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"content": "\n\u003cp>What’s more interesting, the Civil War or singing in a cabaret club?\u003c/p>\n\n\n\n\u003cp>For the lovely and limber Mary Todd Lincoln, it’s no contest, considering the war with the South prompts her to ask an important question: the South of what?\u003c/p>\n\n\n\n\u003cp>While at least 620,000 soldiers died in a conflict that still carries ramifications for the United States today, Mary isn’t thinking about that history and legacy mumbo jumbo. On her mind is much more critical business at hand, mostly involving her dream of climbing all over a piano crooning classic cabaret hits, tickling the ivories \u003cem>and\u003c/em> the audience.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/MichaelLeporeandJohn-AndrewMorrisoninOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-cb3fd56c.jpg\" alt=\"\" class=\"wp-image-13994803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/MichaelLeporeandJohn-AndrewMorrisoninOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-cb3fd56c.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/MichaelLeporeandJohn-AndrewMorrisoninOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-cb3fd56c-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/MichaelLeporeandJohn-AndrewMorrisoninOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-cb3fd56c-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/MichaelLeporeandJohn-AndrewMorrisoninOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-cb3fd56c-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Michael Lepore and John-Andrew Morrison in ‘Oh, Mary!’ (Evan Zimmerman for MurphyMade)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>In ATG San Francisco’s production of Cole Escola’s \u003cem>Oh, Mary! \u003c/em>at the Curran Theatre, chaos and conflict rule the day, and secrets are revealed in wild, wacky ways. It’s a show clearly not for everyone, with some seriously low-hanging fruit that the audience can snatch up immediately. Yet the play, a 2025 Pulitzer Prize in Drama finalist, is mighty bold and wonderfully irreverent, following a fictional, highly inaccurate version of the first lady in the weeks leading up to Abraham Lincoln’s assassination.\u003c/p>\n\n\n\n\u003cp>Mary (Alaska Thunderfuck) is more than bored. She’s living a suffocating and banal life while spending way too much time with some guy named Jack Daniels, prancing all over the house in a gargantuan black hoop dress and curls that scream bratty (and a strange, perfectly coiffed bun that’s the centerpiece of her hair game). Her frustration with her top-hat hubby (John-Andrew Morrison) is that he just can’t lay off this Civil War stuff for an evening to ravage her with steamy passion. \u003c/p>\n\n\n\n\u003cp>Turns out the Civil War is kind of important, and since Mary yearns for a stage, her husband decides to pay for acting lessons with a wonderful but maybe not-so-talented teacher (Wesley Taylor). While Mary is distracted, things get steamy in secret between her husband and his assistant (Michael Lepore).\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33.jpg\" alt=\"\" class=\"wp-image-13994802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Pooya Mohseni and Alaska Thunderfuck in ‘Oh, Mary!’ (Evan Zimmerman for MurphyMade)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Does the husband want Mary to become the next Dame Ellen Terry? That would be a hard no, considering he could care less about what she does, as long as it’s far away from him. Acting lessons, though, are a dissatisfying consolation prize for what Mary truly wants: a return as a singular sensation in cabaret, the greatest art form known to civilization. After all, theater is where cabaret stars go to die. \u003c/p>\n\n\n\n\u003cp>There are a few others who catch strays from Mary’s razor-sharp tongue. Her chaperone Louise (Pooya Mohseni) has one job and even fails at that. The play’s pace is outstanding within its tight run time of 75 minutes. Sam Pinkleton’s direction lands each closing scene with sharpness, providing the audience ample opportunities to cackle in the dark. \u003c/p>\n\n\n\n\n\n\u003cp>These opportunities are built around Thunderfuck’s scintillating set of skills, a star vehicle that Escola himself crushed in my 2024 Broadway viewing. The role hinges on the performer’s nuance. For Thunderfuck, it’s the pensive teeth-sucking and dropping perfectly timed one-liners as Mary processes her new reality in each discovered moment. Notice the quick thinking when Mary realizes she doesn’t have her handy Shakespeare script and hilariously improvises the nurse in \u003cem>Romeo and Juliet\u003c/em> at a critical audition. This new nurse is less Shakespearean and more like a Dickensian villain. \u003c/p>\n\n\n\n\u003cp>Thunderfuck possesses an uncanny ability to move through space with sleek sheen and maximum slitherance. Her physical prowess as a highly regarded drag star, in complete control of her body and its every gesture, is a constant delight.\u003c/p>\n\n\n\n\u003cp>Thunderfuck’s co-stars tee her up early and often, while being superb in their own right. Mary’s husband and his rough-and-tumble bouts with her are all about his never-ending frustration. Morrison marvels with his chaotic, closeted inner monologue. As Louise, Mohseni delivers balcony-reaching reactions that hit perfect notes within this irreverent and campy style. And Taylor’s turn as the tempestuous teacher is all riot, bounding all over the stage while leading with his booty. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/AlaskaThunderfuckandWesleyTaylorinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-a1ef18fa.jpg\" alt=\"\" class=\"wp-image-13994805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/AlaskaThunderfuckandWesleyTaylorinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-a1ef18fa.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/AlaskaThunderfuckandWesleyTaylorinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-a1ef18fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/AlaskaThunderfuckandWesleyTaylorinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-a1ef18fa-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/AlaskaThunderfuckandWesleyTaylorinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-a1ef18fa-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Alaska Thunderfuck and Wesley Taylor in ‘Oh, Mary!’ (Evan Zimmerman for MurphyMade)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>There are strict regulations about spoiling the ending, which shall not be done here. However, what does come in the play’s final scene is a real hoot. The denouement is not just a commitment to camp, but a love letter to the art of drag and all its magic. \u003c/p>\n\n\n\n\u003cp>To borrow from Gen Z, this play and that ending are just \u003cem>stupid\u003c/em>, which is one heckuva compliment.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘Oh, Mary!’ runs through Nov. 1 at the Curran Theatre in San Francisco. \u003c/em>\u003ca href=\"https://us.atgtickets.com/events/oh-mary/curran-theater/?gad_source=1&gad_campaignid=23938240759&gbraid=0AAAAA9-vlNTk2Ub91rE6b0iTSiPscugu3&gclid=Cj0KCQjwlsfWBhD4ARIsACL7p1FrrhFP7_pPKMTlAKAJ-8Os5rV_vXUF8QIHvCt9AO7UdGfVULDlPCsaAj9ZEALw_wcB\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33.jpg\" alt=\"\" class=\"wp-image-13994802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Pooya Mohseni and Alaska Thunderfuck in ‘Oh, Mary!’\u003ccite class=\"wp-inline-image-credit\"> (Evan Zimmerman for MurphyMade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Does the husband want Mary to become the next Dame Ellen Terry? That would be a hard no, considering he could care less about what she does, as long as it’s far away from him. Acting lessons, though, are a dissatisfying consolation prize for what Mary truly wants: a return as a singular sensation in cabaret, the greatest art form known to civilization. After all, theater is where cabaret stars go to die. \u003c/p>\n",
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"innerHTML": "\n\u003cp>There are a few others who catch strays from Mary’s razor-sharp tongue. Her chaperone Louise (Pooya Mohseni) has one job and even fails at that. The play’s pace is outstanding within its tight run time of 75 minutes. Sam Pinkleton’s direction lands each closing scene with sharpness, providing the audience ample opportunities to cackle in the dark. \u003c/p>\n",
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"\n\u003cp>There are a few others who catch strays from Mary’s razor-sharp tongue. Her chaperone Louise (Pooya Mohseni) has one job and even fails at that. The play’s pace is outstanding within its tight run time of 75 minutes. Sam Pinkleton’s direction lands each closing scene with sharpness, providing the audience ample opportunities to cackle in the dark. \u003c/p>\n"
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"innerHTML": "\n\u003cp>These opportunities are built around Thunderfuck’s scintillating set of skills, a star vehicle that Escola himself crushed in my 2024 Broadway viewing. The role hinges on the performer’s nuance. For Thunderfuck, it’s the pensive teeth-sucking and dropping perfectly timed one-liners as Mary processes her new reality in each discovered moment. Notice the quick thinking when Mary realizes she doesn’t have her handy Shakespeare script and hilariously improvises the nurse in \u003cem>Romeo and Juliet\u003c/em> at a critical audition. This new nurse is less Shakespearean and more like a Dickensian villain. \u003c/p>\n",
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"\n\u003cp>These opportunities are built around Thunderfuck’s scintillating set of skills, a star vehicle that Escola himself crushed in my 2024 Broadway viewing. The role hinges on the performer’s nuance. For Thunderfuck, it’s the pensive teeth-sucking and dropping perfectly timed one-liners as Mary processes her new reality in each discovered moment. Notice the quick thinking when Mary realizes she doesn’t have her handy Shakespeare script and hilariously improvises the nurse in \u003cem>Romeo and Juliet\u003c/em> at a critical audition. This new nurse is less Shakespearean and more like a Dickensian villain. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Thunderfuck possesses an uncanny ability to move through space with sleek sheen and maximum slitherance. Her physical prowess as a highly regarded drag star, in complete control of her body and its every gesture, is a constant delight.\u003c/p>\n",
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"\n\u003cp>Thunderfuck possesses an uncanny ability to move through space with sleek sheen and maximum slitherance. Her physical prowess as a highly regarded drag star, in complete control of her body and its every gesture, is a constant delight.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Thunderfuck’s co-stars tee her up early and often, while being superb in their own right. Mary’s husband and his rough-and-tumble bouts with her are all about his never-ending frustration. Morrison marvels with his chaotic, closeted inner monologue. As Louise, Mohseni delivers balcony-reaching reactions that hit perfect notes within this irreverent and campy style. And Taylor’s turn as the tempestuous teacher is all riot, bounding all over the stage while leading with his booty. \u003c/p>\n",
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"\n\u003cp>Thunderfuck’s co-stars tee her up early and often, while being superb in their own right. Mary’s husband and his rough-and-tumble bouts with her are all about his never-ending frustration. Morrison marvels with his chaotic, closeted inner monologue. As Louise, Mohseni delivers balcony-reaching reactions that hit perfect notes within this irreverent and campy style. And Taylor’s turn as the tempestuous teacher is all riot, bounding all over the stage while leading with his booty. \u003c/p>\n"
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"innerHTML": "\n\u003cp>There are strict regulations about spoiling the ending, which shall not be done here. However, what does come in the play’s final scene is a real hoot. The denouement is not just a commitment to camp, but a love letter to the art of drag and all its magic. \u003c/p>\n",
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"\n\u003cp>There are strict regulations about spoiling the ending, which shall not be done here. However, what does come in the play’s final scene is a real hoot. The denouement is not just a commitment to camp, but a love letter to the art of drag and all its magic. \u003c/p>\n"
