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"content": "\u003cp>In its two hours and 30 minutes, \u003cem>Suffs\u003c/em> delivers more than a retelling of the American suffrage movement. Sure, its content might help a student check off a bullet point on a history class syllabus.\u003c/p>\n\u003cp>But the musical, which saw its \u003ca href=\"https://www.broadwaysf.com/events/suffs/\">San Francisco premiere this week at the Orpheum Theatre\u003c/a> and runs through Nov. 9, offers something much deeper and more valuable. It brings humanity to the names and faces behind the decades-long suffrage movement. In so doing, it delivers insight into a fight for rights that, unfortunately, resonates a century later.\u003c/p>\n\u003cp>\u003cem>Suffs\u003c/em> first premiered in 2022 off-Broadway, starring Shaina Taub, the creator behind the book, music and lyrics. After making the leap to Broadway, it went on to win two Tony awards, for Best Original Score and Best Book of a Musical, in 2024.\u003c/p>\n\u003cfigure id=\"attachment_13982907\" class=\"wp-caption aligncenter\" style=\"max-width: 1918px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-scaled.jpg\" alt=\"two women dressed as suffragettes hold a sign that reads 'vote wilson out'\" width=\"1918\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-scaled.jpg 1918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-2000x2669.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-1151x1536.jpg 1151w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-1534x2048.jpg 1534w\" sizes=\"auto, (max-width: 1918px) 100vw, 1918px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Keleher as Alice Paul and Marya Grandy as Carrie Chapman Catt in ‘Suffs.’ \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its first run with a touring company, it’s easy to see why. The play follows spunky suffragist Alice Paul (Maya Keleher), fresh out of university and armed with an unrelenting drive to challenge President Woodrow Wilson’s opposition to women’s suffrage. \u003cem>Suffs\u003c/em> documents her determination to secure a constitutional amendment guaranteeing her and her fellow women — well, white women — the right to vote.\u003c/p>\n\u003cp>Joining Paul at the start of her activism are women who would become the core of the National Woman’s Party: Paul’s college friend Lucy Burns (Gwynne Wood), the movement’s prominent public face Inez Milholland (Monica Tulia Ramirez), secretary Doris Stevens (Livvy Marcus), and Polish-American labor organizer Ruza Wenclawska (Joyce Meimei Zheng).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Offering a clear-eyed take on a movement often romanticized as a seamless sisterhood of women who all loved each other (spoiler alert: they didn’t), \u003cem>Suffs\u003c/em> depicts the women’s clashing approaches to activism. Paul’s relentless militancy butts up against veteran suffragist Carrie Chapman Catt’s (Marya Grandy) cautious pragmatism.\u003c/p>\n\u003cfigure id=\"attachment_13982893\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982893\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-scaled.jpg\" alt=\"three women stand on stage in suffagette clothing in a play\" width=\"2560\" height=\"1880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-2000x1469.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-1536x1128.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-2048x1504.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danyel Fulton as Ida B. Wells, Trisha Jeffrey as Mary Church Terrell and Victoria Pekel as Phyllis Terrell in the first national touring company of ‘Suffs.’ \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, the show doesn’t shy away from the glaring prejudice faced by Black women and Black Americans as a whole, exposing how the suffrage movement often prioritized white women’s advancement. Through the portrayal of journalist, suffragist and civil rights activist Ida B. Wells (Danyel Fulton), \u003cem>Suffs\u003c/em> emphasizes the innumerable extra challenges she faced while fighting not just for women’s rights, but for the liberation of her people.\u003c/p>\n\u003cp>These contradictions, masked by the illusion of a united front, are humorously captured in moments when the press snaps “solidarity” photos of women barely concealing their disagreements.\u003c/p>\n\u003cp>\u003cem>Suffs\u003c/em> builds to its final act in Tennessee — the last state needed to ratify the 19th Amendment. Though we as the audience know how it ends, tensions still run high as suffragists crowd the statehouse halls, counting on every possible vote to secure their decades-long fight.