of her own making, and Emily wants that too: to move as her cousin moves.\u003c/p>\n\u003cp>It’s a canny take on white desire. Zuri can barely understand Emily’s needs or has any inclination to fulfill them — “There’s nothing to teach,” she offhandedly remarks. Yet we know from a thousand movies that it’s supposedly Zuri’s job to teach her white cousin to dance — \u003ca href=\"http://tvtropes.org/pmwiki/pmwiki.php/Film/SaveTheLastDance\" target=\"_blank\" rel=\"noopener\">that’s the trope\u003c/a>. It’s a risible notion if there ever were one, but one deeply entrenched in the American psyche. Finch doesn’t so much critique the cliché as makes it inoperable.\u003c/p>\n\u003cp>One might describe \u003cem>Bondage\u003c/em> as an unlearning play. Emily, in what she sees as an act of kindness, wishes she could turn her cousin white; Zuri responds, “But my skin is pale now. How much whiter would you wish me?” In her refusal or inability to understand the world around her, Zuri turns everything into an absurdity. That’s part of the brilliance of the play: you can’t help but see our present world as the inhuman result of the craziness she can’t get her mind around.\u003c/p>\n\u003cfigure id=\"attachment_13819304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-800x450.jpg\" alt=\"The hand of Azucar (Cathleen Riddley) tries to protect and silence Zuri (Dezi Soléy) in 'Bondage' by Star Finch.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328.jpg 1602w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The hand of Azucar (Cathleen Riddley) tries to protect and silence Zuri (Dezi Soléy) in ‘Bondage’ by Star Finch. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Emily’s father Phillip looks at Zuri, he’s not only caught in the allure of desires he feels are illicit and enticing — her age (13), her heritage, his daughter’s truest friend — but also a way out of a meaningless life. For him, the indeterminate nature of her race becomes a sign of another way, an escape from limits and the opening up of new possibilities. One of Finch’s slyest jokes in the script is Phillip’s crazy wish to take Zuri to Bombay, where they can be artists together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In late 18th century America, Phillip’s dream is ludicrous, but enticing enough for Zuri to wonder just how real it might be. “What do you think life might be like in Bombay?” she asks Azucar, an older mulatta slave, “Could I pass for one of them [whites]?” In the world Finch creates in \u003cem>Bondage\u003c/em>, it takes a sexual predator to see a way outside injustice and grasp for new ways of thinking and being.\u003c/p>\n\u003cp>Zuri is both too much and not enough of everything. Caught between father and daughter, adult and child, white and black, slave and relative (a cousin that Emily wishes were a sister), she unbalances the world by her mere presence. If you’ve read your gothic titans (the Brontë sisters and Daphne du Maurier), you know that the world, society, and its designated authorities will and must redress that imbalance.\u003c/p>\n\u003cfigure id=\"attachment_13819309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819309\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-800x462.jpg\" alt=\"Azucar (Cathleen Ridley) watches in the background as Aunt Ruby (Emilie Talbot) goes in for the kill in 'Bondage' by Star Finch.\" width=\"800\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-800x462.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-768x444.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-520x300.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269.jpg 1018w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azucar (Cathleen Ridley) watches in the background as Aunt Ruby (Emilie Talbot) goes in for the kill in ‘Bondage’ by Star Finch.\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Bondage\u003c/em> the redressing comes from Emily’s Aunt Ruby — Phillip’s sister-in-law, and, rather obliquely, Zuri’s half-aunt. Both Zuri and Emily’s mothers died under mysterious circumstances, and Aunt Ruby enters the scene as a restoration of the maternal and social order. Only this order is out of control and rule-bound to the point of sadism.\u003c/p>\n\u003cp>Finch has a keen eye for how inbred and savage America’s racial hierarchies are, but she also takes a perverse pleasure in setting up and watching evil take its course. Aunt Ruby is more than an obvious villain: she’s a theatrical wellspring of insidious joy and chaos, and incisively performed by Emilie Talbot. The effect isn’t exactly sympathy for the devil, just sympathy for how difficult the maintenance of injustice is.\u003c/p>\n\u003cfigure id=\"attachment_13819311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-800x451.jpg\" alt=\"Zuri (Dezi Soléy) knows there's only one way to escape in 'Bondage' by Star Finch.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904.jpg 1633w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zuri (Dezi Soléy) knows there’s only one way to escape in ‘Bondage’ by Star Finch.\u003c/figcaption>\u003c/figure>\n\u003cp>At the point Zuri informs Emily that she thinks Aunt Ruby “intends to kill” her, there’s a part of you that says, of course, that would right the books, untangle the mess before us, and give that poor sadistic woman a rest. It’s probably the ugliest of the many ugly thoughts that \u003cem>Bondage \u003c/em>unleashes, and an unsparing depiction of the evil of logic, systems, and rigid forms of racial classification.\u003c/p>\n\u003cp>Though Finch’s ambitious play falters towards the end, Zuri’s story is a vicious and unsettling account of the vast, shifty landscape that is neither black nor white. We might call that landscape America if we could only see it for more than a moment. What we do see, though, is a shock to the system and well worth seeking out.\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>\u003c/p>\n\u003cp>\u003cem>‘Bondage’ runs through Jan. 20 in rep with ‘\u003cem>Cow Pie Bingo\u003c/em>‘ at the Costume Shop in San Francisco. For tickets and information, \u003ca href=\"https://www.altertheater.org\">click 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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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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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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
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