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"innerHTML": "\n\u003cp>To borrow from Gen Z, this play and that ending are just \u003cem>stupid\u003c/em>, which is one heckuva compliment.\u003c/p>\n",
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"\n\u003cp>To borrow from Gen Z, this play and that ending are just \u003cem>stupid\u003c/em>, which is one heckuva compliment.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>‘Oh, Mary!’ runs through Nov. 1 at the Curran Theatre in San Francisco. \u003c/em>\u003ca href=\"https://us.atgtickets.com/events/oh-mary/curran-theater/?gad_source=1&gad_campaignid=23938240759&gbraid=0AAAAA9-vlNTk2Ub91rE6b0iTSiPscugu3&gclid=Cj0KCQjwlsfWBhD4ARIsACL7p1FrrhFP7_pPKMTlAKAJ-8Os5rV_vXUF8QIHvCt9AO7UdGfVULDlPCsaAj9ZEALw_wcB\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>‘Oh, Mary!’ runs through Nov. 1 at the Curran Theatre in San Francisco. \u003c/em>\u003ca href=\"https://us.atgtickets.com/events/oh-mary/curran-theater/?gad_source=1&gad_campaignid=23938240759&gbraid=0AAAAA9-vlNTk2Ub91rE6b0iTSiPscugu3&gclid=Cj0KCQjwlsfWBhD4ARIsACL7p1FrrhFP7_pPKMTlAKAJ-8Os5rV_vXUF8QIHvCt9AO7UdGfVULDlPCsaAj9ZEALw_wcB\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n"
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"excerpt": "The Pulitzer-nominated musical has opened in San Francisco, with drag star Alaska as Mary Todd Lincoln.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>What’s more interesting, the Civil War or singing in a cabaret club?\u003c/p>\n\n\n\n\u003cp>For the lovely and limber Mary Todd Lincoln, it’s no contest, considering the war with the South prompts her to ask an important question: the South of what?\u003c/p>\n\n\n\n\u003cp>While at least 620,000 soldiers died in a conflict that still carries ramifications for the United States today, Mary isn’t thinking about that history and legacy mumbo jumbo. On her mind is much more critical business at hand, mostly involving her dream of climbing all over a piano crooning classic cabaret hits, tickling the ivories \u003cem>and\u003c/em> the audience.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/MichaelLeporeandJohn-AndrewMorrisoninOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-cb3fd56c.jpg\" alt=\"\" class=\"wp-image-13994803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/MichaelLeporeandJohn-AndrewMorrisoninOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-cb3fd56c.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/MichaelLeporeandJohn-AndrewMorrisoninOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-cb3fd56c-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/MichaelLeporeandJohn-AndrewMorrisoninOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-cb3fd56c-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/MichaelLeporeandJohn-AndrewMorrisoninOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-cb3fd56c-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Michael Lepore and John-Andrew Morrison in ‘Oh, Mary!’ (Evan Zimmerman for MurphyMade)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>In ATG San Francisco’s production of Cole Escola’s \u003cem>Oh, Mary! \u003c/em>at the Curran Theatre, chaos and conflict rule the day, and secrets are revealed in wild, wacky ways. It’s a show clearly not for everyone, with some seriously low-hanging fruit that the audience can snatch up immediately. Yet the play, a 2025 Pulitzer Prize in Drama finalist, is mighty bold and wonderfully irreverent, following a fictional, highly inaccurate version of the first lady in the weeks leading up to Abraham Lincoln’s assassination.\u003c/p>\n\n\n\n\u003cp>Mary (Alaska Thunderfuck) is more than bored. She’s living a suffocating and banal life while spending way too much time with some guy named Jack Daniels, prancing all over the house in a gargantuan black hoop dress and curls that scream bratty (and a strange, perfectly coiffed bun that’s the centerpiece of her hair game). Her frustration with her top-hat hubby (John-Andrew Morrison) is that he just can’t lay off this Civil War stuff for an evening to ravage her with steamy passion. \u003c/p>\n\n\n\n\u003cp>Turns out the Civil War is kind of important, and since Mary yearns for a stage, her husband decides to pay for acting lessons with a wonderful but maybe not-so-talented teacher (Wesley Taylor). While Mary is distracted, things get steamy in secret between her husband and his assistant (Michael Lepore).\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33.jpg\" alt=\"\" class=\"wp-image-13994802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/PooyaMohseniandAlaskaThunderfuckinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-9d644c33-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Pooya Mohseni and Alaska Thunderfuck in ‘Oh, Mary!’ (Evan Zimmerman for MurphyMade)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Does the husband want Mary to become the next Dame Ellen Terry? That would be a hard no, considering he could care less about what she does, as long as it’s far away from him. Acting lessons, though, are a dissatisfying consolation prize for what Mary truly wants: a return as a singular sensation in cabaret, the greatest art form known to civilization. After all, theater is where cabaret stars go to die. \u003c/p>\n\n\n\n\u003cp>There are a few others who catch strays from Mary’s razor-sharp tongue. Her chaperone Louise (Pooya Mohseni) has one job and even fails at that. The play’s pace is outstanding within its tight run time of 75 minutes. Sam Pinkleton’s direction lands each closing scene with sharpness, providing the audience ample opportunities to cackle in the dark. \u003c/p>\n\n\n\n\n\n\u003cp>These opportunities are built around Thunderfuck’s scintillating set of skills, a star vehicle that Escola himself crushed in my 2024 Broadway viewing. The role hinges on the performer’s nuance. For Thunderfuck, it’s the pensive teeth-sucking and dropping perfectly timed one-liners as Mary processes her new reality in each discovered moment. Notice the quick thinking when Mary realizes she doesn’t have her handy Shakespeare script and hilariously improvises the nurse in \u003cem>Romeo and Juliet\u003c/em> at a critical audition. This new nurse is less Shakespearean and more like a Dickensian villain. \u003c/p>\n\n\n\n\u003cp>Thunderfuck possesses an uncanny ability to move through space with sleek sheen and maximum slitherance. Her physical prowess as a highly regarded drag star, in complete control of her body and its every gesture, is a constant delight.\u003c/p>\n\n\n\n\u003cp>Thunderfuck’s co-stars tee her up early and often, while being superb in their own right. Mary’s husband and his rough-and-tumble bouts with her are all about his never-ending frustration. Morrison marvels with his chaotic, closeted inner monologue. As Louise, Mohseni delivers balcony-reaching reactions that hit perfect notes within this irreverent and campy style. And Taylor’s turn as the tempestuous teacher is all riot, bounding all over the stage while leading with his booty. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/AlaskaThunderfuckandWesleyTaylorinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-a1ef18fa.jpg\" alt=\"\" class=\"wp-image-13994805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/AlaskaThunderfuckandWesleyTaylorinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-a1ef18fa.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/AlaskaThunderfuckandWesleyTaylorinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-a1ef18fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/AlaskaThunderfuckandWesleyTaylorinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-a1ef18fa-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/AlaskaThunderfuckandWesleyTaylorinOHMARYFirstNationalTour_photobyEvanZimmermanforMurphyMade-a1ef18fa-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Alaska Thunderfuck and Wesley Taylor in ‘Oh, Mary!’ (Evan Zimmerman for MurphyMade)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>There are strict regulations about spoiling the ending, which shall not be done here. However, what does come in the play’s final scene is a real hoot. The denouement is not just a commitment to camp, but a love letter to the art of drag and all its magic. \u003c/p>\n\n\n\n\u003cp>To borrow from Gen Z, this play and that ending are just \u003cem>stupid\u003c/em>, which is one heckuva compliment.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘Oh, Mary!’ runs through Nov. 1 at the Curran Theatre in San Francisco. \u003c/em>\u003ca href=\"https://us.atgtickets.com/events/oh-mary/curran-theater/?gad_source=1&gad_campaignid=23938240759&gbraid=0AAAAA9-vlNTk2Ub91rE6b0iTSiPscugu3&gclid=Cj0KCQjwlsfWBhD4ARIsACL7p1FrrhFP7_pPKMTlAKAJ-8Os5rV_vXUF8QIHvCt9AO7UdGfVULDlPCsaAj9ZEALw_wcB\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>2025 isn’t done delivering surprises. The \u003ca href=\"https://www.kqed.org/arts/tag/curran-theatre\">Curran Theatre\u003c/a> is now owned by San Francisco’s baseball team, which bought the historic theater from Carole Shorenstein Hays for an undisclosed sum.\u003c/p>\n\u003cp>Broadway SF will continue to operate the venue, built in 1922, and all current programming will continue as scheduled.\u003c/p>\n\u003cp>“Acquiring the Curran expands our commitment to San Francisco and reinforces our core belief that sports, arts and culture are essential to San Francisco’s identity, economy and resurgence,” said Giants’ president and CEO Larry Baer in today’s announcement.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13984286,arts_12813208']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>He went on to state that the organization will honor the Curran’s past, and build on those offerings, “inclusive of music, comedy and family entertainment.” The Giants’ stadium already hosts a number of live performances — owning the Curran will increase the organization’s producing options.\u003c/p>\n\u003cp>Shorenstein Hays, a veteran theater producer, has owned the venue since 2010. She acquired her first Tony in 1987 backing August Wilson’s \u003ci>Fences\u003c/i>, and won again in 2010 with the Denzel Washington/Viola Davis revival of the same play. Her most recent Tony came from producing the 2015 musical adaptation of Alison Bechdel’s graphic memoir \u003ci>Fun Home\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_12644538\" class=\"wp-caption alignnone\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12644538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11.jpg\" alt=\"Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater\" width=\"2048\" height=\"1267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-520x322.jpg 520w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater, circa 2017. \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same year, Hays began major renovations at the Curran while putting on smaller-scale, experimental productions under the moniker “Curran: Under Construction.” The theater \u003ca href=\"https://www.kqed.org/arts/12813208/american-theater-history-is-written-on-the-walls-of-the-curran\">reopened in early 2017\u003c/a>, cleaner, with larger bathrooms, and with fresh coats of colorful paint.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Recent productions at the Curran included the ’70s-set \u003ca href=\"https://www.kqed.org/arts/13983280/stereophonic-sf-curran-review-san-francisco\">\u003ci>Stereophonic\u003c/i>\u003c/a> and the corn-themed musical \u003ci>Shucked\u003c/i>. Through Dec. 21, audience can catch \u003ci>\u003ca href=\"https://www.broadwaysf.com/events/bsf-golden-girls/\">The Golden Girls Live: The Christmas Episodes\u003c/a>\u003c/i>, a 20-year-old San Francisco holiday tradition, playing through Dec. 21.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>News of the sale comes at the end of a bleak year for the Bay Area theater scene, with cuts to federal funding and \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">closure after heartbreaking closure\u003c/a>. “It was essential to me that [the Curran’s] next stewards would ensure it remains a vibrant home for artists and audiences alike,” Shorenstein Hays said in the announcement. “I am so pleased that the Giants have stepped up to the plate.