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"content": "\u003cp>The willingness of audiences to suspend disbelief gives live theater the ability to explore unfamiliar and speculative terrain, even from a stage set prosaically with the trappings of a middle-class household. In Suzan Lori-Parks’ \u003cem>White Noise\u003c/em>, which runs through Nov. 10 at Berkeley Repertory Theatre, we’re thrown headfirst into the improbable scenario of four friends embarking on an experiment with modern-day slavery. It’s the kind of experimental philosophical puzzle that live theater feels especially suited to exploring.\u003c/p>\n\u003cp>Four characters—two male, two female; two black, two white—are busy confronting the ways in which their reality is falling short of their aspirations. Leo (Chris Herbie Holland) is a visual artist who’s finding it increasingly impossible to sleep, and therefore create. His girlfriend Dawn (Therese Barbato) is a lawyer who feels like she should be hired as a partner, but doesn’t want to stay with her dead-end firm. Their pals, fellow mixed-race couple Ralph (Nick Dillenburg) and Misha (Aimé Donna Kelly), are similarly frustrated as an adjunct professor passed over for tenure and a livestream personality, respectively. It all feels deliberately mundane.\u003c/p>\n\u003cfigure id=\"attachment_13867754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Herbie Holland (Leo) and Therese Barbato (Dawn) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mundanity is not a hallmark of Lori-Parks’ work, and almost without warning she has Leo propose the preposterous during a friendly round of bowling. What if he were to sell himself temporarily as a black slave to Ralph, his white friend who just happens to have a large trust fund at his disposal? It’s an audacious proposal that immediately elicits a panicked reaction from his friends. But Leo’s mind is made up; he’s even had a contract drawn up. For the biblically-significant number of 40 days, Leo will exile himself to the wilderness of servitude, and in return, he’ll gain the peace of mind that being under the “protection” of a “big dog” will bring him.\u003c/p>\n\u003cp>Consent isn’t really a central theme in the play, but a question this scenario inadvertently raised for me is: What if the characters had taken the time to include some sort of safeword in Leo’s slave contract? Master-slave relationships are a working reality in the kink community, which might have supplied a blueprint for Leo’s idea. Instead, Leo gets his contract drawn up by a lawyer who specializes in prenups. This leads to a series of escalating abuses of power on the part of Ralph that Leo has no way to check, and has not prepared himself mentally to face.\u003c/p>\n\u003cp>Practically before the ink is dry on the signed contract, Ralph begins adding “amendments” to it, further curtailing Leo’s words, actions, and ability to protest, and granting himself the unconditional permission to “discipline” his new property. Scratch the surface of any frustrated white man and you’ll find a supremacist waiting to emerge, Lori-Parks seems to suggest. Where this production falters is in its effort to make that idea feel revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13867753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867753\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Aimé Donna Kelly (Misha) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the direction of Jaki Bradley, each character’s emotional disconnect is so profound that even the most charged lines are sapped of strength. When an aggrieved Ralph describes his university’s decision to deny him tenure, he announces that he’ll “kill them all” with the affectless delivery of a man asking for salt. When Leo tries to justify his radical proposal by referencing his “unarticulated self-loathing,” he sounds as if he’s quoting from a textbook on race relations rather than a genuine place of personal pain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even when alone on stage, the actors’ character-defining monologues sound partly contrived, partly rote—and whether by accident or design, the play’s downward spiral into depravity feels strangely quotidian. The strongest statements tend to be made visually rather than uttered. An antique slave collar of rusted spikes and malevolent intent. A video projection (designed by Alexander V. Nichols) of the white noise that once helped Leo to sleep, and now prevents him from accessing his creativity—spreading across the walls and eventually encompassing the whole stage. A calendar of 40 days dominating the living area, slashes of a black marker indicating each day closer to freedom.\u003c/p>\n\u003cfigure id=\"attachment_13867751\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867751\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg\" alt=\"\" width=\"798\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-768x1155.jpg 768w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Chris Herbie Holland (Leo) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What never feels commonplace are the questions the play tackles. Who are we in relation to each other? How do the traumas of the past carry themselves into the future? What does true liberation look like, and what will it take to get us as a nation to that place? And what are we, who are we, liberating ourselves from? Each other? The system? Our own inflated expectations of what it means to be free?\u003c/p>\n\u003cp>In the end, we’re confronted by two major transgressions on the part of Ralph, neither of which are forgivable, and one of which is outright criminal. But because we never developed much in the way of empathy for him, nor for Leo, the impact of his crimes is blunted, diffused. Like the white noise referenced in the play’s title, Ralph’s actions feel as if they could just blend into the background. And perhaps that’s the play’s biggest shock—that such blatant evil can feel so ordinary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Noise’ plays through Nov. 10 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14544.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The willingness of audiences to suspend disbelief gives live theater the ability to explore unfamiliar and speculative terrain, even from a stage set prosaically with the trappings of a middle-class household. In Suzan Lori-Parks’ \u003cem>White Noise\u003c/em>, which runs through Nov. 10 at Berkeley Repertory Theatre, we’re thrown headfirst into the improbable scenario of four friends embarking on an experiment with modern-day slavery. It’s the kind of experimental philosophical puzzle that live theater feels especially suited to exploring.\u003c/p>\n\u003cp>Four characters—two male, two female; two black, two white—are busy confronting the ways in which their reality is falling short of their aspirations. Leo (Chris Herbie Holland) is a visual artist who’s finding it increasingly impossible to sleep, and therefore create. His girlfriend Dawn (Therese Barbato) is a lawyer who feels like she should be hired as a partner, but doesn’t want to stay with her dead-end firm. Their pals, fellow mixed-race couple Ralph (Nick Dillenburg) and Misha (Aimé Donna Kelly), are similarly frustrated as an adjunct professor passed over for tenure and a livestream personality, respectively. It all feels deliberately mundane.\u003c/p>\n\u003cfigure id=\"attachment_13867754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Herbie Holland (Leo) and Therese Barbato (Dawn) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mundanity is not a hallmark of Lori-Parks’ work, and almost without warning she has Leo propose the preposterous during a friendly round of bowling. What if he were to sell himself temporarily as a black slave to Ralph, his white friend who just happens to have a large trust fund at his disposal? It’s an audacious proposal that immediately elicits a panicked reaction from his friends. But Leo’s mind is made up; he’s even had a contract drawn up. For the biblically-significant number of 40 days, Leo will exile himself to the wilderness of servitude, and in return, he’ll gain the peace of mind that being under the “protection” of a “big dog” will bring him.\u003c/p>\n\u003cp>Consent isn’t really a central theme in the play, but a question this scenario inadvertently raised for me is: What if the characters had taken the time to include some sort of safeword in Leo’s slave contract? Master-slave relationships are a working reality in the kink community, which might have supplied a blueprint for Leo’s idea. Instead, Leo gets his contract drawn up by a lawyer who specializes in prenups. 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Where this production falters is in its effort to make that idea feel revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13867753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867753\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Aimé Donna Kelly (Misha) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the direction of Jaki Bradley, each character’s emotional disconnect is so profound that even the most charged lines are sapped of strength. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even when alone on stage, the actors’ character-defining monologues sound partly contrived, partly rote—and whether by accident or design, the play’s downward spiral into depravity feels strangely quotidian. The strongest statements tend to be made visually rather than uttered. An antique slave collar of rusted spikes and malevolent intent. A video projection (designed by Alexander V. Nichols) of the white noise that once helped Leo to sleep, and now prevents him from accessing his creativity—spreading across the walls and eventually encompassing the whole stage. A calendar of 40 days dominating the living area, slashes of a black marker indicating each day closer to freedom.\u003c/p>\n\u003cfigure id=\"attachment_13867751\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867751\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg\" alt=\"\" width=\"798\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-768x1155.jpg 768w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Chris Herbie Holland (Leo) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What never feels commonplace are the questions the play tackles. Who are we in relation to each other? How do the traumas of the past carry themselves into the future? What does true liberation look like, and what will it take to get us as a nation to that place? And what are we, who are we, liberating ourselves from? Each other? The system? Our own inflated expectations of what it means to be free?\u003c/p>\n\u003cp>In the end, we’re confronted by two major transgressions on the part of Ralph, neither of which are forgivable, and one of which is outright criminal. But because we never developed much in the way of empathy for him, nor for Leo, the impact of his crimes is blunted, diffused. Like the white noise referenced in the play’s title, Ralph’s actions feel as if they could just blend into the background. And perhaps that’s the play’s biggest shock—that such blatant evil can feel so ordinary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Noise’ plays through Nov. 10 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14544.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area",
"headTitle": "Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area | KQED",
"content": "\u003cp>By now, you’ve probably heard that \u003cem>\u003ca href=\"https://hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Hamilton\u003c/a>\u003c/em> is in town, running through January of next year. You may have also heard that \u003ca href=\"https://sfcurran.com/shows/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a> is coming in October, \u003ca href=\"https://www.kqed.org/arts/13845883/the-curran-at-a-crossroads\" target=\"_blank\" rel=\"noopener\">possibly running for three or more years\u003c/a>.\u003c/p>\n\u003cp>But what of all the other great theater in the shadow of the blockbusters? This summer, the Bay Area is home to an array of the stellar productions, from big musicals to small dramas. Below, we round up the best summertime theater to see on opera stages, black boxes and even on the sidewalk—which, in the Bay Area, is often a stage unto itself.\u003c/p>\n\u003cfigure id=\"attachment_13857960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg\" alt=\"David Breitbarth in Eugène Ionesco's Rhinoceros at A.C.T.'s Geary Theater.\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth in Eugène Ionesco’s ‘Rhinoceros’ at A.C.T.’s Geary Theater. \u003ccite>(Cliff Roles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rhinocerous’\u003c/h2>\n\u003cp>\u003ci>May 29–June 23, 2019\u003cbr>\nGeary Theater, San Francisco\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Eugène Ionesco’s absurdist masterpiece involves the inhabitants of a small French town transforming, one by one, into rhinos. But the play’s allegories to fascism—and the characterization of those who oppose it as paranoid—could not be any more relevant to the United States in 2019. Staged by ACT, which last year put \u003ca href=\"https://www.kqed.org/arts/13849904/a-day-at-the-beach-interrupted-by-two-giant-lizards\" target=\"_blank\" rel=\"noopener\">giant lizards on the stage in Edward Albee’s \u003cem>Seascape\u003c/em>\u003c/a>, \u003cem>Rhinocerous\u003c/em> is not only a marvelous study in conformity, but a consistently fun stampede through the possibilities of set and wardrobe.\u003c/p>\n\u003cfigure id=\"attachment_13858006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg\" alt=\"Deri'Andra Tucker in the touring production of 'Rent.'\" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1200x826.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deri’Andra Tucker in the touring production of ‘Rent.’ \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rent’\u003c/h2>\n\u003cp>\u003ci>June 14–23, 2019\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The retelling of \u003cem>La bohème\u003c/em> that swept the world in the 1990s gets the 20th anniversary tour it deserves, including this very quick stop in San Francisco. \u003cem>Rent\u003c/em> is particularly resonant in the expensive Bay Area, where living in warehouses and off-the-grid spaces is a necessity for many, and the turmoil of HIV/AIDS hits close to home. If you still get chills at the opening chords of “Seasons of Love,” don’t sleep on this one-week-only run.\u003c/p>\n\u003cfigure id=\"attachment_13857974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg\" alt=\"J'Nai Bridges plays the lead role in 'Carmen' at SF Opera this June.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J’Nai Bridges plays the lead role in ‘Carmen’ at SF Opera this June. \u003ccite>(S. Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Carmen’\u003c/h2>\n\u003cp>\u003ci>June 5–29, 2019\u003cbr>\nWar Memorial Opera House, San Francisco\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/carmen/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You already know more songs from \u003cem>Carmen\u003c/em> than you think you know (thanks, \u003ca href=\"https://www.youtube.com/watch?v=3Wsx22WxWOc\" target=\"_blank\" rel=\"noopener\">Saturday morning cartoons\u003c/a>), and if you’re daunted by the marathon of \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener\">longer operas\u003c/a>, Bizet’s eternal tale of a woman who dares to live freely clocks in at under three hours. Add to it Francesca Zambello’s modern production, James Gaffigan conducting the orchestra and \u003ca href=\"https://www.youtube.com/watch?v=m_MMKJaIHes\" target=\"_blank\" rel=\"noopener\">basketball player-turned-opera star J’Nai Bridges\u003c/a> (pictured above) in the title role, and you’ve got a summertime opera that even those who \u003cem>think\u003c/em> they hate opera can enjoy.