\u003c/p>\n\u003cfigure id=\"attachment_13982908\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joyce Meimei Zheng as Ruza Wenclawska and ‘Suffs’ Company. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet, the story doesn’t end like the fight is over. Yes, Tennessee does secure the votes it needs. And yes, Alice Paul continues to be a key figure in granting women more than just the right to vote. But something about watching \u003cem>Suffs\u003c/em> feels like trying to relieve an itch you can’t seem to reach: there’s no simple, satisfactory resolution; it lingers with you. The ending musical number, “Keep Marching,” acts as a reminder that the struggle for equal rights continues.\u003c/p>\n\u003cp>And so many struggles do continue: Against the backdrop of \u003ca href=\"https://www.kqed.org/news/12061191/activists-federal-agents-clash-at-coast-guard-base-during-immigration-crackdown\">hundreds of passionate Bay Area residents front and center\u003c/a> at Alameda’s Coast Guard Island protesting the arrival of the U.S. Customs and Border Patrol early Thursday morning, \u003cem>Suffs\u003c/em> felt especially urgent.\u003c/p>\n\u003cp>Though set over a century ago, the musical still speaks volumes about what it means to fight for something when it seems like the odds are against you. In today’s political climate, its message feels less like a history lesson, and more like a call to action.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Suffs’ runs through Sunday, Nov. 9, at the Orpheum Theater (1192 Market St., San Francisco). \u003ca href=\"https://www.broadwaysf.com/events/suffs/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In its two hours and 30 minutes, \u003cem>Suffs\u003c/em> delivers more than a retelling of the American suffrage movement. Sure, its content might help a student check off a bullet point on a history class syllabus.\u003c/p>\n\u003cp>But the musical, which saw its \u003ca href=\"https://www.broadwaysf.com/events/suffs/\">San Francisco premiere this week at the Orpheum Theatre\u003c/a> and runs through Nov. 9, offers something much deeper and more valuable. It brings humanity to the names and faces behind the decades-long suffrage movement. In so doing, it delivers insight into a fight for rights that, unfortunately, resonates a century later.\u003c/p>\n\u003cp>\u003cem>Suffs\u003c/em> first premiered in 2022 off-Broadway, starring Shaina Taub, the creator behind the book, music and lyrics. After making the leap to Broadway, it went on to win two Tony awards, for Best Original Score and Best Book of a Musical, in 2024.\u003c/p>\n\u003cfigure id=\"attachment_13982907\" class=\"wp-caption aligncenter\" style=\"max-width: 1918px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-scaled.jpg\" alt=\"two women dressed as suffragettes hold a sign that reads 'vote wilson out'\" width=\"1918\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-scaled.jpg 1918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-2000x2669.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-1151x1536.jpg 1151w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/9-SUFFS-Tour_Maya-Keleher-as-Alice-Paul_Marya-Grandy-as-Carrie-Chapman-Catt-1534x2048.jpg 1534w\" sizes=\"auto, (max-width: 1918px) 100vw, 1918px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Keleher as Alice Paul and Marya Grandy as Carrie Chapman Catt in ‘Suffs.’ \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its first run with a touring company, it’s easy to see why. The play follows spunky suffragist Alice Paul (Maya Keleher), fresh out of university and armed with an unrelenting drive to challenge President Woodrow Wilson’s opposition to women’s suffrage. \u003cem>Suffs\u003c/em> documents her determination to secure a constitutional amendment guaranteeing her and her fellow women — well, white women — the right to vote.\u003c/p>\n\u003cp>Joining Paul at the start of her activism are women who would become the core of the National Woman’s Party: Paul’s college friend Lucy Burns (Gwynne Wood), the movement’s prominent public face Inez Milholland (Monica Tulia Ramirez), secretary Doris Stevens (Livvy Marcus), and Polish-American labor organizer Ruza Wenclawska (Joyce Meimei Zheng).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Offering a clear-eyed take on a movement often romanticized as a seamless sisterhood of women who all loved each other (spoiler alert: they didn’t), \u003cem>Suffs\u003c/em> depicts the women’s clashing approaches to activism. Paul’s relentless militancy butts up against veteran suffragist Carrie Chapman Catt’s (Marya Grandy) cautious pragmatism.