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"slug": "african-stew-lisa-b-thompson-oakland",
"title": "‘African Stew,’ Set In Oakland, Reflects Playwright’s Own Bay Area Roots",
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"headTitle": "‘African Stew,’ Set In Oakland, Reflects Playwright’s Own Bay Area Roots | KQED",
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"content": "\n\u003cp>Lisa B. Thompson sets her plays in cities that are personally meaningful. \u003cem>Monroe\u003c/em>, a Great Migration story, was inspired by her mother’s hometown in Louisiana. Her son was born in Albany, New York, which became the setting for \u003cem>Underground\u003c/em>, a political thriller about the movement for civil rights in the United States.\u003c/p>\n\n\n\n\u003cp>“I’ve just picked different cities that I love,” Thompson said. “I want to make sure that I give them certain love letters.” \u003c/p>\n\n\n\n\u003cp>Thompson returns to her Bay Area roots for her latest play, \u003cem>African Stew\u003c/em>, which makes its world premiere on Thursday, Sept. 10. Presented by \u003ca href=\"https://www.kqed.org/arts/tag/lorraine-hansberry-theatre\">Lorraine Hansberry Theatre\u003c/a> (which also put on Thompson’s 2024 play \u003cem>The Black Feminist Guide to the Human Body\u003c/em>) and directed by Edris Cooper-Anifowoshe, \u003cem>African Stew \u003c/em>explores intergenerational and cultural tensions that arise when the families of a newly engaged African American woman and a Nigerian man get together for a meal in Oakland.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Lisa B. Thompson, the playwright of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A running theme in Thompson’s work is the lives of of Black middle-class people. Her hit play \u003cem>Single Black Female\u003c/em>, which premiered in her hometown of San Francisco and enjoyed a successful off-Broadway run (directed by a then-unknown Colman Domingo), is a two-woman show of comic vignettes about thirtysomething, educated African American women.\u003c/p>\n\n\n\n\u003cp>“In that play, it was a way for me to kind of unpack things that I was exploring in my dissertation, which is about Black middle-class women and how they move in the world as women,” said Thompson, also a professor in the Department of African and African Diaspora Studies at the University of Texas at Austin.\u003c/p>\n\n\n\n\u003cp>Thompson recently talked with KQED’s Brian Watt about growing up in the Bay Area, the genesis of \u003cem>African Stew\u003c/em> and the current state of theater.\u003c/p>\n\n\n\n\u003cp>\u003cem>This conversation has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1.jpg\" alt=\"\" class=\"wp-image-13993478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde (left), who plays Julie Lawson, and Titus VanHook (right), who plays Akintunde Ogunde, rehearse for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Brian Watt: Families meeting and sizing each other up — that’s fodder for comedy and drama. Tell us more about this story.\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Lisa B. Thompson: I thought it was time for an in-house conversation about the fact that there are broad differences and some deep similarities between Africans who grew up in the continent and African Americans who grew in the diaspora, particularly those in the U.S. It’s a fun play to see how the dads are measuring each other. Also, the moms, figuring out who’s going to be the one pushing the wedding and helping the daughter direct the wedding. Is it going to be mom or the mother-in-law? These kinds of conventional things, but adding that extra African diaspora twist that I think is going to make people fall out of their seats.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>So how did the idea come to you?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>This is a love letter to my son, who has an African American mother and a father who is Yoruba from Nigeria. I think about the world that he’s encountering and how he’s perceived. In many spaces, he’s perceived as royalty and assumed to be brilliant because the name we gave him is a Yoruba name. So what does it mean for all of us, including myself, to carry a legacy of a continent that you aren’t unfamiliar with? The reason why is a historic tragedy, a breach of humanity, and it is still unresolved. For me, to think about something that’s complex and difficult, sometimes it’s easier to get through using comedy.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Edris Cooper-Anifowoshe, the director of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Since I live in Oakland, I have to ask: Why is Oakland the setting?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Oakland is very special to me. I grew up in San Francisco, but I lived in Oakland while I was a graduate student, and my grandmother lived there when I was child. She was the grand lady.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>You have talked about the blessings of a strong Black family, and elders, and growing old. Have you maybe drawn on that for \u003c/strong>\u003cstrong>\u003cem>African Stew\u003c/em>\u003c/strong>\u003cstrong>?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>For me, I’ve never understood this whole generational tension, because I’m obsessed with people in my family, from the infants to the elders. I loved spending time with my grandmother, helping her with sewing. We’re incomplete if we don’t spend time during the week with somebody who’s somewhere between zero and 10 years old and somebody who’s over 70. Otherwise, you’re not in touch with full humanity.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde ,who plays Julie Lawson, rehearses for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Let me ask you about this moment in theater. When you’re looking at the landscape of the kinds of stories that make it to the stage, outside Broadway, even off-Broadway, what do you make of it?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>We’re losing developmental opportunities for new playwrights, so less people are going to grad school for it. I’m so proud of the playwrights that continue to persevere in this shrinking environment. I am happy to see what’s being produced despite all of that, because the actual theaters are closing, as well. So I feel like art’s going to art. We cannot suppress this stuff. \u003c/p>\n\n\n\n\u003cp>I should also note that a lot of playwrights that are doing work, who are first-generation or African immigrants, are part of the reason why I wrote this play. [It’s] because I want to be in conversation with them, and have this conversation across the diaspora.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘African Stew’\u003c/em> \u003cem>runs Sept. 10–27 in the Magic Theatre space at the Fort Mason Center for Arts and Culture in San Francisco. \u003c/em>\u003ca href=\"https://www.lhtsf.org/african-stew\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Lisa B. Thompson sets her plays in cities that are personally meaningful. \u003cem>Monroe\u003c/em>, a Great Migration story, was inspired by her mother’s hometown in Louisiana. Her son was born in Albany, New York, which became the setting for \u003cem>Underground\u003c/em>, a political thriller about the movement for civil rights in the United States.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I’ve just picked different cities that I love,” Thompson said. “I want to make sure that I give them certain love letters.” \u003c/p>\n",
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"\n\u003cp>“I’ve just picked different cities that I love,” Thompson said. “I want to make sure that I give them certain love letters.” \u003c/p>\n"
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"innerHTML": "\n\u003cp>Thompson returns to her Bay Area roots for her latest play, \u003cem>African Stew\u003c/em>, which makes its world premiere on Thursday, Sept. 10. Presented by \u003ca href=\"https://www.kqed.org/arts/tag/lorraine-hansberry-theatre\">Lorraine Hansberry Theatre\u003c/a> (which also put on Thompson’s 2024 play \u003cem>The Black Feminist Guide to the Human Body\u003c/em>) and directed by Edris Cooper-Anifowoshe, \u003cem>African Stew \u003c/em>explores intergenerational and cultural tensions that arise when the families of a newly engaged African American woman and a Nigerian man get together for a meal in Oakland.\u003c/p>\n",
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"\n\u003cp>Thompson returns to her Bay Area roots for her latest play, \u003cem>African Stew\u003c/em>, which makes its world premiere on Thursday, Sept. 10. Presented by \u003ca href=\"https://www.kqed.org/arts/tag/lorraine-hansberry-theatre\">Lorraine Hansberry Theatre\u003c/a> (which also put on Thompson’s 2024 play \u003cem>The Black Feminist Guide to the Human Body\u003c/em>) and directed by Edris Cooper-Anifowoshe, \u003cem>African Stew \u003c/em>explores intergenerational and cultural tensions that arise when the families of a newly engaged African American woman and a Nigerian man get together for a meal in Oakland.\u003c/p>\n"
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"innerHTML": "\n\u003cp>A running theme in Thompson’s work is the lives of of Black middle-class people. Her hit play \u003cem>Single Black Female\u003c/em>, which premiered in her hometown of San Francisco and enjoyed a successful off-Broadway run (directed by a then-unknown Colman Domingo), is a two-woman show of comic vignettes about thirtysomething, educated African American women.\u003c/p>\n",
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"\n\u003cp>A running theme in Thompson’s work is the lives of of Black middle-class people. Her hit play \u003cem>Single Black Female\u003c/em>, which premiered in her hometown of San Francisco and enjoyed a successful off-Broadway run (directed by a then-unknown Colman Domingo), is a two-woman show of comic vignettes about thirtysomething, educated African American women.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“In that play, it was a way for me to kind of unpack things that I was exploring in my dissertation, which is about Black middle-class women and how they move in the world as women,” said Thompson, also a professor in the Department of African and African Diaspora Studies at the University of Texas at Austin.\u003c/p>\n",
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"\n\u003cp>“In that play, it was a way for me to kind of unpack things that I was exploring in my dissertation, which is about Black middle-class women and how they move in the world as women,” said Thompson, also a professor in the Department of African and African Diaspora Studies at the University of Texas at Austin.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Thompson recently talked with KQED’s Brian Watt about growing up in the Bay Area, the genesis of \u003cem>African Stew\u003c/em> and the current state of theater.\u003c/p>\n",
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"\n\u003cp>Thompson recently talked with KQED’s Brian Watt about growing up in the Bay Area, the genesis of \u003cem>African Stew\u003c/em> and the current state of theater.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>This conversation has been edited for brevity and clarity.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>This conversation has been edited for brevity and clarity.\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>Brian Watt: Families meeting and sizing each other up — that’s fodder for comedy and drama. Tell us more about this story.\u003c/strong>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>Brian Watt: Families meeting and sizing each other up — that’s fodder for comedy and drama. Tell us more about this story.\u003c/strong>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Lisa B. Thompson: I thought it was time for an in-house conversation about the fact that there are broad differences and some deep similarities between Africans who grew up in the continent and African Americans who grew in the diaspora, particularly those in the U.S. It’s a fun play to see how the dads are measuring each other. Also, the moms, figuring out who’s going to be the one pushing the wedding and helping the daughter direct the wedding. Is it going to be mom or the mother-in-law? These kinds of conventional things, but adding that extra African diaspora twist that I think is going to make people fall out of their seats.\u003c/p>\n",
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"\n\u003cp>Lisa B. Thompson: I thought it was time for an in-house conversation about the fact that there are broad differences and some deep similarities between Africans who grew up in the continent and African Americans who grew in the diaspora, particularly those in the U.S. It’s a fun play to see how the dads are measuring each other. Also, the moms, figuring out who’s going to be the one pushing the wedding and helping the daughter direct the wedding. Is it going to be mom or the mother-in-law? These kinds of conventional things, but adding that extra African diaspora twist that I think is going to make people fall out of their seats.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>So how did the idea come to you?\u003c/strong>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>So how did the idea come to you?\u003c/strong>\u003c/p>\n"