\u003c/p>\n\u003cfigure id=\"attachment_13857965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857965\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg\" alt=\"The cast of 'Kiss My Aztec!' at Berkeley Rep, directed by Tony Taccone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Kiss My Aztec!’ at Berkeley Rep, directed by Tony Taccone. \u003ccite>(Cheshire Isaacs/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Kiss My Aztec!’\u003c/h2>\n\u003cp>\u003ci>May 28–July 21, 2019\u003cbr>\nRoda Theatre, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1819/13384.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Written by John Leguizamo and Tony Taccone, this world-premiere musical has more than a whiff of \u003cem>Hamilton\u003c/em> for Latin America: a history lesson of resistance in Spanish-occupied Mesoamerica told through salsa, hip-hop, merengue and funk, with a blend of 16th-century dialect and modern slang. Taccone and Leguizamo previously worked together on \u003cem>Latin History for Morons\u003c/em>, but this one’s special: it’s Taccone’s final production as artistic director \u003ca href=\"https://www.kqed.org/arts/12700435/berkeley-rep-artistic-director-tony-taccone-announces-departure\" target=\"_blank\" rel=\"noopener\">after 33 years at Berkeley Rep\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13858009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘A Midsummer Night’s Dream’\u003c/h2>\n\u003cp>\u003ci>May 22–June 16, 2019\u003cbr>\nBruns Amphitheater, Orinda\u003cbr>\n\u003ca href=\"https://calshakes.org/make/a-midsummer-nights-dream/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Cal Shakes, the region’s premier purveyors of the Bard, bring this Shakespeare favorite to life this summer with all the sprites, dukes, queens and faeries you’ve come to know and love. It’s easy to forget just how damn \u003cem>fun\u003c/em> the action is in \u003cem>A Midsummer Night’s Dream\u003c/em>, and with costume by Ásta Bennie Hostetter and set by Nina Ball, the visuals are sure to be dazzling. Tyne Rafaeli directs in the picturesque outdoor Bruns Amphitheater.\u003c/p>\n\u003cfigure id=\"attachment_13858316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg\" alt=\"Last year’s champions of ShortLived, The Geek Show, who won for their piece 'No Country for Old Henchmen.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last year’s champions of ShortLived, The Geek Show, who won for their piece ‘No Country for Old Henchmen.’ \u003ccite>(Courtesy PIanoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘ShortLived VII’\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 7, 2019\u003cbr>\nPianoFight and The Strand, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-viii/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Pushing the limits of theatrical possibility, \u003cem>ShortLived\u003c/em> is a marathon \u003cem>American Idol\u003c/em>-esque race to a $5,000 check and eternal Bay Area glory. This year’s audience-judged competition features 48 short plays running over the course of 8 weeks, and then a winner-take-all finals on Sept. 6 and 7. If you want to take a dip into the rampant creativity of Bay Area theater—and see some fun, charming competition along the way—you can’t do much better than this.\u003c/p>\n\u003cfigure id=\"attachment_13858015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858015\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg\" alt=\"(L to R) Lady Malavendra, Red Velvet, and Dee O’s Mío in 'Dollhouse Monsters.'\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Lady Malavendra, Red Velvet and Dee O’s Mío in ‘Dollhouse Monsters.’ \u003ccite>(Ross Pearson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dollhouse Monsters’\u003c/h2>\n\u003cp>\u003ci>July 12–27, 2019\u003cbr>\nExit Stage Left, San Francisco\u003cbr>\n\u003ca href=\"http://www.theexit.org/dollhouse/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>These days, burlesque is everywhere, thanks to an ongoing vaudeville-circus-steampunk revival especially resonant here on the Barbary Coast. And while body positivity has long been a staple of modern burlesque, the ladies of DIVA Or Die Burlesque take that introspection further in \u003cem>Dollhouse Monsters\u003c/em>, a half-theater, half-burlesque show that examines our inner behaviors and secrets, why we have them, and why we keep them.\u003c/p>\n\u003cfigure id=\"attachment_13857967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Hayes, Brian Freeman, Marga Gomez, J. Miko Thomas a.k.a. Landa Lakes for OUT of Site SOMA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘OUT of Site: SOMA’\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nHoward Langton Community Garden, San Francisco\u003cbr>\n\u003ca href=\"https://www.eyezen.org/out-of-site-soma\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cem>OUT of Site\u003c/em> has already brought history to life in North Beach, and now, the theatrical walking tour series alights South of Market for a reevaluation of the neighborhood’s LGBTQ contributions. The Castro gets most of the attention, but as \u003cem>OUT of Site\u003c/em> points out, SOMA is home to hidden stories, “from Native American Two-Spirit culture to the Folsom Street Fair, Lesbian auto-mechanics to labor activists and dock workers to drag queens.” Marga Gomez heads up a cast that should be illuminating and entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13857973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857973\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg\" alt=\"'The Flick' won the 2014 Pulitzer Prize for Drama.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Flick’ won the 2014 Pulitzer Prize for Drama. \u003ccite>(Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Flick’\u003c/h2>\n\u003cp>\u003ci>Aug. 22–Sept. 22, 2019\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"http://bit.ly/2rgcffY\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>People who work at movie theaters are a specific kind of nerd: exceedingly knowledgable about the minutiae of fictional film, but open to letting real life take over with gale force when it wants to. The winner of the 2014 Pulitzer Prize for Drama, \u003cem>The Flick\u003c/em> is about three employees of a suburban movie theater in Massachusetts who still know how to run 35mm film projectors, with a script that follows their personal struggles which overlap in unexpected, humorous and heartbreaking fashion.\u003c/p>\n\u003cfigure id=\"attachment_13858334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg\" alt=\"The Dragon Theatre stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dragon Theatre stage. \u003ccite>(Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Redwood City Play Festival\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nDragon Theatre, Redwood City\u003cbr>\n\u003ca href=\"http://www.fusetheatre.org/projects/rwc-festival/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A joint effort by Dragon Productions Theatre Company and Fuse Theatre, this festival of three one-act plays centers on issues of gender: \u003cem>Because I Went There\u003c/em>, \u003cem>Never Swim Alone\u003c/em> and \u003cem>Legal-Tender Loving Care\u003c/em>. Held in the heart of Redwood City’s downtown (time it right, and you could fit in the town’s surreal light show a block away in Courthouse Square), the plays should bring a good dose of social justice to the Peninsula.\u003c/p>\n\n",
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"excerpt": "Tony winners! New musicals! Shakespeare! Opera! Burlesque! All of this and more hits Bay Area stages this summer.",
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"description": "Tony winners! New musicals! Shakespeare! Opera! Burlesque! All of this and more hits Bay Area stages this summer.",
"title": "Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now, you’ve probably heard that \u003cem>\u003ca href=\"https://hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Hamilton\u003c/a>\u003c/em> is in town, running through January of next year. You may have also heard that \u003ca href=\"https://sfcurran.com/shows/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a> is coming in October, \u003ca href=\"https://www.kqed.org/arts/13845883/the-curran-at-a-crossroads\" target=\"_blank\" rel=\"noopener\">possibly running for three or more years\u003c/a>.\u003c/p>\n\u003cp>But what of all the other great theater in the shadow of the blockbusters? This summer, the Bay Area is home to an array of the stellar productions, from big musicals to small dramas. Below, we round up the best summertime theater to see on opera stages, black boxes and even on the sidewalk—which, in the Bay Area, is often a stage unto itself.\u003c/p>\n\u003cfigure id=\"attachment_13857960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg\" alt=\"David Breitbarth in Eugène Ionesco's Rhinoceros at A.C.T.'s Geary Theater.\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth in Eugène Ionesco’s ‘Rhinoceros’ at A.C.T.’s Geary Theater. \u003ccite>(Cliff Roles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rhinocerous’\u003c/h2>\n\u003cp>\u003ci>May 29–June 23, 2019\u003cbr>\nGeary Theater, San Francisco\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Eugène Ionesco’s absurdist masterpiece involves the inhabitants of a small French town transforming, one by one, into rhinos. But the play’s allegories to fascism—and the characterization of those who oppose it as paranoid—could not be any more relevant to the United States in 2019. Staged by ACT, which last year put \u003ca href=\"https://www.kqed.org/arts/13849904/a-day-at-the-beach-interrupted-by-two-giant-lizards\" target=\"_blank\" rel=\"noopener\">giant lizards on the stage in Edward Albee’s \u003cem>Seascape\u003c/em>\u003c/a>, \u003cem>Rhinocerous\u003c/em> is not only a marvelous study in conformity, but a consistently fun stampede through the possibilities of set and wardrobe.\u003c/p>\n\u003cfigure id=\"attachment_13858006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg\" alt=\"Deri'Andra Tucker in the touring production of 'Rent.'\" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1200x826.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deri’Andra Tucker in the touring production of ‘Rent.’ \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rent’\u003c/h2>\n\u003cp>\u003ci>June 14–23, 2019\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The retelling of \u003cem>La bohème\u003c/em> that swept the world in the 1990s gets the 20th anniversary tour it deserves, including this very quick stop in San Francisco. \u003cem>Rent\u003c/em> is particularly resonant in the expensive Bay Area, where living in warehouses and off-the-grid spaces is a necessity for many, and the turmoil of HIV/AIDS hits close to home. If you still get chills at the opening chords of “Seasons of Love,” don’t sleep on this one-week-only run.\u003c/p>\n\u003cfigure id=\"attachment_13857974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg\" alt=\"J'Nai Bridges plays the lead role in 'Carmen' at SF Opera this June.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J’Nai Bridges plays the lead role in ‘Carmen’ at SF Opera this June. \u003ccite>(S. Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Carmen’\u003c/h2>\n\u003cp>\u003ci>June 5–29, 2019\u003cbr>\nWar Memorial Opera House, San Francisco\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/carmen/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You already know more songs from \u003cem>Carmen\u003c/em> than you think you know (thanks, \u003ca href=\"https://www.youtube.com/watch?v=3Wsx22WxWOc\" target=\"_blank\" rel=\"noopener\">Saturday morning cartoons\u003c/a>), and if you’re daunted by the marathon of \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener\">longer operas\u003c/a>, Bizet’s eternal tale of a woman who dares to live freely clocks in at under three hours. Add to it Francesca Zambello’s modern production, James Gaffigan conducting the orchestra and \u003ca href=\"https://www.youtube.com/watch?v=m_MMKJaIHes\" target=\"_blank\" rel=\"noopener\">basketball player-turned-opera star J’Nai Bridges\u003c/a> (pictured above) in the title role, and you’ve got a summertime opera that even those who \u003cem>think\u003c/em> they hate opera can enjoy.\u003c/p>\n\u003cfigure id=\"attachment_13857965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857965\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg\" alt=\"The cast of 'Kiss My Aztec!' at Berkeley Rep, directed by Tony Taccone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Kiss My Aztec!’ at Berkeley Rep, directed by Tony Taccone. \u003ccite>(Cheshire Isaacs/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Kiss My Aztec!’\u003c/h2>\n\u003cp>\u003ci>May 28–July 21, 2019\u003cbr>\nRoda Theatre, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1819/13384.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Written by John Leguizamo and Tony Taccone, this world-premiere musical has more than a whiff of \u003cem>Hamilton\u003c/em> for Latin America: a history lesson of resistance in Spanish-occupied Mesoamerica told through salsa, hip-hop, merengue and funk, with a blend of 16th-century dialect and modern slang. Taccone and Leguizamo previously worked together on \u003cem>Latin History for Morons\u003c/em>, but this one’s special: it’s Taccone’s final production as artistic director \u003ca href=\"https://www.kqed.org/arts/12700435/berkeley-rep-artistic-director-tony-taccone-announces-departure\" target=\"_blank\" rel=\"noopener\">after 33 years at Berkeley Rep\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13858009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘A Midsummer Night’s Dream’\u003c/h2>\n\u003cp>\u003ci>May 22–June 16, 2019\u003cbr>\nBruns Amphitheater, Orinda\u003cbr>\n\u003ca href=\"https://calshakes.org/make/a-midsummer-nights-dream/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Cal Shakes, the region’s premier purveyors of the Bard, bring this Shakespeare favorite to life this summer with all the sprites, dukes, queens and faeries you’ve come to know and love. It’s easy to forget just how damn \u003cem>fun\u003c/em> the action is in \u003cem>A Midsummer Night’s Dream\u003c/em>, and with costume by Ásta Bennie Hostetter and set by Nina Ball, the visuals are sure to be dazzling. Tyne Rafaeli directs in the picturesque outdoor Bruns Amphitheater.\u003c/p>\n\u003cfigure id=\"attachment_13858316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg\" alt=\"Last year’s champions of ShortLived, The Geek Show, who won for their piece 'No Country for Old Henchmen.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last year’s champions of ShortLived, The Geek Show, who won for their piece ‘No Country for Old Henchmen.’ \u003ccite>(Courtesy PIanoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘ShortLived VII’\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 7, 2019\u003cbr>\nPianoFight and The Strand, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-viii/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Pushing the limits of theatrical possibility, \u003cem>ShortLived\u003c/em> is a marathon \u003cem>American Idol\u003c/em>-esque race to a $5,000 check and eternal Bay Area glory. This year’s audience-judged competition features 48 short plays running over the course of 8 weeks, and then a winner-take-all finals on Sept. 6 and 7. If you want to take a dip into the rampant creativity of Bay Area theater—and see some fun, charming competition along the way—you can’t do much better than this.