10 of the Best Plays and Musicals to See This Fall in the Bay Area
‘The Cherry Orchard’ Is a Captivating Portrait of Family Delusion
Vaccine Satire ‘Eureka Day’ Comes Home to the Bay Area
Powerful ‘Dragon Lady’ Weaves Tales of Trauma, Karaoke — and a Very Memorable Matriarch
Lance Gardner Is Marin Theatre Company’s New Artistic Director
One-Man Show Examines a Life Spent Studying Viruses in 'The Catastrophist'
'Noura' and 'Mimi’s Suitcase' Explore the Iranian and Iraqi Diasporas
Toni Morrison's 'Jazz' Comes to Life at Marin Theatre Co.
The Best Bay Area Theater of 2017
For the Holidays, Two Plays Adapted From Movies — Plus One Winner
On the Air: Cy and Jeffrey's Do List Picks for Sept. 8, 2017
Going Under the Covers with America's Founding Fathers and Mates
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"slug": "best-plays-musicals-fall-2026-sf-berkeley-oakland-mill-valley-san-jose",
"title": "10 of the Best Plays and Musicals to See This Fall in the Bay Area",
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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\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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"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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"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\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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"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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"\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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"\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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"\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\"/>\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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"attrs": {
"text": "ReOrient Festival",
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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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"\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>“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\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\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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"\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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"title": "‘The Cherry Orchard’ Is a Captivating Portrait of Family Delusion",
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"content": "\u003cp>Delusions do not pay the bills.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/tag/marin-theatre-company\">Marin Theatre\u003c/a>’s interpretation of Anton Chekhov’s final play \u003cem>The Cherry Orchard\u003c/em>, Liubóv is coming to terms with this fact, but in the worst way possible. It is her pride, and her belief that everything will magically turn around, that causes her downfall — all while disregarding that her aristocratic lot in society teeters on the brink of disappearance.\u003c/p>\n\u003cp>In a wonderful translation by Paul Schmidt, Marin Theatre’s production soars with a gleaming cast built from some of the best acting talents in the region. Those talents are showcased with terrific movement and sharp tableaus from Carey Perloff’s erudite direction.\u003c/p>\n\u003cfigure id=\"attachment_13986404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg\" alt=\"\" width=\"2000\" height=\"1305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-1536x1002.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liubóv Andréyevna Ranyévskaya (Liz Sklar), Lopákhin (Lance Gardner), Firs (Howard Swain), and Gáyev (Anthony Fusco) in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv (Liz Sklar) returns from Paris after a five-year absence to her “nursery,” a residence that sits on the massive land beside the family cherry orchard. The property has become a drag on the family’s bank account, the orchard no longer holding the magic that birthed so many variations of cherry, including the delicious dried one that 87-year-old valet Firs (Howard Swain) recalls with luscious longing. When the wealthy Lopákhin (Lance Gardner), whose enslaved father and grandfather worked this very land, suggests building summer cottages as a way to stay, Liubóv scoffs at the mere suggestion.\u003c/p>\n\u003cp>But what options are there? Liubóv has lived her life firmly upon the richest clouds of Russian society at the turn of the 20th century. Her lifetime habit of wasteful spending is not a new problem, but one that’s reached a breaking point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The power of Chekhov’s story is evident: all of the characters in this archaic aristocracy are careening towards extinction. There’s Liubóv’s adopted daughter Varya (Rosie Hallett), who awkwardly prances around with a perpetual hood over her head, hopelessly in love with Lopákhin while facing her own demise as the estate’s manager. Liubóv’s brother Gáyev (Anthony Fusco) presents as a hollow member of the aristocracy, often flexing his bona fides and penchant for great billiards shots, while also insulting those he feels are beneath him.\u003c/p>\n\u003cfigure id=\"attachment_13986409\" class=\"wp-caption aligncenter\" style=\"max-width: 1409px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg\" alt=\"\" width=\"1409\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg 1409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-1082x1536.jpg 1082w\" sizes=\"auto, (max-width: 1409px) 100vw, 1409px\">\u003cfigcaption class=\"wp-caption-text\">Ánya (Anna Takayo) and Trofímov (Joseph O’Malley) reflect on the estate in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv’s biological daughter Ánya (Anna Takayo) is only 17, but shares a deep connection with eternal student Trofímov (Joseph O’Malley), who advertises to be above love, focusing instead on his idealistic worldview that resists materialism.\u003c/p>\n\u003cp>Perloff’s direction shines in its commitment to symbolism, highly enhanced by Nina Ball’s scenic design with plenty of rustic, antique dolls that have seen better days, beautifully lit by Kate Boyd. For much of the play, actions only exist in a grander context.\u003c/p>\n\u003cp>[aside postID='arts_13984286']Notice the brilliant moment where a passerby begs for money and asks to cut through the orchard. With Liubóv’s action of presenting this beggar a gold coin, the others thunder that her own serfs are starving. Her inability to understand her own frivolity is perhaps her greatest tragic flaw. Throwing a ball you can’t afford on the day your property is about to be auctioned off? Bless her heart.\u003c/p>\n\u003cp>Does this allow for a completely empathetic view of Liubóv, who is genuinely crushed by her own vices? Well, yes and no. While many are in no rush to shed tears for a class that has built their fortunes on the literal backs of others, the production makes clear the pain of letting go of the place where Liubóv’s young child lost his life.\u003c/p>\n\u003cfigure id=\"attachment_13986402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg\" alt=\"\" width=\"2000\" height=\"1459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lopákhin (Lance Gardner) and Várya (Rosie Hallett) share a moment in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmidt’s interpretation strikes a wonderful balance of drawing out the story’s tragic elements while being terribly funny. As Píschik, Danny Scheie continues to display his sharp hilarity as one of the region’s most skilled comic actors, whether searching for some money or dealing with a sudden jolt of gout. Jomar Tagatac’s bumbling clerk Yepikhódov showcases his fantastic commitment to physical comedy.\u003c/p>\n\u003cp>[aside postid='arts_13983649']The production’s range belongs to both Sklar and Gardner, two performers who possess oodles of stage presence. Sklar’s strength is advocating for a character who’s clueless about what is coming. Her performance is loaded with melancholy radiance — choosing to dance in the most inopportune moments, while hoping this will all just go away.\u003c/p>\n\u003cp>Gardner’s power comes from understanding how his Lopákhin has the upper hand, and his unbridled glee at his rise from the lowest rungs of his class, now on the cusp of generational financial power. That makes for one particularly breathtaking, devastating moment, when he’s alone with Varya in a perfect position to propose, choosing instead to pull the earth from beneath her. (Hallett, as Varya, is in full command of how to play disappointment and devastation with grace.)\u003c/p>\n\u003cfigure id=\"attachment_13986403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Ánya (Anna Takayo) and Várya (Rosie Hallett) connect in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the play’s symbols are as striking as what Swain does with Firs, who gently appears throughout the story. In one of the play’s most painful moments, Firs is simply forgotten, a life deemed insignificant now cast aside, no matter how loyal he was to those whom he loved. Swain’s devastating physical work, showcasing Firs’ body slowly giving way to age, speaks volumes about the fragile nature of the past.\u003c/p>\n\u003cp>Chekhov’s characters are sometimes described as sipping delicious hot tea while the walls crumble around them. In \u003cem>The Cherry Orchard\u003c/em>, it’s not walls, but trees. And when those trees finally crumble, due to Lopákhin’s new vision, all that’s left of this obscure cherry orchard is a lonely old man, riddled with dementia, forgotten and unafraid.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Cherry Orchard’ runs through Feb. 22 at Marin Theatre (397 Miller Ave., Mill Valley). \u003ca href=\"https://www.marintheatre.org/show-details/the-cherry-orchard\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Delusions do not pay the bills.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/tag/marin-theatre-company\">Marin Theatre\u003c/a>’s interpretation of Anton Chekhov’s final play \u003cem>The Cherry Orchard\u003c/em>, Liubóv is coming to terms with this fact, but in the worst way possible. It is her pride, and her belief that everything will magically turn around, that causes her downfall — all while disregarding that her aristocratic lot in society teeters on the brink of disappearance.\u003c/p>\n\u003cp>In a wonderful translation by Paul Schmidt, Marin Theatre’s production soars with a gleaming cast built from some of the best acting talents in the region. Those talents are showcased with terrific movement and sharp tableaus from Carey Perloff’s erudite direction.\u003c/p>\n\u003cfigure id=\"attachment_13986404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg\" alt=\"\" width=\"2000\" height=\"1305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen19-1536x1002.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Liubóv Andréyevna Ranyévskaya (Liz Sklar), Lopákhin (Lance Gardner), Firs (Howard Swain), and Gáyev (Anthony Fusco) in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv (Liz Sklar) returns from Paris after a five-year absence to her “nursery,” a residence that sits on the massive land beside the family cherry orchard. The property has become a drag on the family’s bank account, the orchard no longer holding the magic that birthed so many variations of cherry, including the delicious dried one that 87-year-old valet Firs (Howard Swain) recalls with luscious longing. When the wealthy Lopákhin (Lance Gardner), whose enslaved father and grandfather worked this very land, suggests building summer cottages as a way to stay, Liubóv scoffs at the mere suggestion.\u003c/p>\n\u003cp>But what options are there? Liubóv has lived her life firmly upon the richest clouds of Russian society at the turn of the 20th century. Her lifetime habit of wasteful spending is not a new problem, but one that’s reached a breaking point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The power of Chekhov’s story is evident: all of the characters in this archaic aristocracy are careening towards extinction. There’s Liubóv’s adopted daughter Varya (Rosie Hallett), who awkwardly prances around with a perpetual hood over her head, hopelessly in love with Lopákhin while facing her own demise as the estate’s manager. Liubóv’s brother Gáyev (Anthony Fusco) presents as a hollow member of the aristocracy, often flexing his bona fides and penchant for great billiards shots, while also insulting those he feels are beneath him.\u003c/p>\n\u003cfigure id=\"attachment_13986409\" class=\"wp-caption aligncenter\" style=\"max-width: 1409px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg\" alt=\"\" width=\"1409\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16.jpg 1409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen16-1082x1536.jpg 1082w\" sizes=\"auto, (max-width: 1409px) 100vw, 1409px\">\u003cfigcaption class=\"wp-caption-text\">Ánya (Anna Takayo) and Trofímov (Joseph O’Malley) reflect on the estate in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liubóv’s biological daughter Ánya (Anna Takayo) is only 17, but shares a deep connection with eternal student Trofímov (Joseph O’Malley), who advertises to be above love, focusing instead on his idealistic worldview that resists materialism.\u003c/p>\n\u003cp>Perloff’s direction shines in its commitment to symbolism, highly enhanced by Nina Ball’s scenic design with plenty of rustic, antique dolls that have seen better days, beautifully lit by Kate Boyd. For much of the play, actions only exist in a grander context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Notice the brilliant moment where a passerby begs for money and asks to cut through the orchard. With Liubóv’s action of presenting this beggar a gold coin, the others thunder that her own serfs are starving. Her inability to understand her own frivolity is perhaps her greatest tragic flaw. Throwing a ball you can’t afford on the day your property is about to be auctioned off? Bless her heart.\u003c/p>\n\u003cp>Does this allow for a completely empathetic view of Liubóv, who is genuinely crushed by her own vices? Well, yes and no. While many are in no rush to shed tears for a class that has built their fortunes on the literal backs of others, the production makes clear the pain of letting go of the place where Liubóv’s young child lost his life.