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"innerHTML": "\n\u003cp>This is a love letter to my son, who has an African American mother and a father who is Yoruba from Nigeria. I think about the world that he’s encountering and how he’s perceived. In many spaces, he’s perceived as royalty and assumed to be brilliant because the name we gave him is a Yoruba name. So what does it mean for all of us, including myself, to carry a legacy of a continent that you aren’t unfamiliar with? The reason why is a historic tragedy, a breach of humanity, and it is still unresolved. For me, to think about something that’s complex and difficult, sometimes it’s easier to get through using comedy.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Edris Cooper-Anifowoshe, the director of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993473\"/>\u003cfigcaption class=\"wp-element-caption\">Edris Cooper-Anifowoshe, the director of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>Since I live in Oakland, I have to ask: Why is Oakland the setting?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Oakland is very special to me. I grew up in San Francisco, but I lived in Oakland while I was a graduate student, and my grandmother lived there when I was child. She was the grand lady.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>You have talked about the blessings of a strong Black family, and elders, and growing old. Have you maybe drawn on that for \u003c/strong>\u003cstrong>\u003cem>African Stew\u003c/em>\u003c/strong>\u003cstrong>?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>For me, I’ve never understood this whole generational tension, because I’m obsessed with people in my family, from the infants to the elders. I loved spending time with my grandmother, helping her with sewing. We’re incomplete if we don’t spend time during the week with somebody who’s somewhere between zero and 10 years old and somebody who’s over 70. Otherwise, you’re not in touch with full humanity.\u003c/p>\n",
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"\n\u003cp>For me, I’ve never understood this whole generational tension, because I’m obsessed with people in my family, from the infants to the elders. I loved spending time with my grandmother, helping her with sewing. We’re incomplete if we don’t spend time during the week with somebody who’s somewhere between zero and 10 years old and somebody who’s over 70. Otherwise, you’re not in touch with full humanity.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>Let me ask you about this moment in theater. When you’re looking at the landscape of the kinds of stories that make it to the stage, outside Broadway, even off-Broadway, what do you make of it?\u003c/strong>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>Let me ask you about this moment in theater. When you’re looking at the landscape of the kinds of stories that make it to the stage, outside Broadway, even off-Broadway, what do you make of it?\u003c/strong>\u003c/p>\n"
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"innerHTML": "\n\u003cp>We’re losing developmental opportunities for new playwrights, so less people are going to grad school for it. I’m so proud of the playwrights that continue to persevere in this shrinking environment. I am happy to see what’s being produced despite all of that, because the actual theaters are closing, as well. So I feel like art’s going to art. We cannot suppress this stuff. \u003c/p>\n",
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"\n\u003cp>We’re losing developmental opportunities for new playwrights, so less people are going to grad school for it. I’m so proud of the playwrights that continue to persevere in this shrinking environment. I am happy to see what’s being produced despite all of that, because the actual theaters are closing, as well. So I feel like art’s going to art. We cannot suppress this stuff. \u003c/p>\n"
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"innerHTML": "\n\u003cp>I should also note that a lot of playwrights that are doing work, who are first-generation or African immigrants, are part of the reason why I wrote this play. [It’s] because I want to be in conversation with them, and have this conversation across the diaspora.\u003c/p>\n",
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"\n\u003cp>I should also note that a lot of playwrights that are doing work, who are first-generation or African immigrants, are part of the reason why I wrote this play. [It’s] because I want to be in conversation with them, and have this conversation across the diaspora.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>‘African Stew’\u003c/em> \u003cem>runs Sept. 10–27 in the Magic Theatre space at the Fort Mason Center for Arts and Culture in San Francisco. \u003c/em>\u003ca href=\"https://www.lhtsf.org/african-stew\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>‘African Stew’\u003c/em> \u003cem>runs Sept. 10–27 in the Magic Theatre space at the Fort Mason Center for Arts and Culture in San Francisco. \u003c/em>\u003ca href=\"https://www.lhtsf.org/african-stew\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n"
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"excerpt": "Lisa B. Thompson’s new play explores tensions between the African American and Nigerian families of an engaged couple.\n",
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"title": "‘African Stew,’ Set In Oakland, Reflects Lisa B. Thompson’s Bay Area Roots | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Lisa B. Thompson sets her plays in cities that are personally meaningful. \u003cem>Monroe\u003c/em>, a Great Migration story, was inspired by her mother’s hometown in Louisiana. Her son was born in Albany, New York, which became the setting for \u003cem>Underground\u003c/em>, a political thriller about the movement for civil rights in the United States.\u003c/p>\n\n\n\n\u003cp>“I’ve just picked different cities that I love,” Thompson said. “I want to make sure that I give them certain love letters.” \u003c/p>\n\n\n\n\u003cp>Thompson returns to her Bay Area roots for her latest play, \u003cem>African Stew\u003c/em>, which makes its world premiere on Thursday, Sept. 10. Presented by \u003ca href=\"https://www.kqed.org/arts/tag/lorraine-hansberry-theatre\">Lorraine Hansberry Theatre\u003c/a> (which also put on Thompson’s 2024 play \u003cem>The Black Feminist Guide to the Human Body\u003c/em>) and directed by Edris Cooper-Anifowoshe, \u003cem>African Stew \u003c/em>explores intergenerational and cultural tensions that arise when the families of a newly engaged African American woman and a Nigerian man get together for a meal in Oakland.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00096_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Lisa B. Thompson, the playwright of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A running theme in Thompson’s work is the lives of of Black middle-class people. Her hit play \u003cem>Single Black Female\u003c/em>, which premiered in her hometown of San Francisco and enjoyed a successful off-Broadway run (directed by a then-unknown Colman Domingo), is a two-woman show of comic vignettes about thirtysomething, educated African American women.\u003c/p>\n\n\n\n\u003cp>“In that play, it was a way for me to kind of unpack things that I was exploring in my dissertation, which is about Black middle-class women and how they move in the world as women,” said Thompson, also a professor in the Department of African and African Diaspora Studies at the University of Texas at Austin.\u003c/p>\n\n\n\n\u003cp>Thompson recently talked with KQED’s Brian Watt about growing up in the Bay Area, the genesis of \u003cem>African Stew\u003c/em> and the current state of theater.\u003c/p>\n\n\n\n\u003cp>\u003cem>This conversation has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1.jpg\" alt=\"\" class=\"wp-image-13993478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00199_TV-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde (left), who plays Julie Lawson, and Titus VanHook (right), who plays Akintunde Ogunde, rehearse for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Brian Watt: Families meeting and sizing each other up — that’s fodder for comedy and drama. Tell us more about this story.\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Lisa B. Thompson: I thought it was time for an in-house conversation about the fact that there are broad differences and some deep similarities between Africans who grew up in the continent and African Americans who grew in the diaspora, particularly those in the U.S. It’s a fun play to see how the dads are measuring each other. Also, the moms, figuring out who’s going to be the one pushing the wedding and helping the daughter direct the wedding. Is it going to be mom or the mother-in-law? These kinds of conventional things, but adding that extra African diaspora twist that I think is going to make people fall out of their seats.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>So how did the idea come to you?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>This is a love letter to my son, who has an African American mother and a father who is Yoruba from Nigeria. I think about the world that he’s encountering and how he’s perceived. In many spaces, he’s perceived as royalty and assumed to be brilliant because the name we gave him is a Yoruba name. So what does it mean for all of us, including myself, to carry a legacy of a continent that you aren’t unfamiliar with? The reason why is a historic tragedy, a breach of humanity, and it is still unresolved. For me, to think about something that’s complex and difficult, sometimes it’s easier to get through using comedy.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00050_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Edris Cooper-Anifowoshe, the director of ‘African Stew,’ poses for a portrait at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Since I live in Oakland, I have to ask: Why is Oakland the setting?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Oakland is very special to me. I grew up in San Francisco, but I lived in Oakland while I was a graduate student, and my grandmother lived there when I was child. She was the grand lady.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>You have talked about the blessings of a strong Black family, and elders, and growing old. Have you maybe drawn on that for \u003c/strong>\u003cstrong>\u003cem>African Stew\u003c/em>\u003c/strong>\u003cstrong>?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>For me, I’ve never understood this whole generational tension, because I’m obsessed with people in my family, from the infants to the elders. I loved spending time with my grandmother, helping her with sewing. We’re incomplete if we don’t spend time during the week with somebody who’s somewhere between zero and 10 years old and somebody who’s over 70. Otherwise, you’re not in touch with full humanity.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13993475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/260829-africanstew-00136_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Sundiata Ayinde ,who plays Julie Lawson, rehearses for ‘African Stew’ at Fort Mason in San Francisco on August 29, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Let me ask you about this moment in theater. When you’re looking at the landscape of the kinds of stories that make it to the stage, outside Broadway, even off-Broadway, what do you make of it?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>We’re losing developmental opportunities for new playwrights, so less people are going to grad school for it. I’m so proud of the playwrights that continue to persevere in this shrinking environment. I am happy to see what’s being produced despite all of that, because the actual theaters are closing, as well. So I feel like art’s going to art. We cannot suppress this stuff. \u003c/p>\n\n\n\n\u003cp>I should also note that a lot of playwrights that are doing work, who are first-generation or African immigrants, are part of the reason why I wrote this play. [It’s] because I want to be in conversation with them, and have this conversation across the diaspora.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘African Stew’\u003c/em> \u003cem>runs Sept. 10–27 in the Magic Theatre space at the Fort Mason Center for Arts and Culture in San Francisco. \u003c/em>\u003ca href=\"https://www.lhtsf.org/african-stew\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "10 of the Best Plays and Musicals to See This Fall in the Bay Area",
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"headTitle": "10 of the Best Plays and Musicals to See This Fall in the Bay Area | KQED",