\u003c/p>\n\u003cfigure id=\"attachment_13858015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858015\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg\" alt=\"(L to R) Lady Malavendra, Red Velvet, and Dee O’s Mío in 'Dollhouse Monsters.'\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Lady Malavendra, Red Velvet and Dee O’s Mío in ‘Dollhouse Monsters.’ \u003ccite>(Ross Pearson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dollhouse Monsters’\u003c/h2>\n\u003cp>\u003ci>July 12–27, 2019\u003cbr>\nExit Stage Left, San Francisco\u003cbr>\n\u003ca href=\"http://www.theexit.org/dollhouse/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>These days, burlesque is everywhere, thanks to an ongoing vaudeville-circus-steampunk revival especially resonant here on the Barbary Coast. And while body positivity has long been a staple of modern burlesque, the ladies of DIVA Or Die Burlesque take that introspection further in \u003cem>Dollhouse Monsters\u003c/em>, a half-theater, half-burlesque show that examines our inner behaviors and secrets, why we have them, and why we keep them.\u003c/p>\n\u003cfigure id=\"attachment_13857967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Hayes, Brian Freeman, Marga Gomez, J. Miko Thomas a.k.a. Landa Lakes for OUT of Site SOMA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘OUT of Site: SOMA’\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nHoward Langton Community Garden, San Francisco\u003cbr>\n\u003ca href=\"https://www.eyezen.org/out-of-site-soma\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cem>OUT of Site\u003c/em> has already brought history to life in North Beach, and now, the theatrical walking tour series alights South of Market for a reevaluation of the neighborhood’s LGBTQ contributions. The Castro gets most of the attention, but as \u003cem>OUT of Site\u003c/em> points out, SOMA is home to hidden stories, “from Native American Two-Spirit culture to the Folsom Street Fair, Lesbian auto-mechanics to labor activists and dock workers to drag queens.” Marga Gomez heads up a cast that should be illuminating and entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13857973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857973\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg\" alt=\"'The Flick' won the 2014 Pulitzer Prize for Drama.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Flick’ won the 2014 Pulitzer Prize for Drama. \u003ccite>(Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Flick’\u003c/h2>\n\u003cp>\u003ci>Aug. 22–Sept. 22, 2019\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"http://bit.ly/2rgcffY\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>People who work at movie theaters are a specific kind of nerd: exceedingly knowledgable about the minutiae of fictional film, but open to letting real life take over with gale force when it wants to. The winner of the 2014 Pulitzer Prize for Drama, \u003cem>The Flick\u003c/em> is about three employees of a suburban movie theater in Massachusetts who still know how to run 35mm film projectors, with a script that follows their personal struggles which overlap in unexpected, humorous and heartbreaking fashion.\u003c/p>\n\u003cfigure id=\"attachment_13858334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg\" alt=\"The Dragon Theatre stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dragon Theatre stage. \u003ccite>(Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Redwood City Play Festival\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nDragon Theatre, Redwood City\u003cbr>\n\u003ca href=\"http://www.fusetheatre.org/projects/rwc-festival/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A joint effort by Dragon Productions Theatre Company and Fuse Theatre, this festival of three one-act plays centers on issues of gender: \u003cem>Because I Went There\u003c/em>, \u003cem>Never Swim Alone\u003c/em> and \u003cem>Legal-Tender Loving Care\u003c/em>. Held in the heart of Redwood City’s downtown (time it right, and you could fit in the town’s surreal light show a block away in Courthouse Square), the plays should bring a good dose of social justice to the Peninsula.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Written by John Leguizamo and Tony Taccone, this world-premiere musical has more than a whiff of \u003cem>Hamilton\u003c/em> for Latin America: a history lesson of resistance in Spanish-occupied Mesoamerica told through salsa, hip-hop, merengue and funk, with a blend of 16th-century dialect and modern slang. Taccone and Leguizamo previously worked together on \u003cem>Latin History for Morons\u003c/em>, but this one’s special: it’s Taccone’s final production as artistic director \u003ca href=\"https://www.kqed.org/arts/12700435/berkeley-rep-artistic-director-tony-taccone-announces-departure\" target=\"_blank\" rel=\"noopener\">after 33 years at Berkeley Rep\u003c/a>.\u003c/p>\n\u003cp>Listen to Taccone discuss the play on KQED’s Forum \u003ca href=\"https://www.kqed.org/forum/2010101871423/tony-taccone-leaves-berkeley-rep-after-33-year-tenure\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Written by John Leguizamo and Tony Taccone, this world-premiere musical has more than a whiff of \u003cem>Hamilton\u003c/em> for Latin America: a history lesson of resistance in Spanish-occupied Mesoamerica told through salsa, hip-hop, merengue and funk, with a blend of 16th-century dialect and modern slang. Taccone and Leguizamo previously worked together on \u003cem>Latin History for Morons\u003c/em>, but this one’s special: it’s Taccone’s final production as artistic director \u003ca href=\"https://www.kqed.org/arts/12700435/berkeley-rep-artistic-director-tony-taccone-announces-departure\" target=\"_blank\" rel=\"noopener\">after 33 years at Berkeley Rep\u003c/a>.\u003c/p>\n\u003cp>Listen to Taccone discuss the play on KQED’s Forum \u003ca href=\"https://www.kqed.org/forum/2010101871423/tony-taccone-leaves-berkeley-rep-after-33-year-tenure\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Paradise Square' at Berkeley Rep Reflects on a Forgotten History",
"headTitle": "‘Paradise Square’ at Berkeley Rep Reflects on a Forgotten History | KQED",
"content": "\u003cp>New York is a city of neighborhoods, each with its own distinct personality. And Five Points, now fully subsumed into Manhattan’s Chinatown, was a notorious place in its time.\u003c/p>\n\u003cp>Home to the nation’s first tenement buildings—overcrowded towers of tiny apartments where new Irish emigrants lived side-by-side with a community of free blacks, single women, and other outliers—Five Points was largely dismissed by the Uptown establishment, even as the wealthy traveled there specifically to “slum.” But for thousands in the 1860s, Five Points was home, and within its closely quartered microcosm, a quiet revolution was taking place. Against the norms of the day, interracial marriages and friendships were common, and watering holes such as the female-operated Almack’s Dance Hall were places open to all: blacks, whites, and visitors alike.\u003c/p>\n\u003cfigure id=\"attachment_13848507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS8_credit_AlessandraMelloBerkeleyRepertoryTheatre-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">A day in the life on Paradise Square. (Front row, L to R) Hailee Kaleem Wright (Ensemble), Karen Burthwright (Ensemble), and Sidney Dupont (William Henry Lane); (Back row, L to R) Chloé Davis (Ensemble), Sir Brock Warren (Ensemble), Jamal Christopher Douglas (Ensemble), and Jacobi Hall (Ensemble). \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Paradise Square—\u003c/em>which opened at Berkeley Rep on Thursday—much of the musical is set in a dance hall such as Almack’s, run jointly by “Gentle” Annie (Madeline Trumble), the sister of the Irish proprietor Willie (Brendan Wall), who has been called to the Civil War, and his beloved, Nelly (Christina Sajous), a free woman of color from Louisiana. As times are hard, business isn’t exactly booming.\u003c/p>\n\u003cp>Enter American songwriter Stephen Foster (Jacob Fishel) looking for a job as piano player, and suddenly the bar fills with interested ears. That Foster must pretend to not be himself, as Nelly despises his regrettable plantation songs, doesn’t faze him. He’s eager to leave that part of his career in the past and immerse himself in the America of new possibilities, as embodied by the rough-and-tumble patrons of the saloon. With Foster at the keys, and the superior dance skills of Annie’s immigrant cousin Owen (A.J. Shively) and fugitive slave William Henry Lane (Sidney Dupont), the saloon stays busy. For a moment in time, all seems to be going well. Until, of course, it doesn’t, and “Paradise” is ripped asunder.\u003c/p>\n\u003cfigure id=\"attachment_13848591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sidney Dupont (William Henry Lane) and A.J. Shively (Owen Duignan) cut a rug for (background, L to R) Jacob Fishel (Stephen Foster), Daren A. Herbert (Rev. Samuel E. Cornish), and Madeline Trumble (Annie O’Brien) in ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Characterized as much by their signature dance moves as their lines or reinterpreted Stephen Foster lyrics, the cast’s emotional terrain is frequently expressed physically. In the opening scene, a contingent of Civil War conscripts dance in slow motion with their loved ones and neighbors, a melancholy goodbye. In a stunning tableau crafted with saturated pools of light (courtesy of Donald Holder) and the elegant, muscular precision of Jacobi Hall (choreography by Bill T. Jones), the anguish of a life in bondage is reenacted through his every stretched sinew. A frenetic, high-stakes dance competition dominates the second act. The cast is blessed with a slew of these limber dancers—standouts including Garrett Coleman, Chloé Davis, Shively and Dupont—and there’s rarely a moment in the show where someone is not in glorious, urgent motion.\u003c/p>\n\u003cfigure id=\"attachment_13848509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848509\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Did somebody say dance competition? (L to R) Jason Oremus (Ensemble) and Garrett Coleman (Ensemble), and the company of ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music and lyrics (arranged by Larry Kirwan and Jason Howland, lyrics by Nathan Tysen), all based on Foster’s extensive oeuvre, are both refreshingly revelatory and earworm familiar. Especially haunting, as the Civil War rages on, are the songs of war and death, reworked to reflect the inner torments and outer struggles of an underclass pushed to their limits of tolerance. When A.J. Shively sings that he will not die in the springtime, it morphs from introspective ballad to battlecry of defiance. Foster’s love songs are among his most popular offerings, and the feminist reinterpretations of both “Gentle Annie” and “Janey with the Light Brown Hair” are among the show’s best. William Henry Lane’s tribute to his love, “Angelina Baker,” gives a voice to the language of the heart. And a gracious rendition of “Beautiful Dreamer,” perhaps Foster’s last song, contains the perfect, shimmering note upon which to end the show.\u003c/p>\n\u003cfigure id=\"attachment_13848504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848504\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Fishel as Stephen Foster in the world premiere of ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the show does suffer is in the balancing act between storytelling and messaging (with Larry Kirwan, Craig Lucas, and Marcus Gardley all taking a turn on the bookwriting). Not only must our onstage Stephen Foster justifiably repent for the racist overtones of his bestselling plantation songs, he’s then taken to task for presuming to tell someone else’s story through a later song (later only in context of the play; the actual song was written more than ten years earlier). It’s not an invalid point—except that the entire production of \u003cem>Paradise Square\u003c/em> is an attempt to tell the stories of others through song. And if one of the heralded purposes of art is to hold a mirror up to the world(s) we live in, and to tell the stories of the many, determining who does and does not have the “right” to do so is always going to be a contentious sticking point.\u003c/p>\n\u003cfigure id=\"attachment_13848510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christina Sajous as Nelly Freeman in ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for that final shimmering note of “Beautiful Dreamer?” It’s buried beneath an ill-conceived spate of third-person exposition detailing the historical significance of the Five Points neighborhood, as if we hadn’t just watched a two-and-a-half hour show embodying that same significance. Again, valid points are made. But frankly, this spoon-feeding saps the strengths from the production, and the sooner they throw such caution to the winds (and the cutting room floor) the better the show will be for it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Paradise Square’ \u003cdel datetime=\"2019-01-31T20:54:12+00:00\">runs through Feb. 24\u003c/del> has been extended through March 3 at Berkeley Repertory Theatre. \u003ca href=\"http://berkeleyrep.org/season/1819/13381.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>New York is a city of neighborhoods, each with its own distinct personality. And Five Points, now fully subsumed into Manhattan’s Chinatown, was a notorious place in its time.\u003c/p>\n\u003cp>Home to the nation’s first tenement buildings—overcrowded towers of tiny apartments where new Irish emigrants lived side-by-side with a community of free blacks, single women, and other outliers—Five Points was largely dismissed by the Uptown establishment, even as the wealthy traveled there specifically to “slum.” But for thousands in the 1860s, Five Points was home, and within its closely quartered microcosm, a quiet revolution was taking place. Against the norms of the day, interracial marriages and friendships were common, and watering holes such as the female-operated Almack’s Dance Hall were places open to all: blacks, whites, and visitors alike.\u003c/p>\n\u003cfigure id=\"attachment_13848507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS8_credit_AlessandraMelloBerkeleyRepertoryTheatre-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">A day in the life on Paradise Square. (Front row, L to R) Hailee Kaleem Wright (Ensemble), Karen Burthwright (Ensemble), and Sidney Dupont (William Henry Lane); (Back row, L to R) Chloé Davis (Ensemble), Sir Brock Warren (Ensemble), Jamal Christopher Douglas (Ensemble), and Jacobi Hall (Ensemble). \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Paradise Square—\u003c/em>which opened at Berkeley Rep on Thursday—much of the musical is set in a dance hall such as Almack’s, run jointly by “Gentle” Annie (Madeline Trumble), the sister of the Irish proprietor Willie (Brendan Wall), who has been called to the Civil War, and his beloved, Nelly (Christina Sajous), a free woman of color from Louisiana. As times are hard, business isn’t exactly booming.