\u003c/p>\n\u003cfigure id=\"attachment_13986402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg\" alt=\"\" width=\"2000\" height=\"1459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen11-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lopákhin (Lance Gardner) and Várya (Rosie Hallett) share a moment in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmidt’s interpretation strikes a wonderful balance of drawing out the story’s tragic elements while being terribly funny. As Píschik, Danny Scheie continues to display his sharp hilarity as one of the region’s most skilled comic actors, whether searching for some money or dealing with a sudden jolt of gout. Jomar Tagatac’s bumbling clerk Yepikhódov showcases his fantastic commitment to physical comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The production’s range belongs to both Sklar and Gardner, two performers who possess oodles of stage presence. Sklar’s strength is advocating for a character who’s clueless about what is coming. Her performance is loaded with melancholy radiance — choosing to dance in the most inopportune moments, while hoping this will all just go away.\u003c/p>\n\u003cp>Gardner’s power comes from understanding how his Lopákhin has the upper hand, and his unbridled glee at his rise from the lowest rungs of his class, now on the cusp of generational financial power. That makes for one particularly breathtaking, devastating moment, when he’s alone with Varya in a perfect position to propose, choosing instead to pull the earth from beneath her. (Hallett, as Varya, is in full command of how to play disappointment and devastation with grace.)\u003c/p>\n\u003cfigure id=\"attachment_13986403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/MT_TheCherryOrchard_DavidAllen13-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Ánya (Anna Takayo) and Várya (Rosie Hallett) connect in Marin Theatre’s ‘The Cherry Orchard.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the play’s symbols are as striking as what Swain does with Firs, who gently appears throughout the story. In one of the play’s most painful moments, Firs is simply forgotten, a life deemed insignificant now cast aside, no matter how loyal he was to those whom he loved. Swain’s devastating physical work, showcasing Firs’ body slowly giving way to age, speaks volumes about the fragile nature of the past.\u003c/p>\n\u003cp>Chekhov’s characters are sometimes described as sipping delicious hot tea while the walls crumble around them. In \u003cem>The Cherry Orchard\u003c/em>, it’s not walls, but trees. And when those trees finally crumble, due to Lopákhin’s new vision, all that’s left of this obscure cherry orchard is a lonely old man, riddled with dementia, forgotten and unafraid.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Cherry Orchard’ runs through Feb. 22 at Marin Theatre (397 Miller Ave., Mill Valley). \u003ca href=\"https://www.marintheatre.org/show-details/the-cherry-orchard\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Vaccine Satire ‘Eureka Day’ Comes Home to the Bay Area",
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"content": "\u003cp>Over the past seven years, Bay Area actor Lisa Anne Porter has gained a deep appreciation for her character Suzanne, the founder of a fictional private school in Berkeley and a mother of six who refuses to vaccinate her kids.\u003c/p>\n\u003cp>“I have enormous sympathy for someone who feels like the rest of the world looks at her like she’s crazy, and that she doesn’t have intelligence and integrity,” Porter said as she rehearsed to reprise her role in \u003ci>Eureka Day\u003c/i> at Mill Valley’s Marin Theatre. “Living with it for so long, there are other aspects of her that are really coming forward as to why she’s so triggered by what happens in the room. Certainly COVID and Black Lives Matter.”\u003c/p>\n\u003cp>\u003ci>Eureka Day\u003c/i> first premiered in 2018 at Berkeley’s Aurora Theatre, which is co-producing the play’s return to the Bay Area just a few months after \u003ca href=\"https://www.kqed.org/arts/13977120/eureka-day-jonathan-spector-tony-awards-interview\">it won a Tony Award, going to playwright Jonathan Spector, for Best Revival\u003c/a>. The play’s homecoming, which begins previews Thursday, Aug. 28, welcomes back Porter and many other members of the original Berkeley cast. Josh Costello, Aurora’s artistic director who directed the 2018 world premiere, returns to helm this production.\u003c/p>\n\u003cfigure id=\"attachment_13980456\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Josh Costello talks with the cast during a rehearsal for ‘Eureka Day’ at Marin Theatre in Mill Valley on Aug. 19, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The fact is that vaccines are safe and effective, and the play gives voice to somebody who is living in a different set of reality with a different set of facts, based on information that is false,” Costello said. “Yet the play does a really remarkable job of humanizing that character.” \u003c/p>\n\u003cp>The prescience of \u003ci>Eureka Day\u003c/i>, a satire about vaccine hesitancy at an elite Berkeley private school, partly explains the show’s wide appeal and successful global run. Spector sought to tell a story about people learning to come together despite their fundamentally different views. Meanwhile, the issue of vaccine politics has gained more poignancy, following the COVID-19 pandemic and the “Make America Healthy Again” movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One hilarious scene in particular predicted our Zoom-filled future: The audience sees the online chatroom that the actors discuss on stage in real time. Costello said that during the show’s first preview at Aurora, the audience laughter was so strong, lasting a full five minutes, it was difficult to hear the actors’ dialogue. In response, Spector rewrote the lines to make it less funny.\u003c/p>\n\u003cp>https://youtu.be/SukpRbP7joE?si=DoWcTs7sa7ojVGXF\u003c/p>\n\u003cp>“Being there that first day, we couldn’t hear one another. It was this moment of, ‘Do we just keep talking and hope that at the end we end up in the right place?’” Porter said. “It was unbelievable. I’ve never had an experience like that before.”\u003c/p>\n\u003cp>The return of \u003ci>Eureka Day\u003c/i> is bittersweet, however. This year, Aurora announced the suspension of its 2025–26 season due to ongoing financial difficulties. Costello said attendance, subscribers, donations and grants have decreased significantly since the pandemic, while expenses have risen.\u003c/p>\n\u003cp>[aside postID='arts_13978734']Marin Theatre hopes the relevant comedy can start its 2025-26 season on a high note, given its similar financial challenges. The theater has also faced losses of donors and government grants, and its subscriber base has dropped to a third of pre-pandemic levels, according to Lance Gardner, executive artistic director for Marin Theatre.\u003c/p>\n\u003cp>“I encourage people to attend live theater, to consider giving to nonprofit organizations like us and to understand that the ticket prices that we’re charging are nowhere near what we need to cover our expenses,” Gardner said. “Shows like [\u003ci>Eureka Day\u003c/i>] can change individuals, and those individuals can change others, and that can have an effect on the entire society.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Eureka Day’ runs from Aug. 28–Sept. 21 at Marin Theatre (397 Miller Ave., Mill Valley). \u003ca href=\"https://purchase.marintheatre.org/EventAvailability?EventId=49801\">Tickets and more details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past seven years, Bay Area actor Lisa Anne Porter has gained a deep appreciation for her character Suzanne, the founder of a fictional private school in Berkeley and a mother of six who refuses to vaccinate her kids.\u003c/p>\n\u003cp>“I have enormous sympathy for someone who feels like the rest of the world looks at her like she’s crazy, and that she doesn’t have intelligence and integrity,” Porter said as she rehearsed to reprise her role in \u003ci>Eureka Day\u003c/i> at Mill Valley’s Marin Theatre. “Living with it for so long, there are other aspects of her that are really coming forward as to why she’s so triggered by what happens in the room. Certainly COVID and Black Lives Matter.”\u003c/p>\n\u003cp>\u003ci>Eureka Day\u003c/i> first premiered in 2018 at Berkeley’s Aurora Theatre, which is co-producing the play’s return to the Bay Area just a few months after \u003ca href=\"https://www.kqed.org/arts/13977120/eureka-day-jonathan-spector-tony-awards-interview\">it won a Tony Award, going to playwright Jonathan Spector, for Best Revival\u003c/a>. The play’s homecoming, which begins previews Thursday, Aug. 28, welcomes back Porter and many other members of the original Berkeley cast. Josh Costello, Aurora’s artistic director who directed the 2018 world premiere, returns to helm this production.\u003c/p>\n\u003cfigure id=\"attachment_13980456\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Josh Costello talks with the cast during a rehearsal for ‘Eureka Day’ at Marin Theatre in Mill Valley on Aug. 19, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The fact is that vaccines are safe and effective, and the play gives voice to somebody who is living in a different set of reality with a different set of facts, based on information that is false,” Costello said. “Yet the play does a really remarkable job of humanizing that character.” \u003c/p>\n\u003cp>The prescience of \u003ci>Eureka Day\u003c/i>, a satire about vaccine hesitancy at an elite Berkeley private school, partly explains the show’s wide appeal and successful global run. Spector sought to tell a story about people learning to come together despite their fundamentally different views. Meanwhile, the issue of vaccine politics has gained more poignancy, following the COVID-19 pandemic and the “Make America Healthy Again” movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One hilarious scene in particular predicted our Zoom-filled future: The audience sees the online chatroom that the actors discuss on stage in real time. Costello said that during the show’s first preview at Aurora, the audience laughter was so strong, lasting a full five minutes, it was difficult to hear the actors’ dialogue. In response, Spector rewrote the lines to make it less funny.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SukpRbP7joE'\n title='//www.youtube.com/embed/SukpRbP7joE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Being there that first day, we couldn’t hear one another. It was this moment of, ‘Do we just keep talking and hope that at the end we end up in the right place?’” Porter said. “It was unbelievable. I’ve never had an experience like that before.”\u003c/p>\n\u003cp>The return of \u003ci>Eureka Day\u003c/i> is bittersweet, however. This year, Aurora announced the suspension of its 2025–26 season due to ongoing financial difficulties. Costello said attendance, subscribers, donations and grants have decreased significantly since the pandemic, while expenses have risen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Marin Theatre hopes the relevant comedy can start its 2025-26 season on a high note, given its similar financial challenges. The theater has also faced losses of donors and government grants, and its subscriber base has dropped to a third of pre-pandemic levels, according to Lance Gardner, executive artistic director for Marin Theatre.\u003c/p>\n\u003cp>“I encourage people to attend live theater, to consider giving to nonprofit organizations like us and to understand that the ticket prices that we’re charging are nowhere near what we need to cover our expenses,” Gardner said. “Shows like [\u003ci>Eureka Day\u003c/i>] can change individuals, and those individuals can change others, and that can have an effect on the entire society.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Eureka Day’ runs from Aug. 28–Sept. 21 at Marin Theatre (397 Miller Ave., Mill Valley). \u003ca href=\"https://purchase.marintheatre.org/EventAvailability?EventId=49801\">Tickets and more details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "powerful-dragon-lady-weaves-tales-of-trauma-karaoke-and-a-very-memorable-matriarch",
"title": "Powerful ‘Dragon Lady’ Weaves Tales of Trauma, Karaoke — and a Very Memorable Matriarch",
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"headTitle": "Powerful ‘Dragon Lady’ Weaves Tales of Trauma, Karaoke — and a Very Memorable Matriarch | KQED",
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"content": "\u003cp>In Sara Porkalob’s hands, the haunting, succulent Filipino standard “Dahil Sa’yo” is sheer perfection, a beautiful aria that leaves zero amount of passion to the imagination.\u003c/p>\n\u003cp>As she delves into her maternal family history for 100 minutes onstage, she distills the story succinctly in her singing of Mike Velarde, Jr.’s 1938 ballad:\u003c/p>\n\u003cp>\u003cem>Dahil sa’yo ako’y matapang / Because of you I’m brave\u003c/em>\u003cbr>\n\u003cem>Dahil sa’yo ako’y lalaban / Because of you I will fight\u003c/em>\u003cbr>\n\u003cem>Para sa’yo pagmamahal na walang katapusan / For you a love with no end\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13936220']Porkalob’s one-woman opus \u003cem>Dragon Lady\u003c/em>, running through Dec. 17 at Marin Theatre Company, is part of a trilogy of plays about the women in her family. It’s also the culmination of a gift she was given by her boss of a grandmother, Maria Sr.\u003c/p>\n\u003cp>In \u003cem>Dragon Lady\u003c/em>, Maria Sr. is less than thrilled about the prospects of a 60th birthday party. But, with this milestone date, she decides she’d better tell her past family stories to someone before it’s too late. Fortunately, those stories land with Porkalob, a Seattle-based performer who has gone on to a celebrated storytelling career, including her Broadway debut in 2022. (That New York performance, starring as Edward Rutledge in \u003cem>1776\u003c/em>, introduced Porkalob to the masses in more ways than one; \u003ca href=\"https://www.vulture.com/2022/10/1776-star-sara-porkalob-interview-molasses-to-rum.html\">an interview in Vulture\u003c/a> where she shared her frank thoughts on the production made her a national conversation piece.)\u003c/p>\n\u003cfigure id=\"attachment_13938722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_177-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938722\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_177-800x1203.jpg\" alt=\"a Filipina woman in black stands on a stage with her hands over her heart in front of a large projected image of her grandmother\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-scaled.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob stands in front of an image of Maria Senora Porkalob, the matriarch of the family, in ‘Dragon Lady.’ \u003ccite>(Kevin Berne/Marin Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the framing of a birthday party has a slightly contrived feel, it ultimately serves as a scintillating showcase for the whirling-dervish talents of Porkalob. She plays a multitude of characters, most of them effective, within a sharply metaphoric scene design (from Randy Wong-Westbrooke) and beautiful lighting design (by the always-solid Spense Matubang). The musical backing of three-piece combo Hot Damn Scandal provides terrific texture, pulled together sweetly by director Andrew Russell.