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"content": "\n\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2026\">2026 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/em>\u003c/p>\n\n\n\n\u003cp>A certain type of magic comes with fall in the Bay Area. As T-shirts and shorts turn to long sleeves and jeans, rich browns and oranges overtake each leaf. Apart from the weather, seeing theater companies kick off their seasons is always thrilling, with world premieres and big hits ready to land all over the Bay Area.\u003c/p>\n\n\n\n\u003cp>While darkness may fall faster with each passing day, let the stage lights of these 10 fantastic theater productions brighten your life for the next three months.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4.jpg\" alt=\"\" class=\"wp-image-13993464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4-1536x1164.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Danny Scheie, Benjamin Clark and Lyndsy Kail are featured in Marin Theatre’s ‘The White Chip,’ running Aug. 27–Sept. 20. (Chris Hardy)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.marintheatre.org/\">The White Chip\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Aug. 27–Sept. 20\u003c/em>\u003cbr>\u003cem>Marin Theatre, Mill Valley\u003c/em>\u003cbr>\u003cbr>Sean Daniels has been one of the most visible figures in the American theatre to discuss his challenges as a recovering alcoholic while working to soften the stigma of addiction. In his semi-autobiographical play, \u003cem>The White Chip\u003c/em>, Steven is a theatrical director whose career spirals out fo control due to drinking. His journey through sobriety includes reckoning with self-acceptance and finding his community. Daniels’ play has seen significant productions nationwide, inspiring those on their own sobriety journeys. Artistic director Lance Gardner directs. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138.jpg\" alt=\"\" class=\"wp-image-13993044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Caleb Andrew Cabrera, Michael Torres and Alonso Melgoza star in ‘Manning,’ a play about grief and healing. (Cheshire Isaacs)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.crowdedfire.org/\">Manning\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 5–26\u003c/em>\u003cbr>\u003cem>Potrero Stage, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>The death of a wife and mother. Spreading ashes around the backyard. What results is the growth of a mysterious, giant zucchini overnight, and the discovery of a unique language for grief. Benjamin Benne penned this West Coast premiere in part to imagine a world where patriarchal supremacy is replaced by healthy and whole masculinity. Crowded Fire Theater’s newest production is another in their quest toward daring work that both entertains and challenges. Adin Walker directs. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.lhtsf.org/african-stew\">African Stew\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 10–27\u003c/em>\u003cbr>\u003cem>Lorraine Hansberry Theatre, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>An African American woman and a Nigerian man announce their quick engagement, which leads to a family dinner in Oakland. Things aren’t exactly smooth, however, as the two very different cultures gather, and as identity, cultural differences and familial expectations all prove to be heated topics of conversation. Lorraine Hansberry Theatre’s rolling world premiere features the triumphant return of frequent collaborator Lisa B. Thompson, with the show stewarded by longtime Bay Area director and artist Edris Cooper-Anifowoshe.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller.jpg\" alt=\"\" class=\"wp-image-13993048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L to R) Linda Amayo-Hassan, Megan Calfas, Aidaa Peerzada and Julius Ernesto Rea make up Playwright’s Foundation residents for 2026-2027. (Playwrights Foundation)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://playwrightsfoundation.org/2026-bay-area-playwrights-festival/\">Bay Area Playwrights Festival\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 18–27\u003c/em>\u003cbr>\u003cem>Strand Theater, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>Play development has taken a hit around the country in the past 10 years, but the need for new work in American theater continues. Fortunately, consequential developers in the Bay Area still showcase new voices which may just write the next great American play. The Bay Area Playwrights Festival is coming up on its 47th year, and has seen more than 80 percent of its works go on to successful productions. This year’s festival features four new plays from diverse storytellers, giving audiences a sneak peek of the future. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape.jpg\" alt=\"\" class=\"wp-image-13993046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">J. Jha stars as the title character in William Shakespeare’s ‘King Lear’ as Oakland Theater Project jumps across the Bay to Z Space in San Francisco. (Adam Montanaro)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://oaklandtheaterproject.org/\">King Lear\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 25–Oct. 11\u003c/em>\u003cbr>\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>While twilight sets on the rule of King Lear, dividing his kingdom among his three daughters becomes another ploy in his quest for flattery. As his power dissipates, the king is proven to be a fool, one whose demise is entirely of his own making. Sound timely? Oakland Theater Project continues their daring season of rethinking classics and putting visceral new razors on stories of brutality. Lear is the model for many of theater’s greatest characters, and an embodiment of self-inflected wounds. Executive Artistic Director Michael Socrates Moran directs one of William Shakespeare’s most devastating tales. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"http://teatrovision.org\">Alebrijes: A Dia De Los Muertos Tale\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 8–18\u003c/em>\u003cbr>\u003cem>Mexican Heritage Plaza Theater, San José\u003c/em>\u003c/p>\n\n\n\n\u003cp>In the 1930s, papier-mâché artist Pedro Linares created the earliest alebrijes – a form of Mexican folk art depicting mythical hybrid animals. In Teatro Vision’s production of \u003cem>Alebrijes: A Dia De Los Muertos Tale\u003c/em>, playwright Georgina Escobar presents a mythological tale of Linares being chased by “La Muerte” through the colorful celebration of the Day of the Dead. The 42-year-old company and the production are both under the artistic hand of Rodrigo Garcia, and showcase all of the emotional pageantry of the festive holiday, with traditional Mexican music, comedy and community on full display in East San Jose. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059.jpg\" alt=\"\" class=\"wp-image-13993059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Golden Thread Productions founder Torange Yeghiazarian. (Carlos Avila Gonzalez / San Francisco Chronicle via Getty Images)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"http://goldenthread.org\">ReOrient Festival\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 9–Nov. 1\u003c/em>\u003cbr>\u003cem>Potrero Stage, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>Founded by Torange Yeghiazarian, Golden Thread celebrates its 30th anniversary this year as a company that interrogates and celebrates Middle Eastern culture and identity. There’s never a shortage of candidates for Golden Thread’s signature festival, and this year is no different: of the 83 plays submitted, only five were selected. This year’s lineup focuses on Iran and Palestine, with rich diversity among the titles, one of which, \u003cem>Homing Pigeons & Co\u003c/em>, is directed by Yeghiazarian herself.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.sfbatco.org/\">Every Saturday Night\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 10–Nov. 1\u003c/em>\u003cbr>\u003cem>The Strand, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>“Harlem of the West” is a famous description of San Francisco’s Fillmore District in the ‘40s and ‘50s — and now, it’s the subject of a major world premiere for \u003ca href=\"https://www.sfbatco.org/\">SFBATCO\u003c/a>. \u003cem>Every Saturday Night\u003c/em> has been in development for four years, and it explores a San Francisco once filled with Black excellence and soul-stirring jazz. Those good times came to a halt when urban renewal’s displacement and gentrification robbed the world of a thriving Black community. Bay Area playwright, composer and director Danny Duncan joins forces with acclaimed playwright Michael Gene Sullivan for this anticipated production.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Alaska-Thunderfuck_Photo-Credit-Daniel-Rampulla.jpg\" alt=\"\" class=\"wp-image-13993047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Alaska-Thunderfuck_Photo-Credit-Daniel-Rampulla.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Alaska-Thunderfuck_Photo-Credit-Daniel-Rampulla-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Alaska-Thunderfuck_Photo-Credit-Daniel-Rampulla-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Alaska-Thunderfuck_Photo-Credit-Daniel-Rampulla-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Drag queen Alaska Thunderfuck will star as Mary Todd Lincoln in the San Francisco run of Cole Escola’s ‘Oh, Mary!’ (Daniel Rampulla)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.act-sf.org/whats-on/2026-27-season/oh-mary\">Oh, Mary!\u003c/a>’ and ‘\u003ca href=\"https://www.act-sf.org/whats-on/2026-27-season/john-proctor-is-the-villain\">John Proctor is the Villain\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>‘Oh, Mary!,’ \u003cem>\u003cem>Oct. 13–Nov. 1\u003c/em>\u003c/em>; Curran Theater, San Francisco \u003cbr>‘John Proctor is the Villain,’ \u003cem>\u003cem>Nov. 12–Dec. 6\u003c/em>\u003c/em>; Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>Picking between \u003cem>Oh, Mary!\u003c/em> or \u003cem>John Proctor is the Villain\u003c/em> when both are being produced at A.C.T. is like picking a favorite child — you might have one, but you don’t say it out loud. \u003cem>Oh, Mary!\u003c/em> is a riotous, side-splitting show (and 2026 Pulitzer finalist) by Cole Escola, while \u003cem>Proctor \u003c/em>is a Broadway hit that inspired the \u003cem>New York Times\u003c/em> headline “Why Women are Leaving This Broadway Show in Tears.” The two shows couldn’t be more different in tone and temperament, but they’re firmly in the can’t-miss category. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2500\" height=\"1667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1.jpg\" alt=\"\" class=\"wp-image-13993050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\" />\u003cfigcaption class=\"wp-element-caption\">The New York cast of Bess Wohl’s ‘Liberation’ at the Laura Pels Theatre in 2025. (Joan Marcus)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"http://berkeleyrep.org\">Liberation\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 23–Nov. 29\u003c/em>\u003cbr>\u003cem>Roda Theatre, Berkeley\u003c/em>\u003c/p>\n\n\n\n\u003cp>Bess Wohl’s \u003cem>Liberation\u003c/em>, a piercing memory play about a group of women who strategize in a 1970s recreation center basement about how to change the world, won a Pulitzer and Tony during its Broadway run. Whitney White, who directed, returns in the same role for this West Coast premiere, a co-production with the Geffen Playhouse in Los Angeles and Washington D.C.’s Studio Theatre. (And if you’re looking for more Wohl in the Bay, \u003ca href=\"https://www.thestage.org/production-history/barcelona\">San Jose Stage produces her 2012 play \u003cem>Barcelona\u003c/em> from Sept. 30–Oct. 18\u003c/a>.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2026\">2026 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>While darkness may fall faster with each passing day, let the stage lights of these 10 fantastic theater productions brighten your life for the next three months.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4.jpg\" alt=\"\" class=\"wp-image-13993464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4-1536x1164.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Danny Scheie, Benjamin Clark and Lyndsy Kail are featured in Marin Theatre’s ‘The White Chip,’ running Aug. 27–Sept. 20.\u003ccite class=\"wp-inline-image-credit\"> (Chris Hardy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4.jpg\" alt=\"\" class=\"wp-image-13993464\"/>\u003cfigcaption class=\"wp-element-caption\">Danny Scheie, Benjamin Clark and Lyndsy Kail are featured in Marin Theatre’s ‘The White Chip,’ running Aug. 27–Sept. 20.\u003ccite class=\"wp-inline-image-credit\"> (Chris Hardy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.marintheatre.org/\">The White Chip\u003c/a>’\u003c/h2>\n",