\u003c/p>\n\u003cfigure id=\"attachment_13982893\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982893\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-scaled.jpg\" alt=\"three women stand on stage in suffagette clothing in a play\" width=\"2560\" height=\"1880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-2000x1469.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-1536x1128.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/4-SUFFS-Tour_Danyel-Fulton-as-Ida-B.-Wells_Trisha-Jeffrey-as-Mary-Church-Terrell_-Victoria-Pekel-as-Phyllis-Terrell-2048x1504.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danyel Fulton as Ida B. Wells, Trisha Jeffrey as Mary Church Terrell and Victoria Pekel as Phyllis Terrell in the first national touring company of ‘Suffs.’ \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, the show doesn’t shy away from the glaring prejudice faced by Black women and Black Americans as a whole, exposing how the suffrage movement often prioritized white women’s advancement. Through the portrayal of journalist, suffragist and civil rights activist Ida B. Wells (Danyel Fulton), \u003cem>Suffs\u003c/em> emphasizes the innumerable extra challenges she faced while fighting not just for women’s rights, but for the liberation of her people.\u003c/p>\n\u003cp>These contradictions, masked by the illusion of a united front, are humorously captured in moments when the press snaps “solidarity” photos of women barely concealing their disagreements.\u003c/p>\n\u003cp>\u003cem>Suffs\u003c/em> builds to its final act in Tennessee — the last state needed to ratify the 19th Amendment. Though we as the audience know how it ends, tensions still run high as suffragists crowd the statehouse halls, counting on every possible vote to secure their decades-long fight.\u003c/p>\n\u003cfigure id=\"attachment_13982908\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/6-SUFFS-Tour_6-Joyce-Meimei-Zheng-as-Ruza-Wenclawska-and-SUFFS-Company-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joyce Meimei Zheng as Ruza Wenclawska and ‘Suffs’ Company. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet, the story doesn’t end like the fight is over. Yes, Tennessee does secure the votes it needs. And yes, Alice Paul continues to be a key figure in granting women more than just the right to vote. But something about watching \u003cem>Suffs\u003c/em> feels like trying to relieve an itch you can’t seem to reach: there’s no simple, satisfactory resolution; it lingers with you. The ending musical number, “Keep Marching,” acts as a reminder that the struggle for equal rights continues.\u003c/p>\n\u003cp>And so many struggles do continue: Against the backdrop of \u003ca href=\"https://www.kqed.org/news/12061191/activists-federal-agents-clash-at-coast-guard-base-during-immigration-crackdown\">hundreds of passionate Bay Area residents front and center\u003c/a> at Alameda’s Coast Guard Island protesting the arrival of the U.S. Customs and Border Patrol early Thursday morning, \u003cem>Suffs\u003c/em> felt especially urgent.\u003c/p>\n\u003cp>Though set over a century ago, the musical still speaks volumes about what it means to fight for something when it seems like the odds are against you. In today’s political climate, its message feels less like a history lesson, and more like a call to action.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Suffs’ runs through Sunday, Nov. 9, at the Orpheum Theater (1192 Market St., San Francisco). \u003ca href=\"https://www.broadwaysf.com/events/suffs/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Travel back in time, and you’ll find an \u003ca href=\"https://www.psychologytoday.com/us/blog/divorce-busting/202002/the-singing-cow\">axiom of practical wisdom\u003c/a>: “Never teach a cow to sing. It wastes time, and annoys the cow.”\u003c/p>\n\u003cp>At \u003cem>Back to the Future: The Musical\u003c/em>, which opened Thursday night in San Francisco, the cow is the audience of \u003cem>Back to the Future\u003c/em> fans. The futile singing lesson is the format of musical theater itself.