\u003c/p>\n\u003cp>As Grandma sets foot on stage to start the proceedings, injecting morsels of Tagalog in her delivery, she provides a taste of her past talents as she shows off her new karaoke machine. Some dulcet, velvety-smooth trills emanate from Porkalob’s golden pipes, immediately accompanied by hip-hop beats, thanks to the machine’s remixing capabilities. Grandma’s giddiness over her toy is tempered, though, with anxiety over the birthday festivities.\u003c/p>\n\u003cfigure id=\"attachment_13938723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_152-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_152-800x1203.jpg\" alt=\"three men in a jazz ensemble dressed in red suits and black bowler hats stand on a staircase on a stage\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-scaled.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jazz ensemble members of Hot Damn Scandal in Sara Porkalob’s ‘Dragon Lady’ at Marin Theatre Company. \u003ccite>(Kevin Berne/Marin Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Porkalob’s approach to her grandmother is reverent without skirting past the complexities that made living with a complicated matriarch such a chore: Grandma would disappear for weeks on end, we learn through Sara’s mother Maria, working multiple jobs to support the family.\u003c/p>\n\u003cp>But is that \u003cem>really\u003c/em> what she was doing? For as much as Grandma worked, there was very little to show for it. A microwave rendered useless due to electricity being shut off in their Washington trailer park structure is another indignity suffered. Warming up a bottle for the newest baby in the house challenges 13-year-old Maria, a young girl spending more time caring for her baby sister in her mother’s absence than going to school. It’s soul-crushing to hear Maria express her crippling fear as she grapples with a pitch-black house full of petrified littles.\u003c/p>\n\u003cp>What’s clear: the women in Porkalob’s tale are fighters. Grandma’s brand was built in a tawdry Manila nightclub, where seductive gangsters fawned over Maria Sr. and her heavenly vocal talents. The thrilling yet seedy world of sketchy figures, murderous propositions and a never-ending debt to the lordess of the club provides the backdrop for Grandma’s harrowing escape.\u003c/p>\n\u003cp>And while the exit from the underbelly of gangsters has its benefits, domestic life — with too many famished kids — offers very little respite. Porkalob’s narrative moves expediently from the devastation of hunger to the sweet humor of complicated family life.\u003c/p>\n\u003cfigure id=\"attachment_13938730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_049-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_049-800x532.jpg\" alt=\"a woman in all black stands on a stage lit in a red and purple\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-2048x1362.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1920x1277.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob performs in ‘Dragon Lady,’ with scene design by Randy Wong-Westbrooke and lighting design by Spense Matubang, at Marin Theatre Company. \u003ccite>(Kevin Berne/Marin Theatre Company / )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One particularly poignant moment involves two of Grandma’s empathic boys, Junior and Charlie, who devise a scheme to snag donated groceries thanks to some borrowed Boy Scout uniforms. Earnestly, they stand in front of each house, gently inquiring for something to eat. “We can’t just ask for food, we have to ask for ‘food donations,’” instructs Junior with crushing clarity.\u003c/p>\n\u003cp>The payoff of the young tykes and their trudging door-to-door is an emotional punch to the gut, as young Maria discovers what they’ve just done. “We can all have spam fried rice for dinner tonight,” declares an emotional Maria in a particularly tear-inducing delivery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The complicated history of the strong women of Sara’s family, the charms of Grandma and the unsympathetic lens through which daughter Maria recalls that generational trauma — they all lend the story its power. Porkalob pulls not one punch in the way she translates past damages, devastating the audience through hilarity. It’s a testament to Grandma’s foresight that she deemed these stories, with all their warts, to be a necessary gift to her eldest granddaughter, the one who shared the treasure with a grateful audience.\u003c/p>\n\u003cp>While the title \u003cem>Dragon Lady\u003c/em> nods to the grandmother who fought for everything, the story actually has three Filipina heroines. Thanks to the immense talents of Sara Porkalob, the audience sees that all the beautiful brown women showcased in her piece are brave fighters, with a transcendent love that has no end.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Dragon Lady’ plays at Marin Theatre Company (397 Miller Ave., Mill Valley) through Dec. 17, 2023. \u003ca href=\"https://www.marintheatre.org/productions/dragon-lady\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Porkalob’s one-woman opus \u003cem>Dragon Lady\u003c/em>, running through Dec. 17 at Marin Theatre Company, is part of a trilogy of plays about the women in her family. It’s also the culmination of a gift she was given by her boss of a grandmother, Maria Sr.\u003c/p>\n\u003cp>In \u003cem>Dragon Lady\u003c/em>, Maria Sr. is less than thrilled about the prospects of a 60th birthday party. But, with this milestone date, she decides she’d better tell her past family stories to someone before it’s too late. Fortunately, those stories land with Porkalob, a Seattle-based performer who has gone on to a celebrated storytelling career, including her Broadway debut in 2022. (That New York performance, starring as Edward Rutledge in \u003cem>1776\u003c/em>, introduced Porkalob to the masses in more ways than one; \u003ca href=\"https://www.vulture.com/2022/10/1776-star-sara-porkalob-interview-molasses-to-rum.html\">an interview in Vulture\u003c/a> where she shared her frank thoughts on the production made her a national conversation piece.)\u003c/p>\n\u003cfigure id=\"attachment_13938722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_177-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938722\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_177-800x1203.jpg\" alt=\"a Filipina woman in black stands on a stage with her hands over her heart in front of a large projected image of her grandmother\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-scaled.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob stands in front of an image of Maria Senora Porkalob, the matriarch of the family, in ‘Dragon Lady.’ \u003ccite>(Kevin Berne/Marin Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the framing of a birthday party has a slightly contrived feel, it ultimately serves as a scintillating showcase for the whirling-dervish talents of Porkalob. She plays a multitude of characters, most of them effective, within a sharply metaphoric scene design (from Randy Wong-Westbrooke) and beautiful lighting design (by the always-solid Spense Matubang). The musical backing of three-piece combo Hot Damn Scandal provides terrific texture, pulled together sweetly by director Andrew Russell.\u003c/p>\n\u003cp>As Grandma sets foot on stage to start the proceedings, injecting morsels of Tagalog in her delivery, she provides a taste of her past talents as she shows off her new karaoke machine. Some dulcet, velvety-smooth trills emanate from Porkalob’s golden pipes, immediately accompanied by hip-hop beats, thanks to the machine’s remixing capabilities. Grandma’s giddiness over her toy is tempered, though, with anxiety over the birthday festivities.\u003c/p>\n\u003cfigure id=\"attachment_13938723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_152-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_152-800x1203.jpg\" alt=\"three men in a jazz ensemble dressed in red suits and black bowler hats stand on a staircase on a stage\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-scaled.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jazz ensemble members of Hot Damn Scandal in Sara Porkalob’s ‘Dragon Lady’ at Marin Theatre Company. \u003ccite>(Kevin Berne/Marin Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Porkalob’s approach to her grandmother is reverent without skirting past the complexities that made living with a complicated matriarch such a chore: Grandma would disappear for weeks on end, we learn through Sara’s mother Maria, working multiple jobs to support the family.\u003c/p>\n\u003cp>But is that \u003cem>really\u003c/em> what she was doing? For as much as Grandma worked, there was very little to show for it. A microwave rendered useless due to electricity being shut off in their Washington trailer park structure is another indignity suffered. Warming up a bottle for the newest baby in the house challenges 13-year-old Maria, a young girl spending more time caring for her baby sister in her mother’s absence than going to school. It’s soul-crushing to hear Maria express her crippling fear as she grapples with a pitch-black house full of petrified littles.\u003c/p>\n\u003cp>What’s clear: the women in Porkalob’s tale are fighters. Grandma’s brand was built in a tawdry Manila nightclub, where seductive gangsters fawned over Maria Sr. and her heavenly vocal talents. The thrilling yet seedy world of sketchy figures, murderous propositions and a never-ending debt to the lordess of the club provides the backdrop for Grandma’s harrowing escape.\u003c/p>\n\u003cp>And while the exit from the underbelly of gangsters has its benefits, domestic life — with too many famished kids — offers very little respite. Porkalob’s narrative moves expediently from the devastation of hunger to the sweet humor of complicated family life.\u003c/p>\n\u003cfigure id=\"attachment_13938730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_049-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_049-800x532.jpg\" alt=\"a woman in all black stands on a stage lit in a red and purple\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-2048x1362.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1920x1277.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob performs in ‘Dragon Lady,’ with scene design by Randy Wong-Westbrooke and lighting design by Spense Matubang, at Marin Theatre Company. \u003ccite>(Kevin Berne/Marin Theatre Company / )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One particularly poignant moment involves two of Grandma’s empathic boys, Junior and Charlie, who devise a scheme to snag donated groceries thanks to some borrowed Boy Scout uniforms. Earnestly, they stand in front of each house, gently inquiring for something to eat. “We can’t just ask for food, we have to ask for ‘food donations,’” instructs Junior with crushing clarity.\u003c/p>\n\u003cp>The payoff of the young tykes and their trudging door-to-door is an emotional punch to the gut, as young Maria discovers what they’ve just done. “We can all have spam fried rice for dinner tonight,” declares an emotional Maria in a particularly tear-inducing delivery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The complicated history of the strong women of Sara’s family, the charms of Grandma and the unsympathetic lens through which daughter Maria recalls that generational trauma — they all lend the story its power. Porkalob pulls not one punch in the way she translates past damages, devastating the audience through hilarity. It’s a testament to Grandma’s foresight that she deemed these stories, with all their warts, to be a necessary gift to her eldest granddaughter, the one who shared the treasure with a grateful audience.\u003c/p>\n\u003cp>While the title \u003cem>Dragon Lady\u003c/em> nods to the grandmother who fought for everything, the story actually has three Filipina heroines. Thanks to the immense talents of Sara Porkalob, the audience sees that all the beautiful brown women showcased in her piece are brave fighters, with a transcendent love that has no end.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Dragon Lady’ plays at Marin Theatre Company (397 Miller Ave., Mill Valley) through Dec. 17, 2023. \u003ca href=\"https://www.marintheatre.org/productions/dragon-lady\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Lance Gardner Is Marin Theatre Company’s New Artistic Director",
"headTitle": "Lance Gardner Is Marin Theatre Company’s New Artistic Director | KQED",
"content": "\u003cfigure id=\"attachment_13936221\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Gardner.SQ_.jpg\" alt=\"A man in black shirt and sport coat, with glasses and beard, looks into the camera, smiling, against a grey background\" width=\"966\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_.jpg 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-768x768.jpg 768w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner will step into the role of artistic director at Marin Theatre Company in November. \u003ccite>(Alain Mclaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marin Theatre Company (MTC) has chosen a new artistic director. Lance Gardner, the Bay Area actor and producer with more than 20 years of experience and acclaimed performances around the region, will step into the role in November.\u003c/p>\n\u003cp>“The Board is enthusiastic about Mr. Gardner’s vision for innovative programming and forging community partnerships,” read a statement by Matthew Purdon, Board President of MTC, which was founded in 1966. “We eagerly anticipate this exciting next chapter in Marin Theatre Company’s history.”\u003c/p>\n\u003cp>Gardner, 41, is no stranger to area stages, having acted in roles at Berkeley Repertory Theatre, California Shakespeare Theater, Magic Theatre, TheatreWorks and others. His history with MTC includes roles in \u003cem>A Short History of Nearly Everything\u003c/em>, \u003cem>Lovers & Executioners\u003c/em>, \u003cem>A Streetcar Named Desire\u003c/em>, \u003cem>Fuddy Meers\u003c/em>, \u003cem>Shakespeare in Love\u003c/em>, \u003cem>Equivocation\u003c/em> and \u003cem>Skeleton Crew\u003c/em>.\u003c/p>\n\u003cp>“In some ways it’s felt like an artistic home to me,” Gardner said of the company in a phone interview on Tuesday. “I’ve always appreciated the ambition of not only the choices of the plays, but the actors who work there.”\u003c/p>\n\u003cfigure id=\"attachment_13823623\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg\" alt=\"Reggie (Lance Gardner) can't quite figure out how he got to this moment in 'The Skeleton Crew' by Dominique Morrisseau at the Marin Theatre Company.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner as Reggie in ‘The Skeleton Crew’ by Dominique Morrisseau at Marin Theatre Company, in 2018. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of Gardner’s stated vision is to present work that belongs to the broader community, “rather than laying down the ‘Lance Gardner season,'” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What I want to do is collaborate with the staff, with Mill Valley and southern Marin, and the Bay Area artistic community, to curate something that feels like it’s \u003cem>ours\u003c/em>.”