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"innerHTML": "\n\u003cp>\u003cem>Aug. 27–Sept. 20\u003c/em>\u003cbr>\u003cem>Marin Theatre, Mill Valley\u003c/em>\u003cbr>\u003cbr>Sean Daniels has been one of the most visible figures in the American theatre to discuss his challenges as a recovering alcoholic while working to soften the stigma of addiction. In his semi-autobiographical play, \u003cem>The White Chip\u003c/em>, Steven is a theatrical director whose career spirals out fo control due to drinking. His journey through sobriety includes reckoning with self-acceptance and finding his community. Daniels’ play has seen significant productions nationwide, inspiring those on their own sobriety journeys. Artistic director Lance Gardner directs. \u003c/p>\n",
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"\n\u003cp>\u003cem>Aug. 27–Sept. 20\u003c/em>\u003cbr>\u003cem>Marin Theatre, Mill Valley\u003c/em>\u003cbr>\u003cbr>Sean Daniels has been one of the most visible figures in the American theatre to discuss his challenges as a recovering alcoholic while working to soften the stigma of addiction. In his semi-autobiographical play, \u003cem>The White Chip\u003c/em>, Steven is a theatrical director whose career spirals out fo control due to drinking. His journey through sobriety includes reckoning with self-acceptance and finding his community. Daniels’ play has seen significant productions nationwide, inspiring those on their own sobriety journeys. Artistic director Lance Gardner directs. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138.jpg\" alt=\"\" class=\"wp-image-13993044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Caleb Andrew Cabrera, Michael Torres and Alonso Melgoza star in ‘Manning,’ a play about grief and healing.\u003ccite class=\"wp-inline-image-credit\"> (Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138.jpg\" alt=\"\" class=\"wp-image-13993044\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Caleb Andrew Cabrera, Michael Torres and Alonso Melgoza star in ‘Manning,’ a play about grief and healing.\u003ccite class=\"wp-inline-image-credit\"> (Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.crowdedfire.org/\">Manning\u003c/a>’\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.crowdedfire.org/\">Manning\u003c/a>’\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 5–26\u003c/em>\u003cbr>\u003cem>Potrero Stage, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 5–26\u003c/em>\u003cbr>\u003cem>Potrero Stage, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>The death of a wife and mother. Spreading ashes around the backyard. What results is the growth of a mysterious, giant zucchini overnight, and the discovery of a unique language for grief. Benjamin Benne penned this West Coast premiere in part to imagine a world where patriarchal supremacy is replaced by healthy and whole masculinity. Crowded Fire Theater’s newest production is another in their quest toward daring work that both entertains and challenges. Adin Walker directs. \u003c/p>\n",
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"\n\u003cp>The death of a wife and mother. Spreading ashes around the backyard. What results is the growth of a mysterious, giant zucchini overnight, and the discovery of a unique language for grief. Benjamin Benne penned this West Coast premiere in part to imagine a world where patriarchal supremacy is replaced by healthy and whole masculinity. Crowded Fire Theater’s newest production is another in their quest toward daring work that both entertains and challenges. Adin Walker directs. \u003c/p>\n"
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"text": "‘African Stew’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.lhtsf.org/african-stew\">African Stew\u003c/a>’\u003c/h2>\n",
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"innerHTML": "\n\u003cp>\u003cem>Sept. 10–27\u003c/em>\u003cbr>\u003cem>Lorraine Hansberry Theatre, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 10–27\u003c/em>\u003cbr>\u003cem>Lorraine Hansberry Theatre, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>An African American woman and a Nigerian man announce their quick engagement, which leads to a family dinner in Oakland. Things aren’t exactly smooth, however, as the two very different cultures gather, and as identity, cultural differences and familial expectations all prove to be heated topics of conversation. Lorraine Hansberry Theatre’s rolling world premiere features the triumphant return of frequent collaborator Lisa B. Thompson, with the show stewarded by longtime Bay Area director and artist Edris Cooper-Anifowoshe.\u003c/p>\n",
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"\n\u003cp>An African American woman and a Nigerian man announce their quick engagement, which leads to a family dinner in Oakland. Things aren’t exactly smooth, however, as the two very different cultures gather, and as identity, cultural differences and familial expectations all prove to be heated topics of conversation. Lorraine Hansberry Theatre’s rolling world premiere features the triumphant return of frequent collaborator Lisa B. Thompson, with the show stewarded by longtime Bay Area director and artist Edris Cooper-Anifowoshe.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller.jpg\" alt=\"\" class=\"wp-image-13993048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller-1536x1152.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">(L to R) Linda Amayo-Hassan, Megan Calfas, Aidaa Peerzada and Julius Ernesto Rea make up Playwright’s Foundation residents for 2026-2027. \u003ccite class=\"wp-inline-image-credit\"> (Playwrights Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller.jpg\" alt=\"\" class=\"wp-image-13993048\"/>\u003cfigcaption class=\"wp-element-caption\">(L to R) Linda Amayo-Hassan, Megan Calfas, Aidaa Peerzada and Julius Ernesto Rea make up Playwright’s Foundation residents for 2026-2027. \u003ccite class=\"wp-inline-image-credit\"> (Playwrights Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"attrs": {
"text": "Bay Area Playwrights Festival",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://playwrightsfoundation.org/2026-bay-area-playwrights-festival/\">Bay Area Playwrights Festival\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://playwrightsfoundation.org/2026-bay-area-playwrights-festival/\">Bay Area Playwrights Festival\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 18–27\u003c/em>\u003cbr>\u003cem>Strand Theater, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 18–27\u003c/em>\u003cbr>\u003cem>Strand Theater, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Play development has taken a hit around the country in the past 10 years, but the need for new work in American theater continues. Fortunately, consequential developers in the Bay Area still showcase new voices which may just write the next great American play. The Bay Area Playwrights Festival is coming up on its 47th year, and has seen more than 80 percent of its works go on to successful productions. This year’s festival features four new plays from diverse storytellers, giving audiences a sneak peek of the future. \u003c/p>\n",
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"\n\u003cp>Play development has taken a hit around the country in the past 10 years, but the need for new work in American theater continues. Fortunately, consequential developers in the Bay Area still showcase new voices which may just write the next great American play. The Bay Area Playwrights Festival is coming up on its 47th year, and has seen more than 80 percent of its works go on to successful productions. This year’s festival features four new plays from diverse storytellers, giving audiences a sneak peek of the future. \u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-1536x1097.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape.jpg\" alt=\"\" class=\"wp-image-13993046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-1536x1097.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">J. Jha stars as the title character in William Shakespeare’s ‘King Lear’ as Oakland Theater Project jumps across the Bay to Z Space in San Francisco. \u003ccite class=\"wp-inline-image-credit\"> (Adam Montanaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape.jpg\" alt=\"\" class=\"wp-image-13993046\"/>\u003cfigcaption class=\"wp-element-caption\">J. Jha stars as the title character in William Shakespeare’s ‘King Lear’ as Oakland Theater Project jumps across the Bay to Z Space in San Francisco. \u003ccite class=\"wp-inline-image-credit\"> (Adam Montanaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"text": "‘King Lear’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://oaklandtheaterproject.org/\">King Lear\u003c/a>’\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://oaklandtheaterproject.org/\">King Lear\u003c/a>’\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 25–Oct. 11\u003c/em>\u003cbr>\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 25–Oct. 11\u003c/em>\u003cbr>\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>While twilight sets on the rule of King Lear, dividing his kingdom among his three daughters becomes another ploy in his quest for flattery. As his power dissipates, the king is proven to be a fool, one whose demise is entirely of his own making. Sound timely? Oakland Theater Project continues their daring season of rethinking classics and putting visceral new razors on stories of brutality. Lear is the model for many of theater’s greatest characters, and an embodiment of self-inflected wounds. Executive Artistic Director Michael Socrates Moran directs one of William Shakespeare’s most devastating tales. \u003c/p>\n",
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"\n\u003cp>While twilight sets on the rule of King Lear, dividing his kingdom among his three daughters becomes another ploy in his quest for flattery. As his power dissipates, the king is proven to be a fool, one whose demise is entirely of his own making. Sound timely? Oakland Theater Project continues their daring season of rethinking classics and putting visceral new razors on stories of brutality. Lear is the model for many of theater’s greatest characters, and an embodiment of self-inflected wounds. Executive Artistic Director Michael Socrates Moran directs one of William Shakespeare’s most devastating tales. \u003c/p>\n"
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"attrs": {
"text": "‘Alebrijes: A Dia De Los Muertos Tale’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"http://teatrovision.org\">Alebrijes: A Dia De Los Muertos Tale\u003c/a>’\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"http://teatrovision.org\">Alebrijes: A Dia De Los Muertos Tale\u003c/a>’\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Oct. 8–18\u003c/em>\u003cbr>\u003cem>Mexican Heritage Plaza Theater, San José\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>In the 1930s, papier-mâché artist Pedro Linares created the earliest alebrijes – a form of Mexican folk art depicting mythical hybrid animals. In Teatro Vision’s production of \u003cem>Alebrijes: A Dia De Los Muertos Tale\u003c/em>, playwright Georgina Escobar presents a mythological tale of Linares being chased by “La Muerte” through the colorful celebration of the Day of the Dead. The 42-year-old company and the production are both under the artistic hand of Rodrigo Garcia, and showcase all of the emotional pageantry of the festive holiday, with traditional Mexican music, comedy and community on full display in East San Jose. \u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059.jpg\" alt=\"\" class=\"wp-image-13993059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Golden Thread Productions founder Torange Yeghiazarian.\u003ccite class=\"wp-inline-image-credit\"> (Carlos Avila Gonzalez / San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"http://goldenthread.org\">ReOrient Festival\u003c/a>\u003c/h2>\n",
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"innerHTML": "\n\u003cp>\u003cem>Oct. 9–Nov. 1\u003c/em>\u003cbr>\u003cem>Potrero Stage, San Francisco\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Founded by Torange Yeghiazarian, Golden Thread celebrates its 30th anniversary this year as a company that interrogates and celebrates Middle Eastern culture and identity. There’s never a shortage of candidates for Golden Thread’s signature festival, and this year is no different: of the 83 plays submitted, only five were selected. This year’s lineup focuses on Iran and Palestine, with rich diversity among the titles, one of which, \u003cem>Homing Pigeons & Co\u003c/em>, is directed by Yeghiazarian herself.\u003c/p>\n",
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"text": "‘Every Saturday Night’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.sfbatco.org/\">Every Saturday Night\u003c/a>’\u003c/h2>\n",
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"innerHTML": "\n\u003cp>\u003cem>Oct. 10–Nov. 1\u003c/em>\u003cbr>\u003cem>The Strand, San Francisco\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>“Harlem of the West” is a famous description of San Francisco’s Fillmore District in the ‘40s and ‘50s — and now, it’s the subject of a major world premiere for \u003ca href=\"https://www.sfbatco.org/\">SFBATCO\u003c/a>. \u003cem>Every Saturday Night\u003c/em> has been in development for four years, and it explores a San Francisco once filled with Black excellence and soul-stirring jazz. Those good times came to a halt when urban renewal’s displacement and gentrification robbed the world of a thriving Black community. Bay Area playwright, composer and director Danny Duncan joins forces with acclaimed playwright Michael Gene Sullivan for this anticipated production.\u003c/p>\n",
