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"title": "'Soul Train' World Premiere, Lehman Brothers Trilogy Part of ACT's Upcoming Season",
"headTitle": "‘Soul Train’ World Premiere, Lehman Brothers Trilogy Part of ACT’s Upcoming Season | KQED",
"content": "\u003cp>San Francisco’s American Conservatory Theater (A.C.T) has announced the lineup and performance schedule for its upcoming season, including a return to in-person shows beginning in January 2022.\u003c/p>\n\u003cp>On May 22, 2021, the season kicks off with the world premiere of a virtual play written by Obie Award-winning Bay Area playwright Christopher Chen and directed by Pam MacKinnon. Commissioned by A.C.T, this virtual play will replace the west coast premiere of Chen’s play \u003cem>The Headlands\u003c/em>, due to COVID concerns.\u003c/p>\n\u003cp>The world premiere of the highly anticipated pre-Broadway musical \u003cem>Soul Train\u003c/em> will close out A.C.T’s season from Sept. 16–Oct. 23, 2022. Based on the beloved TV show of the same name, \u003cem>Soul Train\u003c/em> is the first Broadway-bound musical with an entirely Black and female creative team. The show follows the journey of entrepreneur and radio DJ Don Cornelius beginning in 1971, as he creates a local dance show that goes on to become one of the longest running shows in television history and cements the musical trends of the next four decades.\u003c/p>\n\u003cp>\u003cem>Soul Train\u003c/em> brings together Tony Award-nominated playwright Dominique Morisseau, Tony Award-nominated choreographer Camille A. Brown, acclaimed director Kamilah Forbes, and Tony Award-nominated producer Matthew Weaver, among others, and will be executive produced by figures including four-time Grammy Award-winning artist Ahmir “Questlove” Thompson, Don Cornelius’s son Tony Cornelius, and Emmy Award nominated CSI creator Anthony E. Zuiker.\u003c/p>\n\u003cfigure id=\"attachment_13894563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-800x533.jpg\" alt=\"Ben Miles, Adam Godley and Simon Russell Beale (L-R) in 'The Lehman Trilogy' at the National Theatre.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13894563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Miles, Adam Godley and Simon Russell Beale (L-R) in ‘The Lehman Trilogy’ at the National Theatre. \u003ccite>(Mark Douet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After over a year of cancelled shows due to the pandemic, directors and creatives are just as anxious to return to in-person shows as theater-goers. “Whether it’s by laughing, or throwing a prompt to the performers, or creating the spaces around the action, or actively listening so hard that the actors literally feel your energy, or clapping along and stomping your feet to the music,” said A.C.T Artistic Director Pam MacKinnon, “the audience makes the art form.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Freestyle Love Supreme\u003c/em>, the critically acclaimed hip-hop improv hit created by Lin-Manuel Miranda, Thomas Kail and the Bay Area’s own Anthony Veneziale, takes this ideal to the extreme. Known for its interactivity with the audience, no two shows of \u003cem>Freestyle Love Supreme\u003c/em> are alike, with audience suggestions shaping musical numbers and riffs throughout. Conceived over 15 years ago and constantly growing and changing with contemporary pop culture, the latest iteration of the show runs from Jan. 21–Feb. 13 2022.\u003c/p>\n\u003cp>From Apr. 20–May 22, 2022, A.C.T. presents \u003cem>The Lehman Trilogy\u003c/em>, the three-part internationally acclaimed show written by Stefano Massini, adapted by Ben Power, and directed by Tony and Academy Award winner Sam Mendes. \u003cem>The Lehman Trilogy\u003c/em> tells the story of three brothers in Alabama who open a small store which becomes the Lehman Brothers firm. When that firm goes bankrupt nearly two centuries later, it catalyzes the biggest financial crisis in modern history.\u003c/p>\n\u003cp>MacKinnon also directs \u003cem>Fefu and Her Friends\u003c/em> by Cuban playwright María Irene Fornés, running March 24–May 1, 2022, about eight women gathering at a New England country home in 1935. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>COVID-19 protocols will be in place for all in-person productions. Season subscriptions are available now; single tickets go on sale at a later date. \u003ca href=\"http://act-sf.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s American Conservatory Theater (A.C.T) has announced the lineup and performance schedule for its upcoming season, including a return to in-person shows beginning in January 2022.\u003c/p>\n\u003cp>On May 22, 2021, the season kicks off with the world premiere of a virtual play written by Obie Award-winning Bay Area playwright Christopher Chen and directed by Pam MacKinnon. Commissioned by A.C.T, this virtual play will replace the west coast premiere of Chen’s play \u003cem>The Headlands\u003c/em>, due to COVID concerns.\u003c/p>\n\u003cp>The world premiere of the highly anticipated pre-Broadway musical \u003cem>Soul Train\u003c/em> will close out A.C.T’s season from Sept. 16–Oct. 23, 2022. Based on the beloved TV show of the same name, \u003cem>Soul Train\u003c/em> is the first Broadway-bound musical with an entirely Black and female creative team. The show follows the journey of entrepreneur and radio DJ Don Cornelius beginning in 1971, as he creates a local dance show that goes on to become one of the longest running shows in television history and cements the musical trends of the next four decades.\u003c/p>\n\u003cp>\u003cem>Soul Train\u003c/em> brings together Tony Award-nominated playwright Dominique Morisseau, Tony Award-nominated choreographer Camille A. Brown, acclaimed director Kamilah Forbes, and Tony Award-nominated producer Matthew Weaver, among others, and will be executive produced by figures including four-time Grammy Award-winning artist Ahmir “Questlove” Thompson, Don Cornelius’s son Tony Cornelius, and Emmy Award nominated CSI creator Anthony E. Zuiker.\u003c/p>\n\u003cfigure id=\"attachment_13894563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-800x533.jpg\" alt=\"Ben Miles, Adam Godley and Simon Russell Beale (L-R) in 'The Lehman Trilogy' at the National Theatre.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13894563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Miles, Adam Godley and Simon Russell Beale (L-R) in ‘The Lehman Trilogy’ at the National Theatre. \u003ccite>(Mark Douet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After over a year of cancelled shows due to the pandemic, directors and creatives are just as anxious to return to in-person shows as theater-goers. “Whether it’s by laughing, or throwing a prompt to the performers, or creating the spaces around the action, or actively listening so hard that the actors literally feel your energy, or clapping along and stomping your feet to the music,” said A.C.T Artistic Director Pam MacKinnon, “the audience makes the art form.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Freestyle Love Supreme\u003c/em>, the critically acclaimed hip-hop improv hit created by Lin-Manuel Miranda, Thomas Kail and the Bay Area’s own Anthony Veneziale, takes this ideal to the extreme. Known for its interactivity with the audience, no two shows of \u003cem>Freestyle Love Supreme\u003c/em> are alike, with audience suggestions shaping musical numbers and riffs throughout. Conceived over 15 years ago and constantly growing and changing with contemporary pop culture, the latest iteration of the show runs from Jan. 21–Feb. 13 2022.\u003c/p>\n\u003cp>From Apr. 20–May 22, 2022, A.C.T. presents \u003cem>The Lehman Trilogy\u003c/em>, the three-part internationally acclaimed show written by Stefano Massini, adapted by Ben Power, and directed by Tony and Academy Award winner Sam Mendes. \u003cem>The Lehman Trilogy\u003c/em> tells the story of three brothers in Alabama who open a small store which becomes the Lehman Brothers firm. When that firm goes bankrupt nearly two centuries later, it catalyzes the biggest financial crisis in modern history.\u003c/p>\n\u003cp>MacKinnon also directs \u003cem>Fefu and Her Friends\u003c/em> by Cuban playwright María Irene Fornés, running March 24–May 1, 2022, about eight women gathering at a New England country home in 1935. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>COVID-19 protocols will be in place for all in-person productions. Season subscriptions are available now; single tickets go on sale at a later date. \u003ca href=\"http://act-sf.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation",
"headTitle": "The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation | KQED",