\u003c/p>\n\u003cp>Enter American songwriter Stephen Foster (Jacob Fishel) looking for a job as piano player, and suddenly the bar fills with interested ears. That Foster must pretend to not be himself, as Nelly despises his regrettable plantation songs, doesn’t faze him. He’s eager to leave that part of his career in the past and immerse himself in the America of new possibilities, as embodied by the rough-and-tumble patrons of the saloon. With Foster at the keys, and the superior dance skills of Annie’s immigrant cousin Owen (A.J. Shively) and fugitive slave William Henry Lane (Sidney Dupont), the saloon stays busy. For a moment in time, all seems to be going well. Until, of course, it doesn’t, and “Paradise” is ripped asunder.\u003c/p>\n\u003cfigure id=\"attachment_13848591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sidney Dupont (William Henry Lane) and A.J. Shively (Owen Duignan) cut a rug for (background, L to R) Jacob Fishel (Stephen Foster), Daren A. Herbert (Rev. Samuel E. Cornish), and Madeline Trumble (Annie O’Brien) in ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Characterized as much by their signature dance moves as their lines or reinterpreted Stephen Foster lyrics, the cast’s emotional terrain is frequently expressed physically. In the opening scene, a contingent of Civil War conscripts dance in slow motion with their loved ones and neighbors, a melancholy goodbye. In a stunning tableau crafted with saturated pools of light (courtesy of Donald Holder) and the elegant, muscular precision of Jacobi Hall (choreography by Bill T. Jones), the anguish of a life in bondage is reenacted through his every stretched sinew. A frenetic, high-stakes dance competition dominates the second act. The cast is blessed with a slew of these limber dancers—standouts including Garrett Coleman, Chloé Davis, Shively and Dupont—and there’s rarely a moment in the show where someone is not in glorious, urgent motion.\u003c/p>\n\u003cfigure id=\"attachment_13848509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848509\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Did somebody say dance competition? (L to R) Jason Oremus (Ensemble) and Garrett Coleman (Ensemble), and the company of ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music and lyrics (arranged by Larry Kirwan and Jason Howland, lyrics by Nathan Tysen), all based on Foster’s extensive oeuvre, are both refreshingly revelatory and earworm familiar. Especially haunting, as the Civil War rages on, are the songs of war and death, reworked to reflect the inner torments and outer struggles of an underclass pushed to their limits of tolerance. When A.J. Shively sings that he will not die in the springtime, it morphs from introspective ballad to battlecry of defiance. Foster’s love songs are among his most popular offerings, and the feminist reinterpretations of both “Gentle Annie” and “Janey with the Light Brown Hair” are among the show’s best. William Henry Lane’s tribute to his love, “Angelina Baker,” gives a voice to the language of the heart. And a gracious rendition of “Beautiful Dreamer,” perhaps Foster’s last song, contains the perfect, shimmering note upon which to end the show.\u003c/p>\n\u003cfigure id=\"attachment_13848504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848504\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Fishel as Stephen Foster in the world premiere of ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the show does suffer is in the balancing act between storytelling and messaging (with Larry Kirwan, Craig Lucas, and Marcus Gardley all taking a turn on the bookwriting). Not only must our onstage Stephen Foster justifiably repent for the racist overtones of his bestselling plantation songs, he’s then taken to task for presuming to tell someone else’s story through a later song (later only in context of the play; the actual song was written more than ten years earlier). It’s not an invalid point—except that the entire production of \u003cem>Paradise Square\u003c/em> is an attempt to tell the stories of others through song. And if one of the heralded purposes of art is to hold a mirror up to the world(s) we live in, and to tell the stories of the many, determining who does and does not have the “right” to do so is always going to be a contentious sticking point.\u003c/p>\n\u003cfigure id=\"attachment_13848510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christina Sajous as Nelly Freeman in ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for that final shimmering note of “Beautiful Dreamer?” It’s buried beneath an ill-conceived spate of third-person exposition detailing the historical significance of the Five Points neighborhood, as if we hadn’t just watched a two-and-a-half hour show embodying that same significance. Again, valid points are made. But frankly, this spoon-feeding saps the strengths from the production, and the sooner they throw such caution to the winds (and the cutting room floor) the better the show will be for it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Paradise Square’ \u003cdel datetime=\"2019-01-31T20:54:12+00:00\">runs through Feb. 24\u003c/del> has been extended through March 3 at Berkeley Repertory Theatre. \u003ca href=\"http://berkeleyrep.org/season/1819/13381.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley Repertory Theatre Appoints New Artistic Director",
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"content": "\u003cp>\u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a> has appointed Johanna Pfaelzer as its new artistic director.\u003c/p>\n\u003cp>The major regional performing arts organization announced the hire on Monday, following a year-long search which attracted 160 candidates.\u003c/p>\n\u003cp>The news comes more than one and a half years since Tony Taccone, the company’s previous artistic leader, announced his retirement in January 2017.\u003c/p>\n\u003cp>Over 33 years in the role, Taccone grew Berkeley Rep’s national reputation as a launching pad for Broadway shows like the Green Day musical, \u003cem>American Idiot, \u003c/em>and the Carrie Fisher vehicle, \u003cem>Wishful Drinking\u003c/em>.\u003c/p>\n\u003cp>Pfaelzer will join Berkeley Rep in 2019 from her current position as the artistic director of \u003ca href=\"https://www.newyorkstageandfilm.org/\" target=\"_blank\" rel=\"noopener\">New York Stage and Film\u003c/a>, a performing arts incubator in New York. In that role, Pfaelzer helped to develop the blockbuster musical \u003cem>Hamilton \u003c/em>during its early stages, as well as acclaimed Broadway plays like \u003cem>The Humans. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12946932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12946932\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg\" alt=\"The 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus) \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>I’m excited to bring a lot of the artistic relationships that I’ve developed over the last two decades to Berkeley Rep,” Pfaelzer said in a phone interview. “That includes specific writers, directors, actors and composers, as well as a set of relationships both with commercial producers and with other not-for-profit theaters.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pfaelzer named Ngozi Anyanwu, \u003cspan style=\"font-weight: 400\">Ayad Akhtar\u003c/span> and Hamish Linklater among the artists she hopes to bring to Berkeley in the coming years.\u003c/p>\n\u003cp>But she also said she is committed to delving into the Bay Area’s existing artistic pool.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“One of the things is that I feel like that I want to do first is to reacquaint myself in a deep way with who the local artists are here,” Pfaelzer said. “I’m really excited to begin to know them and their work.”\u003c/p>\n\u003cp>Pfaelzer, 49, has Bay Area roots. She spent her early childhood in Berkeley, has family here, and worked for five years as the associate artistic director at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater \u003c/a>(ACT).\u003c/p>\n\u003cp>Members of the Bay Area theater community are responding positively to the news.\u003c/p>\n\u003cp>“Johanna Pfaelzer has an extraordinary track record of developing thrilling new work, and a deep understanding of the Bay Area community,” said Brad Erickson, executive director of \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional performing arts service organization. “Berkeley Rep\u003cbr>\ncould not have made a better choice.”\u003c/p>\n\u003cp>“To have Johanna across the Bay is nothing but good news,” said Pam MacKinnon, artistic director of ACT. “She is a sublime choice for her commitment to theater artists, taste, curiosity, and sense of humor.”\u003c/p>\n\u003cp>MacKinnon said she’s known Pfaelzer for more than 15 years. The two worked together during Pfaelzer’s tenure at ACT.\u003c/p>\n\u003cp>In recent decades, the Bay Area’s two biggest theater companies have more or less kept their distance from each other. But with Pfaelzer’s recruitment in the East Bay, MacKinnon hopes that will change. “I can imagine doing exciting programming with Berkeley Rep,” MacKinnon said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taccone will continue to lead Berkeley Rep through its 2018-19 season. He will direct the world premiere musical \u003cem>Kiss My Aztec!\u003c/em>, by John Leguizamo next spring.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a> has appointed Johanna Pfaelzer as its new artistic director.\u003c/p>\n\u003cp>The major regional performing arts organization announced the hire on Monday, following a year-long search which attracted 160 candidates.\u003c/p>\n\u003cp>The news comes more than one and a half years since Tony Taccone, the company’s previous artistic leader, announced his retirement in January 2017.\u003c/p>\n\u003cp>Over 33 years in the role, Taccone grew Berkeley Rep’s national reputation as a launching pad for Broadway shows like the Green Day musical, \u003cem>American Idiot, \u003c/em>and the Carrie Fisher vehicle, \u003cem>Wishful Drinking\u003c/em>.\u003c/p>\n\u003cp>Pfaelzer will join Berkeley Rep in 2019 from her current position as the artistic director of \u003ca href=\"https://www.newyorkstageandfilm.org/\" target=\"_blank\" rel=\"noopener\">New York Stage and Film\u003c/a>, a performing arts incubator in New York. In that role, Pfaelzer helped to develop the blockbuster musical \u003cem>Hamilton \u003c/em>during its early stages, as well as acclaimed Broadway plays like \u003cem>The Humans. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12946932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12946932\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg\" alt=\"The 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus) \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>I’m excited to bring a lot of the artistic relationships that I’ve developed over the last two decades to Berkeley Rep,” Pfaelzer said in a phone interview. “That includes specific writers, directors, actors and composers, as well as a set of relationships both with commercial producers and with other not-for-profit theaters.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pfaelzer named Ngozi Anyanwu, \u003cspan style=\"font-weight: 400\">Ayad Akhtar\u003c/span> and Hamish Linklater among the artists she hopes to bring to Berkeley in the coming years.\u003c/p>\n\u003cp>But she also said she is committed to delving into the Bay Area’s existing artistic pool.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“One of the things is that I feel like that I want to do first is to reacquaint myself in a deep way with who the local artists are here,” Pfaelzer said. “I’m really excited to begin to know them and their work.”\u003c/p>\n\u003cp>Pfaelzer, 49, has Bay Area roots. She spent her early childhood in Berkeley, has family here, and worked for five years as the associate artistic director at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater \u003c/a>(ACT).\u003c/p>\n\u003cp>Members of the Bay Area theater community are responding positively to the news.\u003c/p>\n\u003cp>“Johanna Pfaelzer has an extraordinary track record of developing thrilling new work, and a deep understanding of the Bay Area community,” said Brad Erickson, executive director of \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional performing arts service organization. “Berkeley Rep\u003cbr>\ncould not have made a better choice.”\u003c/p>\n\u003cp>“To have Johanna across the Bay is nothing but good news,” said Pam MacKinnon, artistic director of ACT. “She is a sublime choice for her commitment to theater artists, taste, curiosity, and sense of humor.”\u003c/p>\n\u003cp>MacKinnon said she’s known Pfaelzer for more than 15 years. The two worked together during Pfaelzer’s tenure at ACT.\u003c/p>\n\u003cp>In recent decades, the Bay Area’s two biggest theater companies have more or less kept their distance from each other. But with Pfaelzer’s recruitment in the East Bay, MacKinnon hopes that will change. “I can imagine doing exciting programming with Berkeley Rep,” MacKinnon said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taccone will continue to lead Berkeley Rep through its 2018-19 season. He will direct the world premiere musical \u003cem>Kiss My Aztec!\u003c/em>, by John Leguizamo next spring.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "infinite-possibilities-8-theater-productions-to-take-in-this-summer",
"title": "Infinite Possibilities: 8 Theater Productions to Take in this Summer",