\u003c/p>\n\u003cp>In addition to his extensive theater credentials, Gardner brings real-world experience, including a two-year stint as a certified EMT providing care in ambulances — and, for the better part of the past four years, he’s worked as a producer of live events for this very media outlet.\u003c/p>\n\u003cp>Gardner came to KQED in 2019 as a founding producer for \u003ca href=\"https://www.kqed.org/events\">KQED Live\u003c/a>, which hosts events in The Commons, a 238-person capacity theater at KQED’s headquarters in San Francisco. At the time, his departure from theater was such news that it inspired \u003ca href=\"https://datebook.sfchronicle.com/theater/lance-gardner-achieved-the-bay-area-stage-actors-dream-and-it-wasnt-enough\">a \u003cem>San Francisco Chronicle\u003c/em> profile by theater critic Lily Janiak\u003c/a>, questioning why Bay Area theater couldn’t sustain such a talented and in-demand actor with a living wage.\u003c/p>\n\u003cfigure id=\"attachment_13936241\" class=\"wp-caption aligncenter\" style=\"max-width: 1452px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936241\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg\" alt=\"A man in glasses and black shirt and jacket holds up his right hand to give direction to people on a stage, out of frame to the left.\" width=\"1452\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg 1452w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-768x511.jpg 768w\" sizes=\"(max-width: 1452px) 100vw, 1452px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner directs a rehearsal for a screening of ‘The Big Payback’ by Erika Alexander & Whitney Dow, with a panel discussion moderated by Ariana Proehl. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing that Gardner learned in events production, he said, is how to “take into account the things that people like that you either don’t like, or don’t understand.” He himself is a fan of comedy, magical realism and poetry, he noted. But “there are people who are experts in their own tastes out there. And you need those people.”\u003c/p>\n\u003cp>As for a controversial 2017 MTC premiere of the play \u003cem>Thomas and Sally\u003c/em>, about the relationship between Thomas Jefferson and his slave Sally Hemings, Gardner said he saw the script beforehand and turned down an opportunity to be involved: “I didn’t want anything to do with it.”\u003c/p>\n\u003cp>Gardner, who is also currently board president at Aurora Theatre Company, succeeds previous MTC artistic director Jasson Minadakis, who left in March after 17 years in the role.\u003c/p>\n\u003cp>MTC’s managing director Meredith Suttles said in a statement that “I am thrilled to extend a warm welcome to Lance at Marin Theatre Company and look forward to collaborating with him as we together guide this much-loved institution into its next phase.”\u003c/p>\n\u003cp>Gardner’s first day at MTC is Nov. 6.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936221\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Gardner.SQ_.jpg\" alt=\"A man in black shirt and sport coat, with glasses and beard, looks into the camera, smiling, against a grey background\" width=\"966\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_.jpg 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-768x768.jpg 768w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner will step into the role of artistic director at Marin Theatre Company in November. \u003ccite>(Alain Mclaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marin Theatre Company (MTC) has chosen a new artistic director. Lance Gardner, the Bay Area actor and producer with more than 20 years of experience and acclaimed performances around the region, will step into the role in November.\u003c/p>\n\u003cp>“The Board is enthusiastic about Mr. Gardner’s vision for innovative programming and forging community partnerships,” read a statement by Matthew Purdon, Board President of MTC, which was founded in 1966. “We eagerly anticipate this exciting next chapter in Marin Theatre Company’s history.”\u003c/p>\n\u003cp>Gardner, 41, is no stranger to area stages, having acted in roles at Berkeley Repertory Theatre, California Shakespeare Theater, Magic Theatre, TheatreWorks and others. His history with MTC includes roles in \u003cem>A Short History of Nearly Everything\u003c/em>, \u003cem>Lovers & Executioners\u003c/em>, \u003cem>A Streetcar Named Desire\u003c/em>, \u003cem>Fuddy Meers\u003c/em>, \u003cem>Shakespeare in Love\u003c/em>, \u003cem>Equivocation\u003c/em> and \u003cem>Skeleton Crew\u003c/em>.\u003c/p>\n\u003cp>“In some ways it’s felt like an artistic home to me,” Gardner said of the company in a phone interview on Tuesday. “I’ve always appreciated the ambition of not only the choices of the plays, but the actors who work there.”\u003c/p>\n\u003cfigure id=\"attachment_13823623\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg\" alt=\"Reggie (Lance Gardner) can't quite figure out how he got to this moment in 'The Skeleton Crew' by Dominique Morrisseau at the Marin Theatre Company.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner as Reggie in ‘The Skeleton Crew’ by Dominique Morrisseau at Marin Theatre Company, in 2018. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of Gardner’s stated vision is to present work that belongs to the broader community, “rather than laying down the ‘Lance Gardner season,'” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What I want to do is collaborate with the staff, with Mill Valley and southern Marin, and the Bay Area artistic community, to curate something that feels like it’s \u003cem>ours\u003c/em>.”\u003c/p>\n\u003cp>In addition to his extensive theater credentials, Gardner brings real-world experience, including a two-year stint as a certified EMT providing care in ambulances — and, for the better part of the past four years, he’s worked as a producer of live events for this very media outlet.\u003c/p>\n\u003cp>Gardner came to KQED in 2019 as a founding producer for \u003ca href=\"https://www.kqed.org/events\">KQED Live\u003c/a>, which hosts events in The Commons, a 238-person capacity theater at KQED’s headquarters in San Francisco. At the time, his departure from theater was such news that it inspired \u003ca href=\"https://datebook.sfchronicle.com/theater/lance-gardner-achieved-the-bay-area-stage-actors-dream-and-it-wasnt-enough\">a \u003cem>San Francisco Chronicle\u003c/em> profile by theater critic Lily Janiak\u003c/a>, questioning why Bay Area theater couldn’t sustain such a talented and in-demand actor with a living wage.\u003c/p>\n\u003cfigure id=\"attachment_13936241\" class=\"wp-caption aligncenter\" style=\"max-width: 1452px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936241\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg\" alt=\"A man in glasses and black shirt and jacket holds up his right hand to give direction to people on a stage, out of frame to the left.\" width=\"1452\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg 1452w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-768x511.jpg 768w\" sizes=\"(max-width: 1452px) 100vw, 1452px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner directs a rehearsal for a screening of ‘The Big Payback’ by Erika Alexander & Whitney Dow, with a panel discussion moderated by Ariana Proehl. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing that Gardner learned in events production, he said, is how to “take into account the things that people like that you either don’t like, or don’t understand.” He himself is a fan of comedy, magical realism and poetry, he noted. But “there are people who are experts in their own tastes out there. And you need those people.”\u003c/p>\n\u003cp>As for a controversial 2017 MTC premiere of the play \u003cem>Thomas and Sally\u003c/em>, about the relationship between Thomas Jefferson and his slave Sally Hemings, Gardner said he saw the script beforehand and turned down an opportunity to be involved: “I didn’t want anything to do with it.”\u003c/p>\n\u003cp>Gardner, who is also currently board president at Aurora Theatre Company, succeeds previous MTC artistic director Jasson Minadakis, who left in March after 17 years in the role.\u003c/p>\n\u003cp>MTC’s managing director Meredith Suttles said in a statement that “I am thrilled to extend a warm welcome to Lance at Marin Theatre Company and look forward to collaborating with him as we together guide this much-loved institution into its next phase.”\u003c/p>\n\u003cp>Gardner’s first day at MTC is Nov. 6.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Named by \u003cem>American Theatre\u003c/em> as the most-produced playwright in America in 2017 and 2019, the Bay Area’s Lauren Gunderson returns this month with her latest play, \u003cem>The Catastrophist\u003c/em>. Based on the life and work of virologist Nathan Wolfe, \u003cem>The Catastrophist\u003c/em> dives into his story in a pre-COVID world. \u003c/p>\n\u003cp>Wolfe was named one of TIME’s 100 Most Influential People in the World in 2011 for his work tracking Ebola and swine flu, and proposed the concept of pandemic insurance long before COVID-19. For the past eight years, he’s also been married to Gunderson, whose 70-minute play follows Wolfe’s life as he contends with professional and personal challenges. \u003c/p>\n\u003cp>\u003cem>The Catastrophist\u003c/em> is strikingly contemporary and relevant in both content and production. As one-man show (Wolfe is played by William DeMeritt, in a performance \u003cem>The Economist\u003c/em> calls “\u003ca href=\"https://www.economist.com/prospero/2021/01/28/a-new-play-examines-attitudes-towards-risk-and-disaster\" rel=\"noopener noreferrer\" target=\"_blank\">mesmerizing\u003c/a>”), its physical and metaphorical isolation of Wolfe’s character evokes that of current-day COVID guidelines and stay-at-home orders. \u003c/p>\n\u003cp>Gunderson, playwright-in-residence at Marin Theatre Company, is a winner of the Berrilla Kerr Award for American Theatre, Global Age Project, Young Playwright’s Award, Eric Bentley New Play Award, Essential Theatre Prize, and more.\u003c/p>\n\u003cp>\u003cem>‘The Catastrophist’ streams online through Feb. 28 through the Marin Theatre Company and Round House Theatre. \u003ca href=\"https://www.marintheatre.org/productions/the-catastrophist#overview\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Named by \u003cem>American Theatre\u003c/em> as the most-produced playwright in America in 2017 and 2019, the Bay Area’s Lauren Gunderson returns this month with her latest play, \u003cem>The Catastrophist\u003c/em>. Based on the life and work of virologist Nathan Wolfe, \u003cem>The Catastrophist\u003c/em> dives into his story in a pre-COVID world. \u003c/p>\n\u003cp>Wolfe was named one of TIME’s 100 Most Influential People in the World in 2011 for his work tracking Ebola and swine flu, and proposed the concept of pandemic insurance long before COVID-19. For the past eight years, he’s also been married to Gunderson, whose 70-minute play follows Wolfe’s life as he contends with professional and personal challenges. \u003c/p>\n\u003cp>\u003cem>The Catastrophist\u003c/em> is strikingly contemporary and relevant in both content and production. As one-man show (Wolfe is played by William DeMeritt, in a performance \u003cem>The Economist\u003c/em> calls “\u003ca href=\"https://www.economist.com/prospero/2021/01/28/a-new-play-examines-attitudes-towards-risk-and-disaster\" rel=\"noopener noreferrer\" target=\"_blank\">mesmerizing\u003c/a>”), its physical and metaphorical isolation of Wolfe’s character evokes that of current-day COVID guidelines and stay-at-home orders. \u003c/p>\n\u003cp>Gunderson, playwright-in-residence at Marin Theatre Company, is a winner of the Berrilla Kerr Award for American Theatre, Global Age Project, Young Playwright’s Award, Eric Bentley New Play Award, Essential Theatre Prize, and more.\u003c/p>\n\u003cp>\u003cem>‘The Catastrophist’ streams online through Feb. 28 through the Marin Theatre Company and Round House Theatre. \u003ca href=\"https://www.marintheatre.org/productions/the-catastrophist#overview\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Barely before this month’s New Year’s revelry had quieted, news of the extrajudicial killing of Iran’s Qasem Soleimani by U.S. airstrike dominated the news cycle, and the Middle East was thrust one more into unwelcome focus. And even though the immediate crisis of escalation and threat of war seems to have been brought under some control, there’s no doubt that the reverberations of that action will resonate for years to come: in Iran, Iraq, and worldwide.\u003c/p>\n\u003cp>It’s reverberations such as these that two plays opening this month in the Bay Area are already intricately familiar with. Both \u003cem>Noura\u003c/em>, by Heather Raffo, at Marin Theatre Company, and \u003cem>Mimi’s Suitcase\u003c/em>, by Ana Bayat, at NOH Space, deal explicitly with the long-term effects of immigration on ordinary citizens from the Middle East. Beyond describing reasons to leave, both \u003cem>Noura \u003c/em>and \u003cem>Mimi’s Suitcase\u003c/em> delve into what it means to survive the process of re-routing, and re-rooting, as immigrants, women, and artists.\u003c/p>\n\u003cfigure id=\"attachment_13873142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Noura\u003c/em>, which opened in previews on Jan. 9, explores the Iraqi-American experience through a quotidian, domestic lens. With a hat-tip to Ibsen’s \u003cem>A Doll’s House\u003c/em>, the play takes place over the Christmas holiday, revolving around an Iraqi refugee family who has just received American citizenship after eight years of waiting. Members of a displaced Christian minority, they’ve settled in New York (where playwright Heather Raffo also lives). As the play progresses, as do the complexities of their relationship to each other, to their selves, and to their adopted home.\u003c/p>\n\u003cp>Having performed the role of Noura in the play’s world premiere in 2018, Raffo’s understanding of the character extends beyond the lived experience of growing up with an Iraqi parent. By birthing the role as well as the play, she’s in a unique position of being able to explore Noura’s philosophical layers with a keen familiarity. Through the character, she’s been able to wrestle with her own struggles with the “rugged individualism…of Western American feminism,” and speak to a yearning to use female liberation as a platform for more than self-actualization. Her Noura, an architect, not only juggles the imperative to create with the demands of the domestic, but also the eternal inner conflict of reconciling with a turbulent, dangerous past.