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>2025 isn’t done delivering surprises. The \u003ca href=\"https://www.kqed.org/arts/tag/curran-theatre\">Curran Theatre\u003c/a> is now owned by San Francisco’s baseball team, which bought the historic theater from Carole Shorenstein Hays for an undisclosed sum.\u003c/p>\n\u003cp>Broadway SF will continue to operate the venue, built in 1922, and all current programming will continue as scheduled.\u003c/p>\n\u003cp>“Acquiring the Curran expands our commitment to San Francisco and reinforces our core belief that sports, arts and culture are essential to San Francisco’s identity, economy and resurgence,” said Giants’ president and CEO Larry Baer in today’s announcement.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>He went on to state that the organization will honor the Curran’s past, and build on those offerings, “inclusive of music, comedy and family entertainment.” The Giants’ stadium already hosts a number of live performances — owning the Curran will increase the organization’s producing options.\u003c/p>\n\u003cp>Shorenstein Hays, a veteran theater producer, has owned the venue since 2010. She acquired her first Tony in 1987 backing August Wilson’s \u003ci>Fences\u003c/i>, and won again in 2010 with the Denzel Washington/Viola Davis revival of the same play. Her most recent Tony came from producing the 2015 musical adaptation of Alison Bechdel’s graphic memoir \u003ci>Fun Home\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_12644538\" class=\"wp-caption alignnone\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12644538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11.jpg\" alt=\"Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater\" width=\"2048\" height=\"1267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-520x322.jpg 520w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater, circa 2017. \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same year, Hays began major renovations at the Curran while putting on smaller-scale, experimental productions under the moniker “Curran: Under Construction.” The theater \u003ca href=\"https://www.kqed.org/arts/12813208/american-theater-history-is-written-on-the-walls-of-the-curran\">reopened in early 2017\u003c/a>, cleaner, with larger bathrooms, and with fresh coats of colorful paint.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Recent productions at the Curran included the ’70s-set \u003ca href=\"https://www.kqed.org/arts/13983280/stereophonic-sf-curran-review-san-francisco\">\u003ci>Stereophonic\u003c/i>\u003c/a> and the corn-themed musical \u003ci>Shucked\u003c/i>. Through Dec. 21, audience can catch \u003ci>\u003ca href=\"https://www.broadwaysf.com/events/bsf-golden-girls/\">The Golden Girls Live: The Christmas Episodes\u003c/a>\u003c/i>, a 20-year-old San Francisco holiday tradition, playing through Dec. 21.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>News of the sale comes at the end of a bleak year for the Bay Area theater scene, with cuts to federal funding and \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">closure after heartbreaking closure\u003c/a>. “It was essential to me that [the Curran’s] next stewards would ensure it remains a vibrant home for artists and audiences alike,” Shorenstein Hays said in the announcement. “I am so pleased that the Giants have stepped up to the plate.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tony-Winning ‘Stereophonic’ Finally Comes Home to the Bay Area",
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"content": "\u003cp>A silver microphone hovers behind soundproof studio glass, just above the singer, amplifying her velvet pipes for the album it will soon occupy for posterity. But despite her voice’s celestial sheen, imperfections built from pressures and brutal insecurities derail take after take, and turn her microphone into an unreachable deity.\u003c/p>\n\u003cp>In the masterful production of the 13-time Tony-nominated play \u003cem>Stereophonic\u003c/em>, Diana’s unnamed 1970s rock band faces a reckoning while recording a follow-up to their massively successful breakout album. Working long hours within the wood-paneled walls of a recording studio in Sausalito, personal and creative conflicts directly parallel the infamous process of recording Fleetwood Mac’s iconic 1977 album \u003cem>Rumours\u003c/em>. While every guitar lick and rock groove contains self-inflicted wounds and pressure, plenty of pot and cocaine is passed around.\u003c/p>\n\u003cp>Playwright David Adjmi paints the talented, narcissistic scruff Peter (Denver Milord) as uber-driven for success, his relationship with Diana (Claire DeJean) massively compromised by his constant belittling. When Reg (Christopher Mowod) isn’t handling the bass, he’s undergoing a renaissance of the soul since going sober. And in a common theme, a lack of family support hits tempo-challenged drummer Simon (Cornelius McMoyler) hard.\u003c/p>\n\u003cfigure id=\"attachment_13983275\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-299_F.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-299_F.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-299_F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-299_F-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-299_F-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The First National Touring cast of ‘Stereophonic,’ which is set inside a recording studio modeled after The Plant in Sausalito. \u003ccite>(Julieta Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This era of rock (the play spans 1976–77) is an alpha world, which challenges the two women in the band, singers Diana and Holly (Emilie Kouatchou). All of this dysfunction lands in the lap of an unseasoned sound engineer, Grover (Jack Barrett), and his chatty, wide-eyed assistant Charlie (Steven Lee Johnson).\u003c/p>\n\u003cp>Director Daniel Aukin’s staging oscillates between the high energy of a perfect take and the static dullness of waiting around. Fights about personal relationships and album details get hashed out on the couches and plush pillows of David Zinn’s tremendous scenic design. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aukin is at his best with \u003cem>Stereophonic\u003c/em>’s pacing. If the play feels slow in moments, it’s in service of experiencing the band’s self-immolation in real time. Realistically, recording studios are sites of mostly waiting around, and for a band like the one in \u003cem>Stereophonic\u003c/em>, sacrificing mental health and all relationships with the real world to achieve musical nirvana on tape always happens gradually.\u003c/p>\n\u003cfigure id=\"attachment_13983274\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-39_F.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-39_F.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-39_F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-39_F-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-39_F-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Claire DeJean as Diana, Emilie Kouatchou as Holly and Denver Milord as Peter in ‘Stereophonic,’ running at the Curran Theatre in San Francisco. \u003ccite>(Julieta Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the play, before we’ve heard any songs, it’s easy to wonder what this all means. The fights, the stresses and the sacrifices have to be for \u003cem>something\u003c/em>. When Diana layers on a bit of a belt in a slower-tempo version of her composition “Bright,” or when the song “Masquerade” finally comes together, just notice the perfect harmony of a band who understands what it takes to craft music at a high level. These are the times when the play soars, built upon the ’70s-styled rock songs of Arcade Fire’s Will Butler.\u003c/p>\n\u003cp>Then there’s \u003cem>Stereophonic\u003c/em>’s technical wizardry. Jiyoun Chang’s lighting design is a setter of moods, pairing beautifully with Ryan Rumery’s snazzy sound design. Working the knobs of the giant mixing console, Grover and Charlie are stoned masters, even while being bossed around into successive all-nighters.\u003c/p>\n\u003cp>[aside postID='arts_12374448']Here in the Bay Area, there’s something special about seeing \u003cem>Stereophonic\u003c/em> — a co-production between ACT and BroadwaySF — finally performed in its spiritual home. The studio is clearly modeled after the \u003ca href=\"https://www.kqed.org/arts/12374448/running-the-record-plant-part-1-the-early-years\">Record Plant in Sausalito\u003c/a>, where Fleetwood Mac recorded \u003cem>Rumours\u003c/em>. Band members take breaks to eat at \u003ca href=\"https://www.sausalitohistoricalsociety.com/2015-columns/2015/11/7/juanita-and-her-galley-1\">Juanita’s\u003c/a>, the famed Sausalito restaurant-slash-three ring circus run by \u003ca href=\"https://en.wikipedia.org/wiki/Juanita_Musson\">the region’s most colorful owner and chef\u003c/a>. There’s also a terrific vintage T-shirt (period costumes were designed by Enver Chakartash) from \u003ca href=\"https://rickeysca.com/\">a venerable San Leandro sports bar\u003c/a>, some potent weed from Santa Cruz, and references to Tiburon, Stinson Beach and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13983272\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-425_F.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-425_F.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-425_F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-425_F-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-425_F-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Denver Milord as Peter, Christopher Mowod as Reg, Claire DeJean as Diana, and Emilie Kouatchou as Holly in ‘Stereophonic,’ running at the Curran Theatre in San Francisco. \u003ccite>(Julieta Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet nothing speaks to Sausalito like houseboats. When Reg delivers what’s become one of the show’s famous monologues about the thrill of the city’s houseboat community, he manages to pin down just why the band has sacrificed so much. Otis Redding famously \u003ca href=\"https://youtu.be/7C-VscEQugk?si=_FSRJ1tCqfnrFMoT\">sat on the dock of the Bay\u003c/a> among Sausalito’s houseboats, wasting time, just like the band does. “I want to live in art,” Reg gleefully declares — but to live in art means living within the torture of striving for immortal heroism.\u003c/p>\n\u003cp>That may be Stereophonic’s ultimate lesson: While mere mortals are abundant, our heroes of rock ‘n’ roll stand alone. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Stereophonic’ runs through Nov. 23 at the Curran Theatre (445 Geary St.) in San Francisco. \u003ca href=\"https://www.broadwaysf.com/events/stereophonic/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A silver microphone hovers behind soundproof studio glass, just above the singer, amplifying her velvet pipes for the album it will soon occupy for posterity. But despite her voice’s celestial sheen, imperfections built from pressures and brutal insecurities derail take after take, and turn her microphone into an unreachable deity.\u003c/p>\n\u003cp>In the masterful production of the 13-time Tony-nominated play \u003cem>Stereophonic\u003c/em>, Diana’s unnamed 1970s rock band faces a reckoning while recording a follow-up to their massively successful breakout album. Working long hours within the wood-paneled walls of a recording studio in Sausalito, personal and creative conflicts directly parallel the infamous process of recording Fleetwood Mac’s iconic 1977 album \u003cem>Rumours\u003c/em>. While every guitar lick and rock groove contains self-inflicted wounds and pressure, plenty of pot and cocaine is passed around.\u003c/p>\n\u003cp>Playwright David Adjmi paints the talented, narcissistic scruff Peter (Denver Milord) as uber-driven for success, his relationship with Diana (Claire DeJean) massively compromised by his constant belittling. When Reg (Christopher Mowod) isn’t handling the bass, he’s undergoing a renaissance of the soul since going sober. And in a common theme, a lack of family support hits tempo-challenged drummer Simon (Cornelius McMoyler) hard.\u003c/p>\n\u003cfigure id=\"attachment_13983275\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-299_F.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-299_F.