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"headTitle": "Infinite Possibilities: 8 Theater Productions to Take in this Summer | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-medium wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Maybe it’s the longer daylight hours, or a trace memory of childhood summers “off,” but whatever the reason, there’s no denying that summertime in the Bay Area is the time to play. And fortunately for those of us whose idea of a good time is a riveting monologue or imaginative mise-en-scène, we can spend both the warmer days outdoors and chillier evenings inside watching some of the best performers the Bay Area has to offer. Here are our top picks for summertime theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832476\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg\" alt=\"Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in 'A Thousand Splendid Suns'\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13832476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in ‘A Thousand Splendid Suns’ \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>A Thousand Splendid Suns\u003c/em>\u003c/h3>\n\u003ch4>July 17–29\u003cbr>\nACT’s Geary Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/suns.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>If you missed Carey Perloff and Ursula Rani Sarma’s smash 2017 adaptation of Khaled Hosseini’s \u003cem>A Thousand Splendid Suns\u003c/em>, fret not. You can make up for it with this resurrection of the show, Perloff’s last hurrah at American Conservatory Theater, where she’s recently stepped down as artistic director after 26 years. Set in Afghanistan, this female-led work offers a look inside a Taliban-run Kabul through the intimate lens of a single household. It’s riveting, essential, transcendent drama, and an appropriate send-off for the woman who first ushered it onto the stage.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832483\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg\" alt=\"FURY Factory\" width=\"800\" height=\"893\" class=\"size-medium wp-image-13832483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1075x1200.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1180x1317.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-375x419.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein.jpg 1352w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FURY Factory \u003ccite>(Bob Epstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>FURY Factory\u003c/h3>\n\u003ch4>July 10–22\u003cbr>\nZ Below, NOHspace, and Joe Goode Annex (San Francisco) and The Flight Deck (Oakland)\u003cbr>\n\u003ca href=\"http://foolsfury.org/fury/furyfactory/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Every other year, experimental theater company fools FURY invites like-minded ensembles from all around the country for a festival of devised and collaborative ensemble work, which they’ve dubbed FURY Factory. Not only does FURY Factory provided opportunities for Bay Area audiences to connect with the work of such nationally-recognized companies as Pig Iron and Teatro Luna, but it ably showcases the wild diversity of Bay Area-based performance ensembles, from dance companies to clowns to the purely uncategorizable. And this year, to ensure that audiences on both sides of the Bay will get a shot at FURY, they’re expanding their programming to include Oakland’s Flight Deck as one of their venues.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832493\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg\" alt=\"Keith Hennessy in 'Crotch'\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-13832493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-798x1200.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy in ‘Crotch’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Crotch\u003c/em>\u003c/h3>\n\u003ch4>June 7–9\u003cbr>\nThe Lab, San Francisco\u003cbr>\n\u003ca href=\"https://www.thelab.org/projects/2018/6/7/keith-hennessy-crotch\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Looking for something out of the box? At The Lab, in the Mission District, San Francisco queer performance artist Keith Hennessy dusts off his Bessie award-winning \u003cem>Crotch\u003c/em> for its 10-year anniversary. A powerful and playful work that uses the German Fluxus artist/activist Joseph Beuys as a muse, and combines raw physicality, installation art, a lecture in art history and community ritual, this rare revival will inspire.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832495\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg\" alt=\"Andrew Chung and Marissa Skudlarek, 2017's Shortlived winners, performing 'All the Worlds Are Stages,' written by Ruben Gijalva & directed by Alejandro Torres. \" width=\"800\" height=\"534\" class=\"size-medium wp-image-13832495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Chung and Marissa Skudlarek, 2017’s Shortlived winners, performing ‘All the Worlds Are Stages,’ written by Ruben Gijalva & directed by Alejandro Torres. \u003ccite>(Daniel Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>PianoFight’s Shortlived VII\u003c/h3>\n\u003ch4>June 14–Aug. 25\u003cbr>\nPianoFight’s Main Stage, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-vii/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Can theater-going be as thrilling as a high-stakes sporting match? The fine folks at PianoFight think so, and they’re willing to put up $5,000 to prove it. Attendees at the seventh annual ShortLived competition Thursday-Saturday, from mid-June to the end of August, will cheer 48 competitors into the final round, where the winning play of the year walks away with a $5,000 cash prize and bragging rights for life.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832504\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg\" alt=\"Marga Gomez, who will star in 'King Of Cuba' \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13832504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez, who will star in ‘King Of Cuba’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>King of Cuba\u003c/em>\u003c/h3>\n\u003ch4>July 21–Aug. 19\u003cbr>\nBerkeley City Club, Berkeley\u003cbr>\n\u003ca href=\"http://centralworks.org/king-of-cuba/#showtab=details\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Ushering its 60th world premiere production into the public eye, 27 year-old Central Works presents an adaptation of Cristina García’s (2003) novel \u003cem>King of Cuba\u003c/em>, as adapted by García herself as part of Central Works’ Writer’s Workshop. A comedic speculation of the fate of an aging Cuban dictator, “El Comandante,” and his nemesis Goyo, who plots against him from Miami, this brash imagining stars Bay Area comedy legend Marga Gomez—and Steve Ortiz as her would-be assassin, with live percussion from Havana-born “bongocero” Carlos Caro.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832507\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AngelsSummer2-800x1200.jpg\" alt=\"Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of 'Angels in America, Part Two: Perestroika.'\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13832507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of ‘Angels in America, Part Two: Perestroika.’ \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Angels in America \u003c/em>\u003c/h3>\n\u003ch4>Through July 22\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>It may have opened in May, but Berkeley Rep’s superlative production of Tony Kushner’s barrier-breaking \u003cem>Angels in America\u003c/em> runs through July 22, making it the summer’s hottest theater pick. Consisting of two epic plays running in repertory, each around three-and-a-half hours long, \u003cem>Angels\u003c/em> is definitely a commitment, but once you start watching, you may never want it to end. In fact, it’s recommended to clear the calendar and see a marathon day of both shows back-to-back (presented mostly on Saturdays). Consider it a mini-vacation to an exotic realm.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832513\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg\" alt=\"Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in 'Seeing Red: A Time-Traveling Musical'\" width=\"800\" height=\"1143\" class=\"size-medium wp-image-13832513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-1020x1457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-840x1200.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-960x1371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-520x743.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in ‘Seeing Red: A Time-Traveling Musical’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>\u003c/h3>\n\u003ch4>Various Locations\u003cbr>\nThrough Sept. 9\u003cbr>\n\u003ca href=\"http://www.sfmt.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>This summer, declare independence from specious “Independence Day” traditions that glorify war toys and frighten your pets. Then spend a leisurely afternoon with the San Francisco Mime Troupe in Dolores Park, where they open their 59th Season with company member Rotimi Agbabiaka’s \u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>. Like Easter Sunday with the Sisters of Perpetual Indulgence, July 4 with the SFMT is an inclusive, surprisingly family-friendly reminder that the Bay Area is not Kansas, and if we wanna celebrate that most bellicose of American holidays with a comic musical about American socialism, then who’s to say we shouldn’t? (Perhaps the NEA, who pulled the Mime Troupe’s funding this season?) This year, it’s up to us to support them.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832540\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg\" alt=\"James Ijames\" width=\"800\" height=\"400\" class=\"size-medium wp-image-13832540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Ijames \u003ccite>(Kim Carson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shotgun Players’ \u003cem>White\u003c/em>\u003c/h3>\n\u003ch4>July 6–Aug. 5\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"https://goo.gl/4shmNu\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>With this West Coast premiere of Pennsylvania-based playwright James Ijames’ provocative comedy about racial identity, cultural appropriation, fine art, and what it means to challenge the gatekeepers, Shotgun Players remains committed to new works with fresh takes on hot topics. In a farce reminiscent of the \u003ca href=\"https://hyperallergic.com/131687/i-amjoe-%20scanlan/\" rel=\"noopener\" target=\"_blank\">Joe Scanlan/Donelle Woolford controversy\u003c/a> at the Whitney Biennial in 2014, \u003cem>White\u003c/em> imagines a scenario in which rising artist Gus (Adam Donovan), a white man, hires Vanessa (Santoya Fields), a black woman, to pretend to be the artist behind his work so he can get into a museum exhibition. What happens next surprises even them, and certainly the audience.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Infinite Possibilities: 8 Theater Productions to Take in this Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-medium wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Maybe it’s the longer daylight hours, or a trace memory of childhood summers “off,” but whatever the reason, there’s no denying that summertime in the Bay Area is the time to play. And fortunately for those of us whose idea of a good time is a riveting monologue or imaginative mise-en-scène, we can spend both the warmer days outdoors and chillier evenings inside watching some of the best performers the Bay Area has to offer. Here are our top picks for summertime theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832476\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg\" alt=\"Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in 'A Thousand Splendid Suns'\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13832476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in ‘A Thousand Splendid Suns’ \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>A Thousand Splendid Suns\u003c/em>\u003c/h3>\n\u003ch4>July 17–29\u003cbr>\nACT’s Geary Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/suns.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>If you missed Carey Perloff and Ursula Rani Sarma’s smash 2017 adaptation of Khaled Hosseini’s \u003cem>A Thousand Splendid Suns\u003c/em>, fret not. You can make up for it with this resurrection of the show, Perloff’s last hurrah at American Conservatory Theater, where she’s recently stepped down as artistic director after 26 years. Set in Afghanistan, this female-led work offers a look inside a Taliban-run Kabul through the intimate lens of a single household. It’s riveting, essential, transcendent drama, and an appropriate send-off for the woman who first ushered it onto the stage.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832483\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg\" alt=\"FURY Factory\" width=\"800\" height=\"893\" class=\"size-medium wp-image-13832483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1075x1200.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1180x1317.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-375x419.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein.jpg 1352w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FURY Factory \u003ccite>(Bob Epstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>FURY Factory\u003c/h3>\n\u003ch4>July 10–22\u003cbr>\nZ Below, NOHspace, and Joe Goode Annex (San Francisco) and The Flight Deck (Oakland)\u003cbr>\n\u003ca href=\"http://foolsfury.org/fury/furyfactory/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Every other year, experimental theater company fools FURY invites like-minded ensembles from all around the country for a festival of devised and collaborative ensemble work, which they’ve dubbed FURY Factory. Not only does FURY Factory provided opportunities for Bay Area audiences to connect with the work of such nationally-recognized companies as Pig Iron and Teatro Luna, but it ably showcases the wild diversity of Bay Area-based performance ensembles, from dance companies to clowns to the purely uncategorizable. And this year, to ensure that audiences on both sides of the Bay will get a shot at FURY, they’re expanding their programming to include Oakland’s Flight Deck as one of their venues.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832493\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg\" alt=\"Keith Hennessy in 'Crotch'\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-13832493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-798x1200.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy in ‘Crotch’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Crotch\u003c/em>\u003c/h3>\n\u003ch4>June 7–9\u003cbr>\nThe Lab, San Francisco\u003cbr>\n\u003ca href=\"https://www.thelab.org/projects/2018/6/7/keith-hennessy-crotch\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Looking for something out of the box? At The Lab, in the Mission District, San Francisco queer performance artist Keith Hennessy dusts off his Bessie award-winning \u003cem>Crotch\u003c/em> for its 10-year anniversary. A powerful and playful work that uses the German Fluxus artist/activist Joseph Beuys as a muse, and combines raw physicality, installation art, a lecture in art history and community ritual, this rare revival will inspire.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832495\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg\" alt=\"Andrew Chung and Marissa Skudlarek, 2017's Shortlived winners, performing 'All the Worlds Are Stages,' written by Ruben Gijalva & directed by Alejandro Torres. \" width=\"800\" height=\"534\" class=\"size-medium wp-image-13832495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Chung and Marissa Skudlarek, 2017’s Shortlived winners, performing ‘All the Worlds Are Stages,’ written by Ruben Gijalva & directed by Alejandro Torres. \u003ccite>(Daniel Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>PianoFight’s Shortlived VII\u003c/h3>\n\u003ch4>June 14–Aug. 25\u003cbr>\nPianoFight’s Main Stage, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-vii/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Can theater-going be as thrilling as a high-stakes sporting match? The fine folks at PianoFight think so, and they’re willing to put up $5,000 to prove it. Attendees at the seventh annual ShortLived competition Thursday-Saturday, from mid-June to the end of August, will cheer 48 competitors into the final round, where the winning play of the year walks away with a $5,000 cash prize and bragging rights for life.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832504\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg\" alt=\"Marga Gomez, who will star in 'King Of Cuba' \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13832504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez, who will star in ‘King Of Cuba’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>King of Cuba\u003c/em>\u003c/h3>\n\u003ch4>July 21–Aug. 19\u003cbr>\nBerkeley City Club, Berkeley\u003cbr>\n\u003ca href=\"http://centralworks.org/king-of-cuba/#showtab=details\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Ushering its 60th world premiere production into the public eye, 27 year-old Central Works presents an adaptation of Cristina García’s (2003) novel \u003cem>King of Cuba\u003c/em>, as adapted by García herself as part of Central Works’ Writer’s Workshop. A comedic speculation of the fate of an aging Cuban dictator, “El Comandante,” and his nemesis Goyo, who plots against him from Miami, this brash imagining stars Bay Area comedy legend Marga Gomez—and Steve Ortiz as her would-be assassin, with live percussion from Havana-born “bongocero” Carlos Caro.