\u003c/p>\n\u003cfigure id=\"attachment_13873144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Denmo Ibrahim and Valentino Bertolucci Herrera in Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really wanted to reframe the play (\u003cem>A Doll’s House\u003c/em>) in what does it mean to be actually \u003cem>very\u003c/em> attached?” she explains over the phone. “The question I’m facing in my life isn’t ‘I will just up and leave my family so I can live my life as a full human being’….I can’t do that…most of us wouldn’t want to do that. In this play they are \u003cem>all\u003c/em> Nora Helmer, all post-door slam, all living together, going these are the different ways they’ve chosen to move on, and now what?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not only is Ana Bayat’s solo show \u003cem>Mimi’s Suitcase\u003c/em> a bit of a travelogue, but it’s also well-traveled, having first launched at New York’s United Solo, and following up with appearances at festivals across Europe—including the 70th edition of the Edinburgh Fringe. In the play we first encounter the protagonist as a teenage girl living in Tehran. With shades of Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, Bayat describes the tension and violence of a suppressive state, and its psychological effects on a young woman who’d previously lived in the much more permissive Barcelona.\u003c/p>\n\u003cfigure id=\"attachment_13873143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Bayat in her solo show, ‘Mimi’s Suitcase.’ \u003ccite>(Diaspora Arts Connection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a solo performer, Bayat plays over 25 characters in four languages, including family members, close friends, Republican guards, and immigration officers. Although the action focuses on the time period from 1984 to 2000, as Bayat ruefully notes, the topics of immigration and diaspora that she explores are “very much present in our everyday lives.”\u003c/p>\n\u003cp>With repercussions of 2017’s so-called “Muslim travel ban” still reverberating worldwide, the protagonist’s struggle to obtain a precious student visa feels as urgent as it must have in 2007, when Bayat first began working on the piece as part of W. Kamau Bell’s notable Solo Performance Workshop. And her lived experience as a child trapped within the borders of a repressive regime gives a singular view into a family that has run out of choices. Her protagonist’s decision to leave Iran emphasizes the divergence of choice between those who can obtain a visa and those who cannot. Or as Bayat elegantly puts it, “sometimes what you choose is not necessarily what you can have.”\u003c/p>\n\u003cp>“Political upheaval is not theoretical,” Torange Yeghiazarian of Golden Thread Productions, who is consulting on \u003cem>Noura\u003c/em>, points out. And the undercurrent of the very real dangers faced by their respective protagonists in their home countries gives \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> a vital kinship. But beyond the Middle Eastern diaspora stories illuminated by \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> are larger themes of immigration, family, and home, with broad, cross-cultural implications. In both works we find protagonists who love their families, value themselves, and mourn for their lost opportunities and former homelands, while laying claim to their future—all in the context of an immigration narrative.\u003c/p>\n\u003cp>“Ultimately I believe this is a universal story,” asserts Bayat about \u003cem>Mimi’s Suitcase\u003c/em>. “I’m hoping it humanizes immigrants so we don’t go about life othering. That we realize that at the end of the day…that we have so much in common.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Noura’ has been extended at Marin Theatre Company through Feb. 9. Details \u003ca href=\"http://www.marintheatre.org/productions/noura\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mimi’s Suitcase’ plays at NOHspace, Jan. 23-25. Tickets and info \u003ca href=\"http://www.anabayat.com/mimissuitcase\">here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Barely before this month’s New Year’s revelry had quieted, news of the extrajudicial killing of Iran’s Qasem Soleimani by U.S. airstrike dominated the news cycle, and the Middle East was thrust one more into unwelcome focus. And even though the immediate crisis of escalation and threat of war seems to have been brought under some control, there’s no doubt that the reverberations of that action will resonate for years to come: in Iran, Iraq, and worldwide.\u003c/p>\n\u003cp>It’s reverberations such as these that two plays opening this month in the Bay Area are already intricately familiar with. Both \u003cem>Noura\u003c/em>, by Heather Raffo, at Marin Theatre Company, and \u003cem>Mimi’s Suitcase\u003c/em>, by Ana Bayat, at NOH Space, deal explicitly with the long-term effects of immigration on ordinary citizens from the Middle East. Beyond describing reasons to leave, both \u003cem>Noura \u003c/em>and \u003cem>Mimi’s Suitcase\u003c/em> delve into what it means to survive the process of re-routing, and re-rooting, as immigrants, women, and artists.\u003c/p>\n\u003cfigure id=\"attachment_13873142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Noura\u003c/em>, which opened in previews on Jan. 9, explores the Iraqi-American experience through a quotidian, domestic lens. With a hat-tip to Ibsen’s \u003cem>A Doll’s House\u003c/em>, the play takes place over the Christmas holiday, revolving around an Iraqi refugee family who has just received American citizenship after eight years of waiting. Members of a displaced Christian minority, they’ve settled in New York (where playwright Heather Raffo also lives). As the play progresses, as do the complexities of their relationship to each other, to their selves, and to their adopted home.\u003c/p>\n\u003cp>Having performed the role of Noura in the play’s world premiere in 2018, Raffo’s understanding of the character extends beyond the lived experience of growing up with an Iraqi parent. By birthing the role as well as the play, she’s in a unique position of being able to explore Noura’s philosophical layers with a keen familiarity. Through the character, she’s been able to wrestle with her own struggles with the “rugged individualism…of Western American feminism,” and speak to a yearning to use female liberation as a platform for more than self-actualization. Her Noura, an architect, not only juggles the imperative to create with the demands of the domestic, but also the eternal inner conflict of reconciling with a turbulent, dangerous past.\u003c/p>\n\u003cfigure id=\"attachment_13873144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Denmo Ibrahim and Valentino Bertolucci Herrera in Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really wanted to reframe the play (\u003cem>A Doll’s House\u003c/em>) in what does it mean to be actually \u003cem>very\u003c/em> attached?” she explains over the phone. “The question I’m facing in my life isn’t ‘I will just up and leave my family so I can live my life as a full human being’….I can’t do that…most of us wouldn’t want to do that. In this play they are \u003cem>all\u003c/em> Nora Helmer, all post-door slam, all living together, going these are the different ways they’ve chosen to move on, and now what?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not only is Ana Bayat’s solo show \u003cem>Mimi’s Suitcase\u003c/em> a bit of a travelogue, but it’s also well-traveled, having first launched at New York’s United Solo, and following up with appearances at festivals across Europe—including the 70th edition of the Edinburgh Fringe. In the play we first encounter the protagonist as a teenage girl living in Tehran. With shades of Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, Bayat describes the tension and violence of a suppressive state, and its psychological effects on a young woman who’d previously lived in the much more permissive Barcelona.\u003c/p>\n\u003cfigure id=\"attachment_13873143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Bayat in her solo show, ‘Mimi’s Suitcase.’ \u003ccite>(Diaspora Arts Connection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a solo performer, Bayat plays over 25 characters in four languages, including family members, close friends, Republican guards, and immigration officers. Although the action focuses on the time period from 1984 to 2000, as Bayat ruefully notes, the topics of immigration and diaspora that she explores are “very much present in our everyday lives.”\u003c/p>\n\u003cp>With repercussions of 2017’s so-called “Muslim travel ban” still reverberating worldwide, the protagonist’s struggle to obtain a precious student visa feels as urgent as it must have in 2007, when Bayat first began working on the piece as part of W. Kamau Bell’s notable Solo Performance Workshop. And her lived experience as a child trapped within the borders of a repressive regime gives a singular view into a family that has run out of choices. Her protagonist’s decision to leave Iran emphasizes the divergence of choice between those who can obtain a visa and those who cannot. Or as Bayat elegantly puts it, “sometimes what you choose is not necessarily what you can have.”\u003c/p>\n\u003cp>“Political upheaval is not theoretical,” Torange Yeghiazarian of Golden Thread Productions, who is consulting on \u003cem>Noura\u003c/em>, points out. And the undercurrent of the very real dangers faced by their respective protagonists in their home countries gives \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> a vital kinship. But beyond the Middle Eastern diaspora stories illuminated by \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> are larger themes of immigration, family, and home, with broad, cross-cultural implications. In both works we find protagonists who love their families, value themselves, and mourn for their lost opportunities and former homelands, while laying claim to their future—all in the context of an immigration narrative.\u003c/p>\n\u003cp>“Ultimately I believe this is a universal story,” asserts Bayat about \u003cem>Mimi’s Suitcase\u003c/em>. “I’m hoping it humanizes immigrants so we don’t go about life othering. That we realize that at the end of the day…that we have so much in common.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Noura’ has been extended at Marin Theatre Company through Feb. 9. Details \u003ca href=\"http://www.marintheatre.org/productions/noura\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mimi’s Suitcase’ plays at NOHspace, Jan. 23-25. Tickets and info \u003ca href=\"http://www.anabayat.com/mimissuitcase\">here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Toni Morrison's 'Jazz' Comes to Life at Marin Theatre Co.",
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"content": "\u003cp>Transferring the poetry and detail of Toni Morrison’s ‘Jazz’ to the stage could seem like a daunting process, but at Marin Theatre Co., a West Coast premiere of Nambi E. Kelley’s adaptation makes it look easy. Morrison’s words dance around the stage like fireflies, and the action under director Awoye Timpo is dream-like and surreal. At moments, it feels like jazz itself.\u003c/p>\n\u003cp>Violet (C. Kelly Wright) has been done wrong by her man, Joe (Michael Gene Sullivan), and is haunted by the vision of his paramour, Dorcas (Dezi Soléy), whose ghost watches over much of the proceedings from a thin veil. As Violet and Joe move from the country to big city life in New York (“where water come to you, and not you to it”), a certain menace grows and grows. We get foreshadowings of a tragedy caused by jazz music (“Just hearin’ it is like violatin’ the law”), but the blame ultimately falls on human nature.\u003c/p>\n\u003cfigure id=\"attachment_13856514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg\" alt=\"Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.'s production of 'Jazz.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13856514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.’s production of ‘Jazz.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actors here are all good, especially \u003ca href=\"https://www.kqed.org/news/11685814/blindspotting-actor-considers-damaging-effects-of-white-voice\" rel=\"noopener\" target=\"_blank\">Margo Hall\u003c/a> (filmgoers may recognize her as Daveed Diggs’ character’s mom in \u003cem>Blindspotting\u003c/em>), even when the pacing is a little off. The music by Bay Area jazz treasure \u003ca href=\"https://www.kqed.org/arts/10135150/bassist-marcus-shelby-finding-freedoms-message-in-the-music\" rel=\"noopener\" target=\"_blank\">Marcus Shelby\u003c/a> underpins Morrison’s story with a bubbling eeriness, even when it’s joyful, as in country dances and Harlem nightclub scenes choreographed by \u003ca href=\"https://www.kqed.org/arts/13842165/a-dance-tribute-to-bayview-hunters-points-history\" rel=\"noopener\" target=\"_blank\">Joanna Haigood\u003c/a>. For all of the antiquated markers in \u003cem>Jazz\u003c/em>, with its overalls, cotton fields, fedoras, field hollers and spirituals, its themes aren’t going away anytime soon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Jazz’ runs through May 19 at Marin Theatre Company in Mill Valley. \u003ca href=\"https://www.marintheatre.org/productions/jazz\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[ad=floatright]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Transferring the poetry and detail of Toni Morrison’s ‘Jazz’ to the stage could seem like a daunting process, but at Marin Theatre Co., a West Coast premiere of Nambi E. Kelley’s adaptation makes it look easy. Morrison’s words dance around the stage like fireflies, and the action under director Awoye Timpo is dream-like and surreal. At moments, it feels like jazz itself.\u003c/p>\n\u003cp>Violet (C. Kelly Wright) has been done wrong by her man, Joe (Michael Gene Sullivan), and is haunted by the vision of his paramour, Dorcas (Dezi Soléy), whose ghost watches over much of the proceedings from a thin veil. As Violet and Joe move from the country to big city life in New York (“where water come to you, and not you to it”), a certain menace grows and grows. We get foreshadowings of a tragedy caused by jazz music (“Just hearin’ it is like violatin’ the law”), but the blame ultimately falls on human nature.\u003c/p>\n\u003cfigure id=\"attachment_13856514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg\" alt=\"Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.'s production of 'Jazz.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13856514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.’s production of ‘Jazz.