"content": "\u003cp>Rejoice, rejoice. While being home for the holidays might seem like a redundant concept this year, you don’t have to spend them in total isolation. Here are 12 ways to give yourself the gift of a little escapist pleasure at the end of this unprecedented year while supporting the Bay Area’s heavily impacted performing arts.\u003c/p>\n\u003cfigure id=\"attachment_13889792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac gets saucy with the holidays. \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Don We Now Our Gay Apparel\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">Holiday Sauce…Pandemic!\u003c/a>‘\u003c/strong>\u003cbr>\nCurran Theatre \u003c/p>\n\u003cp>Fans of full-spectrum spectacle need look no further than the works of MacArthur Fellow Taylor Mac, whose shows embody an expansive vision of queer abundance (and abundant queers). A regular visitor to the Bay Area, Mac first presented \u003cem>Holiday Sauce\u003c/em> on the Curran stage in 2018, a sumptuous romp through holiday memories and songs. All proceeds of this year’s virtual offering will go to \u003ca href=\"http://www.openhousesf.org\">Openhouse\u003c/a>, a local community resource for LGBTQ+ seniors.\u003c/p>\n\u003cp>\u003cem>Livestream Dec. 12 at 7pm only. On demand until Jan. 2. $10. Info and tickets\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Girls LIVE: Christmas Episodes\u003c/a>‘\u003c/strong>\u003cbr>\nSF Oasis\u003c/p>\n\u003cp>A beloved San Francisco holiday tradition, \u003cem>Golden Girls LIVE: Christmas Episodes\u003c/em> offers nostalgia, drag hilarity, and genuine heart all wrapped up in a Betty White-channeling bow. Co-starring Heklina (Dorothy), Matthew Martin (Blanche), D’Arcy Drollinger (Rose) and Holotta Tymes (Sophia) as our quirky quartet, this year’s episodes will be streamed live from SF Oasis headquarters, complete with a virtual sing-along and VIP meet-and-greet with the cast.\u003c/p>\n\u003cp>\u003cem>Dec. 17-20, times vary. $30-$50. Info and tickets \u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>‘\u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>A Mighty Queer Virtual Variety Show\u003c/strong>\u003c/a>‘\u003cbr>\nNew Conservatory Theatre Center\u003c/p>\n\u003cp>Poets, performance artists, drag stars and circus acts alike appear on the New Conservatory Theatre Center’s virtual stage. Wrangled by Epic Party Theatre’s Richard A. Mosqueda, and hosted by operatic drag diva Dusty Pörn, this festive holiday sampler will fill you with holiday cheer. With Azuah, SevanKelee Lucky 7 Boult, Baruch Porras Hernandez, SNJV, and aerialist Joey The Tiger.\u003c/p>\n\u003cp>\u003cem>Dec. 13–Jan. 3, on demand. $10-$40. Info and tickets \u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13889789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santa Claus (Glen Micheletti) is here to save Christmas for you. \u003ccite>(JW Darwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Home Alone\u003c/h2>\n\u003cp>\u003ca href=\"http://www.getsantaclaus.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Get Santa Claus\u003c/strong>\u003c/a>\u003cbr>\nGlen A. Micheletti\u003c/p>\n\u003cp>Worried about how the kiddies are going to get Santa their wishlist this year? Let expert magician and professional Santa Claus Glen A. Micheletti help. Like so many other performers, Santa Glen has developed ways to bring his act online, and offers personalized virtual visits for individual family units, large family “gatherings” and company ho-ho-holiday parties.\u003c/p>\n\u003cp>\u003cem>Rates start at $150 for one screen. Custom pricing and packages available for groups. Info and bookings\u003ca href=\"http://www.getsantaclaus.com\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Jewelry Box\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Playhouse\u003c/p>\n\u003cp>If you’re one of the thousands of Bay Area denizens who’ve seen Brian Copeland’s \u003cem>Not a Genuine Black Man\u003c/em>, this holiday prequel is for you. A richly detailed portrait of Oakland city life as seen through the eyes of a six-year-old child on a quest to earn the perfect Christmas gift for his mother. Copeland’s performance is filmed live onstage at San Francisco Playhouse, and streamed on demand through Christmas Day.\u003c/p>\n\u003cp>\u003cem>Nov. 28–Dec. 25, 7pm. $15-$100. Info and tickets \u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://cltc.org/tickets/\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nCity Lights Theater Company\u003c/p>\n\u003cp>San Jose’s City Lights Theater Company has been finding all kinds of creative ways to keep active, as this solo performance of Charles Dickens’ \u003cem>A Christmas Carol\u003c/em> proves. Adapted and performed by prolific Bay Area actor and director Mark Anderson Phillips, this virtual tour de force will be mandatory viewing for those who enjoy their classics with a twist.\u003c/p>\n\u003cp>\u003cem>Dec. 15–Jan. 5, on demand. $10-$30 (or part of season pass). Info and tickets\u003ca href=\"https://cltc.org/tickets/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13889791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘A Christmas Carol’ at A.C.T. in 2018. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tradition, Tradition\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://secure.act-sf.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol: On Air\u003c/a>‘\u003c/strong>\u003cbr>\nAmerican Conservatory Theater\u003c/p>\n\u003cp>This beloved staple of Bay Area holiday tradition gets a socially distanced makeover in the form of a radio play adaptation, helmed by Peter J. Kuo (who also directed this summer’s successful Zoom production of\u003ca href=\"https://www.kqed.org/arts/13885920/alls-fair-game-in-love-and-warcraft\"> \u003cem>In Love and Warcraft\u003c/em>\u003c/a>). Starring the redoubtable James Carpenter as Ebenezer Scrooge, this tale of Christmas spirit(s) continues to stand the test of time and circumstance.\u003c/p>\n\u003cp>\u003cem>Dec. 4–31, 6pm listening parties and on demand. $40–$60. Info and tickets\u003ca href=\"https://secure.act-sf.org/events\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.koshercomedy.com\" rel=\"noopener noreferrer\" target=\"_blank\">28th Annual Kung Pao Kosher Comedy\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Buckle up \u003cem>bubbeleh\u003c/em>. While gathering in restaurants in person may still be out of the question, there’s nothing stopping you from ordering up a few plates of Chinese food and hanging out with Lisa Geduldig and friends for the 28th annual Kung Pao Kosher Comedy show—the Christmas show by and for Jews. Featuring the award-winning talents of Judy Gold and Alex Edelman, and optional participant breakout rooms for schmoozing.\u003c/p>\n\u003cp>\u003cem>Dec. 24–26, times vary. Livestream. $25-$50. Info and tickets \u003ca href=\"http://www.CityBoxOffice.com/KungPao\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Nutcracker Online\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Ballet\u003c/p>\n\u003cp>The first U.S. company to perform the “full” version of \u003cem>Nutcracker\u003c/em>, in 1944, the San Francisco Ballet hosts an annual, all-ages fantasia that attracts some 75,000 audience members per year. This year, sugar plum lovers will be able to view a classic performance choreographed by Helgi Tomasson, \u003ca href=\"https://video.kqed.org/video/great-performances-san-francisco-ballets-nutcracker-preview\">and filmed by KQED in 2007\u003c/a>. Features the luminous Yuan Yuan Tan as the Snow Queen.\u003c/p>\n\u003cp>\u003cem>Nov. 27–Dec. 31. $49 for 48-hour access. Info and tickets \u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13816058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg\" alt=\"Kitka does its annual 'Wintersongs' tour around the Bay Area\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitka does its annual ‘Wintersongs’ tour around the Bay Area. \u003ccite>(Photo: Tomas Pacha/Kitka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Winter Wonderland\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.kitka.org/wintersongs2020\" rel=\"noopener noreferrer\" target=\"_blank\">Wintersongs 2020\u003c/a>‘\u003c/strong>\u003cbr>\nKitka\u003c/p>\n\u003cp>Get into the fun tradition of counting down to Christmas with Kitka’s gift of \u003ca href=\"https://www.kqed.org/forum/2010101868688/live-performance-kitka-sings-wintersongs-of-eastern-europe\">Wintersong\u003c/a>. Each day until Dec. 31, this all-woman vocal ensemble—who specialize in excavating the traditional music of Eastern Europe and the Balkans—will release one new song online for all to enjoy, free of charge (donations accepted).\u003c/p>\n\u003cp>\u003cem>Through Dec. 31. Free. Info and songs \u003ca href=\"http://www.kitka.org/wintersongs2020\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://theatreworks.org/simplegifts/\" rel=\"noopener noreferrer\" target=\"_blank\">Simple Gifts\u003c/a>‘\u003c/strong>\u003cbr>\nTheatreWorks Silicon Valley\u003c/p>\n\u003cp>When Tim Bond took over the artistic leadership of TheatreWorks in July, he stepped into a season beset by unanticipated challenges from the pandemic shutdown of live theatre. With \u003cem>Simple Gifts\u003c/em>, he offers a welcome respite from the chaos, with a carefully chosen cast performing music from a diverse array of holiday traditions such as Kwanzaa, Christmas, Hanukkah, Noche Buena, Diwali and Las Posadas.