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"\n\u003cp>“Harlem of the West” is a famous description of San Francisco’s Fillmore District in the ‘40s and ‘50s — and now, it’s the subject of a major world premiere for \u003ca href=\"https://www.sfbatco.org/\">SFBATCO\u003c/a>. \u003cem>Every Saturday Night\u003c/em> has been in development for four years, and it explores a San Francisco once filled with Black excellence and soul-stirring jazz. Those good times came to a halt when urban renewal’s displacement and gentrification robbed the world of a thriving Black community. Bay Area playwright, composer and director Danny Duncan joins forces with acclaimed playwright Michael Gene Sullivan for this anticipated production.\u003c/p>\n"
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Alaska-Thunderfuck_Photo-Credit-Daniel-Rampulla.jpg\" alt=\"\" class=\"wp-image-13993047\"/>\u003cfigcaption class=\"wp-element-caption\">Drag queen Alaska Thunderfuck will star as Mary Todd Lincoln in the San Francisco run of Cole Escola’s ‘Oh, Mary!’\u003ccite class=\"wp-inline-image-credit\"> (Daniel Rampulla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.act-sf.org/whats-on/2026-27-season/oh-mary\">Oh, Mary!\u003c/a>’ and ‘\u003ca href=\"https://www.act-sf.org/whats-on/2026-27-season/john-proctor-is-the-villain\">John Proctor is the Villain\u003c/a>’\u003c/h2>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘Oh, Mary!,’ \u003cem>\u003cem>Oct. 13–Nov. 1\u003c/em>\u003c/em>; Curran Theater, San Francisco \u003cbr>‘John Proctor is the Villain,’ \u003cem>\u003cem>Nov. 12–Dec. 6\u003c/em>\u003c/em>; Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>‘Oh, Mary!,’ \u003cem>\u003cem>Oct. 13–Nov. 1\u003c/em>\u003c/em>; Curran Theater, San Francisco \u003cbr>‘John Proctor is the Villain,’ \u003cem>\u003cem>Nov. 12–Dec. 6\u003c/em>\u003c/em>; Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Picking between \u003cem>Oh, Mary!\u003c/em> or \u003cem>John Proctor is the Villain\u003c/em> when both are being produced at A.C.T. is like picking a favorite child — you might have one, but you don’t say it out loud. \u003cem>Oh, Mary!\u003c/em> is a riotous, side-splitting show (and 2026 Pulitzer finalist) by Cole Escola, while \u003cem>Proctor \u003c/em>is a Broadway hit that inspired the \u003cem>New York Times\u003c/em> headline “Why Women are Leaving This Broadway Show in Tears.” The two shows couldn’t be more different in tone and temperament, but they’re firmly in the can’t-miss category. \u003c/p>\n",
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"\n\u003cp>Picking between \u003cem>Oh, Mary!\u003c/em> or \u003cem>John Proctor is the Villain\u003c/em> when both are being produced at A.C.T. is like picking a favorite child — you might have one, but you don’t say it out loud. \u003cem>Oh, Mary!\u003c/em> is a riotous, side-splitting show (and 2026 Pulitzer finalist) by Cole Escola, while \u003cem>Proctor \u003c/em>is a Broadway hit that inspired the \u003cem>New York Times\u003c/em> headline “Why Women are Leaving This Broadway Show in Tears.” The two shows couldn’t be more different in tone and temperament, but they’re firmly in the can’t-miss category. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1.jpg\" alt=\"\" class=\"wp-image-13993050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-2048x1366.jpg 2048w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">The New York cast of Bess Wohl’s ‘Liberation’ at the Laura Pels Theatre in 2025.\u003ccite class=\"wp-inline-image-credit\"> (Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Bess Wohl’s \u003cem>Liberation\u003c/em>, a piercing memory play about a group of women who strategize in a 1970s recreation center basement about how to change the world, won a Pulitzer and Tony during its Broadway run. Whitney White, who directed, returns in the same role for this West Coast premiere, a co-production with the Geffen Playhouse in Los Angeles and Washington D.C.’s Studio Theatre. (And if you’re looking for more Wohl in the Bay, \u003ca href=\"https://www.thestage.org/production-history/barcelona\">San Jose Stage produces her 2012 play \u003cem>Barcelona\u003c/em> from Sept. 30–Oct. 18\u003c/a>.)\u003c/p>\n",
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"excerpt": "Including shows about a lost jazz neighborhood, a women’s revolution and Abraham Lincoln’s wife run amok.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2026\">2026 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/em>\u003c/p>\n\n\n\n\u003cp>A certain type of magic comes with fall in the Bay Area. As T-shirts and shorts turn to long sleeves and jeans, rich browns and oranges overtake each leaf. Apart from the weather, seeing theater companies kick off their seasons is always thrilling, with world premieres and big hits ready to land all over the Bay Area.\u003c/p>\n\n\n\n\u003cp>While darkness may fall faster with each passing day, let the stage lights of these 10 fantastic theater productions brighten your life for the next three months.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4.jpg\" alt=\"\" class=\"wp-image-13993464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/MT_TheWhiteChip_ChrisHardy4-1536x1164.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Danny Scheie, Benjamin Clark and Lyndsy Kail are featured in Marin Theatre’s ‘The White Chip,’ running Aug. 27–Sept. 20. (Chris Hardy)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.marintheatre.org/\">The White Chip\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Aug. 27–Sept. 20\u003c/em>\u003cbr>\u003cem>Marin Theatre, Mill Valley\u003c/em>\u003cbr>\u003cbr>Sean Daniels has been one of the most visible figures in the American theatre to discuss his challenges as a recovering alcoholic while working to soften the stigma of addiction. In his semi-autobiographical play, \u003cem>The White Chip\u003c/em>, Steven is a theatrical director whose career spirals out fo control due to drinking. His journey through sobriety includes reckoning with self-acceptance and finding his community. Daniels’ play has seen significant productions nationwide, inspiring those on their own sobriety journeys. Artistic director Lance Gardner directs. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138.jpg\" alt=\"\" class=\"wp-image-13993044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/manningpr-0138-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Caleb Andrew Cabrera, Michael Torres and Alonso Melgoza star in ‘Manning,’ a play about grief and healing. (Cheshire Isaacs)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.crowdedfire.org/\">Manning\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 5–26\u003c/em>\u003cbr>\u003cem>Potrero Stage, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>The death of a wife and mother. Spreading ashes around the backyard. What results is the growth of a mysterious, giant zucchini overnight, and the discovery of a unique language for grief. Benjamin Benne penned this West Coast premiere in part to imagine a world where patriarchal supremacy is replaced by healthy and whole masculinity. Crowded Fire Theater’s newest production is another in their quest toward daring work that both entertains and challenges. Adin Walker directs. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.lhtsf.org/african-stew\">African Stew\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 10–27\u003c/em>\u003cbr>\u003cem>Lorraine Hansberry Theatre, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>An African American woman and a Nigerian man announce their quick engagement, which leads to a family dinner in Oakland. Things aren’t exactly smooth, however, as the two very different cultures gather, and as identity, cultural differences and familial expectations all prove to be heated topics of conversation. Lorraine Hansberry Theatre’s rolling world premiere features the triumphant return of frequent collaborator Lisa B. Thompson, with the show stewarded by longtime Bay Area director and artist Edris Cooper-Anifowoshe.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller.jpg\" alt=\"\" class=\"wp-image-13993048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/IMG_0433-copy-smaller-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L to R) Linda Amayo-Hassan, Megan Calfas, Aidaa Peerzada and Julius Ernesto Rea make up Playwright’s Foundation residents for 2026-2027. (Playwrights Foundation)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://playwrightsfoundation.org/2026-bay-area-playwrights-festival/\">Bay Area Playwrights Festival\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 18–27\u003c/em>\u003cbr>\u003cem>Strand Theater, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>Play development has taken a hit around the country in the past 10 years, but the need for new work in American theater continues. Fortunately, consequential developers in the Bay Area still showcase new voices which may just write the next great American play. The Bay Area Playwrights Festival is coming up on its 47th year, and has seen more than 80 percent of its works go on to successful productions. This year’s festival features four new plays from diverse storytellers, giving audiences a sneak peek of the future. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape.jpg\" alt=\"\" class=\"wp-image-13993046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/KING-LEAR-landscape-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">J. Jha stars as the title character in William Shakespeare’s ‘King Lear’ as Oakland Theater Project jumps across the Bay to Z Space in San Francisco. (Adam Montanaro)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://oaklandtheaterproject.org/\">King Lear\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 25–Oct. 11\u003c/em>\u003cbr>\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>While twilight sets on the rule of King Lear, dividing his kingdom among his three daughters becomes another ploy in his quest for flattery. As his power dissipates, the king is proven to be a fool, one whose demise is entirely of his own making. Sound timely? Oakland Theater Project continues their daring season of rethinking classics and putting visceral new razors on stories of brutality. Lear is the model for many of theater’s greatest characters, and an embodiment of self-inflected wounds. Executive Artistic Director Michael Socrates Moran directs one of William Shakespeare’s most devastating tales. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"http://teatrovision.org\">Alebrijes: A Dia De Los Muertos Tale\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 8–18\u003c/em>\u003cbr>\u003cem>Mexican Heritage Plaza Theater, San José\u003c/em>\u003c/p>\n\n\n\n\u003cp>In the 1930s, papier-mâché artist Pedro Linares created the earliest alebrijes – a form of Mexican folk art depicting mythical hybrid animals. In Teatro Vision’s production of \u003cem>Alebrijes: A Dia De Los Muertos Tale\u003c/em>, playwright Georgina Escobar presents a mythological tale of Linares being chased by “La Muerte” through the colorful celebration of the Day of the Dead. The 42-year-old company and the production are both under the artistic hand of Rodrigo Garcia, and showcase all of the emotional pageantry of the festive holiday, with traditional Mexican music, comedy and community on full display in East San Jose. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059.jpg\" alt=\"\" class=\"wp-image-13993059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/GettyImages-1409168059-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Golden Thread Productions founder Torange Yeghiazarian. (Carlos Avila Gonzalez / San Francisco Chronicle via Getty Images)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"http://goldenthread.org\">ReOrient Festival\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 9–Nov. 1\u003c/em>\u003cbr>\u003cem>Potrero Stage, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>Founded by Torange Yeghiazarian, Golden Thread celebrates its 30th anniversary this year as a company that interrogates and celebrates Middle Eastern culture and identity. There’s never a shortage of candidates for Golden Thread’s signature festival, and this year is no different: of the 83 plays submitted, only five were selected. This year’s lineup focuses on Iran and Palestine, with rich diversity among the titles, one of which, \u003cem>Homing Pigeons & Co\u003c/em>, is directed by Yeghiazarian herself.