\u003c/p>\n\u003cp>Who wanted a \u003cem>Back to the Future\u003c/em> musical? That was my first question, and the only answer I could surmise was: someone who wants to milk a beloved franchise for even more money. Once the curtain rose, and I watched this would-be 88 mph production grind to a halt over and over with introspective singing, I had several other questions, too. \u003c/p>\n\u003cfigure id=\"attachment_13971986\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Luke Antony Neville (Principal Strickland) and Lucas Hallauer (Marty McFly) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Primarily, why would any Broadway producer believe \u003cem>Back to the Future\u003c/em> fans will like musical theater? The show knows its audience is a bunch of Gen X nerds; it serves up Pac-Man and \u003cem>Frankenstein\u003c/em> references, a \u003cem>Star Trek\u003c/em> joke and a \u003cem>Star Wars\u003c/em> sight gag. These are not people planning their summer vacations around Patti LuPone’s performances. \u003c/p>\n\u003cp>But surely, you say, there must be some crossover fanbase. And I would say: yes! That person is me! I was the prime age of 10 when \u003cem>Back to the Future\u003c/em> came out, I watched it approximately 137 times on a grainy VHS dub, and also grew up to love musical theater. I even adore a few other trashy musical adaptations from movies, like \u003cem>Mean Girls: The Musical\u003c/em> and \u003cem>Legally Blonde: The Musical\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13971920']But \u003cem>Mean Girls: The Musical\u003c/em> and \u003cem>Legally Blonde: The Musical\u003c/em> are based on camp classics, and thus have a built-in audience of musical theater fans. \u003cem>Back to the Future: The Musical\u003c/em> spends too much time on navel-gazing ballads and character development for anyone, but especially for those from the \u003ca href=\"https://www.youtube.com/watch?v=hHZctSnNrsw\">Van Halen generation\u003c/a>. We already know these characters; I counted at least two people on opening night wearing Marty McFly-inspired puffy orange vests. Just be funny!\u003c/p>\n\u003cp>Instead, we get George McFly, looking through binoculars in a tree, somberly singing that “\u003ca href=\"https://www.allmusicals.com/lyrics/backtothefuture/mymyopia.htm\">My myopia is my utopia\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13971987\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Lucas Hallauer (Marty McFly) and Kiara Lee (Jennifer Parker) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a problem of earnestness, and it starts to make sense when you learn that the musical was co-written by Glenn Ballard, who shot to fame as the co-writer of Alanis Morissette’s album \u003cem>Jagged Little Pill\u003c/em>. If the producers were looking for a good fit, they really should have gotten Weird Al.\u003c/p>\n\u003cp>“OK, fine,” you say. “Surely there must have been \u003cem>some\u003c/em> good things about it.”\u003c/p>\n\u003cp>You’re right. As Marty McFly, Lucas Hallauer mimics Michael J. Fox’s mannerisms and speaking style with astounding accuracy; he moves, scoots and squeaks just like Fox. “Gotta Start Somewhere,” sung by Cartreze Tucker as the diner custodian and future Hill Valley mayor Goldie Wilson, steals the show. And the special effects with the DeLorean, naturally, are dazzling; at one point I thought it would fly off of the stage and over the seats. \u003c/p>\n\u003cfigure id=\"attachment_13971983\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Don Stephenson (Doc Brown) and Lucas Hallauer (Marty McFly) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plus, the second half picks up velocity with all the climactic plot turns you know and love. A knockout punch. A dance floor kiss. A lightning strike on the clock tower, with terrific technical effects. If you watched the movie on repeat, as I did, it’s hard not to be thrilled when these key moments take place, among an audience finally coming alive with rapturous applause.\u003c/p>\n\u003cp>Is it worth the pain of sitting through the rest? This cow says: \u003cem>moooooooooooo\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.broadwaysf.com/events/back-to-the-future/\">Back to the Future: The Musical\u003c/a>’ runs through Sunday, March 9, at the Orpheum Theatre in San Francisco. Details here.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Travel back in time, and you’ll find an \u003ca href=\"https://www.psychologytoday.com/us/blog/divorce-busting/202002/the-singing-cow\">axiom of practical wisdom\u003c/a>: “Never teach a cow to sing. It wastes time, and annoys the cow.”\u003c/p>\n\u003cp>At \u003cem>Back to the Future: The Musical\u003c/em>, which opened Thursday night in San Francisco, the cow is the audience of \u003cem>Back to the Future\u003c/em> fans. The futile singing lesson is the format of musical theater itself.