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-299_F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-299_F-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-299_F-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The First National Touring cast of ‘Stereophonic,’ which is set inside a recording studio modeled after The Plant in Sausalito. \u003ccite>(Julieta Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This era of rock (the play spans 1976–77) is an alpha world, which challenges the two women in the band, singers Diana and Holly (Emilie Kouatchou). All of this dysfunction lands in the lap of an unseasoned sound engineer, Grover (Jack Barrett), and his chatty, wide-eyed assistant Charlie (Steven Lee Johnson).\u003c/p>\n\u003cp>Director Daniel Aukin’s staging oscillates between the high energy of a perfect take and the static dullness of waiting around. Fights about personal relationships and album details get hashed out on the couches and plush pillows of David Zinn’s tremendous scenic design. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aukin is at his best with \u003cem>Stereophonic\u003c/em>’s pacing. If the play feels slow in moments, it’s in service of experiencing the band’s self-immolation in real time. Realistically, recording studios are sites of mostly waiting around, and for a band like the one in \u003cem>Stereophonic\u003c/em>, sacrificing mental health and all relationships with the real world to achieve musical nirvana on tape always happens gradually.\u003c/p>\n\u003cfigure id=\"attachment_13983274\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-39_F.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-39_F.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-39_F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-39_F-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-39_F-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Claire DeJean as Diana, Emilie Kouatchou as Holly and Denver Milord as Peter in ‘Stereophonic,’ running at the Curran Theatre in San Francisco. \u003ccite>(Julieta Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the play, before we’ve heard any songs, it’s easy to wonder what this all means. The fights, the stresses and the sacrifices have to be for \u003cem>something\u003c/em>. When Diana layers on a bit of a belt in a slower-tempo version of her composition “Bright,” or when the song “Masquerade” finally comes together, just notice the perfect harmony of a band who understands what it takes to craft music at a high level. These are the times when the play soars, built upon the ’70s-styled rock songs of Arcade Fire’s Will Butler.\u003c/p>\n\u003cp>Then there’s \u003cem>Stereophonic\u003c/em>’s technical wizardry. Jiyoun Chang’s lighting design is a setter of moods, pairing beautifully with Ryan Rumery’s snazzy sound design. Working the knobs of the giant mixing console, Grover and Charlie are stoned masters, even while being bossed around into successive all-nighters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here in the Bay Area, there’s something special about seeing \u003cem>Stereophonic\u003c/em> — a co-production between ACT and BroadwaySF — finally performed in its spiritual home. The studio is clearly modeled after the \u003ca href=\"https://www.kqed.org/arts/12374448/running-the-record-plant-part-1-the-early-years\">Record Plant in Sausalito\u003c/a>, where Fleetwood Mac recorded \u003cem>Rumours\u003c/em>. Band members take breaks to eat at \u003ca href=\"https://www.sausalitohistoricalsociety.com/2015-columns/2015/11/7/juanita-and-her-galley-1\">Juanita’s\u003c/a>, the famed Sausalito restaurant-slash-three ring circus run by \u003ca href=\"https://en.wikipedia.org/wiki/Juanita_Musson\">the region’s most colorful owner and chef\u003c/a>. There’s also a terrific vintage T-shirt (period costumes were designed by Enver Chakartash) from \u003ca href=\"https://rickeysca.com/\">a venerable San Leandro sports bar\u003c/a>, some potent weed from Santa Cruz, and references to Tiburon, Stinson Beach and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13983272\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-425_F.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-425_F.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-425_F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-425_F-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/250929_StereophonicTour_Day1-425_F-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Denver Milord as Peter, Christopher Mowod as Reg, Claire DeJean as Diana, and Emilie Kouatchou as Holly in ‘Stereophonic,’ running at the Curran Theatre in San Francisco. \u003ccite>(Julieta Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet nothing speaks to Sausalito like houseboats. When Reg delivers what’s become one of the show’s famous monologues about the thrill of the city’s houseboat community, he manages to pin down just why the band has sacrificed so much. Otis Redding famously \u003ca href=\"https://youtu.be/7C-VscEQugk?si=_FSRJ1tCqfnrFMoT\">sat on the dock of the Bay\u003c/a> among Sausalito’s houseboats, wasting time, just like the band does. “I want to live in art,” Reg gleefully declares — but to live in art means living within the torture of striving for immortal heroism.\u003c/p>\n\u003cp>That may be Stereophonic’s ultimate lesson: While mere mortals are abundant, our heroes of rock ‘n’ roll stand alone. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Stereophonic’ runs through Nov. 23 at the Curran Theatre (445 Geary St.) in San Francisco. \u003ca href=\"https://www.broadwaysf.com/events/stereophonic/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>BroadwaySF and Book Passage have announced ticket sales for a \u003ca href=\"https://www.broadwaysf.com/events/bill-gates/\">one-night-only conversation featuring Bill Gates\u003c/a> on Feb. 11, and tickets go on sale to the general public on Friday, Nov. 1, at 10 a.m. But those looking to snag them early can do so on Oct. 31 with the presale code “GATES.”\u003c/p>\n\u003cp>Gates, who recently made the news for \u003ca href=\"https://www.nytimes.com/2024/10/22/us/elections/bill-gates-future-forward-kamala-harris.html\">indirectly backing Kamala Harris’ campaign\u003c/a> via a $50 million donation to Future Forward PAC, will sit down with \u003ci>Armchair Expert\u003c/i> podcaster Dax Shepard to discuss Gates’ new memoir, \u003ci>Source Code.\u003c/i>\u003c/p>\n\u003cp>In his new book, Gates strays from writing about his endeavors with Microsoft and the Gates Foundation. Instead, he gets personal, exploring relationships with the family, colleagues and friends that shaped him while he was growing up — and what it was like learning to code at the dawn of the computer age.\u003c/p>\n\u003cp>For someone like Gates, who has never previously endorsed a candidate, or made a political contribution of this size, this unscripted interview could be a chance to understand why more people like him do, or don’t, get involved with elections. The event hopes to offer a glimpse of the person behind the tech mogul, and every ticket holder will also receive a copy of his new memoir, out Feb. 4.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Bill Gates speaks at San Francisco’s Curran Theatre on Feb. 11. \u003ca href=\"https://www.broadwaysf.com/events/bill-gates/\">Tickets and details here.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>BroadwaySF and Book Passage have announced ticket sales for a \u003ca href=\"https://www.broadwaysf.com/events/bill-gates/\">one-night-only conversation featuring Bill Gates\u003c/a> on Feb. 11, and tickets go on sale to the general public on Friday, Nov. 1, at 10 a.m. But those looking to snag them early can do so on Oct. 31 with the presale code “GATES.”\u003c/p>\n\u003cp>Gates, who recently made the news for \u003ca href=\"https://www.nytimes.com/2024/10/22/us/elections/bill-gates-future-forward-kamala-harris.html\">indirectly backing Kamala Harris’ campaign\u003c/a> via a $50 million donation to Future Forward PAC, will sit down with \u003ci>Armchair Expert\u003c/i> podcaster Dax Shepard to discuss Gates’ new memoir, \u003ci>Source Code.\u003c/i>\u003c/p>\n\u003cp>In his new book, Gates strays from writing about his endeavors with Microsoft and the Gates Foundation. Instead, he gets personal, exploring relationships with the family, colleagues and friends that shaped him while he was growing up — and what it was like learning to code at the dawn of the computer age.\u003c/p>\n\u003cp>For someone like Gates, who has never previously endorsed a candidate, or made a political contribution of this size, this unscripted interview could be a chance to understand why more people like him do, or don’t, get involved with elections. The event hopes to offer a glimpse of the person behind the tech mogul, and every ticket holder will also receive a copy of his new memoir, out Feb. 4.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Bill Gates speaks at San Francisco’s Curran Theatre on Feb. 11. \u003ca href=\"https://www.broadwaysf.com/events/bill-gates/\">Tickets and details here.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I need to start with a disclaimer: I am a \u003cem>Harry Potter\u003c/em> fanatic. Not a casual “I watched the movies” kind of fan, either. I have two \u003cem>Harry Potter\u003c/em> tattoos, my email address includes the word “potter,” and—you guessed it—I own my own wand.\u003c/p>\n\u003cp>So, when offered the opportunity to see \u003cem>Harry Potter and the Cursed Child\u003c/em>, which reopened last week at the Curran Theatre in San Francisco, I didn’t hesitate. I had read the play and admittedly wasn’t crazy about the story. It was long, too—and enduring six hours of the lesser \u003cem>Potter\u003c/em> didn’t particularly appeal to me.\u003c/p>\n\u003cp>But now, after a redesign from its original, two-separate-performances form (read the \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">KQED review here\u003c/a>), \u003cem>The Cursed Child\u003c/em> has been shortened to just one three-hour play. And maybe it’s the nostalgia of the 20-year anniversary special on HBO, or the release of the new \u003cem>Fantastic Beasts and Where to Find Them\u003c/em>, but seeing my favorite trio back in action, I was not disappointed.\u003c/p>\n\u003cfigure id=\"attachment_13870730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg\" alt=\"An epic battle against darkness in 'Harry Potter and the Cursed Child' at the Curran Theatre.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13870730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An epic battle against darkness in ‘Harry Potter and the Cursed Child’ at the Curran Theatre. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately, the audience is transported to where the series left off in the epilogue of \u003cem>Deathly Hallows\u003c/em>. Standing at Platform 9¾ is Harry, Ron, and Hermione, and soon we’re introduced to Albus Severus Potter, the timid and unsure son of the “Boy Who Lived.”\u003c/p>\n\u003cp>I don’t want to give too much away story-wise, but I can say what had me mesmerized was, simply put, the magic. Swooshing capes, flying Dementors soaring over the audience, duels to rival those that occurred in the Ministry of Magic—and I believed every second of it. My eyes twinkled in awe, consumed with the sheer magnitude of the production. I had almost forgotten how \u003cem>much\u003c/em> I loved these characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re one of the millions of Potter fans like me, I can tell you: It was that first-book feeling, when you feel energized by this world of wizards, witches, centaurs and most importantly: magic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Happy Potter and the Cursed Child’ runs for eight performances each week at the Curran Theatre in San Francisco. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I need to start with a disclaimer: I am a \u003cem>Harry Potter\u003c/em> fanatic. Not a casual “I watched the movies” kind of fan, either. I have two \u003cem>Harry Potter\u003c/em> tattoos, my email address includes the word “potter,” and—you guessed it—I own my own wand.\u003c/p>\n\u003cp>So, when offered the opportunity to see \u003cem>Harry Potter and the Cursed Child\u003c/em>, which reopened last week at the Curran Theatre in San Francisco, I didn’t hesitate. I had read the play and admittedly wasn’t crazy about the story. It was long, too—and enduring six hours of the lesser \u003cem>Potter\u003c/em> didn’t particularly appeal to me.\u003c/p>\n\u003cp>But now, after a redesign from its original, two-separate-performances form (read the \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">KQED review here\u003c/a>), \u003cem>The Cursed Child\u003c/em> has been shortened to just one three-hour play. And maybe it’s the nostalgia of the 20-year anniversary special on HBO, or the release of the new \u003cem>Fantastic Beasts and Where to Find Them\u003c/em>, but seeing my favorite trio back in action, I was not disappointed.