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.sfbatco.org/\">Every Saturday Night\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 10–Nov. 1\u003c/em>\u003cbr>\u003cem>The Strand, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>“Harlem of the West” is a famous description of San Francisco’s Fillmore District in the ‘40s and ‘50s — and now, it’s the subject of a major world premiere for \u003ca href=\"https://www.sfbatco.org/\">SFBATCO\u003c/a>. \u003cem>Every Saturday Night\u003c/em> has been in development for four years, and it explores a San Francisco once filled with Black excellence and soul-stirring jazz. Those good times came to a halt when urban renewal’s displacement and gentrification robbed the world of a thriving Black community. Bay Area playwright, composer and director Danny Duncan joins forces with acclaimed playwright Michael Gene Sullivan for this anticipated production.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Alaska-Thunderfuck_Photo-Credit-Daniel-Rampulla.jpg\" alt=\"\" class=\"wp-image-13993047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Alaska-Thunderfuck_Photo-Credit-Daniel-Rampulla.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Alaska-Thunderfuck_Photo-Credit-Daniel-Rampulla-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Alaska-Thunderfuck_Photo-Credit-Daniel-Rampulla-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Alaska-Thunderfuck_Photo-Credit-Daniel-Rampulla-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Drag queen Alaska Thunderfuck will star as Mary Todd Lincoln in the San Francisco run of Cole Escola’s ‘Oh, Mary!’ (Daniel Rampulla)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.act-sf.org/whats-on/2026-27-season/oh-mary\">Oh, Mary!\u003c/a>’ and ‘\u003ca href=\"https://www.act-sf.org/whats-on/2026-27-season/john-proctor-is-the-villain\">John Proctor is the Villain\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>‘Oh, Mary!,’ \u003cem>\u003cem>Oct. 13–Nov. 1\u003c/em>\u003c/em>; Curran Theater, San Francisco \u003cbr>‘John Proctor is the Villain,’ \u003cem>\u003cem>Nov. 12–Dec. 6\u003c/em>\u003c/em>; Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>Picking between \u003cem>Oh, Mary!\u003c/em> or \u003cem>John Proctor is the Villain\u003c/em> when both are being produced at A.C.T. is like picking a favorite child — you might have one, but you don’t say it out loud. \u003cem>Oh, Mary!\u003c/em> is a riotous, side-splitting show (and 2026 Pulitzer finalist) by Cole Escola, while \u003cem>Proctor \u003c/em>is a Broadway hit that inspired the \u003cem>New York Times\u003c/em> headline “Why Women are Leaving This Broadway Show in Tears.” The two shows couldn’t be more different in tone and temperament, but they’re firmly in the can’t-miss category. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2500\" height=\"1667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1.jpg\" alt=\"\" class=\"wp-image-13993050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Liberation_0115r-1-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\" />\u003cfigcaption class=\"wp-element-caption\">The New York cast of Bess Wohl’s ‘Liberation’ at the Laura Pels Theatre in 2025. (Joan Marcus)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"http://berkeleyrep.org\">Liberation\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 23–Nov. 29\u003c/em>\u003cbr>\u003cem>Roda Theatre, Berkeley\u003c/em>\u003c/p>\n\n\n\n\u003cp>Bess Wohl’s \u003cem>Liberation\u003c/em>, a piercing memory play about a group of women who strategize in a 1970s recreation center basement about how to change the world, won a Pulitzer and Tony during its Broadway run. Whitney White, who directed, returns in the same role for this West Coast premiere, a co-production with the Geffen Playhouse in Los Angeles and Washington D.C.’s Studio Theatre. (And if you’re looking for more Wohl in the Bay, \u003ca href=\"https://www.thestage.org/production-history/barcelona\">San Jose Stage produces her 2012 play \u003cem>Barcelona\u003c/em> from Sept. 30–Oct. 18\u003c/a>.)\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "how-to-save-bay-area-theater-from-collapse-and-closures",
"title": "How Can We Save Bay Area Theater From Collapse? 11 Local Experts Weigh In",
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"headTitle": "How Can We Save Bay Area Theater From Collapse? 11 Local Experts Weigh In | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/category/theater\">Bay Area theater\u003c/a> is in dire circumstances.\u003c/p>\n\u003cp>The venerable \u003ca href=\"https://www.kqed.org/arts/tag/aurora-theatre\">Aurora Theatre Company\u003c/a> in Berkeley, facing a budget shortfall of $500,000 and dwindling audiences who never fully returned from the pandemic, has suspended its production calendar after this summer’s show, \u003ci>The Search for Signs of Intelligent Life in the Universe\u003c/i>.\u003c/p>\n\u003cp>Aurora isn’t alone. Since the 2020 pandemic, spaces that make up the heart of the Bay Area’s theater community have wrestled not only with patrons choosing to spend their time and money elsewhere, but a president who has \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">canceled millions in federal grants for the arts\u003c/a>. And while fundraising campaigns and crowdfunding have become commonplace, there’s only so many times a company can dip into the well of its most loyal patrons.\u003c/p>\n\u003cp>Names once synonymous with cutting-edge Bay Area theater, like Cutting Ball, Theater First, PianoFight and Exit Theatre, have \u003ca href=\"https://www.kqed.org/news/12046149/why-local-theater-is-in-free-fall\">shut down\u003c/a>. Cal Shakes in Orinda, which had been a member of the League of Resident Theatres with one of the most idyllic venues in the region, \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">ceased operations\u003c/a> in November after 50 years. The curtain even \u003ca href=\"https://www.kqed.org/arts/13929386/bay-area-childrens-theatre-to-close-citing-financial-challenges\">came down\u003c/a> on Bay Area Children’s Theatre.\u003c/p>\n\u003cp>[aside postID='news_12046149']What is the path forward for those companies still remaining, and wrestling with their own dips into the red? Against the dual headwinds of funding cuts and a presidential administration outwardly aggressive to any art that fails to honor the United States and her perceived exceptionalism, Bay Area theater is facing its greatest modern challenge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One thing theater makers have in abundance is creativity. But in order for Bay Area theater to have a future, it needs to consider new initiatives that meet the moment.\u003c/p>\n\u003cp>On the precipice of the fall season, we approached 11 prominent Bay Area directors, actors and administrators who mostly work in small- to mid-sized companies, and asked them all the same simple question:\u003c/p>\n\u003cp>\u003cb>“What must be done to ensure the survival of Bay Area theater?”\u003c/b>\u003c/p>\n\u003cp>\u003ci>Answers have been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Rinabeth Apostol, actor\u003c/h2>\n\u003cp>The word “diversify” bears repeating. I have been lucky to work in the Bay Area and beyond professionally for over 20 years, and while the theater landscape ebbs and flows, my peers and I ultimately find ourselves asking the same questions: Where are the audiences? Why is this theater at risk for closure? Why are we doing [insert name of “classic” play or musical with almost exclusively white cast here] again?\u003c/p>\n\u003cp>While there has been an uptick in more diverse plays, some theatres are still afraid to include more than one “Asian” or “Black” play in their seasons. Latinx and Indigenous stories and shows featuring actors with disabilities are sorely lacking… and not because they don’t exist! There is a staggering amount of new work and playwrights with distinct voices that are available to produce – it’s just a question of whether or not companies are willing to.\u003c/p>\n\u003cp>If theater companies diversify their programming, audiences will usually follow, which is essential in keeping theater doors open. Theater producers need to make an intentional effort to create work that will also enrich and hopefully grow their audience base – not just because the stages should reflect the world we live in, but because embracing a diverse audience will help create a more inclusive community… one that will hopefully reap tangible rewards. Producers need to look beyond their usual subscriber base, which isn’t usually very diverse. There needs to be a cultural and generational shift in what theaters perceive their “ideal audience” to be and they need to actively educate their subscriber base/typical audience members to also embrace that change. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Josh Costello, Artistic Director, Aurora Theatre Company, Berkeley\u003c/h2>\n\u003cp>The survival of Bay Area theater is not in question — there will always be theater in the Bay Area. Will there be a multitude of theater companies with different missions and visions, paying living wages to local professional artists, while providing the resources these artists need to do their best work? \u003c/p>\n\u003cp>To ensure a thriving Bay Area theater, we need to constantly advocate for theater’s intrinsic value as an art form, as well as its many positive impacts on our community. We need local and state governments to greatly increase funding for the arts. We need foundations to provide general operating support to organizations that employ local artists. We need to create a culture of philanthropy for the arts in the Bay Area tech community. And we need to inspire people from all walks of life across the Bay Area to put down their phones and attend live theater. \u003c/p>\n\u003cp>It starts with you. Write to your local government. Subscribe and donate if you can. Bring a friend to see a play. Make something beautiful.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Susi Damilano, co-founder and Producing Director, San Francisco Playhouse\u003c/h2>\n\u003cp>This question has as many answers as there are people in our community, but when I consider all the possibilities, it comes down to two essential elements: guts and grit.\u003c/p>\n\u003cp>Theater is a business built on humanity’s unlimited capacity to create. So many art forms converge to create a theatrical experience—writers, actors, painters, sculptors, dancers, musicians. These creations aren’t products that can be bottled and sold. Each production is unique. The same script can be interpreted in countless ways, and once a production is set, no two performances are exactly alike. Even the audience changes nightly. Theater is a living thing, which is precisely why it takes guts to invest in it and grit to sustain it. It’s inherently risky.\u003c/p>\n\u003cp>Yet nothing is more fulfilling than pouring your soul into a piece, wondering if it resonates, and then watching an entire audience respond—erupting in laughter, sitting in stunned silence, or moved to tears. We change lives. We create connections. We are essential as storytellers and mirrors of the human condition.\u003c/p>\n\u003cp>For theater to survive, we need people, governments, and foundations to have the guts to invest their time and money in this vital art form. We need artists and theater-makers to have the grit to persevere through difficult times, to keep collaborating with one another, and to keep creating. Failure is not an option.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Paul Flores, playwright, poet, professor\u003c/h2>\n\u003cp>Maybe there is the idea that bigger isn’t always better — let’s start with that, right? Maybe it’s about meeting people where they are in their wallets and in their comfort levels, because the money for theater just isn’t there. How many of those NEA grants were stripped from theater companies? The San Francisco Arts Commission gave away $5 million less this year than they did in 2024, which was $15 million. So money is going away from us.\u003c/p>\n\u003cp>I think we have to start thinking, how do we make pieces that are more accessible? Theater producers also have to start thinking about where they’re investing their resources. Do we need to be buying buildings? What does that do for the sustainability of the art, especially in San Francisco? \u003c/p>\n\u003cp>So many artists have left the Bay Area because they can’t afford rent. What are we doing to help with that? How are we helping the theater companies that currently exist to maintain their seasons? The issue is money right now, which is probably always the problem, right? Maybe it’s smaller productions, maybe it’s less stuff indoors, or less reliance on tech that will produce theater. It would ask for us to reimagine theater as a more open space. What could that look like? \u003c/p>\n\u003cp>I’m not trying to look for four walls, but looking for bigger spaces, places that are different, accessible and expansive, maybe a former used car lot or downtown office spaces. That’s what I’m looking at, cultural revitalization. Theater needs to think that way. If it is about neighborhoods, how can we get more democratic participation? We need to ask, hey neighborhoods, what do you want to see for theater? \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Reed Flores, playwright and director\u003c/h2>\n\u003cp>Bay Area theater is only going to survive if we start to be more intentional about sharing resources, and what we decide to produce. What I have learned this past season is, despite how volatile our industry is and how fickle external funding can be, we are absolutely capable of abundance. \u003c/p>\n\u003cp>Mutually beneficial partnerships, shared rehearsal spaces, co-productions, skill sharing, sharing materials and more. I worked with multiple “small” theaters this season, and each felt so expansive because they opened their doors to their sister theaters and hired beyond their usual network. We must keep filling our neighbor’s cup, in good faith that our neighbor will return the gesture. We are more imaginative and expansive and magical when we share.