\u003c/p>\n\u003cp>Who wanted a \u003cem>Back to the Future\u003c/em> musical? That was my first question, and the only answer I could surmise was: someone who wants to milk a beloved franchise for even more money. Once the curtain rose, and I watched this would-be 88 mph production grind to a halt over and over with introspective singing, I had several other questions, too. \u003c/p>\n\u003cfigure id=\"attachment_13971986\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Luke Antony Neville (Principal Strickland) and Lucas Hallauer (Marty McFly) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Primarily, why would any Broadway producer believe \u003cem>Back to the Future\u003c/em> fans will like musical theater? The show knows its audience is a bunch of Gen X nerds; it serves up Pac-Man and \u003cem>Frankenstein\u003c/em> references, a \u003cem>Star Trek\u003c/em> joke and a \u003cem>Star Wars\u003c/em> sight gag. These are not people planning their summer vacations around Patti LuPone’s performances. \u003c/p>\n\u003cp>But surely, you say, there must be some crossover fanbase. And I would say: yes! That person is me! I was the prime age of 10 when \u003cem>Back to the Future\u003c/em> came out, I watched it approximately 137 times on a grainy VHS dub, and also grew up to love musical theater. I even adore a few other trashy musical adaptations from movies, like \u003cem>Mean Girls: The Musical\u003c/em> and \u003cem>Legally Blonde: The Musical\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>Mean Girls: The Musical\u003c/em> and \u003cem>Legally Blonde: The Musical\u003c/em> are based on camp classics, and thus have a built-in audience of musical theater fans. \u003cem>Back to the Future: The Musical\u003c/em> spends too much time on navel-gazing ballads and character development for anyone, but especially for those from the \u003ca href=\"https://www.youtube.com/watch?v=hHZctSnNrsw\">Van Halen generation\u003c/a>. We already know these characters; I counted at least two people on opening night wearing Marty McFly-inspired puffy orange vests. Just be funny!\u003c/p>\n\u003cp>Instead, we get George McFly, looking through binoculars in a tree, somberly singing that “\u003ca href=\"https://www.allmusicals.com/lyrics/backtothefuture/mymyopia.htm\">My myopia is my utopia\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13971987\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Lucas Hallauer (Marty McFly) and Kiara Lee (Jennifer Parker) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a problem of earnestness, and it starts to make sense when you learn that the musical was co-written by Glenn Ballard, who shot to fame as the co-writer of Alanis Morissette’s album \u003cem>Jagged Little Pill\u003c/em>. If the producers were looking for a good fit, they really should have gotten Weird Al.\u003c/p>\n\u003cp>“OK, fine,” you say. “Surely there must have been \u003cem>some\u003c/em> good things about it.”\u003c/p>\n\u003cp>You’re right. As Marty McFly, Lucas Hallauer mimics Michael J. Fox’s mannerisms and speaking style with astounding accuracy; he moves, scoots and squeaks just like Fox. “Gotta Start Somewhere,” sung by Cartreze Tucker as the diner custodian and future Hill Valley mayor Goldie Wilson, steals the show. And the special effects with the DeLorean, naturally, are dazzling; at one point I thought it would fly off of the stage and over the seats. \u003c/p>\n\u003cfigure id=\"attachment_13971983\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Don Stephenson (Doc Brown) and Lucas Hallauer (Marty McFly) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plus, the second half picks up velocity with all the climactic plot turns you know and love. A knockout punch. A dance floor kiss. A lightning strike on the clock tower, with terrific technical effects. If you watched the movie on repeat, as I did, it’s hard not to be thrilled when these key moments take place, among an audience finally coming alive with rapturous applause.\u003c/p>\n\u003cp>Is it worth the pain of sitting through the rest? This cow says: \u003cem>moooooooooooo\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.broadwaysf.com/events/back-to-the-future/\">Back to the Future: The Musical\u003c/a>’ runs through Sunday, March 9, at the Orpheum Theatre in San Francisco. Details here.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The hit musical \u003cem>Hamilton\u003c/em> will return to San Francisco in August. \u003c/p>\n\u003cp>The four-week run of \u003cem>Hamilton\u003c/em>, from Aug. 10-Sept. 5, 2021, will mark the official reopening of the Orpheum Theatre, shuttered ever since it was forced to close by the coronavirus pandemic last March. (The show that had been running there last year, but \u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">closed early\u003c/a>? \u003cem>Hamilton\u003c/em>.)\u003c/p>\n\u003cp>Hamilton will also run for three weeks at San Jose’s Center for the Performing Arts from Oct. 12–31, 2021. Tickets for both the San Francisco and San Jose run go on sale Wednesday, June 2. Tickets range from $49 to $179, with premium seats from $199 to $299. \u003ca href=\"https://hamilton.