\u003c/p>\n\u003cfigure id=\"attachment_13870730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg\" alt=\"An epic battle against darkness in 'Harry Potter and the Cursed Child' at the Curran Theatre.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13870730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An epic battle against darkness in ‘Harry Potter and the Cursed Child’ at the Curran Theatre. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately, the audience is transported to where the series left off in the epilogue of \u003cem>Deathly Hallows\u003c/em>. Standing at Platform 9¾ is Harry, Ron, and Hermione, and soon we’re introduced to Albus Severus Potter, the timid and unsure son of the “Boy Who Lived.”\u003c/p>\n\u003cp>I don’t want to give too much away story-wise, but I can say what had me mesmerized was, simply put, the magic. Swooshing capes, flying Dementors soaring over the audience, duels to rival those that occurred in the Ministry of Magic—and I believed every second of it. My eyes twinkled in awe, consumed with the sheer magnitude of the production. I had almost forgotten how \u003cem>much\u003c/em> I loved these characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re one of the millions of Potter fans like me, I can tell you: It was that first-book feeling, when you feel energized by this world of wizards, witches, centaurs and most importantly: magic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Happy Potter and the Cursed Child’ runs for eight performances each week at the Curran Theatre in San Francisco. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In some ways, the Wizarding world isn’t so different from its Muggle counterpart. All the divination professors in the world couldn’t foresee the COVID-19 pandemic—and, during the lockdown, Hogwarts shuttered its campus just like any other Muggle school. At least that’s what happened when the cast and crew of \u003cem>Harry Potter and the Cursed Child\u003c/em> found themselves locked out of their magical castle of the Curran Theatre just months after the play’s \u003ca href=\"https://www.kqed.org/forum/2010101874957/harry-potter-onstage\" rel=\"noopener noreferrer\" target=\"_blank\">2019 San Francisco premiere\u003c/a>. \u003c/p>\n\u003cp>Also, just like regular schools, later and later dates were announced for the play’s reopening. First May 30, then Nov. 28—and now, finally, Jan. 11, 2022, when witches and wizards will take to the Quidditch fields once again as \u003cem>Harry Potter and the Cursed Child\u003c/em> reopens. Tickets to the general public \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">go on sale\u003c/a> at 10am on Wednesday, July 21, and judging from the play’s packed houses of cosplaying Potter fans pre-pandemic, they’re sure to disappear quickly. \u003c/p>\n\u003cp>[aside postID='arts_13870645']Things aren’t going completely back to normal just yet: this version of \u003cem>Harry Potter and the Cursed Child\u003c/em> is modified to comply with pandemic safety protocol. The original \u003cem>Cursed Child\u003c/em> was a two-part, five-hour long epic with a dinner break in between, while the new staging of the play condenses the plot into one intermission-less evening production.\u003c/p>\n\u003cp>The eighth “book” in the Harry Potter series, \u003cem>Cursed Child\u003c/em> takes place more than a decade after the first seven books. The familiar faces from the Second Wizarding War like Harry and Draco Malfroy are now middle-aged, and preparing to send their children off to their alma mater. Albus Potter and Scorpius Malfoy, however, take after their parents with their talent for sniffing out trouble, and begin messing with time-turners to undo one of the great tragedies from the original series—the death of Cedric Diggory during the events of \u003cem>Goblet of Fire\u003c/em>. \u003c/p>\n\u003cp>The meaty, canon-altering plot of \u003cem>Cursed Child\u003c/em> drove fans wild when the play \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">premiered two years ago\u003c/a>, and their zeal is not to be underestimated. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tickets and details 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>In some ways, the Wizarding world isn’t so different from its Muggle counterpart. All the divination professors in the world couldn’t foresee the COVID-19 pandemic—and, during the lockdown, Hogwarts shuttered its campus just like any other Muggle school. At least that’s what happened when the cast and crew of \u003cem>Harry Potter and the Cursed Child\u003c/em> found themselves locked out of their magical castle of the Curran Theatre just months after the play’s \u003ca href=\"https://www.kqed.org/forum/2010101874957/harry-potter-onstage\" rel=\"noopener noreferrer\" target=\"_blank\">2019 San Francisco premiere\u003c/a>. \u003c/p>\n\u003cp>Also, just like regular schools, later and later dates were announced for the play’s reopening. First May 30, then Nov. 28—and now, finally, Jan. 11, 2022, when witches and wizards will take to the Quidditch fields once again as \u003cem>Harry Potter and the Cursed Child\u003c/em> reopens. Tickets to the general public \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">go on sale\u003c/a> at 10am on Wednesday, July 21, and judging from the play’s packed houses of cosplaying Potter fans pre-pandemic, they’re sure to disappear quickly. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Things aren’t going completely back to normal just yet: this version of \u003cem>Harry Potter and the Cursed Child\u003c/em> is modified to comply with pandemic safety protocol. The original \u003cem>Cursed Child\u003c/em> was a two-part, five-hour long epic with a dinner break in between, while the new staging of the play condenses the plot into one intermission-less evening production.\u003c/p>\n\u003cp>The eighth “book” in the Harry Potter series, \u003cem>Cursed Child\u003c/em> takes place more than a decade after the first seven books. The familiar faces from the Second Wizarding War like Harry and Draco Malfroy are now middle-aged, and preparing to send their children off to their alma mater. Albus Potter and Scorpius Malfoy, however, take after their parents with their talent for sniffing out trouble, and begin messing with time-turners to undo one of the great tragedies from the original series—the death of Cedric Diggory during the events of \u003cem>Goblet of Fire\u003c/em>. \u003c/p>\n\u003cp>The meaty, canon-altering plot of \u003cem>Cursed Child\u003c/em> drove fans wild when the play \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">premiered two years ago\u003c/a>, and their zeal is not to be underestimated. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tickets and details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Bedlam and Broomsticks: A 12-Year-Old Fan Reviews ‘Harry Potter and the Cursed Child’ | KQED",
"content": "\u003cp>After more than a month of previews, \u003cem>Harry Potter and the Cursed Child \u003c/em>opened at the Curran Theatre with a Sunday marathon of both Parts One and Two—over five hours of wizardly drama and human emotion.\u003c/p>\n\u003cp>Beyond the first few books, my knowledge of Harry Potter lore is woefully minimal. So I brought a guide. Juliana Greco is 12 years old, and a proud Gryffindor. She first read the entire series of Harry Potter books when she was eight, has seen all the movies, and even went to a midnight book release party for the published script of \u003cem>Harry Potter and the Cursed Child\u003c/em> in 2016. Plus, she went to the very first preview performance of \u003cem>Harry Potter and the Cursed Child\u003c/em> back in October. Besides \u003cem>The Nutcracker\u003c/em> at the San Francisco Ballet, this wildly inventive, epic production is her first play.\u003c/p>\n\u003cfigure id=\"attachment_13870658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870658\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern-.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My tour guide to all things Harry Potter, guest critic Juliana Greco. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: What’s something you noticed this time around that you hadn’t noticed before (during the preview performance)?\u003c/strong>\u003c/p>\n\u003cp>Juliana Greco: They use suitcases a lot, as props. They sat on the suitcases in the Hogwarts Express, and then they used them stacked for the top of the train, and then they walked out with the suitcases while they put things on the stage, to distract us.\u003c/p>\n\u003cfigure id=\"attachment_13870668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suitcase-train car, with Katherine Leask, Benjamin Papac, and Jon Steiger. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>That’s a really good observation. They use them as tombstones too, I noticed. What’s another?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lighting. I noticed that in different scenes it’s lighter or darker…like the forbidden forest and the lake need to be darker, but they still put small spotlights on the people so we could see them. And then in later scenes, like at Hogwarts, or the Ministry of Magic, you would need more light.\u003c/p>\n\u003cp>\u003cstrong>I thought the lighting (designed by Neil Austin) was \u003cem>very\u003c/em> well done. As long as we’re talking about lights, how did the sound affect you? What did you think about it?\u003c/strong>\u003c/p>\n\u003cp>I liked the sound, because it kind of helped make it more magical, and make the effects seem like they had sounds…The music is there to \u003cem>feel\u003c/em> it, so you don’t just hear talking, but you can feel what they feel as their characters…like maybe they’re sad or there’s something they’re realizing.\u003c/p>\n\u003cfigure id=\"attachment_13870666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A perfect lighting moment in an alternate, totalitarian universe. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s a favorite magic trick that you saw in the play?\u003c/strong>\u003c/p>\n\u003cp>I think the time-turner, because it brings them back in time. And that wavy movement on the stage, as if time is rippling back, is really magical.\u003c/p>\n\u003cp>\u003cstrong>It’s pretty cool. I don’t think I’ve seen something like that on a stage before.\u003c/strong>\u003c/p>\n\u003cp>Also, the sound makes it feel like it’s vibrating, which makes you feel like you’re vibrating.\u003c/p>\n\u003cp>\u003cstrong>Yeah, like \u003cem>you’re \u003c/em>going back in time.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A magic bookcase is one of the many, inventive effects in Harry Potter and the Cursed Child. With Yanna McIntosh, David Abeles, and John Skelley. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production design was indeed a highlight. Although the musical score penned by alt-rocker Imogen Heap struck me in places as being overly cinematic, as Juliana noted, the sound design by Gareth Fry lent veracity to the magic effects. The lighting shouldered much of the burden of shifting time and place, in a palette that encompassed the warm glow of a family home, the aquatic blues of a dazzling underwater sequence, and the harsh vision of a totalitarian alternate reality. Meanwhile, the magical staging offered just the right balance between humor and wonder (illusions and magic by Jamie Harrison, bolstered by key video projections by Finn Ross and Ash J. Woodward). Startling, immersive flourishes beyond the elaborately arched set (Christine Jones), such as the Hogwarts carpeting and wallpaper adorning the Curran, and occasional breaks in the fourth wall added greatly to the experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13870663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1920x1256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BFF’s Scorpius Malfoy (Jon Steiger) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did you think of the acting?\u003c/strong>\u003c/p>\n\u003cp>I think the actor who plays Scorpius Malfoy (Jon Steiger) does a really good job.\u003c/p>\n\u003cp>\u003cstrong>I agree, he makes you really feel for the character. What do you think of Scorpius as a character? He seems very different than any of the characters that we’re used to from the books.