\u003c/p>\n\u003cp>\u003cem>Dec. 10–28. Times vary. $10+. Info and tickets\u003ca href=\"https://theatreworks.org/simplegifts/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://manualcinema.com/christmascarol\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nManual Cinema\u003c/p>\n\u003cp>‘Tis the season to get Scrooged, and Manual Cinema’s original take on Dickens’ classic is poised to be one of this year’s most memorable. Created by Chicago-based Manual Cinema, who infuse their multimedia projects with elements of live performance, this daring adaptation includes shadow puppets, live actors, projections, immersive sound design and original music. Co-presented with Cal Performances for three nights (and other organizations from Dec. 3-20).\u003c/p>\n\u003cp>\u003cem>Dec. 17-19, times vary, livestream. Info and tickets\u003ca href=\"https://calperformances.org/events/2020-21/at-home/manual-cinema-a-christmas-carol/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Holiday traditions like 'Nutcracker' and 'A Christmas Carol' meet new, dynamic productions in our livestreamed theater roundup. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rejoice, rejoice. While being home for the holidays might seem like a redundant concept this year, you don’t have to spend them in total isolation. Here are 12 ways to give yourself the gift of a little escapist pleasure at the end of this unprecedented year while supporting the Bay Area’s heavily impacted performing arts.\u003c/p>\n\u003cfigure id=\"attachment_13889792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac gets saucy with the holidays. \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Don We Now Our Gay Apparel\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">Holiday Sauce…Pandemic!\u003c/a>‘\u003c/strong>\u003cbr>\nCurran Theatre \u003c/p>\n\u003cp>Fans of full-spectrum spectacle need look no further than the works of MacArthur Fellow Taylor Mac, whose shows embody an expansive vision of queer abundance (and abundant queers). A regular visitor to the Bay Area, Mac first presented \u003cem>Holiday Sauce\u003c/em> on the Curran stage in 2018, a sumptuous romp through holiday memories and songs. All proceeds of this year’s virtual offering will go to \u003ca href=\"http://www.openhousesf.org\">Openhouse\u003c/a>, a local community resource for LGBTQ+ seniors.\u003c/p>\n\u003cp>\u003cem>Livestream Dec. 12 at 7pm only. On demand until Jan. 2. $10. Info and tickets\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Girls LIVE: Christmas Episodes\u003c/a>‘\u003c/strong>\u003cbr>\nSF Oasis\u003c/p>\n\u003cp>A beloved San Francisco holiday tradition, \u003cem>Golden Girls LIVE: Christmas Episodes\u003c/em> offers nostalgia, drag hilarity, and genuine heart all wrapped up in a Betty White-channeling bow. Co-starring Heklina (Dorothy), Matthew Martin (Blanche), D’Arcy Drollinger (Rose) and Holotta Tymes (Sophia) as our quirky quartet, this year’s episodes will be streamed live from SF Oasis headquarters, complete with a virtual sing-along and VIP meet-and-greet with the cast.\u003c/p>\n\u003cp>\u003cem>Dec. 17-20, times vary. $30-$50. Info and tickets \u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>‘\u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>A Mighty Queer Virtual Variety Show\u003c/strong>\u003c/a>‘\u003cbr>\nNew Conservatory Theatre Center\u003c/p>\n\u003cp>Poets, performance artists, drag stars and circus acts alike appear on the New Conservatory Theatre Center’s virtual stage. Wrangled by Epic Party Theatre’s Richard A. Mosqueda, and hosted by operatic drag diva Dusty Pörn, this festive holiday sampler will fill you with holiday cheer. With Azuah, SevanKelee Lucky 7 Boult, Baruch Porras Hernandez, SNJV, and aerialist Joey The Tiger.\u003c/p>\n\u003cp>\u003cem>Dec. 13–Jan. 3, on demand. $10-$40. Info and tickets \u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13889789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santa Claus (Glen Micheletti) is here to save Christmas for you. \u003ccite>(JW Darwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Home Alone\u003c/h2>\n\u003cp>\u003ca href=\"http://www.getsantaclaus.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Get Santa Claus\u003c/strong>\u003c/a>\u003cbr>\nGlen A. Micheletti\u003c/p>\n\u003cp>Worried about how the kiddies are going to get Santa their wishlist this year? Let expert magician and professional Santa Claus Glen A. Micheletti help. Like so many other performers, Santa Glen has developed ways to bring his act online, and offers personalized virtual visits for individual family units, large family “gatherings” and company ho-ho-holiday parties.\u003c/p>\n\u003cp>\u003cem>Rates start at $150 for one screen. Custom pricing and packages available for groups. Info and bookings\u003ca href=\"http://www.getsantaclaus.com\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Jewelry Box\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Playhouse\u003c/p>\n\u003cp>If you’re one of the thousands of Bay Area denizens who’ve seen Brian Copeland’s \u003cem>Not a Genuine Black Man\u003c/em>, this holiday prequel is for you. A richly detailed portrait of Oakland city life as seen through the eyes of a six-year-old child on a quest to earn the perfect Christmas gift for his mother. Copeland’s performance is filmed live onstage at San Francisco Playhouse, and streamed on demand through Christmas Day.\u003c/p>\n\u003cp>\u003cem>Nov. 28–Dec. 25, 7pm. $15-$100. Info and tickets \u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://cltc.org/tickets/\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nCity Lights Theater Company\u003c/p>\n\u003cp>San Jose’s City Lights Theater Company has been finding all kinds of creative ways to keep active, as this solo performance of Charles Dickens’ \u003cem>A Christmas Carol\u003c/em> proves. Adapted and performed by prolific Bay Area actor and director Mark Anderson Phillips, this virtual tour de force will be mandatory viewing for those who enjoy their classics with a twist.\u003c/p>\n\u003cp>\u003cem>Dec. 15–Jan. 5, on demand. $10-$30 (or part of season pass). Info and tickets\u003ca href=\"https://cltc.org/tickets/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13889791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘A Christmas Carol’ at A.C.T. in 2018. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tradition, Tradition\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://secure.act-sf.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol: On Air\u003c/a>‘\u003c/strong>\u003cbr>\nAmerican Conservatory Theater\u003c/p>\n\u003cp>This beloved staple of Bay Area holiday tradition gets a socially distanced makeover in the form of a radio play adaptation, helmed by Peter J. Kuo (who also directed this summer’s successful Zoom production of\u003ca href=\"https://www.kqed.org/arts/13885920/alls-fair-game-in-love-and-warcraft\"> \u003cem>In Love and Warcraft\u003c/em>\u003c/a>). Starring the redoubtable James Carpenter as Ebenezer Scrooge, this tale of Christmas spirit(s) continues to stand the test of time and circumstance.\u003c/p>\n\u003cp>\u003cem>Dec. 4–31, 6pm listening parties and on demand. $40–$60. Info and tickets\u003ca href=\"https://secure.act-sf.org/events\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.koshercomedy.com\" rel=\"noopener noreferrer\" target=\"_blank\">28th Annual Kung Pao Kosher Comedy\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Buckle up \u003cem>bubbeleh\u003c/em>. While gathering in restaurants in person may still be out of the question, there’s nothing stopping you from ordering up a few plates of Chinese food and hanging out with Lisa Geduldig and friends for the 28th annual Kung Pao Kosher Comedy show—the Christmas show by and for Jews. Featuring the award-winning talents of Judy Gold and Alex Edelman, and optional participant breakout rooms for schmoozing.\u003c/p>\n\u003cp>\u003cem>Dec. 24–26, times vary. Livestream. $25-$50. Info and tickets \u003ca href=\"http://www.CityBoxOffice.com/KungPao\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Nutcracker Online\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Ballet\u003c/p>\n\u003cp>The first U.S. company to perform the “full” version of \u003cem>Nutcracker\u003c/em>, in 1944, the San Francisco Ballet hosts an annual, all-ages fantasia that attracts some 75,000 audience members per year. This year, sugar plum lovers will be able to view a classic performance choreographed by Helgi Tomasson, \u003ca href=\"https://video.kqed.org/video/great-performances-san-francisco-ballets-nutcracker-preview\">and filmed by KQED in 2007\u003c/a>. Features the luminous Yuan Yuan Tan as the Snow Queen.\u003c/p>\n\u003cp>\u003cem>Nov. 27–Dec. 31. $49 for 48-hour access. Info and tickets \u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13816058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg\" alt=\"Kitka does its annual 'Wintersongs' tour around the Bay Area\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitka does its annual ‘Wintersongs’ tour around the Bay Area. \u003ccite>(Photo: Tomas Pacha/Kitka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Winter Wonderland\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.kitka.org/wintersongs2020\" rel=\"noopener noreferrer\" target=\"_blank\">Wintersongs 2020\u003c/a>‘\u003c/strong>\u003cbr>\nKitka\u003c/p>\n\u003cp>Get into the fun tradition of counting down to Christmas with Kitka’s gift of \u003ca href=\"https://www.kqed.org/forum/2010101868688/live-performance-kitka-sings-wintersongs-of-eastern-europe\">Wintersong\u003c/a>. Each day until Dec. 31, this all-woman vocal ensemble—who specialize in excavating the traditional music of Eastern Europe and the Balkans—will release one new song online for all to enjoy, free of charge (donations accepted).