\u003c/p>\n\u003cp>On a less romantic note, we need to focus our energy on uplifting the new. We have to invest in the generative, brave, the unapologetic reflections of our Bay Area landscape. In the past two years I’ve seen more world premieres by local BIPOC artists, and it is some of the most exciting theater I’ve seen. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Margo Hall, actor, director, Artistic Director of Lorraine Hansberry Theatre\u003c/h2>\n\u003cp>To ensure the survival of Bay Area theater, we must invest in sustainable funding models, radical inclusion and community-rooted programming. We need bold investment in the artists and institutions that make this region vibrant, especially those led by people of color, who have long been under-resourced but have had a deep impact. Sustainable, multi-year funding must be the norm, not the exception.\u003c/p>\n\u003cp>We also need to nurture the next generation of theater-makers through mentorship, access and genuine opportunities to grow—not just on stage, but behind the scenes, in leadership, and among our audiences.\u003c/p>\n\u003cp>Bay Area theater will survive if we stay rooted in community. That means telling stories that reflect the people who live here, building trust with those who’ve felt excluded and using theater as a space for truth-telling, healing, and joy.\u003c/p>\n\u003cp>This isn’t about returning to what was. It’s about building something more just, more inclusive, and more connected. The work is urgent — and it’s absolutely possible.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Melissa Hillman, Programs Officer, Theatre Bay Area\u003c/h2>\n\u003cp>For companies trying to survive now, I think the way forward is cooperation — shared services, shared resources, shared space, even shared audiences; package ticket deals for several companies in the same area, for example. \u003c/p>\n\u003cp>We need to be reinvesting in theatre education for young people. There’s a mountain of evidence that shows K-12 theatre education benefits student achievement overall. Importantly for the survival of Bay Area theatre, it also creates theatre-goers, and due to the relentless gutting of theatre education in K-12 schools over the past 40 years, there are fewer adults today that consider theatre one of their entertainment options. A reinvestment in theatre education will also create more theatre jobs, making it easier for theatre makers to live and make theatre here. \u003c/p>\n\u003cp>Accessibility is key. This is both accessibility for disabled people, and financial accessibility. A $60 ticket is just not affordable for many people, and that’s going to get worse over the next few years. Access for disabled people is improving, but there are still issues with ADA compliance in a lot of venues. \u003c/p>\n\u003cp>And with the NEA off the table for most companies, state and local governments need to step up to increase funding. A financial stimulus in local theatre will increase local spending power overall, enabling more people to see theatre, creating a virtuous cycle. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Lisa Mallette, Artistic Director, City Lights Theatre Company, San José\u003c/h2>\n\u003cp>To ensure the survival of Bay Area theater, we need more than passion. We need a systemic shift in how we fund and sustain live performance. Foundations, both local and national, must rediscover their belief in theater’s power to create healthy, vibrant communities. They must recommit to supporting the arts.\u003c/p>\n\u003cp>Moreover, the area’s leading businesses have a stake in our cultural ecosystem. When tech giants, biotech firms and local enterprises invest in the arts — through sponsorships, matching gifts or employee programs — they help strengthen creativity, attract talent and build community.\u003c/p>\n\u003cp>Theater companies must also innovate rather than repeat pre-pandemic practices and hope for different results. At City Lights Theater Company, we’ve discovered that authentic relationships with patrons and donors create a necessary culture of care. Individuals sharing their time, talent and treasure have fueled our turnaround this year. Ticket sales are rebounding slowly, while rising expenses make individual giving essential to our balance.\u003c/p>\n\u003cp>By uniting foundations, businesses, artists and audiences, we can write a brighter future for Bay Area theater: one where every stakeholder feels a sense of belonging and shared purpose.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Lisa Ramirez, Associate Artistic Director, Oakland Theater Project\u003c/h2>\n\u003cp>I think the survival of the Bay Area theater is requiring us all to get more and more creative during this tenuous political period, especially with the smaller houses. This means building stronger local individual and private support systems and funding. This means collaborating and partnering with other theatres, schools and community organizations. It means hiring locally across the board, instead of “outsourcing” talent from other places. That means directors, actors, playwrights. \u003c/p>\n\u003cp>There is so much talent and heart here. We must hire locally to sustain our beautiful ecosystem. The audience members and subscribers appreciate this as well. Being a company member at Oakland Theater Project and writing, acting or working backstage and seeing familiar faces after different shows is not only inspiring but creates repeated shared experiences over time and fosters strong community ties.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Leigh Rondon-Davis, Leader of Artistic Curation and Marketing, Crowded Fire Theater\u003c/h2>\n\u003cp>I think real, intentional interdependence and interconnectedness is essential. I do not think we are going to survive in the siloed ways that we are, given the dwindling resources and the way it’s been impacting our artist community. We are going to have to really depend on and support one another in deeply intentional ways in order to survive — and that, to me, is going to look like partnerships and really robust collaborations between companies and organizations. That’s going to look like multidisciplinary collaborations where there’s also art and music.\u003c/p>\n\u003cp>We also need to look at new models for compensating artists so they can live in the Bay Area and still make work. It’s going to look like collaboration and some like real visioning with our local funders and our local governments on universal artist income or grants that support artists in residencies or fellowship, right? We’re going to really need to tap in to talk and work with one another and to help ensure that arts can stay in the Bay.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Jon Tracy, Artistic Director, Marin Shakespeare Company\u003c/h2>\n\u003cp>There’s a myth that somewhere out there is a perfect audience — either huge and universal, or niche and ready-made. Some hope that if the work is broad enough, everyone will show up. Others believe if it’s bold and specific enough, the right people will just find it. But neither really plays out.\u003c/p>\n\u003cp>I think we’ve lost faith in the art of the invitation — how we build bridges to those who don’t yet know we’re here, or who’ve never been given a reason to believe theatre is for them. That’s where trust begins.\u003c/p>\n\u003cp>I’m for transparency of intentions, never compromise of the work. Theatre doesn’t have to soften itself to reach people. Pop theatre, trying to please everyone, usually earns the trust of no one. We owe it to everyone to say who we are, what we care about, and be steady about it. Trust doesn’t come from having a universal message. It comes from consistent clarity.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Theatre isn’t dead. And when the wave of a world rushing narrowly toward the virtual finally breaks, people will come looking for each other, for connection, for the tangible church of humans creating something real, together.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/category/theater\">Bay Area theater\u003c/a> is in dire circumstances.\u003c/p>\n\u003cp>The venerable \u003ca href=\"https://www.kqed.org/arts/tag/aurora-theatre\">Aurora Theatre Company\u003c/a> in Berkeley, facing a budget shortfall of $500,000 and dwindling audiences who never fully returned from the pandemic, has suspended its production calendar after this summer’s show, \u003ci>The Search for Signs of Intelligent Life in the Universe\u003c/i>.\u003c/p>\n\u003cp>Aurora isn’t alone. Since the 2020 pandemic, spaces that make up the heart of the Bay Area’s theater community have wrestled not only with patrons choosing to spend their time and money elsewhere, but a president who has \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">canceled millions in federal grants for the arts\u003c/a>. And while fundraising campaigns and crowdfunding have become commonplace, there’s only so many times a company can dip into the well of its most loyal patrons.\u003c/p>\n\u003cp>Names once synonymous with cutting-edge Bay Area theater, like Cutting Ball, Theater First, PianoFight and Exit Theatre, have \u003ca href=\"https://www.kqed.org/news/12046149/why-local-theater-is-in-free-fall\">shut down\u003c/a>. Cal Shakes in Orinda, which had been a member of the League of Resident Theatres with one of the most idyllic venues in the region, \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">ceased operations\u003c/a> in November after 50 years. The curtain even \u003ca href=\"https://www.kqed.org/arts/13929386/bay-area-childrens-theatre-to-close-citing-financial-challenges\">came down\u003c/a> on Bay Area Children’s Theatre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What is the path forward for those companies still remaining, and wrestling with their own dips into the red? Against the dual headwinds of funding cuts and a presidential administration outwardly aggressive to any art that fails to honor the United States and her perceived exceptionalism, Bay Area theater is facing its greatest modern challenge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One thing theater makers have in abundance is creativity. But in order for Bay Area theater to have a future, it needs to consider new initiatives that meet the moment.\u003c/p>\n\u003cp>On the precipice of the fall season, we approached 11 prominent Bay Area directors, actors and administrators who mostly work in small- to mid-sized companies, and asked them all the same simple question:\u003c/p>\n\u003cp>\u003cb>“What must be done to ensure the survival of Bay Area theater?”\u003c/b>\u003c/p>\n\u003cp>\u003ci>Answers have been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Rinabeth Apostol, actor\u003c/h2>\n\u003cp>The word “diversify” bears repeating. I have been lucky to work in the Bay Area and beyond professionally for over 20 years, and while the theater landscape ebbs and flows, my peers and I ultimately find ourselves asking the same questions: Where are the audiences? Why is this theater at risk for closure? Why are we doing [insert name of “classic” play or musical with almost exclusively white cast here] again?\u003c/p>\n\u003cp>While there has been an uptick in more diverse plays, some theatres are still afraid to include more than one “Asian” or “Black” play in their seasons. Latinx and Indigenous stories and shows featuring actors with disabilities are sorely lacking… and not because they don’t exist! There is a staggering amount of new work and playwrights with distinct voices that are available to produce – it’s just a question of whether or not companies are willing to.\u003c/p>\n\u003cp>If theater companies diversify their programming, audiences will usually follow, which is essential in keeping theater doors open. Theater producers need to make an intentional effort to create work that will also enrich and hopefully grow their audience base – not just because the stages should reflect the world we live in, but because embracing a diverse audience will help create a more inclusive community… one that will hopefully reap tangible rewards. Producers need to look beyond their usual subscriber base, which isn’t usually very diverse. There needs to be a cultural and generational shift in what theaters perceive their “ideal audience” to be and they need to actively educate their subscriber base/typical audience members to also embrace that change. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Josh Costello, Artistic Director, Aurora Theatre Company, Berkeley\u003c/h2>\n\u003cp>The survival of Bay Area theater is not in question — there will always be theater in the Bay Area. Will there be a multitude of theater companies with different missions and visions, paying living wages to local professional artists, while providing the resources these artists need to do their best work? \u003c/p>\n\u003cp>To ensure a thriving Bay Area theater, we need to constantly advocate for theater’s intrinsic value as an art form, as well as its many positive impacts on our community. We need local and state governments to greatly increase funding for the arts. We need foundations to provide general operating support to organizations that employ local artists. We need to create a culture of philanthropy for the arts in the Bay Area tech community. And we need to inspire people from all walks of life across the Bay Area to put down their phones and attend live theater. \u003c/p>\n\u003cp>It starts with you. Write to your local government. Subscribe and donate if you can. Bring a friend to see a play. Make something beautiful.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Susi Damilano, co-founder and Producing Director, San Francisco Playhouse\u003c/h2>\n\u003cp>This question has as many answers as there are people in our community, but when I consider all the possibilities, it comes down to two essential elements: guts and grit.\u003c/p>\n\u003cp>Theater is a business built on humanity’s unlimited capacity to create. So many art forms converge to create a theatrical experience—writers, actors, painters, sculptors, dancers, musicians. These creations aren’t products that can be bottled and sold. Each production is unique. The same script can be interpreted in countless ways, and once a production is set, no two performances are exactly alike. Even the audience changes nightly. Theater is a living thing, which is precisely why it takes guts to invest in it and grit to sustain it. It’s inherently risky.\u003c/p>\n\u003cp>Yet nothing is more fulfilling than pouring your soul into a piece, wondering if it resonates, and then watching an entire audience respond—erupting in laughter, sitting in stunned silence, or moved to tears. We change lives. We create connections. We are essential as storytellers and mirrors of the human condition.\u003c/p>\n\u003cp>For theater to survive, we need people, governments, and foundations to have the guts to invest their time and money in this vital art form. We need artists and theater-makers to have the grit to persevere through difficult times, to keep collaborating with one another, and to keep creating. Failure is not an option.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Paul Flores, playwright, poet, professor\u003c/h2>\n\u003cp>Maybe there is the idea that bigger isn’t always better — let’s start with that, right? Maybe it’s about meeting people where they are in their wallets and in their comfort levels, because the money for theater just isn’t there. How many of those NEA grants were stripped from theater companies? The San Francisco Arts Commission gave away $5 million less this year than they did in 2024, which was $15 million. So money is going away from us.\u003c/p>\n\u003cp>I think we have to start thinking, how do we make pieces that are more accessible? Theater producers also have to start thinking about where they’re investing their resources. Do we need to be buying buildings? What does that do for the sustainability of the art, especially in San Francisco? \u003c/p>\n\u003cp>So many artists have left the Bay Area because they can’t afford rent. What are we doing to help with that? How are we helping the theater companies that currently exist to maintain their seasons? The issue is money right now, which is probably always the problem, right? Maybe it’s smaller productions, maybe it’s less stuff indoors, or less reliance on tech that will produce theater. It would ask for us to reimagine theater as a more open space. What could that look like? \u003c/p>\n\u003cp>I’m not trying to look for four walls, but looking for bigger spaces, places that are different, accessible and expansive, maybe a former used car lot or downtown office spaces. That’s what I’m looking at, cultural revitalization. Theater needs to think that way. If it is about neighborhoods, how can we get more democratic participation? We need to ask, hey neighborhoods, what do you want to see for theater? \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Reed Flores, playwright and director\u003c/h2>\n\u003cp>Bay Area theater is only going to survive if we start to be more intentional about sharing resources, and what we decide to produce. What I have learned this past season is, despite how volatile our industry is and how fickle external funding can be, we are absolutely capable of abundance. \u003c/p>\n\u003cp>Mutually beneficial partnerships, shared rehearsal spaces, co-productions, skill sharing, sharing materials and more. I worked with multiple “small” theaters this season, and each felt so expansive because they opened their doors to their sister theaters and hired beyond their usual network. We must keep filling our neighbor’s cup, in good faith that our neighbor will return the gesture. We are more imaginative and expansive and magical when we share.\u003c/p>\n\u003cp>On a less romantic note, we need to focus our energy on uplifting the new. We have to invest in the generative, brave, the unapologetic reflections of our Bay Area landscape. In the past two years I’ve seen more world premieres by local BIPOC artists, and it is some of the most exciting theater I’ve seen. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Margo Hall, actor, director, Artistic Director of Lorraine Hansberry Theatre\u003c/h2>\n\u003cp>To ensure the survival of Bay Area theater, we must invest in sustainable funding models, radical inclusion and community-rooted programming. We need bold investment in the artists and institutions that make this region vibrant, especially those led by people of color, who have long been under-resourced but have had a deep impact. Sustainable, multi-year funding must be the norm, not the exception.\u003c/p>\n\u003cp>We also need to nurture the next generation of theater-makers through mentorship, access and genuine opportunities to grow—not just on stage, but behind the scenes, in leadership, and among our audiences.\u003c/p>\n\u003cp>Bay Area theater will survive if we stay rooted in community. That means telling stories that reflect the people who live here, building trust with those who’ve felt excluded and using theater as a space for truth-telling, healing, and joy.\u003c/p>\n\u003cp>This isn’t about returning to what was. It’s about building something more just, more inclusive, and more connected. The work is urgent — and it’s absolutely possible.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Melissa Hillman, Programs Officer, Theatre Bay Area\u003c/h2>\n\u003cp>For companies trying to survive now, I think the way forward is cooperation — shared services, shared resources, shared space, even shared audiences; package ticket deals for several companies in the same area, for example. \u003c/p>\n\u003cp>We need to be reinvesting in theatre education for young people. There’s a mountain of evidence that shows K-12 theatre education benefits student achievement overall. Importantly for the survival of Bay Area theatre, it also creates theatre-goers, and due to the relentless gutting of theatre education in K-12 schools over the past 40 years, there are fewer adults today that consider theatre one of their entertainment options. A reinvestment in theatre education will also create more theatre jobs, making it easier for theatre makers to live and make theatre here. \u003c/p>\n\u003cp>Accessibility is key. This is both accessibility for disabled people, and financial accessibility. A $60 ticket is just not affordable for many people, and that’s going to get worse over the next few years. Access for disabled people is improving, but there are still issues with ADA compliance in a lot of venues. \u003c/p>\n\u003cp>And with the NEA off the table for most companies, state and local governments need to step up to increase funding. A financial stimulus in local theatre will increase local spending power overall, enabling more people to see theatre, creating a virtuous cycle. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Lisa Mallette, Artistic Director, City Lights Theatre Company, San José\u003c/h2>\n\u003cp>To ensure the survival of Bay Area theater, we need more than passion. We need a systemic shift in how we fund and sustain live performance. Foundations, both local and national, must rediscover their belief in theater’s power to create healthy, vibrant communities. They must recommit to supporting the arts.\u003c/p>\n\u003cp>Moreover, the area’s leading businesses have a stake in our cultural ecosystem. When tech giants, biotech firms and local enterprises invest in the arts — through sponsorships, matching gifts or employee programs — they help strengthen creativity, attract talent and build community.\u003c/p>\n\u003cp>Theater companies must also innovate rather than repeat pre-pandemic practices and hope for different results. At City Lights Theater Company, we’ve discovered that authentic relationships with patrons and donors create a necessary culture of care. Individuals sharing their time, talent and treasure have fueled our turnaround this year. Ticket sales are rebounding slowly, while rising expenses make individual giving essential to our balance.\u003c/p>\n\u003cp>By uniting foundations, businesses, artists and audiences, we can write a brighter future for Bay Area theater: one where every stakeholder feels a sense of belonging and shared purpose.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Lisa Ramirez, Associate Artistic Director, Oakland Theater Project\u003c/h2>\n\u003cp>I think the survival of the Bay Area theater is requiring us all to get more and more creative during this tenuous political period, especially with the smaller houses. This means building stronger local individual and private support systems and funding. This means collaborating and partnering with other theatres, schools and community organizations. It means hiring locally across the board, instead of “outsourcing” talent from other places. That means directors, actors, playwrights. \u003c/p>\n\u003cp>There is so much talent and heart here. We must hire locally to sustain our beautiful ecosystem. The audience members and subscribers appreciate this as well. Being a company member at Oakland Theater Project and writing, acting or working backstage and seeing familiar faces after different shows is not only inspiring but creates repeated shared experiences over time and fosters strong community ties.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Leigh Rondon-Davis, Leader of Artistic Curation and Marketing, Crowded Fire Theater\u003c/h2>\n\u003cp>I think real, intentional interdependence and interconnectedness is essential. I do not think we are going to survive in the siloed ways that we are, given the dwindling resources and the way it’s been impacting our artist community. We are going to have to really depend on and support one another in deeply intentional ways in order to survive — and that, to me, is going to look like partnerships and really robust collaborations between companies and organizations. That’s going to look like multidisciplinary collaborations where there’s also art and music.\u003c/p>\n\u003cp>We also need to look at new models for compensating artists so they can live in the Bay Area and still make work. It’s going to look like collaboration and some like real visioning with our local funders and our local governments on universal artist income or grants that support artists in residencies or fellowship, right? We’re going to really need to tap in to talk and work with one another and to help ensure that arts can stay in the Bay.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Jon Tracy, Artistic Director, Marin Shakespeare Company\u003c/h2>\n\u003cp>There’s a myth that somewhere out there is a perfect audience — either huge and universal, or niche and ready-made. Some hope that if the work is broad enough, everyone will show up. Others believe if it’s bold and specific enough, the right people will just find it. But neither really plays out.\u003c/p>\n\u003cp>I think we’ve lost faith in the art of the invitation — how we build bridges to those who don’t yet know we’re here, or who’ve never been given a reason to believe theatre is for them. That’s where trust begins.\u003c/p>\n\u003cp>I’m for transparency of intentions, never compromise of the work. Theatre doesn’t have to soften itself to reach people. Pop theatre, trying to please everyone, usually earns the trust of no one. We owe it to everyone to say who we are, what we care about, and be steady about it. Trust doesn’t come from having a universal message. It comes from consistent clarity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\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.",
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
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