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actors here are all good, especially \u003ca href=\"https://www.kqed.org/news/11685814/blindspotting-actor-considers-damaging-effects-of-white-voice\" rel=\"noopener\" target=\"_blank\">Margo Hall\u003c/a> (filmgoers may recognize her as Daveed Diggs’ character’s mom in \u003cem>Blindspotting\u003c/em>), even when the pacing is a little off. The music by Bay Area jazz treasure \u003ca href=\"https://www.kqed.org/arts/10135150/bassist-marcus-shelby-finding-freedoms-message-in-the-music\" rel=\"noopener\" target=\"_blank\">Marcus Shelby\u003c/a> underpins Morrison’s story with a bubbling eeriness, even when it’s joyful, as in country dances and Harlem nightclub scenes choreographed by \u003ca href=\"https://www.kqed.org/arts/13842165/a-dance-tribute-to-bayview-hunters-points-history\" rel=\"noopener\" target=\"_blank\">Joanna Haigood\u003c/a>. For all of the antiquated markers in \u003cem>Jazz\u003c/em>, with its overalls, cotton fields, fedoras, field hollers and spirituals, its themes aren’t going away anytime soon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Jazz’ runs through May 19 at Marin Theatre Company in Mill Valley. \u003ca href=\"https://www.marintheatre.org/productions/jazz\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In these end days of the year and perhaps the country, we might ask, just to while away the time, what we want from our American plays.\u003c/p>\n\u003cp>It’s a child’s experiment, really, as there’s no theater imaginable that might save us from the disasters looming before us. Still, we might ask of our American playwrights that they perhaps point out a way, a path to follow that might have escaped our sight, or to paint a sign in the woods that might lead us to a new and secret city on a hill.\u003c/p>\n\u003cp>Here’s a rare group of American plays that did just that in the Bay Area of 2017, giving us a few gentle hints of where others have gone and where we might run.\u003c/p>\n\u003cp>\u003cstrong>6. The Curran Theater, Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817664 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg\" alt=\"Taylor Mac lights up American song in 'A 24-Decade History of Popular Music' at the Curran.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac lights up American song in ‘A 24-Decade History of Popular Music’ at the Curran. \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If America were a 24-hour queer slumber party, then it would be something like \u003ca href=\"https://ww2.kqed.org/arts/2016/10/12/how-i-survived-taylor-macs-24-hour-long-musical-history-lesson/\" rel=\"noopener\" target=\"_blank\">Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/a> — the country’s history at its most unguarded, wacky, and tragic. Mac is an extravagant realist, daring us to experience in full the songs that have marked the history of the nation for over 240 years. It’s an audacious examination and surrender to all the delights and discontents of the simple pleasures of song. Mac knows what we’ve felt and what we’re feeling, and he yanks it all out onto the open stage for everyone to see — with a razor wit and hard-fought joy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>5. The Shotgun Players, William Burroughs and Tom Waits’ \u003cem>The Black Rider: The Casting of the Magic Bullets\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in 'The Black Rider' by William Burroughs and Tom Waits.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-520x312.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in ‘The Black Rider’ by William Burroughs and Tom Waits. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Wilson’s production of \u003ca href=\"https://ww2.kqed.org/arts/2017/11/23/shotguns-daring-black-rider-aims-shoots-and-pierces-americas-heart/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Black Rider\u003c/em>\u003c/a> was an international sensation, a lavish valentine to German expressionism, and a lovely artifact of what the lush, extravagant subsidies of European Art House Theater can accomplish. Yet lurking beneath all those Euros was a nasty American attack dog of a play. Director Mark Jackson strips William Burroughs and Tom Waits’ fairy tale of magic bullets down to dime store essentials and subjects us to the logic of a brutal equation — if you love to shoot, you’re aiming to kill. A beautiful and entrancing nightmare for which, unfortunately, there is no antidote. (You can still see the bullets fly in the \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>’ production running through Sunday, Jan. 21.)\u003c/p>\n\u003cp>\u003cstrong>4. Ubuntu Theater Project, Lisa Ramirez’s \u003cem>To The Bone\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg\" alt=\"(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project’s production of ‘To the Bone’ by Lisa Ramirez. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Ramirez’s play about a community of immigrant women working in a poultry preparation facility is an off-key bit of terror. Most of the screams are silent, and the victims more likely to simply vanish than to suffer the fate of the slaughterhouse — though that’s a constant threat, too. The play’s politics might be ripped from the headlines, but Ramirez’s characters are startling for their everyday dreams and concerns. This is what happens in America to all those the law refuses to recognize. And \u003ca href=\"https://ww2.kqed.org/arts/2017/04/05/to-the-bone-explores-workers-lives-outside-the-law/\" rel=\"noopener\" target=\"_blank\">the Ubuntu production\u003c/a>, under Michael Maron’s direction, never lets us escape the awful truth that what we’re really watching is a human preparation facility — as if cutting up chickens wasn’t bad enough.\u003c/p>\n\u003cp>\u003cstrong>3. The Wooster Group, \u003cem>The Town Hall Affair\u003c/em> (at the Z Space)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg\" alt=\"Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in 'Town Hall Affair' by the Wooster Group.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in ‘Town Hall Affair’ by the Wooster Group. \u003ccite>(Photo: Zbigniew Bzymek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wooster Group often finds plays in the garbage heap of history, and \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/wooster-group-reimagines-crazed-1971-feminist-debate-with-norman-mailer/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Town Hall Affair\u003c/em>\u003c/a> is as stunning a dumpster dive into the past as you’re likely to get: an acid-tinged recreation of Norman Mailer’s infamous 1971 state-of-the-woman summit, where the pugilist-minded author opined, bullied, and presided over a panel of feminist luminaries to hilarious effect. The sly Germaine Greer and the erudite Diana Trilling are worthy foils to Mailer, but it is \u003cem>Village Voice\u003c/em> columnist and goofball supreme Jill Johnston who steals the show — and our hearts. In her antic tomfoolery, the Woosters discover a lovely dream of a possible future, one we’re only just beginning to glimpse.\u003c/p>\n\u003cp>\u003cstrong>2. California Shakespeare Theater, Marcus Gardley’s \u003cem>Black Odyssey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg\" alt=\"(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in 'Black Odyssey' by Marcus Gardley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in ‘Black Odyssey’ by Marcus Gardley. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why Shakespeare isn’t a model for American playwrights is a mystery of the field and an odd cultural misstep down the stairs of irrelevance. For now, at least we can marvel at Marcus Gardley’s contemporary twist on the Shakespearian romance, \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/black-odyssey-evokes-emmett-till-hurricane-katrina-and-homer/\" rel=\"noopener\" target=\"_blank\">\u003cem>Black Odyssey\u003c/em>\u003c/a>, simultaneously a love letter to Oakland, a testament to African-American faith and resilience, and a complex accounting of guilt and innocence. Here is a true epic, where the twists and turns of life keep on revealing what a miracle it is just to hold on and make it through one more day — over 16 long years of struggle. (\u003cem>Black Odyssey\u003c/em> returns to \u003ca href=\"http://www.calshakes.org\">Cal Shakes\u003c/a> for two weeks at the end of next summer.)\u003c/p>\n\u003cp>\u003cstrong>1. Marin Theatre Company, Thomas Bradshaw’s \u003cem>Thomas and Sally\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg\" alt=\"Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Easily 2017’s most controversial and outrageous play, \u003ca href=\"https://ww2.kqed.org/arts/2017/10/12/thomas-and-sally-thomas-bradshaw-marin-theater-company/\" rel=\"noopener\" target=\"_blank\">\u003cem>Thomas and Sally\u003c/em>\u003c/a> (a Marin Theatre Company world premiere) rushes headlong into the shadows and corners of a newly minted America already tainted by its idiot embrace of slavery. Bradshaw’s depiction of the 44-year old Thomas Jefferson’s love affair with his 15-year old slave Sally Hemings is both a bold, grand romance and a wary take on whether love is even possible under those conditions. With a scientist’s eye for the ugly facts of human nature and a touch of Hitchcock’s \u003cem>Vertigo\u003c/em> (Hemings was the half-sister of Jefferson’s dead wife), Bradshaw’s comic epic imagines that we are all the daughters of the revolution — just not the revolution we thought.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In these end days of the year and perhaps the country, we might ask, just to while away the time, what we want from our American plays.\u003c/p>\n\u003cp>It’s a child’s experiment, really, as there’s no theater imaginable that might save us from the disasters looming before us. Still, we might ask of our American playwrights that they perhaps point out a way, a path to follow that might have escaped our sight, or to paint a sign in the woods that might lead us to a new and secret city on a hill.\u003c/p>\n\u003cp>Here’s a rare group of American plays that did just that in the Bay Area of 2017, giving us a few gentle hints of where others have gone and where we might run.\u003c/p>\n\u003cp>\u003cstrong>6. The Curran Theater, Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817664 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg\" alt=\"Taylor Mac lights up American song in 'A 24-Decade History of Popular Music' at the Curran.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac lights up American song in ‘A 24-Decade History of Popular Music’ at the Curran. \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If America were a 24-hour queer slumber party, then it would be something like \u003ca href=\"https://ww2.kqed.org/arts/2016/10/12/how-i-survived-taylor-macs-24-hour-long-musical-history-lesson/\" rel=\"noopener\" target=\"_blank\">Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/a> — the country’s history at its most unguarded, wacky, and tragic. Mac is an extravagant realist, daring us to experience in full the songs that have marked the history of the nation for over 240 years. It’s an audacious examination and surrender to all the delights and discontents of the simple pleasures of song. Mac knows what we’ve felt and what we’re feeling, and he yanks it all out onto the open stage for everyone to see — with a razor wit and hard-fought joy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>5. The Shotgun Players, William Burroughs and Tom Waits’ \u003cem>The Black Rider: The Casting of the Magic Bullets\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in 'The Black Rider' by William Burroughs and Tom Waits.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-520x312.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in ‘The Black Rider’ by William Burroughs and Tom Waits. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Wilson’s production of \u003ca href=\"https://ww2.kqed.org/arts/2017/11/23/shotguns-daring-black-rider-aims-shoots-and-pierces-americas-heart/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Black Rider\u003c/em>\u003c/a> was an international sensation, a lavish valentine to German expressionism, and a lovely artifact of what the lush, extravagant subsidies of European Art House Theater can accomplish. Yet lurking beneath all those Euros was a nasty American attack dog of a play. Director Mark Jackson strips William Burroughs and Tom Waits’ fairy tale of magic bullets down to dime store essentials and subjects us to the logic of a brutal equation — if you love to shoot, you’re aiming to kill. A beautiful and entrancing nightmare for which, unfortunately, there is no antidote. (You can still see the bullets fly in the \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>’ production running through Sunday, Jan. 21.)\u003c/p>\n\u003cp>\u003cstrong>4. Ubuntu Theater Project, Lisa Ramirez’s \u003cem>To The Bone\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg\" alt=\"(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project’s production of ‘To the Bone’ by Lisa Ramirez. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Ramirez’s play about a community of immigrant women working in a poultry preparation facility is an off-key bit of terror. Most of the screams are silent, and the victims more likely to simply vanish than to suffer the fate of the slaughterhouse — though that’s a constant threat, too. The play’s politics might be ripped from the headlines, but Ramirez’s characters are startling for their everyday dreams and concerns. This is what happens in America to all those the law refuses to recognize. And \u003ca href=\"https://ww2.kqed.org/arts/2017/04/05/to-the-bone-explores-workers-lives-outside-the-law/\" rel=\"noopener\" target=\"_blank\">the Ubuntu production\u003c/a>, under Michael Maron’s direction, never lets us escape the awful truth that what we’re really watching is a human preparation facility — as if cutting up chickens wasn’t bad enough.\u003c/p>\n\u003cp>\u003cstrong>3. The Wooster Group, \u003cem>The Town Hall Affair\u003c/em> (at the Z Space)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg\" alt=\"Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in 'Town Hall Affair' by the Wooster Group.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in ‘Town Hall Affair’ by the Wooster Group. \u003ccite>(Photo: Zbigniew Bzymek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wooster Group often finds plays in the garbage heap of history, and \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/wooster-group-reimagines-crazed-1971-feminist-debate-with-norman-mailer/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Town Hall Affair\u003c/em>\u003c/a> is as stunning a dumpster dive into the past as you’re likely to get: an acid-tinged recreation of Norman Mailer’s infamous 1971 state-of-the-woman summit, where the pugilist-minded author opined, bullied, and presided over a panel of feminist luminaries to hilarious effect. The sly Germaine Greer and the erudite Diana Trilling are worthy foils to Mailer, but it is \u003cem>Village Voice\u003c/em> columnist and goofball supreme Jill Johnston who steals the show — and our hearts. In her antic tomfoolery, the Woosters discover a lovely dream of a possible future, one we’re only just beginning to glimpse.