\u003c/p>\n\u003cp>\u003cem>Through Dec. 31. Free. Info and songs \u003ca href=\"http://www.kitka.org/wintersongs2020\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://theatreworks.org/simplegifts/\" rel=\"noopener noreferrer\" target=\"_blank\">Simple Gifts\u003c/a>‘\u003c/strong>\u003cbr>\nTheatreWorks Silicon Valley\u003c/p>\n\u003cp>When Tim Bond took over the artistic leadership of TheatreWorks in July, he stepped into a season beset by unanticipated challenges from the pandemic shutdown of live theatre. With \u003cem>Simple Gifts\u003c/em>, he offers a welcome respite from the chaos, with a carefully chosen cast performing music from a diverse array of holiday traditions such as Kwanzaa, Christmas, Hanukkah, Noche Buena, Diwali and Las Posadas.\u003c/p>\n\u003cp>\u003cem>Dec. 10–28. Times vary. $10+. Info and tickets\u003ca href=\"https://theatreworks.org/simplegifts/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://manualcinema.com/christmascarol\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nManual Cinema\u003c/p>\n\u003cp>‘Tis the season to get Scrooged, and Manual Cinema’s original take on Dickens’ classic is poised to be one of this year’s most memorable. Created by Chicago-based Manual Cinema, who infuse their multimedia projects with elements of live performance, this daring adaptation includes shadow puppets, live actors, projections, immersive sound design and original music. Co-presented with Cal Performances for three nights (and other organizations from Dec. 3-20).\u003c/p>\n\u003cp>\u003cem>Dec. 17-19, times vary, livestream. Info and tickets\u003ca href=\"https://calperformances.org/events/2020-21/at-home/manual-cinema-a-christmas-carol/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Although Madhuri Shekar’s \u003cem>In Love and Warcraft\u003c/em> debuted in 2013, it feels custom-written for this moment in time. As it delves into the nuances of living a significant part of one’s life online, \u003cem>In Love and Warcraft\u003c/em> gives its Generation Z characters a shot at love, while reveling in their individual goofy streaks and neuroses. Directed by Peter J. Kuo, and starring six American Conservatory Theater (ACT) Conservatory students, this candid ode to college romance wears a Zoom container comfortably—as if it were meant to be performed that way all along.\u003c/p>\n\u003cp>\u003cem>In Love and Warcraft\u003c/em> was originally slated to be performed in the Spring at ACT’s Costume Shop, so the actors \u003cem>did\u003c/em> have the luxury of having already rehearsed together in real life, helping them in transition to all-digital platforms with natural ease. There’s real chemistry between protagonist Evie (Cassandra Hunter) and the object of her tentative desire, Raul (Hernán Angulo)—and plenty of mutual fondness and easy camaraderie among the rest of the ensemble as well.\u003c/p>\n\u003cp>An avid player of a multi-player fantasy game that Shekar calls “Warcraft Universe,” Evie’s side hustle is writing love letters for her classmates. She’s a modern-day Cyrano, whose specialties include Facebook posts, text messages, and heartfelt emails. But Evie’s own love life is suspect. Her teammate Ryan (James Mercer)—an amiable nerd with an affinity for Red Vines—is supposedly her boyfriend, but all of their “dates” take place online. Meanwhile, her sex-positive roommate Kitty (Evangeline Edwards) urges her to break it off and explore the exciting possibilities of physical romance. The opportunity to do so presents itself almost immediately in the form of Raul, a former client of Evie’s, who’s fallen for the loving words she’d written to his now-ex.\u003c/p>\n\u003cp>If the scenario is a little contrived, what’s completely genuine is the relatable awkwardness of Evie’s inexpert foray into the unknown. With Kitty urging her on from the sidelines, Evie screws her courage to the sticking point—until she gets stuck. Uncertain of her own desires, she discovers that the reliable language of love that she’s deployed faithfully on behalf of others is not enough to express the complexities of her own feelings. Meanwhile, a smitten Raul soon discovers that he must also navigate aspects of their relationship that are new to him as well.\u003c/p>\n\u003cfigure id=\"attachment_13885921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra Hunter as Evie and Hernán Angulo as Raul in Madhuri Shekar’s ‘In Love and Warcraft.’ \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Evie, Hunter is a delight to watch. Her every gesture and nose wrinkle speaks volumes of dork-ish. Her excitement on the Warcraft battlefield is matched by her real expertise in the game. That she thinks of romance in game terms makes her valuable as a go-between. But, as she discovers for herself, keeping a scorecard in personal relationships is a recipe for misadventure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Raul, Angulo embodies a lovable ungainliness. Even when he stumbles (and stumble he does) he never crosses the line into the unforgivable. As a co-conspirator, and occasional co-transgressor, Evangeline Edwards brings a vibrant touch to her role, luminous eyes beaming out from her screen in every scene she’s in. If you’ve been wondering about the viability of digital platforms as stages for live performance, being mesmerized by all of the subtleties of expression in each character’s face makes a good case for it.\u003c/p>\n\u003cp>Over the past few years, the rich world of gamers has emerged as one ripe for exploring through the medium of theater, including the current affairs-parsing \u003ca href=\"https://www.kqed.org/arts/13825717/non-player-character-puts-gamergate-on-the-theater-stage\">\u003cem>Non-Player Character\u003c/em> at San Francisco Playhouse\u003c/a>, and the virtual reality romp \u003ca href=\"https://www.kqed.org/arts/13871091/5-plays-for-the-holidays-that-arent-a-christmas-carol\">\u003cem>An Invitation Out\u003c/em> with Quantum Dragon Theatre\u003c/a>. A major challenge for those plays was staging their game scenes \u003cem>without \u003c/em>screens, mostly relying on extravagant costumes and occasional video enhancement to give their game worlds a computerized feel. For \u003cem>In Love and Warcraft\u003c/em>, the challenge is inverted.\u003c/p>\n\u003cp>When the characters inhabit their game world, the audience experiences the computer graphic gameplay onscreen, as opposed to the cast dressed up as their avatars. The bigger challenge these actors face is how to stage their non-game action from their respective screens so it appears that they’re sharing the same space. By actively manipulating the angles and timing of their devices, they’re able to face each other and interact relatively naturally, their evident rapport helping to blur the borders of their Zoom rooms. Through allusion and some clever choreography, even first kisses and gynecological exams are made plausible.\u003c/p>\n\u003cfigure id=\"attachment_13885922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Madhuri Shekar’s ‘In Love and Warcraft,’ with James Mercer as Ryan, Cassandra Hunter as Evie, and Evangeline Edwards as Kitty. \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than relying overmuch on virtual backgrounds, which can make actors’ limbs disappear at random moments, these performers have instead decorated the walls of their homes with cafe signs and medical posters. And if occasionally their couch cushions don’t line up perfectly from screen to screen, suspending disbelief in order to fully embrace the world of the play is what theater audiences do best. It just so happens that this world is one that infiltrates our personal space instead of the other way around. In a sense, it creates a \u003cem>more\u003c/em> intimate experience for the audience than a conventionally staged performance.\u003c/p>\n\u003cp>Another way in which this digital production embraces its unique format is as a co-production with Juneau, Alaska’s Perseverance Theatre. Sharing costs and creative team, ACT and Perseverance demonstrate the potential of collaborating over a distance, opening up a whole realm of possibilities for future partnerships with almost any theater company from around the world.\u003c/p>\n\u003cp>All in all, this sweetly sincere investigation of analog human connection in a digital age is worth experiencing, whatever the platform.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘In Love and Warcraft’ runs live through Sept. 12, and on demand through Sept. 25. Tickets and \u003ca href=\"https://secure.act-sf.org/overview/loveandwarcraft\">more details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although Madhuri Shekar’s \u003cem>In Love and Warcraft\u003c/em> debuted in 2013, it feels custom-written for this moment in time. As it delves into the nuances of living a significant part of one’s life online, \u003cem>In Love and Warcraft\u003c/em> gives its Generation Z characters a shot at love, while reveling in their individual goofy streaks and neuroses. Directed by Peter J. Kuo, and starring six American Conservatory Theater (ACT) Conservatory students, this candid ode to college romance wears a Zoom container comfortably—as if it were meant to be performed that way all along.