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832507\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AngelsSummer2-800x1200.jpg\" alt=\"Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of 'Angels in America, Part Two: Perestroika.'\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13832507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of ‘Angels in America, Part Two: Perestroika.’ \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Angels in America \u003c/em>\u003c/h3>\n\u003ch4>Through July 22\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>It may have opened in May, but Berkeley Rep’s superlative production of Tony Kushner’s barrier-breaking \u003cem>Angels in America\u003c/em> runs through July 22, making it the summer’s hottest theater pick. Consisting of two epic plays running in repertory, each around three-and-a-half hours long, \u003cem>Angels\u003c/em> is definitely a commitment, but once you start watching, you may never want it to end. In fact, it’s recommended to clear the calendar and see a marathon day of both shows back-to-back (presented mostly on Saturdays). Consider it a mini-vacation to an exotic realm.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832513\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg\" alt=\"Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in 'Seeing Red: A Time-Traveling Musical'\" width=\"800\" height=\"1143\" class=\"size-medium wp-image-13832513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-1020x1457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-840x1200.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-960x1371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-520x743.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in ‘Seeing Red: A Time-Traveling Musical’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>\u003c/h3>\n\u003ch4>Various Locations\u003cbr>\nThrough Sept. 9\u003cbr>\n\u003ca href=\"http://www.sfmt.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>This summer, declare independence from specious “Independence Day” traditions that glorify war toys and frighten your pets. Then spend a leisurely afternoon with the San Francisco Mime Troupe in Dolores Park, where they open their 59th Season with company member Rotimi Agbabiaka’s \u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>. Like Easter Sunday with the Sisters of Perpetual Indulgence, July 4 with the SFMT is an inclusive, surprisingly family-friendly reminder that the Bay Area is not Kansas, and if we wanna celebrate that most bellicose of American holidays with a comic musical about American socialism, then who’s to say we shouldn’t? (Perhaps the NEA, who pulled the Mime Troupe’s funding this season?) This year, it’s up to us to support them.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832540\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg\" alt=\"James Ijames\" width=\"800\" height=\"400\" class=\"size-medium wp-image-13832540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Ijames \u003ccite>(Kim Carson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shotgun Players’ \u003cem>White\u003c/em>\u003c/h3>\n\u003ch4>July 6–Aug. 5\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"https://goo.gl/4shmNu\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>With this West Coast premiere of Pennsylvania-based playwright James Ijames’ provocative comedy about racial identity, cultural appropriation, fine art, and what it means to challenge the gatekeepers, Shotgun Players remains committed to new works with fresh takes on hot topics. In a farce reminiscent of the \u003ca href=\"https://hyperallergic.com/131687/i-amjoe-%20scanlan/\" rel=\"noopener\" target=\"_blank\">Joe Scanlan/Donelle Woolford controversy\u003c/a> at the Whitney Biennial in 2014, \u003cem>White\u003c/em> imagines a scenario in which rising artist Gus (Adam Donovan), a white man, hires Vanessa (Santoya Fields), a black woman, to pretend to be the artist behind his work so he can get into a museum exhibition. What happens next surprises even them, and certainly the audience.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Berkeley Rep’s 'Angels in America' Flies High",
"headTitle": "Berkeley Rep’s ‘Angels in America’ Flies High | KQED",
"content": "\u003cp>Inspired partly by the success of Larry Kramer’s \u003cem>The Normal Heart\u003c/em>, a play steeped in the politics and the personal of the ongoing AIDS crisis, and partly by a dream playwright Tony Kushner once had of a dancer he knew, lying on his sickbed while an angel crashed through his ceiling, \u003cem>Angels in America \u003c/em>has \u003ca href=\"https://www.bloomsbury.com/us/the-world-only-spins-forward-9781635571769/\" rel=\"noopener\" target=\"_blank\">a backstory\u003c/a> as sprawling and epic as the play itself. \u003c/p>\n\u003cp>Actually two plays in repertory — \u003cem>Millenium Approaches\u003c/em> and \u003cem>Perestroika\u003c/em>, each running around three and a half hours — \u003cem>Angels in America\u003c/em> tackles, among other themes, AIDS, progress vs. providence, the fickle twists of love, loyalty, and abandonment, and the spark of the divine that might be found in even the most venal of hosts. For theatergoers, it is high on most bucket lists of “must sees,” and a long-anticipated revival currently at Berkeley Rep, under the direction of longtime Tony Kushner champion Tony Taccone, does not disappoint.\u003c/p>\n\u003cfigure id=\"attachment_13831388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin T. Ismail as Louis and Randy Harrison as Prior in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Kushner’s script is eerily prescient in form as well as content, as scene after scene unfurls in rapid succession, almost as a mini-series, which makes the seven-hour marathon (most Saturdays and assorted other dates, through July 22) feel like that most modern of indulgences, the binge-watch.\u003c/p>\n\u003cp>In terms of dialogue, outside of the fact that Ronald Reagan is frequently name-checked, many of the conversations feel like the ones you’ll overhear today in urban coffee shops across the United States, from real talk about race relations and white privilege to support for Palestinians to a gay man’s questioning whether or not their “girl talk” is an act of misogyny. It speaks strongly to Kushner’s ability to read between the lines of American vernacular history in order to have created this instantly recognizable and resonant world that stands the test of time, angels and all.\u003c/p>\n\u003cfigure id=\"attachment_13831387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danny Binstock as Joe and Bethany Jillard as Harper in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True, it takes the Angel (double-cast with Francesca Faridany and Lisa Ramirez) up until the final moments of \u003cem>Millenium Approaches\u003c/em> to crash through the ceiling of AIDS-stricken Prior Walter (Randy Harrison), a former drag performer and the descendant of a line of prior Prior Walters stretching back to the Bayeux Tapestry. But by that point, references to the divine have already abounded: high-strung housewife Harper (Bethany Jillard) observes that the ozone layer is like a “spherical net” of “guardian angels”; Prior’s lover Louis (Benjamin T. Ismail) asserts that justice is like God, “a confusing vastness”; and closeted Mormon Joe (Danny Binstock) reveals that he frequently fantasizes about wrestling an angel, “a beautiful man,” \u003cem>a la\u003c/em> Jacob in a gay wilderness.\u003c/p>\n\u003cfigure id=\"attachment_13831390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831390\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caldwell Tidicue as Belize and Stephen Spinella as Roy Cohn in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than a flighty metaphor, the Angel (portrayed with sonorous gravity by Francesca Faridany when I saw it) arrives as a representative from a politburo of heavenly hosts, charging Prior with the task of encouraging humanity to put the brakes on, so to speak, and slow their forward motion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You do not advance, you only trample,” she chides, and even Prior has to admit she has a point. But not for nothing has humanity been imbued by the capacity to choose, to move, and to create, and though he must pay a visit to the “Permanent Emergency Council” in heaven to demand they release him from his role as reluctant prophet, he refuses to stand still and accept a destiny thrust upon him.\u003c/p>\n\u003cfigure id=\"attachment_13831389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Permanent Emergency Council” of heaven offers their blessing. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because you can’t divorce the ugly specter of regressive political machinations from the turbulent history of AIDS in America, one of the play’s major characters is Roy Cohn — who, among other dire actions, helped engineer the so-called “Lavender Scare” of the early 1950s, when the State Department and other branches of the federal government were purged of accused homosexuals. Played by Stephen Spinella, who played the role of Prior Walter in \u003cem>Angels’\u003c/em> original Broadway run, Cohn is a gleefully unrepentant bully, incapable of taking his own AIDS diagnosis lying down, even when literally bedridden by it. Strangely, it’s Cohn’s flagrantly immoral compass that sits at the heart of \u003cem>Angels\u003c/em>, a certain kind of old guard being left behind by a progress it can’t begin to comprehend, nor has any interest in trying.\u003c/p>\n\u003cfigure id=\"attachment_13831385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carmen Roman as Ethel Rosenberg pays Stephen Spinella as Roy Cohn a visit. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the solid cast, certain moments stand out more than individual performances, which is as it should be in extravagant ensemble work such as this. The self-medicated Harper wandering through the Antarctica of her mind; the tenderness with which Louis teaches Joe about the sensual possibilities of scent; Caldwell Tidicue (a.k.a. Bob the Drag Queen) as night nurse and “ex-\u003cem>ex\u003c/em>” drag queen Belize, clapping back at both a guilt-riddled but still racist Louis and a disease-riddled but still abusive Cohn; Prior’s occasionally manic determination to unravel the metaphysical implications of the hand he’s been dealt; Carmen Roman as a somewhat dour Ethel Rosenberg, reciting the Kaddish over the man who made sure she’d sat in the electric chair for treason.\u003c/p>\n\u003cp>The scenic design and special effects (by Takeshi Kata and Jeremy Chernick, respectively) meld perfectly with the lighting (Jennifer Schreiver) and projections (Alexander V. Nichols), creating entire city blocks with a few well-placed beams of light, a projected backdrop, and a spare piece or two of furniture. Jake Rodriguez’ sound design keeps the energy in the room aloft, a crucial function.\u003c/p>\n\u003cfigure id=\"attachment_13831398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany as the Angel and Carmen Roman as Hannah Pitt in ‘Angels in America.’ \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although \u003cem>Angels\u003c/em> is too complex and too expansive a play from which to distill a single message, what audiences can expect is an impressive treatise on the implications and consequences of “freedom,” and an exploration of that most daunting expression of it: the human capacity for love. As much of an improbability as the America that inspired it, \u003cem>Angels in America\u003c/em> is a play that succeeds on its own excess.\u003c/p>\n\u003cp>If you were wondering where your next binge-watch might come from, wonder no more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Angels in America’ runs through July 22 at Berkeley Rep. Details \u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "More than a mere theatrical binge-watch, Tony Kushner’s marathon masterpiece keeps its momentum ascendant all the way to the end. ",
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"title": "Berkeley Rep’s 'Angels in America' Flies High | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspired partly by the success of Larry Kramer’s \u003cem>The Normal Heart\u003c/em>, a play steeped in the politics and the personal of the ongoing AIDS crisis, and partly by a dream playwright Tony Kushner once had of a dancer he knew, lying on his sickbed while an angel crashed through his ceiling, \u003cem>Angels in America \u003c/em>has \u003ca href=\"https://www.bloomsbury.com/us/the-world-only-spins-forward-9781635571769/\" rel=\"noopener\" target=\"_blank\">a backstory\u003c/a> as sprawling and epic as the play itself. \u003c/p>\n\u003cp>Actually two plays in repertory — \u003cem>Millenium Approaches\u003c/em> and \u003cem>Perestroika\u003c/em>, each running around three and a half hours — \u003cem>Angels in America\u003c/em> tackles, among other themes, AIDS, progress vs. providence, the fickle twists of love, loyalty, and abandonment, and the spark of the divine that might be found in even the most venal of hosts. For theatergoers, it is high on most bucket lists of “must sees,” and a long-anticipated revival currently at Berkeley Rep, under the direction of longtime Tony Kushner champion Tony Taccone, does not disappoint.\u003c/p>\n\u003cfigure id=\"attachment_13831388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin T. Ismail as Louis and Randy Harrison as Prior in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Kushner’s script is eerily prescient in form as well as content, as scene after scene unfurls in rapid succession, almost as a mini-series, which makes the seven-hour marathon (most Saturdays and assorted other dates, through July 22) feel like that most modern of indulgences, the binge-watch.\u003c/p>\n\u003cp>In terms of dialogue, outside of the fact that Ronald Reagan is frequently name-checked, many of the conversations feel like the ones you’ll overhear today in urban coffee shops across the United States, from real talk about race relations and white privilege to support for Palestinians to a gay man’s questioning whether or not their “girl talk” is an act of misogyny. It speaks strongly to Kushner’s ability to read between the lines of American vernacular history in order to have created this instantly recognizable and resonant world that stands the test of time, angels and all.\u003c/p>\n\u003cfigure id=\"attachment_13831387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danny Binstock as Joe and Bethany Jillard as Harper in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True, it takes the Angel (double-cast with Francesca Faridany and Lisa Ramirez) up until the final moments of \u003cem>Millenium Approaches\u003c/em> to crash through the ceiling of AIDS-stricken Prior Walter (Randy Harrison), a former drag performer and the descendant of a line of prior Prior Walters stretching back to the Bayeux Tapestry. But by that point, references to the divine have already abounded: high-strung housewife Harper (Bethany Jillard) observes that the ozone layer is like a “spherical net” of “guardian angels”; Prior’s lover Louis (Benjamin T. Ismail) asserts that justice is like God, “a confusing vastness”; and closeted Mormon Joe (Danny Binstock) reveals that he frequently fantasizes about wrestling an angel, “a beautiful man,” \u003cem>a la\u003c/em> Jacob in a gay wilderness.