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>In addition to Hamilton, upcoming shows at the Orpheum and Golden Gate theatres include \u003cem>The Prom, Hadestown, Moulin Rouge, To Kill a MockingBird, The Band’s Visit, Ain’t Too Proud—The Life and Times of the Temptations, Jesus Christ Superstar, Oklahoma! and My Fair Lady\u003c/em>. \u003cem>Mean Girls\u003c/em>, originally scheduled for July and August, will return at a later date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hit musical \u003cem>Hamilton\u003c/em> will return to San Francisco in August. \u003c/p>\n\u003cp>The four-week run of \u003cem>Hamilton\u003c/em>, from Aug. 10-Sept. 5, 2021, will mark the official reopening of the Orpheum Theatre, shuttered ever since it was forced to close by the coronavirus pandemic last March. (The show that had been running there last year, but \u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">closed early\u003c/a>? \u003cem>Hamilton\u003c/em>.)\u003c/p>\n\u003cp>Hamilton will also run for three weeks at San Jose’s Center for the Performing Arts from Oct. 12–31, 2021. Tickets for both the San Francisco and San Jose run go on sale Wednesday, June 2. Tickets range from $49 to $179, with premium seats from $199 to $299. \u003ca href=\"https://hamilton.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>In addition to Hamilton, upcoming shows at the Orpheum and Golden Gate theatres include \u003cem>The Prom, Hadestown, Moulin Rouge, To Kill a MockingBird, The Band’s Visit, Ain’t Too Proud—The Life and Times of the Temptations, Jesus Christ Superstar, Oklahoma! and My Fair Lady\u003c/em>. \u003cem>Mean Girls\u003c/em>, originally scheduled for July and August, will return at a later date.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Orpheum Theatre and Golden Gate Theatre, two of San Francisco’s most historic auditoriums, will be sold to the parent company of the Ambassador Theatre Group (ATG), according to an \u003ca href=\"https://deadline.com/2021/03/nederlander-theater-broadway-san-francisco-golden-gate-orpheum-detroit-fisher-atg-acquisition-1234719273/\" target=\"_blank\" rel=\"noopener noreferrer\">announcement by ATG\u003c/a>. The sale transfers ownership of the theaters from the Nederlander Company, based in New York. The sale price was not announced.\u003c/p>\n\u003cp>In recent years, the Golden Gate and Orpheum have primarily been home to touring Broadway musicals such as \u003cem>Les Miserables, West Side Story, Waitress, Rent, The Book Of Mormon\u003c/em> and \u003cem>Phantom of The Opera\u003c/em>. When the pandemic closed theaters nationwide, the Golden Gate had just opened Sting’s musical \u003cem>The Last Ship\u003c/em>, while the Orpheum hosted \u003cem>Hamilton\u003c/em>. In October 2019, Madonna performed a run of concerts at the Golden Gate.\u003c/p>\n\u003cp>Based in the U.K., ATG is one of the largest operators of Broadway-style theaters around the globe, and the type of shows on offer at both theaters is not expected to fundamentally change. Local company BroadwaySF had been booking both theaters, following a \u003ca href=\"https://www.kqed.org/arts/13864475/bay-area-broadway-producers-announce-settlement-ending-five-year-legal-battle\" target=\"_blank\" rel=\"noopener noreferrer\">five-year legal battle\u003c/a> that resulted in the dissolving of the theaters’ previous operator, SHN.\u003c/p>\n\u003cp>The currently scheduled season of bookings at the theaters, starting with \u003cem>Mean Girls\u003c/em> on July 27, is expected to go on, pending local restrictions on live theater, ATG spokesperson Rick Miramontez told KQED.\u003c/p>\n\u003cfigure id=\"attachment_13894451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894451\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/OrpheumTheatre.jpg\" alt=\"The exterior of the Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the Orpheum Theatre in San Francisco. \u003ccite>(Courtesy BroadwaySF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After this season’s dates are up, Miramontez said, booking will transfer to ATG. Miramontez said that ATG will “welcome the Broadway SF team into its family,” and is open to hiring local BroadwaySF staff. (A representative from BroadwaySF declined to comment.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The situation is reminiscent of ATG’s operation of the Curran Theatre, which hosted \u003cem>Harry Potter and the Cursed Child\u003c/em> last year when the pandemic hit. ATG inherited local staff in that theater’s transfer from SHN as well. \u003cem>Harry Potter\u003c/em> is expected to return to a reopened Curran sometime this year. \u003c/p>\n\u003cp>It is “100% common” for ATG to perform renovations on theaters it acquires, Miramontez said, although it’s too soon to know exactly what type of renovations might take place at the Orpheum and Golden Gate. ATG already has experience reopening theaters with mask requirements and reduced capacity in cities like London, Miramontez said.