\u003c/p>\n\u003cp>\u003cem>In Love and Warcraft\u003c/em> was originally slated to be performed in the Spring at ACT’s Costume Shop, so the actors \u003cem>did\u003c/em> have the luxury of having already rehearsed together in real life, helping them in transition to all-digital platforms with natural ease. There’s real chemistry between protagonist Evie (Cassandra Hunter) and the object of her tentative desire, Raul (Hernán Angulo)—and plenty of mutual fondness and easy camaraderie among the rest of the ensemble as well.\u003c/p>\n\u003cp>An avid player of a multi-player fantasy game that Shekar calls “Warcraft Universe,” Evie’s side hustle is writing love letters for her classmates. She’s a modern-day Cyrano, whose specialties include Facebook posts, text messages, and heartfelt emails. But Evie’s own love life is suspect. Her teammate Ryan (James Mercer)—an amiable nerd with an affinity for Red Vines—is supposedly her boyfriend, but all of their “dates” take place online. Meanwhile, her sex-positive roommate Kitty (Evangeline Edwards) urges her to break it off and explore the exciting possibilities of physical romance. The opportunity to do so presents itself almost immediately in the form of Raul, a former client of Evie’s, who’s fallen for the loving words she’d written to his now-ex.\u003c/p>\n\u003cp>If the scenario is a little contrived, what’s completely genuine is the relatable awkwardness of Evie’s inexpert foray into the unknown. With Kitty urging her on from the sidelines, Evie screws her courage to the sticking point—until she gets stuck. Uncertain of her own desires, she discovers that the reliable language of love that she’s deployed faithfully on behalf of others is not enough to express the complexities of her own feelings. Meanwhile, a smitten Raul soon discovers that he must also navigate aspects of their relationship that are new to him as well.\u003c/p>\n\u003cfigure id=\"attachment_13885921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra Hunter as Evie and Hernán Angulo as Raul in Madhuri Shekar’s ‘In Love and Warcraft.’ \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Evie, Hunter is a delight to watch. Her every gesture and nose wrinkle speaks volumes of dork-ish. Her excitement on the Warcraft battlefield is matched by her real expertise in the game. That she thinks of romance in game terms makes her valuable as a go-between. But, as she discovers for herself, keeping a scorecard in personal relationships is a recipe for misadventure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Raul, Angulo embodies a lovable ungainliness. Even when he stumbles (and stumble he does) he never crosses the line into the unforgivable. As a co-conspirator, and occasional co-transgressor, Evangeline Edwards brings a vibrant touch to her role, luminous eyes beaming out from her screen in every scene she’s in. If you’ve been wondering about the viability of digital platforms as stages for live performance, being mesmerized by all of the subtleties of expression in each character’s face makes a good case for it.\u003c/p>\n\u003cp>Over the past few years, the rich world of gamers has emerged as one ripe for exploring through the medium of theater, including the current affairs-parsing \u003ca href=\"https://www.kqed.org/arts/13825717/non-player-character-puts-gamergate-on-the-theater-stage\">\u003cem>Non-Player Character\u003c/em> at San Francisco Playhouse\u003c/a>, and the virtual reality romp \u003ca href=\"https://www.kqed.org/arts/13871091/5-plays-for-the-holidays-that-arent-a-christmas-carol\">\u003cem>An Invitation Out\u003c/em> with Quantum Dragon Theatre\u003c/a>. A major challenge for those plays was staging their game scenes \u003cem>without \u003c/em>screens, mostly relying on extravagant costumes and occasional video enhancement to give their game worlds a computerized feel. For \u003cem>In Love and Warcraft\u003c/em>, the challenge is inverted.\u003c/p>\n\u003cp>When the characters inhabit their game world, the audience experiences the computer graphic gameplay onscreen, as opposed to the cast dressed up as their avatars. The bigger challenge these actors face is how to stage their non-game action from their respective screens so it appears that they’re sharing the same space. By actively manipulating the angles and timing of their devices, they’re able to face each other and interact relatively naturally, their evident rapport helping to blur the borders of their Zoom rooms. Through allusion and some clever choreography, even first kisses and gynecological exams are made plausible.\u003c/p>\n\u003cfigure id=\"attachment_13885922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Madhuri Shekar’s ‘In Love and Warcraft,’ with James Mercer as Ryan, Cassandra Hunter as Evie, and Evangeline Edwards as Kitty. \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than relying overmuch on virtual backgrounds, which can make actors’ limbs disappear at random moments, these performers have instead decorated the walls of their homes with cafe signs and medical posters. And if occasionally their couch cushions don’t line up perfectly from screen to screen, suspending disbelief in order to fully embrace the world of the play is what theater audiences do best. It just so happens that this world is one that infiltrates our personal space instead of the other way around. In a sense, it creates a \u003cem>more\u003c/em> intimate experience for the audience than a conventionally staged performance.\u003c/p>\n\u003cp>Another way in which this digital production embraces its unique format is as a co-production with Juneau, Alaska’s Perseverance Theatre. Sharing costs and creative team, ACT and Perseverance demonstrate the potential of collaborating over a distance, opening up a whole realm of possibilities for future partnerships with almost any theater company from around the world.\u003c/p>\n\u003cp>All in all, this sweetly sincere investigation of analog human connection in a digital age is worth experiencing, whatever the platform.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘In Love and Warcraft’ runs live through Sept. 12, and on demand through Sept. 25. Tickets and \u003ca href=\"https://secure.act-sf.org/overview/loveandwarcraft\">more details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Enter the Rhino: Eugene Ionesco’s Absurdist Classic Stampedes A.C.T.",
"headTitle": "Enter the Rhino: Eugene Ionesco’s Absurdist Classic Stampedes A.C.T. | KQED",
"content": "\u003cp>There’s a curious symbiosis between Edward Albee’s \u003cem>Seascape\u003c/em>, which opened at A.C.T. in January, and their current production of Eugene Ionesco’s \u003cem>Rhinoceros\u003c/em>, that extends beyond their use of thick-skinned quadrupeds to illuminate the human condition. Both take the strictly mundane—a vacation at the beach, a day in the office—and turn them into explorations of existence through an absurdist lens. But where \u003cem>Seascape\u003c/em>’s director Pam MacKinnon (also A.C.T.’s artistic director) leaned into the realism of a predictable beach holiday before juxtaposing it with the audacity of having giant lizards as two major characters, \u003cem>Rhinoceros’ \u003c/em>director, Frank Galati, takes a different approach.\u003c/p>\n\u003cp>In Galati’s \u003cem>Rhinoceros\u003c/em>, the absurd is not merely hinted at, but is integral to the core of the production from the beginning. A garishly painted backdrop of a quaint, French side street—positioned so close to a single cafe table that the actors seem in constant danger of poking through it—sets the tone. As does the heightened, jokey affect of friends Berenger (David Breitbarth) and Gene (Matt DeCaro), who are meeting for coffee and superfluous chit-chat. As they bicker over Berenger’s appearance, Gene hands him a glassless mirror frame to examine himself in, and their waiter pops through the wall to take their order. There’s no gradual descent into surrealism here. Those cards are lying right out on the flimsy table, and flimsier walls for all to see.\u003c/p>\n\u003cfigure id=\"attachment_13859204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne.jpg\" alt=\"Matt DeCaro as Gene and David Breitbarth as Berenger in 'Rhinoceros' at A.C.T.\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13859204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Matt DeCaro as Gene and David Breitbarth as Berenger in ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, when the rhinos make their entrance, first as offstage rumblings (sound by Joseph Cerqua) and later as fully-realized giants (courtesy of scenic designer Robert Perdziola), their effect still shocks the imagination, just as it shocks the villagers onstage. There are few hypothetical scenarios more unsettling than that of an agitated, 6000-pound creature stampeding through a quiet neighborhood, and the panic it stirs among the actors feels genuine.