\u003c/p>\n\u003cp>\u003cstrong>2. California Shakespeare Theater, Marcus Gardley’s \u003cem>Black Odyssey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg\" alt=\"(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in 'Black Odyssey' by Marcus Gardley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in ‘Black Odyssey’ by Marcus Gardley. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why Shakespeare isn’t a model for American playwrights is a mystery of the field and an odd cultural misstep down the stairs of irrelevance. For now, at least we can marvel at Marcus Gardley’s contemporary twist on the Shakespearian romance, \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/black-odyssey-evokes-emmett-till-hurricane-katrina-and-homer/\" rel=\"noopener\" target=\"_blank\">\u003cem>Black Odyssey\u003c/em>\u003c/a>, simultaneously a love letter to Oakland, a testament to African-American faith and resilience, and a complex accounting of guilt and innocence. Here is a true epic, where the twists and turns of life keep on revealing what a miracle it is just to hold on and make it through one more day — over 16 long years of struggle. (\u003cem>Black Odyssey\u003c/em> returns to \u003ca href=\"http://www.calshakes.org\">Cal Shakes\u003c/a> for two weeks at the end of next summer.)\u003c/p>\n\u003cp>\u003cstrong>1. Marin Theatre Company, Thomas Bradshaw’s \u003cem>Thomas and Sally\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg\" alt=\"Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Easily 2017’s most controversial and outrageous play, \u003ca href=\"https://ww2.kqed.org/arts/2017/10/12/thomas-and-sally-thomas-bradshaw-marin-theater-company/\" rel=\"noopener\" target=\"_blank\">\u003cem>Thomas and Sally\u003c/em>\u003c/a> (a Marin Theatre Company world premiere) rushes headlong into the shadows and corners of a newly minted America already tainted by its idiot embrace of slavery. Bradshaw’s depiction of the 44-year old Thomas Jefferson’s love affair with his 15-year old slave Sally Hemings is both a bold, grand romance and a wary take on whether love is even possible under those conditions. With a scientist’s eye for the ugly facts of human nature and a touch of Hitchcock’s \u003cem>Vertigo\u003c/em> (Hemings was the half-sister of Jefferson’s dead wife), Bradshaw’s comic epic imagines that we are all the daughters of the revolution — just not the revolution we thought.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "for-the-holidays-two-plays-adapted-from-movies-plus-one-winner",
"title": "For the Holidays, Two Plays Adapted From Movies — Plus One Winner",
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"headTitle": "For the Holidays, Two Plays Adapted From Movies — Plus One Winner | KQED",
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"content": "\u003cp>I’m guessing here, but one of the main reasons \u003cem>A Christmas Carol\u003c/em> and \u003cem>It’s a Wonderful Life\u003c/em> are such great works of art is that their heroes are shattered, and they must put themselves back together in the coldest time of the year. As the days fall shorter in 2017, these classics are a sharp reminder that winter is brutal when your mind is ripped to pieces.\u003c/p>\n\u003cp>And so we should be thankful for Keith Hennessy’s dance-theater-circus shocker, \u003cem>Sink\u003c/em>. It’s full of Christmas spirit — not just a sense of redemption and hope for the future, but also a rage at what the world and we have become. At the Joe Goode Studio until Dec. 9th, it’s not really a holiday show, yet in that grand tradition it confronts injustice with wild bursts of sentimentality and moments of savage beauty and grace. In Hennessy, we have an unlikely and true heir to Dickens and Capra.\u003c/p>\n\u003cp>But before slipping into the world of \u003cem>Sink\u003c/em>, two major holiday shows, \u003cem>A Christmas Story: The Musical\u003c/em> and \u003cem>Shakespeare in Love\u003c/em> opened this week at the SF Playhouse and the Marin Theatre Company. Both shows are based on well-regarded, overrated movies. And both are hindered by a desire to please, rather than taking on the vast and gnarled emotions of the season.\u003c/p>\n\u003ch2>‘A Christmas Story: The Musical’\u003c/h2>\n\u003cfigure id=\"attachment_13816646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg\" alt=\"Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We should all be wary of shows that take the title of a popular property, slap a colon behind it, and announce that it is “The Musical.” Whatever benefits singing might bring to a story, these additions are almost always more about business than art.\u003c/p>\n\u003cp>The story of nine-year-old Ralphie’s desperate and imaginative attempts to get a Red Ryder B.B. gun for Christmas has its charms, especially in the movie’s less hurried and more meandering aesthetic. We’re caught in the whirlwind of a boy’s dreams, willing to go along in his quest that is in many ways as tangled and vexing as Odysseus’ path home. For a child, everything is an epic journey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a case to be made that musical numbers could bring Ralphie’s story to greater life, that the best showtunes catch the split between the vibrant force of dreams and the bitter consolations of reality. The problem is that \u003cem>A Christmas Story: The Musical \u003c/em>isn’t so much interested in Ralphie as it is our memories of the movie about him.\u003c/p>\n\u003cp>The result is a vehicle and production that feels amped up for no discernible reasons. As the narrator, Christopher Reber delivers his lines with a forced jolliness that belies the off-key nature of the material. Ralphie’s simple wish often gets lost in production numbers that are overblown and indifferently staged. Even the ornate set, which includes a slide, seems out of focus, messy, and unfinished.\u003c/p>\n\u003cp>You want the piece and the production to relax, to give us a chance to feel Ralphie’s dreams on our own terms. But \u003cem>Christmas Story: The Musical\u003c/em> has an aggressive spirit that demands that we succumb to its ideas of fun and frivolity. I think even a child might want to resist that.\u003c/p>\n\u003ch2>‘Shakespeare in Love’\u003c/h2>\n\u003cfigure id=\"attachment_13816648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg\" alt=\"William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was always something vaguely distasteful about Harvey Weinstein’s ability to muscle \u003cem>Shakespeare in Love\u003c/em> into a 1999 Best Picture Oscar, and now we can excise the “vaguely” part. The film has high-minded aspirations — Shakespeare, literary trivia, Judi Dench, the noteworthy presence of dramatist and screenwriter Tom Stoppard — but ultimately it’s less a movie to enjoy than to get behind.\u003c/p>\n\u003cp>So it’s a bit of a surprise that there’s some life to Lee Hall’s stage adaption. It’s certainly not the absurd premise, that Shakespeare is suffering from writer’s block while writing the supposedly lost-to-history \u003cem>Romeo and Ethel, The Pirate’s Daughter.\u003c/em> It’s that every once and a while, the backstage drama springs to life, and you get a sense of what it must have felt like to produce a play in the Elizabethan age.\u003c/p>\n\u003cp>Still, those are scant and fleeting pleasures. Our only true sense of what it means to live and experience the era comes from Megan Trout’s constantly surprising and committed performance as Viola de Lesseps, Shakespeare’s love interest and eventual muse (in the play, not reality).\u003c/p>\n\u003cp>Trout hurls herself around the stage with an athlete’s abandon and seems to be acting in an entirely different piece, as if any of this mattered. You feel the spirit of the season in her performance, and at times that’s enough to hold this professional, though uninspired, play and production aloft.\u003c/p>\n\u003cp>Nonetheless, I do wish that considering the Marin Theater Company’s adventurous 2017-18 season (plays by Thomas Bradshaw, Young Jean Lee, and Jordan Harrison), they had challenged our sense of holiday spirit, rather than pandering to its most mundane and well-worn concerns. Why should winter be bereft of ideas and revolution?\u003c/p>\n\u003ch2>‘Sink’\u003c/h2>\n\u003cfigure id=\"attachment_13816644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816644 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg\" alt=\"Keith Hennessy slow dances with himself in 'Sink' at the Joe Goode Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy slow-dances with himself in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keith Hennessey begins ‘Sink’ in a white Robert Cavalli sweatsuit and a goofy blond wig, while slowly dancing on a stool. In voiceover we hear a litany of his ideas, thoughts, and observations — “People who have been surprised by Trump haven’t read the comments section,” “What does it mean that Colin Kaepernick isn’t registered to vote?” It’s at this point that we’re invited — at first 10 volunteers, and then the rest of the audience — to step behind the makeshift curtain into what turns out to be a different kind of world.\u003c/p>\n\u003cp>Curtains are becoming increasingly rare in contemporary theater and dance. When Hennessey asks us to join him on the other side, you wonder both what’s there and what’s been missing — in all these other performances where curtains have vanished.\u003c/p>\n\u003cfigure id=\"attachment_13816642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" class=\"size-medium wp-image-13816642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy jumps and jumps and jumps in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sink\u003c/em> is rather obliquely about the Las Vegas and Orlando mass shootings and, like the beginning of those tragedies, we make a choice: We walk behind a curtain, we enter a space, and we join a community. Among Hennessey’s many strange talents is his ability to talk us into a set of relations, something that feels real and of the world. He explains to us what is happening, makes us comfortable, and only then does he perform.\u003c/p>\n\u003cp>So if you have ever wanted to see a white shadow; the eruption of a pagan god dancing in the air before you; or a man falling through a Christmas tree of deformed disco balls, then \u003cem>Sink\u003c/em> is the gift you need. It is a clarion call for justice, the miracle of surviving, and an amazing journey that embraces a volcano of everyday emotions, especially the ones of December.\u003c/p>\n\u003cp>Here is a winter present worth unwrapping.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sink’ runs through Saturday, Dec. 9, at the Joe Goode Studio in San Francisco. For tickets and information, \u003ca href=\"http://circozero.org/current#/sink/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A Christmas Story: The Musical’ runs through Saturday, Jan. 13, at the SF Playhouse. For tickets and information, \u003ca href=\"https://www.sfplayhouse.org/sfph/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Shakespeare in Love’ runs through Saturday, Dec. 23, at the Marin Theater Company in Mill Valley. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "'A Christmas Story' and 'Shakespeare in Love' hit Bay Area stages this month — but it's Keith Hennessey's 'Sink' that, in 2017, strikes the right holiday spirit.",
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"title": "For the Holidays, Two Plays Adapted From Movies — Plus One Winner | KQED",
"description": "'A Christmas Story' and 'Shakespeare in Love' hit Bay Area stages this month — but it's Keith Hennessey's 'Sink' that, in 2017, strikes the right holiday spirit.",
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"headline": "For the Holidays, Two Plays Adapted From Movies — Plus One Winner",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m guessing here, but one of the main reasons \u003cem>A Christmas Carol\u003c/em> and \u003cem>It’s a Wonderful Life\u003c/em> are such great works of art is that their heroes are shattered, and they must put themselves back together in the coldest time of the year. As the days fall shorter in 2017, these classics are a sharp reminder that winter is brutal when your mind is ripped to pieces.\u003c/p>\n\u003cp>And so we should be thankful for Keith Hennessy’s dance-theater-circus shocker, \u003cem>Sink\u003c/em>. It’s full of Christmas spirit — not just a sense of redemption and hope for the future, but also a rage at what the world and we have become. At the Joe Goode Studio until Dec. 9th, it’s not really a holiday show, yet in that grand tradition it confronts injustice with wild bursts of sentimentality and moments of savage beauty and grace. In Hennessy, we have an unlikely and true heir to Dickens and Capra.\u003c/p>\n\u003cp>But before slipping into the world of \u003cem>Sink\u003c/em>, two major holiday shows, \u003cem>A Christmas Story: The Musical\u003c/em> and \u003cem>Shakespeare in Love\u003c/em> opened this week at the SF Playhouse and the Marin Theatre Company. Both shows are based on well-regarded, overrated movies. And both are hindered by a desire to please, rather than taking on the vast and gnarled emotions of the season.\u003c/p>\n\u003ch2>‘A Christmas Story: The Musical’\u003c/h2>\n\u003cfigure id=\"attachment_13816646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg\" alt=\"Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We should all be wary of shows that take the title of a popular property, slap a colon behind it, and announce that it is “The Musical.” Whatever benefits singing might bring to a story, these additions are almost always more about business than art.\u003c/p>\n\u003cp>The story of nine-year-old Ralphie’s desperate and imaginative attempts to get a Red Ryder B.B. gun for Christmas has its charms, especially in the movie’s less hurried and more meandering aesthetic. We’re caught in the whirlwind of a boy’s dreams, willing to go along in his quest that is in many ways as tangled and vexing as Odysseus’ path home. For a child, everything is an epic journey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a case to be made that musical numbers could bring Ralphie’s story to greater life, that the best showtunes catch the split between the vibrant force of dreams and the bitter consolations of reality. The problem is that \u003cem>A Christmas Story: The Musical \u003c/em>isn’t so much interested in Ralphie as it is our memories of the movie about him.\u003c/p>\n\u003cp>The result is a vehicle and production that feels amped up for no discernible reasons. As the narrator, Christopher Reber delivers his lines with a forced jolliness that belies the off-key nature of the material. Ralphie’s simple wish often gets lost in production numbers that are overblown and indifferently staged. Even the ornate set, which includes a slide, seems out of focus, messy, and unfinished.\u003c/p>\n\u003cp>You want the piece and the production to relax, to give us a chance to feel Ralphie’s dreams on our own terms. But \u003cem>Christmas Story: The Musical\u003c/em> has an aggressive spirit that demands that we succumb to its ideas of fun and frivolity. I think even a child might want to resist that.