\u003c/strong>\u003c/p>\n\u003cp>I like how he represents how you don’t have to be evil to be Slytherin. He kind of shows that just because he is Draco’s son doesn’t mean he’s mean, or that he \u003cem>wants\u003c/em> to be a Malfoy. Just like Albus doesn’t want to be Harry Potter’s son….But after he comes back (from the time-travel altered world), he is braver. He sort of helps to lead Albus, instead of him following.\u003c/p>\n\u003cp>\u003cstrong>What other acting stands out for you?\u003c/strong>\u003c/p>\n\u003cp>I think the actor of Ginny Potter (Angela Reed) stands out really well, and also all of the actors that are \u003cem>meant\u003c/em> to stand out. Especially Delphi Diggory (Emily Juliette Murphy) and Moaning Myrtle (Brittany Zeinstra).\u003c/p>\n\u003cfigure id=\"attachment_13870661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ginny Potter (Angela Reed), Harry Potter (John Skelley), Professor McGonagal (Shannon Cochran), and Draco Malfoy (Lucas Hall) search for clues. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any characters that you see yourself in, or that you identify with or feel really connected to?\u003c/strong>\u003c/p>\n\u003cp>Maybe Ginny Potter. Because she’s kind of what Gryffindor is. She’s friendly. She has courage. I’m friendly and I have courage. And she has friends, and she likes being who she is!\u003c/p>\n\u003cp>\u003cstrong>Do you think there’s a message to \u003cem>Harry Potter and the Cursed Child\u003c/em>? Is there something we should be learning from it?\u003c/strong>\u003c/p>\n\u003cp>They did bring up that “love blinds you,” a lot. So I guess it’s about finding the true meaning in somebody, rather than what you think they are.\u003c/p>\n\u003cp>\u003cstrong>Would you recommend this play?\u003c/strong>\u003c/p>\n\u003cp>Yes! But you should probably review the books. You just need to know some facts that will be necessary in watching the play so you don’t have a lot of questions.\u003c/p>\n\u003cfigure id=\"attachment_13870665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg\" alt=\"\" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love blinds. A father-son moment with Harry Potter (John Skelley) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For both of us, Jon Steiger as Scorpius definitely stood out, as a character who undergoes one of the biggest personal evolutions. I also appreciated the jokey, guileless nature of Ron Weasley (David Abeles), the steadfast accountability of Hermione Granger (Yanna McIntosh), and the complementary brusqueness of Draco Malfoy (Lucas Hall) and Professor McGonagall (Shannon Cochran). Although I didn’t always get an at-odds, father-son vibe from the actors who play Harry Potter and Albus Potter (John Skelley and Benjamin Papac), Papac’s BFF connection to Steiger was a delight.\u003c/p>\n\u003cp>As Juliana mentioned, a central theme in the play is that of love, informing even the play’s darkest characters, and bringing everyone’s deepest fears and boldest choices into the light. Occasionally, the many speeches about the powers and pitfalls of love hinder rather than drive the action onstage, and there are definitely scenes that seem superfluous, even maudlin, in this regard. I wouldn’t have understood the details of the historic Triwizard Cup debacle without my tour guide, and those five-plus hours of stage time are a pretty big ask for a fair-weather fan. But the audacious theatricality of \u003cem>Harry Potter and the Cursed Child\u003c/em> does create a real opportunity to turn a new generation onto the magic of live performance, one Polyjuice potion and levitating Dementor at a time.\u003c/p>\n\u003cfigure id=\"attachment_13870667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1200x773.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget to brush up on your Triwizard Cup knowledge before the show. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tickets for ‘Harry Potter and the Cursed Child’ at the Curran Theatre in San Francisco are currently available through June 2020. \u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Our guest reviewer Juliana Greco is 12 years old, a proud Gryffindor, and has plenty to say about 'Harry Potter and the Cursed Child' at the Curran Theatre.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After more than a month of previews, \u003cem>Harry Potter and the Cursed Child \u003c/em>opened at the Curran Theatre with a Sunday marathon of both Parts One and Two—over five hours of wizardly drama and human emotion.\u003c/p>\n\u003cp>Beyond the first few books, my knowledge of Harry Potter lore is woefully minimal. So I brought a guide. Juliana Greco is 12 years old, and a proud Gryffindor. She first read the entire series of Harry Potter books when she was eight, has seen all the movies, and even went to a midnight book release party for the published script of \u003cem>Harry Potter and the Cursed Child\u003c/em> in 2016. Plus, she went to the very first preview performance of \u003cem>Harry Potter and the Cursed Child\u003c/em> back in October. Besides \u003cem>The Nutcracker\u003c/em> at the San Francisco Ballet, this wildly inventive, epic production is her first play.\u003c/p>\n\u003cfigure id=\"attachment_13870658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870658\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern-.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My tour guide to all things Harry Potter, guest critic Juliana Greco. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: What’s something you noticed this time around that you hadn’t noticed before (during the preview performance)?\u003c/strong>\u003c/p>\n\u003cp>Juliana Greco: They use suitcases a lot, as props. They sat on the suitcases in the Hogwarts Express, and then they used them stacked for the top of the train, and then they walked out with the suitcases while they put things on the stage, to distract us.\u003c/p>\n\u003cfigure id=\"attachment_13870668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suitcase-train car, with Katherine Leask, Benjamin Papac, and Jon Steiger. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>That’s a really good observation. They use them as tombstones too, I noticed. What’s another?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lighting. I noticed that in different scenes it’s lighter or darker…like the forbidden forest and the lake need to be darker, but they still put small spotlights on the people so we could see them. And then in later scenes, like at Hogwarts, or the Ministry of Magic, you would need more light.\u003c/p>\n\u003cp>\u003cstrong>I thought the lighting (designed by Neil Austin) was \u003cem>very\u003c/em> well done. As long as we’re talking about lights, how did the sound affect you? What did you think about it?\u003c/strong>\u003c/p>\n\u003cp>I liked the sound, because it kind of helped make it more magical, and make the effects seem like they had sounds…The music is there to \u003cem>feel\u003c/em> it, so you don’t just hear talking, but you can feel what they feel as their characters…like maybe they’re sad or there’s something they’re realizing.\u003c/p>\n\u003cfigure id=\"attachment_13870666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A perfect lighting moment in an alternate, totalitarian universe. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s a favorite magic trick that you saw in the play?\u003c/strong>\u003c/p>\n\u003cp>I think the time-turner, because it brings them back in time. And that wavy movement on the stage, as if time is rippling back, is really magical.\u003c/p>\n\u003cp>\u003cstrong>It’s pretty cool. I don’t think I’ve seen something like that on a stage before.\u003c/strong>\u003c/p>\n\u003cp>Also, the sound makes it feel like it’s vibrating, which makes you feel like you’re vibrating.\u003c/p>\n\u003cp>\u003cstrong>Yeah, like \u003cem>you’re \u003c/em>going back in time.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A magic bookcase is one of the many, inventive effects in Harry Potter and the Cursed Child. With Yanna McIntosh, David Abeles, and John Skelley. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production design was indeed a highlight. Although the musical score penned by alt-rocker Imogen Heap struck me in places as being overly cinematic, as Juliana noted, the sound design by Gareth Fry lent veracity to the magic effects. The lighting shouldered much of the burden of shifting time and place, in a palette that encompassed the warm glow of a family home, the aquatic blues of a dazzling underwater sequence, and the harsh vision of a totalitarian alternate reality. Meanwhile, the magical staging offered just the right balance between humor and wonder (illusions and magic by Jamie Harrison, bolstered by key video projections by Finn Ross and Ash J. Woodward). Startling, immersive flourishes beyond the elaborately arched set (Christine Jones), such as the Hogwarts carpeting and wallpaper adorning the Curran, and occasional breaks in the fourth wall added greatly to the experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13870663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1920x1256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BFF’s Scorpius Malfoy (Jon Steiger) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did you think of the acting?\u003c/strong>\u003c/p>\n\u003cp>I think the actor who plays Scorpius Malfoy (Jon Steiger) does a really good job.\u003c/p>\n\u003cp>\u003cstrong>I agree, he makes you really feel for the character. What do you think of Scorpius as a character? He seems very different than any of the characters that we’re used to from the books.\u003c/strong>\u003c/p>\n\u003cp>I like how he represents how you don’t have to be evil to be Slytherin. He kind of shows that just because he is Draco’s son doesn’t mean he’s mean, or that he \u003cem>wants\u003c/em> to be a Malfoy. Just like Albus doesn’t want to be Harry Potter’s son….But after he comes back (from the time-travel altered world), he is braver. He sort of helps to lead Albus, instead of him following.\u003c/p>\n\u003cp>\u003cstrong>What other acting stands out for you?\u003c/strong>\u003c/p>\n\u003cp>I think the actor of Ginny Potter (Angela Reed) stands out really well, and also all of the actors that are \u003cem>meant\u003c/em> to stand out. Especially Delphi Diggory (Emily Juliette Murphy) and Moaning Myrtle (Brittany Zeinstra).\u003c/p>\n\u003cfigure id=\"attachment_13870661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ginny Potter (Angela Reed), Harry Potter (John Skelley), Professor McGonagal (Shannon Cochran), and Draco Malfoy (Lucas Hall) search for clues. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any characters that you see yourself in, or that you identify with or feel really connected to?\u003c/strong>\u003c/p>\n\u003cp>Maybe Ginny Potter. Because she’s kind of what Gryffindor is. She’s friendly. She has courage. I’m friendly and I have courage. And she has friends, and she likes being who she is!\u003c/p>\n\u003cp>\u003cstrong>Do you think there’s a message to \u003cem>Harry Potter and the Cursed Child\u003c/em>? Is there something we should be learning from it?\u003c/strong>\u003c/p>\n\u003cp>They did bring up that “love blinds you,” a lot. So I guess it’s about finding the true meaning in somebody, rather than what you think they are.\u003c/p>\n\u003cp>\u003cstrong>Would you recommend this play?\u003c/strong>\u003c/p>\n\u003cp>Yes! But you should probably review the books. You just need to know some facts that will be necessary in watching the play so you don’t have a lot of questions.\u003c/p>\n\u003cfigure id=\"attachment_13870665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg\" alt=\"\" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love blinds. A father-son moment with Harry Potter (John Skelley) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For both of us, Jon Steiger as Scorpius definitely stood out, as a character who undergoes one of the biggest personal evolutions. I also appreciated the jokey, guileless nature of Ron Weasley (David Abeles), the steadfast accountability of Hermione Granger (Yanna McIntosh), and the complementary brusqueness of Draco Malfoy (Lucas Hall) and Professor McGonagall (Shannon Cochran). Although I didn’t always get an at-odds, father-son vibe from the actors who play Harry Potter and Albus Potter (John Skelley and Benjamin Papac), Papac’s BFF connection to Steiger was a delight.\u003c/p>\n\u003cp>As Juliana mentioned, a central theme in the play is that of love, informing even the play’s darkest characters, and bringing everyone’s deepest fears and boldest choices into the light. Occasionally, the many speeches about the powers and pitfalls of love hinder rather than drive the action onstage, and there are definitely scenes that seem superfluous, even maudlin, in this regard. I wouldn’t have understood the details of the historic Triwizard Cup debacle without my tour guide, and those five-plus hours of stage time are a pretty big ask for a fair-weather fan. But the audacious theatricality of \u003cem>Harry Potter and the Cursed Child\u003c/em> does create a real opportunity to turn a new generation onto the magic of live performance, one Polyjuice potion and levitating Dementor at a time.\u003c/p>\n\u003cfigure id=\"attachment_13870667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1200x773.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget to brush up on your Triwizard Cup knowledge before the show. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for ‘Harry Potter and the Cursed Child’ at the Curran Theatre in San Francisco are currently available through June 2020. \u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay",