\u003c/p>\n\u003cp>Still, the premise feels in many ways like an elaborate put-on—until the second act, when the human implications of this strange metamorphosis really come to light. As Berenger visits, the normally impeccable Gene begins a startling transformation, conveying the weirdness of his situation with uncontrollable flailing, disco dancing, guttural growling, and with such commitment that when Breitbarch strips off his shirt you actually expect to see tough, rhino hide. \u003c/p>\n\u003cp>Throughout, as a concerned Berenger tries to soothe and calm his friend, we get a crucial insight into the mentality of a prospective pachyderm: there is pleasure in the transformation. Gene feels powerful, energetic, even sexy. He declares humanism “dead” and runs to the bathroom to check out his burgeoning horn. He embraces his new state of being—mentally and physically—even as vestiges of his old self struggle against it.\u003c/p>\n\u003cfigure id=\"attachment_13859201\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne.jpg\" alt=\"David Breitbarth as Berenger and Matt DeCaro as Gene, in 'Rhinoceros' at A.C.T.\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13859201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-768x511.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth as Berenger and Matt DeCaro as Gene, in ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this insight that guides the rest of the play to a natural conclusion, albeit in an unnatural world. What’s attractive about belonging to the herd isn’t boring conformity. It’s that there’s true strength in numbers, and even before the rhinos are the actual majority, they command an outsized amount of attention. Larger than life, seemingly indestructible, and made up of a community of friends, neighbors and co-workers, the way of the rhinoceros becomes plausible, even desirable, and soon even Berenger longs to join.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Granted permission by the Ionesco estate to adapt the script to the modern age has resulted in a leaner, meaner \u003cem>Rhinoceros\u003c/em>, minus a brace of cumbersome bit parts, and plus au courant terminology such as “fake news.” Certain lines take on new resonance, as when the boorish Mr. Botard (Jomar Tagatac) at the office patronizes the sweet-natured Daisy (Rona Figueroa), insisting she can’t possibly have seen what she knows she did, (even when a rhinoceros crashes in through the front door and destroys the office staircase as he watches). The aforementioned floorboard-shaking soundscape in tandem with Chris Lundahl’s chiseled lighting adds welcome dimension to the staging, and an aching rendition of \u003cem>“Non, je ne regrette rien,”\u003c/em> sung by Figueroa lends an air of melancholy to the madness.\u003c/p>\n\u003cfigure id=\"attachment_13859202\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne.jpg\" alt=\"Ensemble of 'Rhinoceros' at A.C.T.\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13859202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-768x511.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble of ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It feels pertinent to reflect on Ionesco’s backstory, when considering the implications of a \u003cem>Rhinoceros\u003c/em> for today. Born in Romania, raised in France, and an eyewitness to the rise of European fascism, Ionesco’s lived experience contributed heavily to his recognition of the seductive nature of raw power, and the siren song of capitulation. In this particular production, what’s more frightening by far than the stampede, is the cheery bonhomie of their human brethren who head off to join them with barely a trace of hesitation. We see housewives fling themselves down flights of stairs to be with their transformed husbands, wonky co-workers insisting they have a duty to stick by their peers, and an erstwhile love interest believes that the bellowing of beasts is just a musical number, before drifting away to join their song.\u003c/p>\n\u003cp>Their lack of resistance to what they have internalized as inevitable offers some uncomfortable insight into how a population might respond to a cool new platform that thrives by “connecting” them, even as it strips them of their right to privacy, or to a system that bankrupts people unlucky enough to require a major surgery without insurance, or to policies that prioritize personal vehicles above mass transportation. It’s not just fascist creep that Ionesco is cautioning against, but intrinsic societal complacency. \u003c/p>\n\u003cp>\u003cem>Rhinoceros\u003c/em> may be absurd. But it’s no joke.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Rhinoceros’ plays through \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.html\">June 23\u003c/a> at A.C.T.’s Geary Theater. \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a curious symbiosis between Edward Albee’s \u003cem>Seascape\u003c/em>, which opened at A.C.T. in January, and their current production of Eugene Ionesco’s \u003cem>Rhinoceros\u003c/em>, that extends beyond their use of thick-skinned quadrupeds to illuminate the human condition. Both take the strictly mundane—a vacation at the beach, a day in the office—and turn them into explorations of existence through an absurdist lens. But where \u003cem>Seascape\u003c/em>’s director Pam MacKinnon (also A.C.T.’s artistic director) leaned into the realism of a predictable beach holiday before juxtaposing it with the audacity of having giant lizards as two major characters, \u003cem>Rhinoceros’ \u003c/em>director, Frank Galati, takes a different approach.\u003c/p>\n\u003cp>In Galati’s \u003cem>Rhinoceros\u003c/em>, the absurd is not merely hinted at, but is integral to the core of the production from the beginning. A garishly painted backdrop of a quaint, French side street—positioned so close to a single cafe table that the actors seem in constant danger of poking through it—sets the tone. As does the heightened, jokey affect of friends Berenger (David Breitbarth) and Gene (Matt DeCaro), who are meeting for coffee and superfluous chit-chat. As they bicker over Berenger’s appearance, Gene hands him a glassless mirror frame to examine himself in, and their waiter pops through the wall to take their order. There’s no gradual descent into surrealism here. Those cards are lying right out on the flimsy table, and flimsier walls for all to see.\u003c/p>\n\u003cfigure id=\"attachment_13859204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne.jpg\" alt=\"Matt DeCaro as Gene and David Breitbarth as Berenger in 'Rhinoceros' at A.C.T.\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13859204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Matt DeCaro as Gene and David Breitbarth as Berenger in ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, when the rhinos make their entrance, first as offstage rumblings (sound by Joseph Cerqua) and later as fully-realized giants (courtesy of scenic designer Robert Perdziola), their effect still shocks the imagination, just as it shocks the villagers onstage. There are few hypothetical scenarios more unsettling than that of an agitated, 6000-pound creature stampeding through a quiet neighborhood, and the panic it stirs among the actors feels genuine.\u003c/p>\n\u003cp>Still, the premise feels in many ways like an elaborate put-on—until the second act, when the human implications of this strange metamorphosis really come to light. As Berenger visits, the normally impeccable Gene begins a startling transformation, conveying the weirdness of his situation with uncontrollable flailing, disco dancing, guttural growling, and with such commitment that when Breitbarch strips off his shirt you actually expect to see tough, rhino hide. \u003c/p>\n\u003cp>Throughout, as a concerned Berenger tries to soothe and calm his friend, we get a crucial insight into the mentality of a prospective pachyderm: there is pleasure in the transformation. Gene feels powerful, energetic, even sexy. He declares humanism “dead” and runs to the bathroom to check out his burgeoning horn. He embraces his new state of being—mentally and physically—even as vestiges of his old self struggle against it.\u003c/p>\n\u003cfigure id=\"attachment_13859201\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne.jpg\" alt=\"David Breitbarth as Berenger and Matt DeCaro as Gene, in 'Rhinoceros' at A.C.T.\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13859201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-768x511.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth as Berenger and Matt DeCaro as Gene, in ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this insight that guides the rest of the play to a natural conclusion, albeit in an unnatural world. What’s attractive about belonging to the herd isn’t boring conformity. It’s that there’s true strength in numbers, and even before the rhinos are the actual majority, they command an outsized amount of attention. Larger than life, seemingly indestructible, and made up of a community of friends, neighbors and co-workers, the way of the rhinoceros becomes plausible, even desirable, and soon even Berenger longs to join.