\u003c/p>\n\u003ch2>‘Shakespeare in Love’\u003c/h2>\n\u003cfigure id=\"attachment_13816648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg\" alt=\"William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was always something vaguely distasteful about Harvey Weinstein’s ability to muscle \u003cem>Shakespeare in Love\u003c/em> into a 1999 Best Picture Oscar, and now we can excise the “vaguely” part. The film has high-minded aspirations — Shakespeare, literary trivia, Judi Dench, the noteworthy presence of dramatist and screenwriter Tom Stoppard — but ultimately it’s less a movie to enjoy than to get behind.\u003c/p>\n\u003cp>So it’s a bit of a surprise that there’s some life to Lee Hall’s stage adaption. It’s certainly not the absurd premise, that Shakespeare is suffering from writer’s block while writing the supposedly lost-to-history \u003cem>Romeo and Ethel, The Pirate’s Daughter.\u003c/em> It’s that every once and a while, the backstage drama springs to life, and you get a sense of what it must have felt like to produce a play in the Elizabethan age.\u003c/p>\n\u003cp>Still, those are scant and fleeting pleasures. Our only true sense of what it means to live and experience the era comes from Megan Trout’s constantly surprising and committed performance as Viola de Lesseps, Shakespeare’s love interest and eventual muse (in the play, not reality).\u003c/p>\n\u003cp>Trout hurls herself around the stage with an athlete’s abandon and seems to be acting in an entirely different piece, as if any of this mattered. You feel the spirit of the season in her performance, and at times that’s enough to hold this professional, though uninspired, play and production aloft.\u003c/p>\n\u003cp>Nonetheless, I do wish that considering the Marin Theater Company’s adventurous 2017-18 season (plays by Thomas Bradshaw, Young Jean Lee, and Jordan Harrison), they had challenged our sense of holiday spirit, rather than pandering to its most mundane and well-worn concerns. Why should winter be bereft of ideas and revolution?\u003c/p>\n\u003ch2>‘Sink’\u003c/h2>\n\u003cfigure id=\"attachment_13816644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816644 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg\" alt=\"Keith Hennessy slow dances with himself in 'Sink' at the Joe Goode Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy slow-dances with himself in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keith Hennessey begins ‘Sink’ in a white Robert Cavalli sweatsuit and a goofy blond wig, while slowly dancing on a stool. In voiceover we hear a litany of his ideas, thoughts, and observations — “People who have been surprised by Trump haven’t read the comments section,” “What does it mean that Colin Kaepernick isn’t registered to vote?” It’s at this point that we’re invited — at first 10 volunteers, and then the rest of the audience — to step behind the makeshift curtain into what turns out to be a different kind of world.\u003c/p>\n\u003cp>Curtains are becoming increasingly rare in contemporary theater and dance. When Hennessey asks us to join him on the other side, you wonder both what’s there and what’s been missing — in all these other performances where curtains have vanished.\u003c/p>\n\u003cfigure id=\"attachment_13816642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" class=\"size-medium wp-image-13816642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy jumps and jumps and jumps in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sink\u003c/em> is rather obliquely about the Las Vegas and Orlando mass shootings and, like the beginning of those tragedies, we make a choice: We walk behind a curtain, we enter a space, and we join a community. Among Hennessey’s many strange talents is his ability to talk us into a set of relations, something that feels real and of the world. He explains to us what is happening, makes us comfortable, and only then does he perform.\u003c/p>\n\u003cp>So if you have ever wanted to see a white shadow; the eruption of a pagan god dancing in the air before you; or a man falling through a Christmas tree of deformed disco balls, then \u003cem>Sink\u003c/em> is the gift you need. It is a clarion call for justice, the miracle of surviving, and an amazing journey that embraces a volcano of everyday emotions, especially the ones of December.\u003c/p>\n\u003cp>Here is a winter present worth unwrapping.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sink’ runs through Saturday, Dec. 9, at the Joe Goode Studio in San Francisco. For tickets and information, \u003ca href=\"http://circozero.org/current#/sink/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A Christmas Story: The Musical’ runs through Saturday, Jan. 13, at the SF Playhouse. For tickets and information, \u003ca href=\"https://www.sfplayhouse.org/sfph/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shakespeare in Love’ runs through Saturday, Dec. 23, at the Marin Theater Company in Mill Valley. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On the Air: Cy and Jeffrey's Do List Picks for Sept. 8, 2017",
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"content": "\u003cp>This week we welcome \u003cem>SF Weekly\u003c/em> theater columnist Jeffrey Edalatpour for a preview of the fall’s most intriguing plays, many of which tackle issues of race, sexuality, and religion. The list includes Taylor’s Mac’s epic “radical faerie” take on American history, as well as a play so violent it comes with trigger warnings and a world premiere musical about what may be the greatest soul band ever, The Temptations.\u003c/p>\n\u003cp>\u003cstrong>Sept. 15–27:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVYZ\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac brings his epic \u003cem>24-Decade History of Popular Music\u003c/em> back to the Bay Area.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZ5\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Bradshaw’s \u003cem>Thomas and Sally\u003c/em> at the Marin Theatre Company goes under the covers with our founding fathers and their bedmates in a world premiere.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 26–Nov. 11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZB\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Playhouse presents Robert O’Hara’s \u003cem>Barbecue\u003c/em>, a play about a family intervention and race\u003cb>.\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 8–23: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZO\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Fringe Festival showcases more than 30 plays from the silly to serious.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–Oct. 7:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW0K\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Chen’s \u003cem>A Tale of Autumn\u003c/em> tells a tale of corporate succession recalling Shakespeare and Game of Thrones\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 21–Oct. 22:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW12\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blasted\u003c/em> at Shotgun Players takes us into a horrifying bedroom in the midst of a war zone. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 12–Oct. 8:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW0B\" target=\"_blank\" rel=\"noopener noreferrer\"> Adapting \u003cem>An American in Paris\u003c/em> for the stage and getting it right. Maybe.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–Nov. 5: \u003c/strong>\u003ca href=\"https://theatreworks.org/201718-season/201718-season/prince-of-egypt/\" target=\"_blank\" rel=\"noopener noreferrer\">The Exodus story as imagined by Dreamworks and adapted into a stage musical.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 31–-Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW08\" target=\"_blank\" rel=\"noopener noreferrer\">The story of the greatest soul band ever at Berkeley Rep.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week we welcome \u003cem>SF Weekly\u003c/em> theater columnist Jeffrey Edalatpour for a preview of the fall’s most intriguing plays, many of which tackle issues of race, sexuality, and religion. The list includes Taylor’s Mac’s epic “radical faerie” take on American history, as well as a play so violent it comes with trigger warnings and a world premiere musical about what may be the greatest soul band ever, The Temptations.\u003c/p>\n\u003cp>\u003cstrong>Sept. 15–27:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVYZ\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac brings his epic \u003cem>24-Decade History of Popular Music\u003c/em> back to the Bay Area.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZ5\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Bradshaw’s \u003cem>Thomas and Sally\u003c/em> at the Marin Theatre Company goes under the covers with our founding fathers and their bedmates in a world premiere.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 26–Nov. 11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZB\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Playhouse presents Robert O’Hara’s \u003cem>Barbecue\u003c/em>, a play about a family intervention and race\u003cb>.\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 8–23: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZO\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Fringe Festival showcases more than 30 plays from the silly to serious.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–Oct. 7:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW0K\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Chen’s \u003cem>A Tale of Autumn\u003c/em> tells a tale of corporate succession recalling Shakespeare and Game of Thrones\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 21–Oct. 22:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW12\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blasted\u003c/em> at Shotgun Players takes us into a horrifying bedroom in the midst of a war zone. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 12–Oct. 8:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW0B\" target=\"_blank\" rel=\"noopener noreferrer\"> Adapting \u003cem>An American in Paris\u003c/em> for the stage and getting it right. Maybe.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–Nov. 5: \u003c/strong>\u003ca href=\"https://theatreworks.org/201718-season/201718-season/prince-of-egypt/\" target=\"_blank\" rel=\"noopener noreferrer\">The Exodus story as imagined by Dreamworks and adapted into a stage musical.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 31–-Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW08\" target=\"_blank\" rel=\"noopener noreferrer\">The story of the greatest soul band ever at Berkeley Rep.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Going Under the Covers with America's Founding Fathers and Mates",
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"content": "\u003cp>\u003cstrong>Sept. 28–Oct. 22:\u003c/strong> The politics of race, religion and sex have been omnipresent in our culture this past year, and its reflection can be found in many plays opening on Bay Area stages this fall. \u003ca href=\"http://www.marintheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Marin Theatre Company\u003c/a> is offering a world premiere of \u003ca href=\"https://en.wikipedia.org/wiki/Thomas_Bradshaw_(playwright)\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Bradshaw\u003c/a>’s play \u003cem>Thomas and Sally\u003c/em>, about Thomas Jefferson and his slave Sally Hemings, who bore him six children. Bradshaw’s plays are always in-your-face: explicit about sex, and politics, and very funny and nasty. He’s also African-American, so he’s among the playwrights I’m most keen to see deconstruct this founding father, whose slaveholding ways and personal life mocked many of the values he so eloquently expressed in the Declaration of Independence. Bradshaw promises as well to take us into the beds of Ben Franklin, John and Abigail Adams, and the Marquis de Lafayette. I can’t wait. \u003ca href=\"http://www.marintheatre.org/productions/thomas-and-sally\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807620\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-800x506.jpg\" alt=\"Tara Pacheco is Sally Hemings and Mark Anderson Phillips plays Thomas Jefferson in Thomas Bradshaw’s play ‘Thomas and Sally’\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Pacheco is Sally Hemings and Mark Anderson Phillips plays Thomas Jefferson in Thomas Bradshaw’s play ‘Thomas and Sally.’ \u003ccite>(Photo: Courtesy of Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "At the Marin Theatre Co., 'Thomas and Sally' exposes the personal life of Thomas Jefferson and his slave Sally Hemings.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Sept. 28–Oct. 22:\u003c/strong> The politics of race, religion and sex have been omnipresent in our culture this past year, and its reflection can be found in many plays opening on Bay Area stages this fall. \u003ca href=\"http://www.marintheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Marin Theatre Company\u003c/a> is offering a world premiere of \u003ca href=\"https://en.wikipedia.org/wiki/Thomas_Bradshaw_(playwright)\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Bradshaw\u003c/a>’s play \u003cem>Thomas and Sally\u003c/em>, about Thomas Jefferson and his slave Sally Hemings, who bore him six children. Bradshaw’s plays are always in-your-face: explicit about sex, and politics, and very funny and nasty. He’s also African-American, so he’s among the playwrights I’m most keen to see deconstruct this founding father, whose slaveholding ways and personal life mocked many of the values he so eloquently expressed in the Declaration of Independence. Bradshaw promises as well to take us into the beds of Ben Franklin, John and Abigail Adams, and the Marquis de Lafayette. I can’t wait. \u003ca href=\"http://www.marintheatre.org/productions/thomas-and-sally\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807620\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-800x506.jpg\" alt=\"Tara Pacheco is Sally Hemings and Mark Anderson Phillips plays Thomas Jefferson in Thomas Bradshaw’s play ‘Thomas and Sally’\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Pacheco is Sally Hemings and Mark Anderson Phillips plays Thomas Jefferson in Thomas Bradshaw’s play ‘Thomas and Sally.’ \u003ccite>(Photo: Courtesy of Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\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": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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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.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"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.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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