"headTitle": "Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay | KQED",
"content": "\u003cp>After a summer full of outdoor festivals, touring shows in parks, and family-style recreating, autumn signals a shift—if not in temperature, than in the theatrical climate. For many Bay Area theaters, fall is when new seasons begin, and even for theater companies whose seasons follow the calendar year, rarely is their autumnal offering anything but a grand centerpiece.\u003c/p>\n\u003cp>For even the occasional theatergoer, it’s hard to choose wrong—the real challenge is in narrowing down the field. Here are nine picks from the heavy-hitting months ahead. (And as always, check \u003ca href=\"https://www.kqed.org/thedolist\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for weekly recommendations in music, art and more from KQED Arts editors.)\u003c/p>\n\u003cfigure id=\"attachment_13864734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong and Stacy Ross in Megan Cohen’s ‘Free for All’ at Cutting Ball Theater. \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Free For All’\u003c/h2>\n\u003cp>\u003ci>Cutting Ball Theater, San Francisco\u003cbr>\nSept. 19-Oct. 20, 2019\u003cbr>\n\u003ca href=\"https://cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This highly anticipated world premiere from local playwright and librettist Megan Cohen—the first playwright selected for Cutting Ball Theater’s new playwright commissions program—opens their 21st season with a champagne cork pop. Billed as a “new \u003cem>Miss Julie\u003c/em> for a new world,” this non-naturalistic, San Francisco-centric riff on Strindberg’s problematic interrogation of power dynamics promises comedy, theatricality, and a foray into a future of elegant waste and survivalism. Can San Francisco be saved before half of it washes out to sea? Does anyone even care to try? Directed by Ariel Craft.\u003c/p>\n\u003cfigure id=\"attachment_13864731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leigh Rondon-Davis, Christell Lewis, and Everett Moore star in ‘Inked Baby’ at Crowded Fire Theater. \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Inked Baby’\u003c/h2>\n\u003cp>\u003ci>Crowded Fire Theater, San Francisco\u003cbr>\nSept. 12-Oct. 5, 2019\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/inked-baby/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Crowded Fire Theater continues its tradition of bringing dynamic American playwrights to their Potrero Hill stage with this early Christina Anderson work. A playwright with a history of Crowded Fire productions (they produced her \u003cem>Drip\u003c/em> in 2009, and \u003cem>Good Goods\u003c/em> in 2012), and erstwhile Bay Area artistic roots, Anderson has garnered international acclaim for her multi-layered works centering the black American experience. With \u003cem>Inked Baby\u003c/em>, she begins by wrestling with the dynamics of an in-family surrogate pregnancy and winds up in a speculative realm where a mysterious malady ravages the city, and potentially their future. Directed by Lisa Marie Rollins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13864735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caryl Churchill. \u003ccite>(American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caryl Churchill-palooza\u003c/h2>\n\u003cp>\u003cstrong>‘Top Girls’\u003c/strong>\u003cbr>\n\u003ci>A.C.T., San Francisco\u003cbr>\nSept. 19-Oct. 13, 2019\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1920_season/top_girls.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Vinegar Tom\u003c/strong>\u003cbr>\n\u003ci>Shotgun Players, Berkeley\u003cbr>\nDec. 6, 2019-Jan. 5, 2020\u003cbr>\n\u003ca href=\"http://bit.ly/2FPuyCJ\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Hot on the heels of new Caryl Churchill one-acts produced by Berkeley’s Anton’s Well, A.C.T. opens its new season with her best-known work, the \u003cspan class=\"st\">inimitable\u003c/span> \u003cem>Top Girls—\u003c/em>partly set at the most interesting dinner party of all time. Then, closing their season in December, Shotgun Players presents a rollicking rendition of Churchill’s \u003cem>Vinegar Tom\u003c/em>, a Brechtian musical foray set in a 17th century of witchfinders and oppressive patriarchy. It’s a wonderful opportunity for Bay Area theatergoers to reacquaint themselves with multiple decades’ worth of Churchill’s feminist ideals and strong-willed protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13864729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terror Vault returns to the Old Mint. \u003ccite>(Jose A. Guzman Colon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Terror Vault’\u003c/h2>\n\u003cp>\u003ci>The Old Mint, San Francisco\u003cbr>\nOct. 10-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://www.intothedarksf.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Most haunted houses don’t qualify as theater picks, but then again, most haunted houses aren’t 45-minute immersive experiences, scripted and staged by the great Peaches Christ (in collaboration with Non Plus Ultra and legendary haunted house designer David Flower). Last year’s \u003cem>Terror Vault\u003c/em> was a taut tightrope of creepshow, camp, and bloodbath, with a surprisingly cohesive narrative throughline and plenty of (optional) audience participation, and this year’s version looks to be all that and more. This edition introduces \u003cem>Apolcalypse,\u003c/em> a zombie-themed escape-room experience for folks who just can’t get scared enough. Discover the haunted histories of San Francisco’s Old Mint—or become one of them yourself.\u003c/p>\n\u003cfigure id=\"attachment_13864728\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864728\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg\" alt=\"\" width=\"600\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-768x1066.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-865x1200.jpg 865w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dan Wolf. \u003ccite>(TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Haunted Playwrights\u003c/h2>\n\u003cp>\u003cstrong>‘From the Ground Up’\u003c/strong>\u003cbr>\n\u003ci>TheatreFIRST, San Francisco\u003cbr>\nOct. 27-Nov. 10, 2019\u003cbr>\n\u003ca href=\"https://theatrefirst.com/2019-20-season/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill Festival\u003c/strong>\u003cbr>\n\u003ci>Various venues\u003cbr>\nAug. 24-Sept. 29, 2019\u003cbr>\n\u003ca href=\"http://www.eugeneoneill.org/20th-annual-eugene-oneill-festival/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Speaking of hauntings, is there anything so haunted as the unresolved past? TheatreFIRST’s anthology of commissioned short plays explores the personal as peril—and how society is shaped by the supernatural—in \u003cem>From the Ground Up: An Anthology of Ghost Stories Made New\u003c/em>, penned by a who’s-who of some of the Bay Area’s most inventive voices, including Eugenie Chan, Dan Wolf, and Cleavon Smith. Meanwhile, the 20th Annual Eugene O’Neill Festival calls back to a pair of American Theater’s “haunted poets”—Eugene O’Neill and Tennessee Williams. It includes a special weekend of O’Neill’s seafaring short plays at Hyde Street Pier, and a production of his epic \u003cem>Long Day’s Journey Into Night \u003c/em>at his historic Tao House in Danville.\u003c/p>\n\u003cfigure id=\"attachment_13864736\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg\" alt=\"\" width=\"600\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-768x856.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cristina García. \u003ccite>(Central Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Lady Matador’s Hotel’\u003c/h2>\n\u003cp>\u003ci>Central Works, Berkeley\u003cbr>\nOct. 12-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://centralworks.org/the-lady-matadors-hotel/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>So successful was \u003cem>King of Cuba,\u003c/em> last year’s Central Works collaboration with novelist Cristina García, that they’re back this year with another, \u003cem>The Lady Matador’s Hotel\u003c/em>. Adapted from her 2010 book of the same name, \u003cem>The Lady Matador’s Hotel\u003c/em> follows the adventures of an unlikely coterie of travelers, stranded in an unnamed Central American country in a state of political unrest. Featuring a high-caliber cast and directed by Central Works’ co-artistic director, Gary Graves, this production closes out their 29th season with their 65th world premiere.\u003c/p>\n\u003cfigure id=\"attachment_13864733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bubba Weller, Nadia Brown, Nicholas Podany in the New York production of ‘Harry Potter and the Cursed Child.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Harry Potter and the Cursed Child’\u003c/h2>\n\u003cp>\u003ci>The Curran, San Francisco\u003cbr>\nOct. 23, 2019-May 2020\u003cbr>\n\u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Calling all wizards! The extravaganza that is \u003cem>Harry Potter and the Cursed Child \u003c/em>is coming to San Francisco in October for its West Coast premiere under the refurbished Curran Theater roof. \u003cem>Harry Potter and the Cursed Child\u003c/em> features a grown-up Harry and his children, in particular his son Albus, who is heading to Hogwarts. Having been written with the many Harry Potter superfans in mind, the play is a two-part marathon, with tickets available for both consecutive and non-consecutive showings. Either way, be prepared to board the Hogwarts Express from Platform 9 ¾.\u003c/p>\n\u003cfigure id=\"attachment_13864730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nassim.’ \u003ccite>(David Monteith-Hodge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Nassim’\u003c/h2>\n\u003cp>\u003ci>Magic Theatre, San Francisco\u003cbr>\nNov. 12-16, 2019\u003cbr>\n\u003ca href=\"https://magictheatre.secure.force.com/ticket#details_a0S5A00000VLiXtUAL\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>In his infamous \u003cem>White Rabbit, Red Rabbit\u003c/em>, Nassim Soleimanpour challenged actors around the globe to perform his play without rehearsal, direction, or even time to read the script before the show. His eponymous \u003cem>Nassim \u003c/em>asks a similar leap of performer faith. The twist, however, is that Soleimanpour himself controls how and when the actor receives the text they are to speak via a projection screen. They’ll also receive an onstage crash course in Farsi, while exploring the human nuances of language and our universal struggles to communicate. Winner of the 2017 Fringe First award in Edinburgh, Scotland.\u003c/p>\n\u003cfigure id=\"attachment_13864737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Skyline at Beach Blanket Babylon \u003ccite>(Rick Markovich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Beach Blanket Babylon’\u003c/h2>\n\u003cp>\u003ci>Club Fugazi, San Francisco\u003cbr>\nThrough Dec. 31, 2019\u003cbr>\n\u003ca href=\"http://www.beachblanketbabylon.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Sure, it’s a little over the top. Ok, a \u003cem>lot\u003c/em>. But \u003cem>Beach Blanket Babylon\u003c/em> is as much a San Francisco institution as any of our mainstages, and predates many of them at a venerable 45 years old; it’s the world’s longest-running musical revue. But despite its enduring charm, unflappable energy, and strong sales, the show must apparently not go on, closing for good on Dec. 31. So whether you’re a long-time fan, or one who’s been meaning to go but just haven’t quite made it out, this is your last opportunity to make some \u003cem>Beach Blanket Babylon \u003c/em>memories to carry with you into a future bereft of its broad-stroke satire and iconic hats.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "World premieres! Famous playwrights! Avant-garde stagings! Harry Potter! This fall, get out and see some theater. ",