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Granted permission by the Ionesco estate to adapt the script to the modern age has resulted in a leaner, meaner \u003cem>Rhinoceros\u003c/em>, minus a brace of cumbersome bit parts, and plus au courant terminology such as “fake news.” Certain lines take on new resonance, as when the boorish Mr. Botard (Jomar Tagatac) at the office patronizes the sweet-natured Daisy (Rona Figueroa), insisting she can’t possibly have seen what she knows she did, (even when a rhinoceros crashes in through the front door and destroys the office staircase as he watches). The aforementioned floorboard-shaking soundscape in tandem with Chris Lundahl’s chiseled lighting adds welcome dimension to the staging, and an aching rendition of \u003cem>“Non, je ne regrette rien,”\u003c/em> sung by Figueroa lends an air of melancholy to the madness.\u003c/p>\n\u003cfigure id=\"attachment_13859202\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne.jpg\" alt=\"Ensemble of 'Rhinoceros' at A.C.T.\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13859202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-768x511.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble of ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It feels pertinent to reflect on Ionesco’s backstory, when considering the implications of a \u003cem>Rhinoceros\u003c/em> for today. Born in Romania, raised in France, and an eyewitness to the rise of European fascism, Ionesco’s lived experience contributed heavily to his recognition of the seductive nature of raw power, and the siren song of capitulation. In this particular production, what’s more frightening by far than the stampede, is the cheery bonhomie of their human brethren who head off to join them with barely a trace of hesitation. We see housewives fling themselves down flights of stairs to be with their transformed husbands, wonky co-workers insisting they have a duty to stick by their peers, and an erstwhile love interest believes that the bellowing of beasts is just a musical number, before drifting away to join their song.\u003c/p>\n\u003cp>Their lack of resistance to what they have internalized as inevitable offers some uncomfortable insight into how a population might respond to a cool new platform that thrives by “connecting” them, even as it strips them of their right to privacy, or to a system that bankrupts people unlucky enough to require a major surgery without insurance, or to policies that prioritize personal vehicles above mass transportation. It’s not just fascist creep that Ionesco is cautioning against, but intrinsic societal complacency. \u003c/p>\n\u003cp>\u003cem>Rhinoceros\u003c/em> may be absurd. But it’s no joke.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Rhinoceros’ plays through \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.html\">June 23\u003c/a> at A.C.T.’s Geary Theater. \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was a standing room-only crowd as supporters of Stephen Buescher, the plaintiff in a discrimination lawsuit against his former employer American Conservatory Theater (ACT), gathered Wednesday evening to discuss racism in the theater world.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">a complaint filed a day prior\u003c/a>, Buescher alleges that ACT, where he held faculty and creative roles for ten years until 2018, created a racially hostile environment and systematically discriminated against black artists, staff and students.\u003c/p>\n\u003cp>[contextly_sidebar id=”flaueC6OR4YAZwC6XQROSareU5dK0Gtj”]\u003c/p>\n\u003cp>The event in the 92-seat theater at Pianofight in San Francisco was billed “#LiftTheCurtain on Racial Inequity in the Arts.” For more than an hour, Buescher, current staff and students at American Conservatory Theater and other theater figures passed a microphone to share their frustrations with being typecast, tokenized and silenced as black artists.\u003c/p>\n\u003cp>It began with poems from Jerrie Johnson, one of several ACT graduate students present, followed by Buescher. Choking up, he called his experience at the company a “long, silent, lonely road” before saying that, in the wake of the lawsuit, he’s heard from many theater figures with similar accounts. Most of the following speakers said they now felt emboldened.\u003c/p>\n\u003cfigure id=\"attachment_13851345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg\" alt=\"Margo Hall encouraged the audience to complicate black stereotypes.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall encouraged the audience to complicate black stereotypes. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Wilborn, community programs manager at ACT, read a prepared piece about being one of few black workers at the company, including references to colleagues inappropriately touching and commenting on her hair. “It means having a board member ask you your name for the fifth time and then ask what year you’re graduating,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ve worked at ACT for three years and what Stephen has courageously said to [the media] is true.” Wilborn continued, “I’ve seen it happen and it’s happened to me.”\u003c/p>\n\u003cp>Margo Hall, the prominent local actor and educator who recently appeared in \u003cem>Blindspotting\u003c/em>, drew shouts and applause as she encouraged the audience to complicate black stereotypes. “Hell, my uncle was a pimp—but he had a life, he had a story,” she said. “Don’t be afraid to embrace your stories because someone has created a narrative around those stories. We get to tell the truth about them. Keep thinking about that.” [contextly_sidebar id=”SxQaArjM4knABlFrFzPhB63EHl6NBVrd”]\u003c/p>\n\u003cp>Ellen Sebastian Chang, the longtime local theater fixture who co-created the site-specific ritual performance series \u003cem>House/Full of Black Women\u003c/em> with Amara Tabor-Smith, emphasized how the racial wealth gap colors the arts. And at the same time black people are alienated from arts organizations, she said, black cultural products are in demand.\u003c/p>\n\u003cp>“So when I get triggered by \u003cem>Fairview\u003c/em> at Berkeley Rep and the spirit comes over me and I jump up and say, ‘Look at how black women are doing CPR on the failing heart of America’—and doing it for fucking minimum wage—and then the white folks run up to me and go, ‘Are you okay?’” She continued, “Then I say fuck off, ‘cus I’m not okay!”\u003c/p>\n\u003cfigure id=\"attachment_13851344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg\" alt=\"Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the lawsuit, ACT issued a statement describing institutional changes including hiring a diversity, equity and inclusion consultant and a new human resources director. Buescher called the changes “superficial,” and other speakers made it a refrain.\u003c/p>\n\u003cp>“How many folks in this space are currently involved in some kind of diversity, equity and inclusion work?” asked artist and activist Claudia Alick. Dozens of hands shot up. “Okay, so, this is the question that I’ve been holding on to this week: Are we helping organizations perform the optics of justice while maintaining systems of injustice?”\u003c/p>\n\u003cp>Buescher’s complaint, filed by Oakland civil rights firm Medina Orthwein LLP, alleges ACT subjected him and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cfigure id=\"attachment_13851342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg\" alt='Artist and activist Claudia Alick asked listeners if they were only helping organizations \"perform the optics of justice.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and activist Claudia Alick asked listeners if they were only helping organizations “perform the optics of justice.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The complaint singles out former Artistic Director Carey Perloff and director Melissa Smith for making racially insensitive comments, explicitly refusing to advance black artists, and dismissing formal complaints from staff and students. After Buescher took his concerns to the board, the suit alleges, his pay and credit were withheld in retaliation.\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement. “As a former valued member of the American Conservatory Theater faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a standing room-only crowd as supporters of Stephen Buescher, the plaintiff in a discrimination lawsuit against his former employer American Conservatory Theater (ACT), gathered Wednesday evening to discuss racism in the theater world.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">a complaint filed a day prior\u003c/a>, Buescher alleges that ACT, where he held faculty and creative roles for ten years until 2018, created a racially hostile environment and systematically discriminated against black artists, staff and students.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The event in the 92-seat theater at Pianofight in San Francisco was billed “#LiftTheCurtain on Racial Inequity in the Arts.” For more than an hour, Buescher, current staff and students at American Conservatory Theater and other theater figures passed a microphone to share their frustrations with being typecast, tokenized and silenced as black artists.