\u003c/p>\n\u003cfigure id=\"attachment_13831390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831390\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caldwell Tidicue as Belize and Stephen Spinella as Roy Cohn in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than a flighty metaphor, the Angel (portrayed with sonorous gravity by Francesca Faridany when I saw it) arrives as a representative from a politburo of heavenly hosts, charging Prior with the task of encouraging humanity to put the brakes on, so to speak, and slow their forward motion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You do not advance, you only trample,” she chides, and even Prior has to admit she has a point. But not for nothing has humanity been imbued by the capacity to choose, to move, and to create, and though he must pay a visit to the “Permanent Emergency Council” in heaven to demand they release him from his role as reluctant prophet, he refuses to stand still and accept a destiny thrust upon him.\u003c/p>\n\u003cfigure id=\"attachment_13831389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Permanent Emergency Council” of heaven offers their blessing. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because you can’t divorce the ugly specter of regressive political machinations from the turbulent history of AIDS in America, one of the play’s major characters is Roy Cohn — who, among other dire actions, helped engineer the so-called “Lavender Scare” of the early 1950s, when the State Department and other branches of the federal government were purged of accused homosexuals. Played by Stephen Spinella, who played the role of Prior Walter in \u003cem>Angels’\u003c/em> original Broadway run, Cohn is a gleefully unrepentant bully, incapable of taking his own AIDS diagnosis lying down, even when literally bedridden by it. Strangely, it’s Cohn’s flagrantly immoral compass that sits at the heart of \u003cem>Angels\u003c/em>, a certain kind of old guard being left behind by a progress it can’t begin to comprehend, nor has any interest in trying.\u003c/p>\n\u003cfigure id=\"attachment_13831385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carmen Roman as Ethel Rosenberg pays Stephen Spinella as Roy Cohn a visit. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the solid cast, certain moments stand out more than individual performances, which is as it should be in extravagant ensemble work such as this. The self-medicated Harper wandering through the Antarctica of her mind; the tenderness with which Louis teaches Joe about the sensual possibilities of scent; Caldwell Tidicue (a.k.a. Bob the Drag Queen) as night nurse and “ex-\u003cem>ex\u003c/em>” drag queen Belize, clapping back at both a guilt-riddled but still racist Louis and a disease-riddled but still abusive Cohn; Prior’s occasionally manic determination to unravel the metaphysical implications of the hand he’s been dealt; Carmen Roman as a somewhat dour Ethel Rosenberg, reciting the Kaddish over the man who made sure she’d sat in the electric chair for treason.\u003c/p>\n\u003cp>The scenic design and special effects (by Takeshi Kata and Jeremy Chernick, respectively) meld perfectly with the lighting (Jennifer Schreiver) and projections (Alexander V. Nichols), creating entire city blocks with a few well-placed beams of light, a projected backdrop, and a spare piece or two of furniture. Jake Rodriguez’ sound design keeps the energy in the room aloft, a crucial function.\u003c/p>\n\u003cfigure id=\"attachment_13831398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany as the Angel and Carmen Roman as Hannah Pitt in ‘Angels in America.’ \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although \u003cem>Angels\u003c/em> is too complex and too expansive a play from which to distill a single message, what audiences can expect is an impressive treatise on the implications and consequences of “freedom,” and an exploration of that most daunting expression of it: the human capacity for love. As much of an improbability as the America that inspired it, \u003cem>Angels in America\u003c/em> is a play that succeeds on its own excess.\u003c/p>\n\u003cp>If you were wondering where your next binge-watch might come from, wonder no more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Angels in America’ runs through July 22 at Berkeley Rep. Details \u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On The Do List this week, we’re welcoming the return to the Bay Area of Tony Kushner’s mind-bogglingly brilliant play \u003cem>Angels in America, \u003c/em>plus an art exhibition in San Jose on the meaning of the house, and two nights with Meshell Ndgeocello, my co-host, KQED Youth Media Manager Ariana Proehl’s favorite artist. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>May 3-4:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829821/meshell-ndegeocello-finds-healing-in-her-favorite-songs\" target=\"_blank\" rel=\"noopener\">Meshell Ndgeocello finds healing in song with shows at the Freight and Salvage, and we all feel better\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20-Aug. 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13829836/the-meaning-of-the-elusive-single-family-home-at-the-san-jose-museum-of-art\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Art presents an exhibition examining the meaning of the single family home\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20, 21 and 27:\u003c/strong> \u003ca href=\"http://poormanswhiskey.com/\" target=\"_blank\" rel=\"noopener\">Bay Area country band Poor Man’s Whiskey celebrates a new album with shows at Hopmonk in Sebastopol and The Great American Music Hall, and join an all star lineup for a North Bay fires fundraiser\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 17-July 22:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">Tony Kushner’s play Angels in America returns to the Bay Area, where it was born.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829749/a-young-jorja-smith-poised-for-stardom\" target=\"_blank\" rel=\"noopener\">Reveling in the slow jams of young British singer Jorja Smith\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13829757&action=edit\" target=\"_blank\" rel=\"noopener\">Young artists, storytellers and reporters take over KQED News and present a show at the Brava Theatre\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-29:\u003c/strong> \u003ca href=\"https://philharmonia.org/2017-2018-season/beethoven-unleashed/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Ochestra wraps up its season with a double dose of Beethoven\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13748662 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg\" alt=\"Ariana Proehl and Cy Musiker out at a gallery\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker out at a gallery \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On The Do List this week, we’re welcoming the return to the Bay Area of Tony Kushner’s mind-bogglingly brilliant play \u003cem>Angels in America, \u003c/em>plus an art exhibition in San Jose on the meaning of the house, and two nights with Meshell Ndgeocello, my co-host, KQED Youth Media Manager Ariana Proehl’s favorite artist. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>May 3-4:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829821/meshell-ndegeocello-finds-healing-in-her-favorite-songs\" target=\"_blank\" rel=\"noopener\">Meshell Ndgeocello finds healing in song with shows at the Freight and Salvage, and we all feel better\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20-Aug. 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13829836/the-meaning-of-the-elusive-single-family-home-at-the-san-jose-museum-of-art\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Art presents an exhibition examining the meaning of the single family home\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20, 21 and 27:\u003c/strong> \u003ca href=\"http://poormanswhiskey.com/\" target=\"_blank\" rel=\"noopener\">Bay Area country band Poor Man’s Whiskey celebrates a new album with shows at Hopmonk in Sebastopol and The Great American Music Hall, and join an all star lineup for a North Bay fires fundraiser\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 17-July 22:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">Tony Kushner’s play Angels in America returns to the Bay Area, where it was born.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829749/a-young-jorja-smith-poised-for-stardom\" target=\"_blank\" rel=\"noopener\">Reveling in the slow jams of young British singer Jorja Smith\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13829757&action=edit\" target=\"_blank\" rel=\"noopener\">Young artists, storytellers and reporters take over KQED News and present a show at the Brava Theatre\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-29:\u003c/strong> \u003ca href=\"https://philharmonia.org/2017-2018-season/beethoven-unleashed/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Ochestra wraps up its season with a double dose of Beethoven\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13748662 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg\" alt=\"Ariana Proehl and Cy Musiker out at a gallery\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker out at a gallery \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dominique Morisseau has written three plays about her native Detroit. Her most recent features employees at Detroit’s last auto plant with a lot to lose, as the recession hits and auto companies face bankruptcy in 2008.\u003c/p>\n\u003cp>The play got great reviews when it first opened in Detroit, and won an Obie Award after moving to New York City. We got a taste of Morisseau’s work recently: she did the book for the Temptations musical \u003cem>Ain’t Too Proud to Beg\u003c/em>, a hit at Berkeley Rep. That show wasn’t great drama —jukebox musicals are a tough assignment — so I’m far more excited about this production, especially with the talented Margo Hall, Lance Gardner and Tristan Cunningham in the cast.\u003c/p>\n\u003cp>This production also represents a rare collaboration between two regional theater companies. Marin Theatre Company in Mill Valley gets the Bay Area premiere this month, and then Theatreworks in Palo Alto does the show in March. Details for the Marin production (Jan 25–Feb. 18) are \u003ca href=\"http://www.marintheatre.org/productions/skeleton-crew\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Theatreworks (March 7–April 1), look \u003ca href=\"https://theatreworks.org/201718-season/201718-season/skeleton-crew/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/251877952\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>SF Weekly theater critic \u003ca href=\"https://ww2.kqed.org/arts/author/jedalatpour/\" target=\"_blank\" rel=\"noopener\">Jeffrey Edalatpour\u003c/a> is back on the show this week to talk about holiday and counter-holiday plays around the Bay Area. Plus three world premieres from the choreographers Garrett and Moulton, a fire fundraiser at the Schulz Museum, and great indie folk-rock from the Barr Brothers.\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/bright-star-is-a-holiday-play-full-of-bluegrass-cheer/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bright Star\u003c/em> is a post-war fairy tale set in the South, with a lovely score and a breakout performance by Carmen Cusack\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/celebrating-female-joy-in-a-play-from-lauren-gunderson/\" target=\"_blank\" rel=\"noopener\">Playwright Lauren Gunderson spins a tale of romance for the brainy in \u003cem>Miss Bennett: Christmas at Pemberley.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan 14: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-deal-with-the-devil-in-black-rider-what-could-possibly-go-wrong/\" target=\"_blank\" rel=\"noopener\">Making a deal with the devil in \u003cem>The Black Rider\u003c/em>; what could possibly go wrong?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-timeless-watch-against-fascism/\" target=\"_blank\" rel=\"noopener\">\u003cem>Watch on the Rhine\u003c/em> is a timely play about the dangers of not intervening in the fight against fascism.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 14-16:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/clockwork-dances-revealing-our-human-flaws/\" target=\"_blank\" rel=\"noopener\">Garrett + Moulton make dances that are like Rubik’s Cubes, colorful movement puzzles that snap into perfection.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-jazz-singer-for-all-times/\" target=\"_blank\" rel=\"noopener\">Gregory Porter may look goofy, but his singing is serious and sublime.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-fire-relief-fundraiser-in-comic-strips/\" target=\"_blank\" rel=\"noopener\">The Schulz Museum in Santa Rosa hosts a fundraiser for fire relief with some of the Bay Area’s top graphic artists.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/the-barr-brothers-are-the-pride-of-providence/\" target=\"_blank\" rel=\"noopener\">The Barr Brothers, the pride of Providence R.I, offer a fresh take on indie folk-rock\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13816822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg\" alt=\"KQED's Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017 \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SF Weekly theater critic \u003ca href=\"https://ww2.kqed.org/arts/author/jedalatpour/\" target=\"_blank\" rel=\"noopener\">Jeffrey Edalatpour\u003c/a> is back on the show this week to talk about holiday and counter-holiday plays around the Bay Area. Plus three world premieres from the choreographers Garrett and Moulton, a fire fundraiser at the Schulz Museum, and great indie folk-rock from the Barr Brothers.\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/bright-star-is-a-holiday-play-full-of-bluegrass-cheer/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bright Star\u003c/em> is a post-war fairy tale set in the South, with a lovely score and a breakout performance by Carmen Cusack\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/celebrating-female-joy-in-a-play-from-lauren-gunderson/\" target=\"_blank\" rel=\"noopener\">Playwright Lauren Gunderson spins a tale of romance for the brainy in \u003cem>Miss Bennett: Christmas at Pemberley.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan 14: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-deal-with-the-devil-in-black-rider-what-could-possibly-go-wrong/\" target=\"_blank\" rel=\"noopener\">Making a deal with the devil in \u003cem>The Black Rider\u003c/em>; what could possibly go wrong?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-timeless-watch-against-fascism/\" target=\"_blank\" rel=\"noopener\">\u003cem>Watch on the Rhine\u003c/em> is a timely play about the dangers of not intervening in the fight against fascism.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 14-16:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/clockwork-dances-revealing-our-human-flaws/\" target=\"_blank\" rel=\"noopener\">Garrett + Moulton make dances that are like Rubik’s Cubes, colorful movement puzzles that snap into perfection.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-jazz-singer-for-all-times/\" target=\"_blank\" rel=\"noopener\">Gregory Porter may look goofy, but his singing is serious and sublime.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-fire-relief-fundraiser-in-comic-strips/\" target=\"_blank\" rel=\"noopener\">The Schulz Museum in Santa Rosa hosts a fundraiser for fire relief with some of the Bay Area’s top graphic artists.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/the-barr-brothers-are-the-pride-of-providence/\" target=\"_blank\" rel=\"noopener\">The Barr Brothers, the pride of Providence R.I, offer a fresh take on indie folk-rock\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13816822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg\" alt=\"KQED's Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017 \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lillian Hellman wrote \u003cem>Watch on the Rhine\u003c/em> in 1941, intending it a loud warning to the United States when the country was refusing to join the war against fascism in Europe. As my co-host Jeffrey Edalatpour notes, the political is very personal in this story of an estranged family that reunites (holiday theme), only to find a traitor in their own home. If the play’s preachiness seems dated at times, it’s message about the dangers of inaction against totalitarianism seem very up to date. \u003ca href=\"https://www.berkeleyrep.org/season/1718/12029.asp\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/242823131\u003cbr>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"headline": "A Timeless 'Watch' Against Fascism",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lillian Hellman wrote \u003cem>Watch on the Rhine\u003c/em> in 1941, intending it a loud warning to the United States when the country was refusing to join the war against fascism in Europe. As my co-host Jeffrey Edalatpour notes, the political is very personal in this story of an estranged family that reunites (holiday theme), only to find a traitor in their own home. If the play’s preachiness seems dated at times, it’s message about the dangers of inaction against totalitarianism seem very up to date. \u003ca href=\"https://www.berkeleyrep.org/season/1718/12029.asp\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/242823131\u003cbr>\n\u003c/aside>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Ain't Too Proud' Desecrates the Temptations at Berkeley Rep",