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"title": "Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a summer full of outdoor festivals, touring shows in parks, and family-style recreating, autumn signals a shift—if not in temperature, than in the theatrical climate. For many Bay Area theaters, fall is when new seasons begin, and even for theater companies whose seasons follow the calendar year, rarely is their autumnal offering anything but a grand centerpiece.\u003c/p>\n\u003cp>For even the occasional theatergoer, it’s hard to choose wrong—the real challenge is in narrowing down the field. Here are nine picks from the heavy-hitting months ahead. (And as always, check \u003ca href=\"https://www.kqed.org/thedolist\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for weekly recommendations in music, art and more from KQED Arts editors.)\u003c/p>\n\u003cfigure id=\"attachment_13864734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong and Stacy Ross in Megan Cohen’s ‘Free for All’ at Cutting Ball Theater. \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Free For All’\u003c/h2>\n\u003cp>\u003ci>Cutting Ball Theater, San Francisco\u003cbr>\nSept. 19-Oct. 20, 2019\u003cbr>\n\u003ca href=\"https://cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This highly anticipated world premiere from local playwright and librettist Megan Cohen—the first playwright selected for Cutting Ball Theater’s new playwright commissions program—opens their 21st season with a champagne cork pop. Billed as a “new \u003cem>Miss Julie\u003c/em> for a new world,” this non-naturalistic, San Francisco-centric riff on Strindberg’s problematic interrogation of power dynamics promises comedy, theatricality, and a foray into a future of elegant waste and survivalism. Can San Francisco be saved before half of it washes out to sea? Does anyone even care to try? Directed by Ariel Craft.\u003c/p>\n\u003cfigure id=\"attachment_13864731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leigh Rondon-Davis, Christell Lewis, and Everett Moore star in ‘Inked Baby’ at Crowded Fire Theater. \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Inked Baby’\u003c/h2>\n\u003cp>\u003ci>Crowded Fire Theater, San Francisco\u003cbr>\nSept. 12-Oct. 5, 2019\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/inked-baby/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Crowded Fire Theater continues its tradition of bringing dynamic American playwrights to their Potrero Hill stage with this early Christina Anderson work. A playwright with a history of Crowded Fire productions (they produced her \u003cem>Drip\u003c/em> in 2009, and \u003cem>Good Goods\u003c/em> in 2012), and erstwhile Bay Area artistic roots, Anderson has garnered international acclaim for her multi-layered works centering the black American experience. With \u003cem>Inked Baby\u003c/em>, she begins by wrestling with the dynamics of an in-family surrogate pregnancy and winds up in a speculative realm where a mysterious malady ravages the city, and potentially their future. Directed by Lisa Marie Rollins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13864735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caryl Churchill. \u003ccite>(American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caryl Churchill-palooza\u003c/h2>\n\u003cp>\u003cstrong>‘Top Girls’\u003c/strong>\u003cbr>\n\u003ci>A.C.T., San Francisco\u003cbr>\nSept. 19-Oct. 13, 2019\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1920_season/top_girls.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Vinegar Tom\u003c/strong>\u003cbr>\n\u003ci>Shotgun Players, Berkeley\u003cbr>\nDec. 6, 2019-Jan. 5, 2020\u003cbr>\n\u003ca href=\"http://bit.ly/2FPuyCJ\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Hot on the heels of new Caryl Churchill one-acts produced by Berkeley’s Anton’s Well, A.C.T. opens its new season with her best-known work, the \u003cspan class=\"st\">inimitable\u003c/span> \u003cem>Top Girls—\u003c/em>partly set at the most interesting dinner party of all time. Then, closing their season in December, Shotgun Players presents a rollicking rendition of Churchill’s \u003cem>Vinegar Tom\u003c/em>, a Brechtian musical foray set in a 17th century of witchfinders and oppressive patriarchy. It’s a wonderful opportunity for Bay Area theatergoers to reacquaint themselves with multiple decades’ worth of Churchill’s feminist ideals and strong-willed protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13864729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terror Vault returns to the Old Mint. \u003ccite>(Jose A. Guzman Colon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Terror Vault’\u003c/h2>\n\u003cp>\u003ci>The Old Mint, San Francisco\u003cbr>\nOct. 10-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://www.intothedarksf.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Most haunted houses don’t qualify as theater picks, but then again, most haunted houses aren’t 45-minute immersive experiences, scripted and staged by the great Peaches Christ (in collaboration with Non Plus Ultra and legendary haunted house designer David Flower). Last year’s \u003cem>Terror Vault\u003c/em> was a taut tightrope of creepshow, camp, and bloodbath, with a surprisingly cohesive narrative throughline and plenty of (optional) audience participation, and this year’s version looks to be all that and more. This edition introduces \u003cem>Apolcalypse,\u003c/em> a zombie-themed escape-room experience for folks who just can’t get scared enough. Discover the haunted histories of San Francisco’s Old Mint—or become one of them yourself.\u003c/p>\n\u003cfigure id=\"attachment_13864728\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864728\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg\" alt=\"\" width=\"600\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-768x1066.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-865x1200.jpg 865w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dan Wolf. \u003ccite>(TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Haunted Playwrights\u003c/h2>\n\u003cp>\u003cstrong>‘From the Ground Up’\u003c/strong>\u003cbr>\n\u003ci>TheatreFIRST, San Francisco\u003cbr>\nOct. 27-Nov. 10, 2019\u003cbr>\n\u003ca href=\"https://theatrefirst.com/2019-20-season/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill Festival\u003c/strong>\u003cbr>\n\u003ci>Various venues\u003cbr>\nAug. 24-Sept. 29, 2019\u003cbr>\n\u003ca href=\"http://www.eugeneoneill.org/20th-annual-eugene-oneill-festival/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Speaking of hauntings, is there anything so haunted as the unresolved past? TheatreFIRST’s anthology of commissioned short plays explores the personal as peril—and how society is shaped by the supernatural—in \u003cem>From the Ground Up: An Anthology of Ghost Stories Made New\u003c/em>, penned by a who’s-who of some of the Bay Area’s most inventive voices, including Eugenie Chan, Dan Wolf, and Cleavon Smith. Meanwhile, the 20th Annual Eugene O’Neill Festival calls back to a pair of American Theater’s “haunted poets”—Eugene O’Neill and Tennessee Williams. It includes a special weekend of O’Neill’s seafaring short plays at Hyde Street Pier, and a production of his epic \u003cem>Long Day’s Journey Into Night \u003c/em>at his historic Tao House in Danville.\u003c/p>\n\u003cfigure id=\"attachment_13864736\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg\" alt=\"\" width=\"600\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-768x856.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cristina García. \u003ccite>(Central Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Lady Matador’s Hotel’\u003c/h2>\n\u003cp>\u003ci>Central Works, Berkeley\u003cbr>\nOct. 12-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://centralworks.org/the-lady-matadors-hotel/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>So successful was \u003cem>King of Cuba,\u003c/em> last year’s Central Works collaboration with novelist Cristina García, that they’re back this year with another, \u003cem>The Lady Matador’s Hotel\u003c/em>. Adapted from her 2010 book of the same name, \u003cem>The Lady Matador’s Hotel\u003c/em> follows the adventures of an unlikely coterie of travelers, stranded in an unnamed Central American country in a state of political unrest. Featuring a high-caliber cast and directed by Central Works’ co-artistic director, Gary Graves, this production closes out their 29th season with their 65th world premiere.\u003c/p>\n\u003cfigure id=\"attachment_13864733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bubba Weller, Nadia Brown, Nicholas Podany in the New York production of ‘Harry Potter and the Cursed Child.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Harry Potter and the Cursed Child’\u003c/h2>\n\u003cp>\u003ci>The Curran, San Francisco\u003cbr>\nOct. 23, 2019-May 2020\u003cbr>\n\u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Calling all wizards! The extravaganza that is \u003cem>Harry Potter and the Cursed Child \u003c/em>is coming to San Francisco in October for its West Coast premiere under the refurbished Curran Theater roof. \u003cem>Harry Potter and the Cursed Child\u003c/em> features a grown-up Harry and his children, in particular his son Albus, who is heading to Hogwarts. Having been written with the many Harry Potter superfans in mind, the play is a two-part marathon, with tickets available for both consecutive and non-consecutive showings. Either way, be prepared to board the Hogwarts Express from Platform 9 ¾.\u003c/p>\n\u003cfigure id=\"attachment_13864730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nassim.’ \u003ccite>(David Monteith-Hodge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Nassim’\u003c/h2>\n\u003cp>\u003ci>Magic Theatre, San Francisco\u003cbr>\nNov. 12-16, 2019\u003cbr>\n\u003ca href=\"https://magictheatre.secure.force.com/ticket#details_a0S5A00000VLiXtUAL\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>In his infamous \u003cem>White Rabbit, Red Rabbit\u003c/em>, Nassim Soleimanpour challenged actors around the globe to perform his play without rehearsal, direction, or even time to read the script before the show. His eponymous \u003cem>Nassim \u003c/em>asks a similar leap of performer faith. The twist, however, is that Soleimanpour himself controls how and when the actor receives the text they are to speak via a projection screen. They’ll also receive an onstage crash course in Farsi, while exploring the human nuances of language and our universal struggles to communicate. Winner of the 2017 Fringe First award in Edinburgh, Scotland.\u003c/p>\n\u003cfigure id=\"attachment_13864737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Skyline at Beach Blanket Babylon \u003ccite>(Rick Markovich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Beach Blanket Babylon’\u003c/h2>\n\u003cp>\u003ci>Club Fugazi, San Francisco\u003cbr>\nThrough Dec. 31, 2019\u003cbr>\n\u003ca href=\"http://www.beachblanketbabylon.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Sure, it’s a little over the top. Ok, a \u003cem>lot\u003c/em>. But \u003cem>Beach Blanket Babylon\u003c/em> is as much a San Francisco institution as any of our mainstages, and predates many of them at a venerable 45 years old; it’s the world’s longest-running musical revue. But despite its enduring charm, unflappable energy, and strong sales, the show must apparently not go on, closing for good on Dec. 31. So whether you’re a long-time fan, or one who’s been meaning to go but just haven’t quite made it out, this is your last opportunity to make some \u003cem>Beach Blanket Babylon \u003c/em>memories to carry with you into a future bereft of its broad-stroke satire and iconic hats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle",
"headTitle": "Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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