\u003c/p>\n\u003cp>It began with poems from Jerrie Johnson, one of several ACT graduate students present, followed by Buescher. Choking up, he called his experience at the company a “long, silent, lonely road” before saying that, in the wake of the lawsuit, he’s heard from many theater figures with similar accounts. Most of the following speakers said they now felt emboldened.\u003c/p>\n\u003cfigure id=\"attachment_13851345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg\" alt=\"Margo Hall encouraged the audience to complicate black stereotypes.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall encouraged the audience to complicate black stereotypes. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Wilborn, community programs manager at ACT, read a prepared piece about being one of few black workers at the company, including references to colleagues inappropriately touching and commenting on her hair. “It means having a board member ask you your name for the fifth time and then ask what year you’re graduating,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve worked at ACT for three years and what Stephen has courageously said to [the media] is true.” Wilborn continued, “I’ve seen it happen and it’s happened to me.”\u003c/p>\n\u003cp>Margo Hall, the prominent local actor and educator who recently appeared in \u003cem>Blindspotting\u003c/em>, drew shouts and applause as she encouraged the audience to complicate black stereotypes. “Hell, my uncle was a pimp—but he had a life, he had a story,” she said. “Don’t be afraid to embrace your stories because someone has created a narrative around those stories. We get to tell the truth about them. Keep thinking about that.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ellen Sebastian Chang, the longtime local theater fixture who co-created the site-specific ritual performance series \u003cem>House/Full of Black Women\u003c/em> with Amara Tabor-Smith, emphasized how the racial wealth gap colors the arts. And at the same time black people are alienated from arts organizations, she said, black cultural products are in demand.\u003c/p>\n\u003cp>“So when I get triggered by \u003cem>Fairview\u003c/em> at Berkeley Rep and the spirit comes over me and I jump up and say, ‘Look at how black women are doing CPR on the failing heart of America’—and doing it for fucking minimum wage—and then the white folks run up to me and go, ‘Are you okay?’” She continued, “Then I say fuck off, ‘cus I’m not okay!”\u003c/p>\n\u003cfigure id=\"attachment_13851344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg\" alt=\"Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the lawsuit, ACT issued a statement describing institutional changes including hiring a diversity, equity and inclusion consultant and a new human resources director. Buescher called the changes “superficial,” and other speakers made it a refrain.\u003c/p>\n\u003cp>“How many folks in this space are currently involved in some kind of diversity, equity and inclusion work?” asked artist and activist Claudia Alick. Dozens of hands shot up. “Okay, so, this is the question that I’ve been holding on to this week: Are we helping organizations perform the optics of justice while maintaining systems of injustice?”\u003c/p>\n\u003cp>Buescher’s complaint, filed by Oakland civil rights firm Medina Orthwein LLP, alleges ACT subjected him and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cfigure id=\"attachment_13851342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg\" alt='Artist and activist Claudia Alick asked listeners if they were only helping organizations \"perform the optics of justice.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and activist Claudia Alick asked listeners if they were only helping organizations “perform the optics of justice.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The complaint singles out former Artistic Director Carey Perloff and director Melissa Smith for making racially insensitive comments, explicitly refusing to advance black artists, and dismissing formal complaints from staff and students. After Buescher took his concerns to the board, the suit alleges, his pay and credit were withheld in retaliation.\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement. “As a former valued member of the American Conservatory Theater faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My co-host A-lan Holt, Gabe Meline and I went to see \u003cem>Father Comes Home from The Wars (Parts 1, 2 and 3)\u003c/em> by Suzan-Lori Parks (A-lan’s favorite playwright) last week at the American Conservatory Theater. The play follows the adventures of a slave named Hero (and later, Ulysses), as he chooses whether to join the Confederate Army in the Civil War in return for a promise of freedom. The play mines themes from \u003cem>The Odyssey\u003c/em> and the \u003cem>Mahābhārata\u003c/em>, with fabulous language rich in both free-verse and modern slang.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DntSRDpvOfU\u003c/p>\n\u003cp>As co-host Gabe Meline noted, this was a hell of a play to watch in a week when Kanye West was \u003ca href=\"https://www.kqed.org/pop/103462/what-the-kanye-controversy-can-teach-us-about-black-voters\" target=\"_blank\" rel=\"noopener\">talking about slavery being a choice\u003c/a>.\u003c/p>\n\u003cp>Parks is a very funny writer, but underlying the play is a sense of dread for the fate of slaves caught in a vicious system that offers only the \u003cem>illusion\u003c/em> of choice. \u003cem>Father Comes Home from the Wars (Parts 1, 2, and 3)\u003c/em> continues at the American Conservatory Theater through May 20. \u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/father_comes_home.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>Also, the East Bay’s nomadic Ubuntu Theater offers a chance to go deeper into the Suzan-Lori Parks canon, with her Pulitzer Prize winning \u003cem>Topdog/Underdog\u003c/em> at 4040 4th Street in Berkeley. \u003ca href=\"http://www.ubuntutheaterproject.com/topdog/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pv0da1GCEXs\u003c/p>\n\n",
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"content": "\u003cp>\u003cem>Vietgone\u003c/em> is Qui Nguyen’s comedy drama about Vietnamese refugees arriving in the US after the fall of Saigon. The play hilariously mocks U.S. culture, with the American characters speaking a pidgin-English loaded with words like “cheeseburger” and “yee-haw.” The Vietnamese characters, which Nguyen says are sort-of based on his refugee parents, tell their stories in rap. The rapping works beautifully sometimes, and then feels contrived and cliched at others. But at its best, \u003cem>Vietgone\u003c/em> offers real insights into the way these patriotic South Vietnamese lost everything when they fled their country, and their struggles to rebuild their lives in the U.S. \u003c/p>\n\u003cp>\u003cem>Vietgone\u003c/em> continues through April 29 at the Strand Theater in San Francisco.\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/vietgone.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13828202\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg\" alt=\"Members of the cast of 'Vietgone' at ACT's Strand Theater\" width=\"576\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-520x346.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Members of the cast of ‘Vietgone’ at ACT’s Strand Theater \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Vietgone\u003c/em> is Qui Nguyen’s comedy drama about Vietnamese refugees arriving in the US after the fall of Saigon. The play hilariously mocks U.S. culture, with the American characters speaking a pidgin-English loaded with words like “cheeseburger” and “yee-haw.” The Vietnamese characters, which Nguyen says are sort-of based on his refugee parents, tell their stories in rap. The rapping works beautifully sometimes, and then feels contrived and cliched at others. But at its best, \u003cem>Vietgone\u003c/em> offers real insights into the way these patriotic South Vietnamese lost everything when they fled their country, and their struggles to rebuild their lives in the U.S. \u003c/p>\n\u003cp>\u003cem>Vietgone\u003c/em> continues through April 29 at the Strand Theater in San Francisco.\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/vietgone.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13828202\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg\" alt=\"Members of the cast of 'Vietgone' at ACT's Strand Theater\" width=\"576\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-520x346.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Members of the cast of ‘Vietgone’ at ACT’s Strand Theater \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "ACT's New Artistic Leader Shares Vision for Flagship Bay Area Theater",
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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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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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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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