"headTitle": "‘Ain’t Too Proud’ Desecrates the Temptations at Berkeley Rep | KQED",
"content": "\u003cp>This isn’t so much a review as a lament. It concerns the Berkeley Repertory Theatre’s world premiere of \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Ain’t Too Proud – The Life and Times of the Temptations\u003c/em>\u003c/a>, or as people have been calling it, “The Temptations musical.”\u003c/p>\n\u003cp>As theater it’s awful, a desecration of the spirit and otherworldly talent that coursed through the legendary R&B group over its long history — qualities most notably embodied in singers David Ruffin and Eddie Kendricks, and songwriters Smokey Robinson and Norman Whitfield.\u003c/p>\n\u003cp>But it is as entertainment that the musical is most worrying. High on sensationalism and low in intelligence, the almost three-hour-long production doesn’t leave space for us to think, reflect, or feel in any way. Instead, we must submit to a vision of theater that would rather have an audience of trained seals than human beings interested in other human beings.\u003c/p>\n\u003cfigure id=\"attachment_13809409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809409\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg\" alt=\"Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane Temptation.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane, steady Temptation. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of the problem is how playwright Dominique Morisseau, and director Des McAnuff imagine other people. In many ways, there is only one character in the play, and that’s Otis Williams, the last surviving member of the original Temptations. Williams serves as our narrator for the evening. His book, \u003cem>The Temptations\u003c/em>, provides the basic blueprint for the script.\u003c/p>\n\u003cp>Everything we feel and understand in the show filters through Williams. He was the least talented of the Temptations, but blessed with a knack for moving projects along, whether assembling a group, keeping rehearsals going, or firing problematic members no matter how talented. You could say he’s a man with an iron-clad — though rather self-serving — thesis that he repeats to the point of insanity: The individual is always expendable and the group must be maintained at all costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s an appropriate philosophy for a minor-league talent, or as the Ruffin character rightfully puts it: “No one screams when Otis Williams takes the stage.” And right there is the germ of a tragedy: an ordinarily talented man shares the stage with astounding artists, and is simultaneously seduced by their genius and revolted by their unpredictability. He survives, but the talent doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13809412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg\" alt=\"Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1920x1099.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-520x298.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Ain’t Too Proud\u003c/em> should have been a crazed, searing, R&B \u003cem>Amadeus\u003c/em>. The material is rich and promising. Yet Morisseau, McAnuff, and the producers refuse to let it loose. Instead, they tie the story of the maniacal Williams and the Temptations’ music to the dead aesthetics of the biopic and the jukebox musical, not to mention the false uplift of showbiz success.\u003c/p>\n\u003cp>Every last moment of the group’s long history is noted, as if a play were nothing more than a particularly detailed Wikipedia entry. Each hit song is delivered with maximum effect, but with little of the subtle spirit so present in the original recordings. And the last lines (as I remember them) are something about the Temptations being the most successful R&B group in history, for which the audience dutifully cheered both nights I attended.\u003c/p>\n\u003cp>But the most grievous and telling sin is how the musical adopts Williams’ limited perspective and reduces the many talented and fascinating people around him to buffoonish, cartoon characters.\u003c/p>\n\u003cp>Motown founder Barry Gordy and singer Diana Ross, as well as Robinson, Ruffin and Kendricks, all come across as little more than children. In innumerable scenes, the creative team portrays these greats as simpletons, conniving hucksters, and angry fools.\u003c/p>\n\u003cfigure id=\"attachment_13809415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg\" alt=\"In 'Ain't Too Proud' Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Frankling (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don't particularly come to life on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Ain’t Too Proud’ Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Franklin (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don’t particularly come to life on stage. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What they’re never allowed to be is recognizably human. Even when the show expresses empathy and a sense of loss, the aesthetics are pure soap opera and eschew the bitter complexities of tragedy. When Martin Luther King Jr.’s assassination breezes by, you realize how terrified the musical’s creators are of letting the audience rest and stay in a moment. Why couldn’t the night of the assassination be the whole piece?\u003c/p>\n\u003cp>None of this is the fault of the exceptionally talented performers. They’re a wonder and should be applauded for everything they bring to the stage.\u003c/p>\n\u003cp>What we should lament is the sheer waste of time, energy, and talent, and the way the Temptations’ music has been hijacked for what is clearly a brazen attempt at a Broadway hit. This is the only way \u003cem>Ain’t Too Proud\u003c/em> makes sense — not as art, but as a money trap for Times Square tourists.\u003c/p>\n\u003cfigure id=\"attachment_13809417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg\" alt=\"The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope) Paul Williams (James Harkness), Otis Williams (Derrick Baskin) and Melvin Franklin (Jared Joseph) were hitmakers who made art.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope), Paul Williams (James Harkness), Otis Williams (Derrick Baskin), and Melvin Franklin (Jared Joseph) were hitmakers who also made art. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Rep has amazing theatrical resources. The institution’s stagecraft and technicians are exceptional. The talent and tools are all on display here, from the rotating sets, to the complex video projections, to the sound design worthy of a stadium concert.\u003c/p>\n\u003cp>But with \u003cem>Ain’t Too Proud\u003c/em>, it’s all in the service of the theatrical equivalent of baby food laced with sugar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ain’t Too Proud’ runs through Sunday, Nov. 5. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org/index.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This isn’t so much a review as a lament. It concerns the Berkeley Repertory Theatre’s world premiere of \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Ain’t Too Proud – The Life and Times of the Temptations\u003c/em>\u003c/a>, or as people have been calling it, “The Temptations musical.”\u003c/p>\n\u003cp>As theater it’s awful, a desecration of the spirit and otherworldly talent that coursed through the legendary R&B group over its long history — qualities most notably embodied in singers David Ruffin and Eddie Kendricks, and songwriters Smokey Robinson and Norman Whitfield.\u003c/p>\n\u003cp>But it is as entertainment that the musical is most worrying. High on sensationalism and low in intelligence, the almost three-hour-long production doesn’t leave space for us to think, reflect, or feel in any way. Instead, we must submit to a vision of theater that would rather have an audience of trained seals than human beings interested in other human beings.\u003c/p>\n\u003cfigure id=\"attachment_13809409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809409\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg\" alt=\"Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane Temptation.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane, steady Temptation. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of the problem is how playwright Dominique Morisseau, and director Des McAnuff imagine other people. In many ways, there is only one character in the play, and that’s Otis Williams, the last surviving member of the original Temptations. Williams serves as our narrator for the evening. His book, \u003cem>The Temptations\u003c/em>, provides the basic blueprint for the script.\u003c/p>\n\u003cp>Everything we feel and understand in the show filters through Williams. He was the least talented of the Temptations, but blessed with a knack for moving projects along, whether assembling a group, keeping rehearsals going, or firing problematic members no matter how talented. You could say he’s a man with an iron-clad — though rather self-serving — thesis that he repeats to the point of insanity: The individual is always expendable and the group must be maintained at all costs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an appropriate philosophy for a minor-league talent, or as the Ruffin character rightfully puts it: “No one screams when Otis Williams takes the stage.” And right there is the germ of a tragedy: an ordinarily talented man shares the stage with astounding artists, and is simultaneously seduced by their genius and revolted by their unpredictability. He survives, but the talent doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13809412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg\" alt=\"Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1920x1099.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-520x298.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Ain’t Too Proud\u003c/em> should have been a crazed, searing, R&B \u003cem>Amadeus\u003c/em>. The material is rich and promising. Yet Morisseau, McAnuff, and the producers refuse to let it loose. Instead, they tie the story of the maniacal Williams and the Temptations’ music to the dead aesthetics of the biopic and the jukebox musical, not to mention the false uplift of showbiz success.\u003c/p>\n\u003cp>Every last moment of the group’s long history is noted, as if a play were nothing more than a particularly detailed Wikipedia entry. Each hit song is delivered with maximum effect, but with little of the subtle spirit so present in the original recordings. And the last lines (as I remember them) are something about the Temptations being the most successful R&B group in history, for which the audience dutifully cheered both nights I attended.\u003c/p>\n\u003cp>But the most grievous and telling sin is how the musical adopts Williams’ limited perspective and reduces the many talented and fascinating people around him to buffoonish, cartoon characters.\u003c/p>\n\u003cp>Motown founder Barry Gordy and singer Diana Ross, as well as Robinson, Ruffin and Kendricks, all come across as little more than children. In innumerable scenes, the creative team portrays these greats as simpletons, conniving hucksters, and angry fools.\u003c/p>\n\u003cfigure id=\"attachment_13809415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg\" alt=\"In 'Ain't Too Proud' Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Frankling (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don't particularly come to life on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Ain’t Too Proud’ Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Franklin (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don’t particularly come to life on stage. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What they’re never allowed to be is recognizably human. Even when the show expresses empathy and a sense of loss, the aesthetics are pure soap opera and eschew the bitter complexities of tragedy. When Martin Luther King Jr.’s assassination breezes by, you realize how terrified the musical’s creators are of letting the audience rest and stay in a moment. Why couldn’t the night of the assassination be the whole piece?\u003c/p>\n\u003cp>None of this is the fault of the exceptionally talented performers. They’re a wonder and should be applauded for everything they bring to the stage.\u003c/p>\n\u003cp>What we should lament is the sheer waste of time, energy, and talent, and the way the Temptations’ music has been hijacked for what is clearly a brazen attempt at a Broadway hit. This is the only way \u003cem>Ain’t Too Proud\u003c/em> makes sense — not as art, but as a money trap for Times Square tourists.\u003c/p>\n\u003cfigure id=\"attachment_13809417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg\" alt=\"The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope) Paul Williams (James Harkness), Otis Williams (Derrick Baskin) and Melvin Franklin (Jared Joseph) were hitmakers who made art.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope), Paul Williams (James Harkness), Otis Williams (Derrick Baskin), and Melvin Franklin (Jared Joseph) were hitmakers who also made art. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Rep has amazing theatrical resources. The institution’s stagecraft and technicians are exceptional. The talent and tools are all on display here, from the rotating sets, to the complex video projections, to the sound design worthy of a stadium concert.\u003c/p>\n\u003cp>But with \u003cem>Ain’t Too Proud\u003c/em>, it’s all in the service of the theatrical equivalent of baby food laced with sugar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ain’t Too Proud’ runs through Sunday, Nov. 5. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org/index.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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