\u003c/p>\n\u003cp>The Golden Gate Theatre opened in 1922, and the Orpheum, just two blocks up Market Street, opened in 1926. Their purchase by ATG adds to the company’s holdings of over 50 theaters around the world. “We look forward to providing the best of Broadway’s shows to their loyal following when the theaters reopen in 2021,” said ATG CEO Mark Cornell, in a statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Exactly when that might occur is still unknown, Miramontez said. After restaurants, museums, outdoor sports and other events reopen, he says, “we’ll be the last to come back.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Orpheum Theatre and Golden Gate Theatre, two of San Francisco’s most historic auditoriums, will be sold to the parent company of the Ambassador Theatre Group (ATG), according to an \u003ca href=\"https://deadline.com/2021/03/nederlander-theater-broadway-san-francisco-golden-gate-orpheum-detroit-fisher-atg-acquisition-1234719273/\" target=\"_blank\" rel=\"noopener noreferrer\">announcement by ATG\u003c/a>. The sale transfers ownership of the theaters from the Nederlander Company, based in New York. The sale price was not announced.\u003c/p>\n\u003cp>In recent years, the Golden Gate and Orpheum have primarily been home to touring Broadway musicals such as \u003cem>Les Miserables, West Side Story, Waitress, Rent, The Book Of Mormon\u003c/em> and \u003cem>Phantom of The Opera\u003c/em>. When the pandemic closed theaters nationwide, the Golden Gate had just opened Sting’s musical \u003cem>The Last Ship\u003c/em>, while the Orpheum hosted \u003cem>Hamilton\u003c/em>. In October 2019, Madonna performed a run of concerts at the Golden Gate.\u003c/p>\n\u003cp>Based in the U.K., ATG is one of the largest operators of Broadway-style theaters around the globe, and the type of shows on offer at both theaters is not expected to fundamentally change. Local company BroadwaySF had been booking both theaters, following a \u003ca href=\"https://www.kqed.org/arts/13864475/bay-area-broadway-producers-announce-settlement-ending-five-year-legal-battle\" target=\"_blank\" rel=\"noopener noreferrer\">five-year legal battle\u003c/a> that resulted in the dissolving of the theaters’ previous operator, SHN.\u003c/p>\n\u003cp>The currently scheduled season of bookings at the theaters, starting with \u003cem>Mean Girls\u003c/em> on July 27, is expected to go on, pending local restrictions on live theater, ATG spokesperson Rick Miramontez told KQED.\u003c/p>\n\u003cfigure id=\"attachment_13894451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894451\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/OrpheumTheatre.jpg\" alt=\"The exterior of the Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the Orpheum Theatre in San Francisco. \u003ccite>(Courtesy BroadwaySF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After this season’s dates are up, Miramontez said, booking will transfer to ATG. Miramontez said that ATG will “welcome the Broadway SF team into its family,” and is open to hiring local BroadwaySF staff. (A representative from BroadwaySF declined to comment.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The situation is reminiscent of ATG’s operation of the Curran Theatre, which hosted \u003cem>Harry Potter and the Cursed Child\u003c/em> last year when the pandemic hit. ATG inherited local staff in that theater’s transfer from SHN as well. \u003cem>Harry Potter\u003c/em> is expected to return to a reopened Curran sometime this year. \u003c/p>\n\u003cp>It is “100% common” for ATG to perform renovations on theaters it acquires, Miramontez said, although it’s too soon to know exactly what type of renovations might take place at the Orpheum and Golden Gate. ATG already has experience reopening theaters with mask requirements and reduced capacity in cities like London, Miramontez said.\u003c/p>\n\u003cp>The Golden Gate Theatre opened in 1922, and the Orpheum, just two blocks up Market Street, opened in 1926. Their purchase by ATG adds to the company’s holdings of over 50 theaters around the world. “We look forward to providing the best of Broadway’s shows to their loyal following when the theaters reopen in 2021,” said ATG CEO Mark Cornell, in a statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Exactly when that might occur is still unknown, Miramontez said. After restaurants, museums, outdoor sports and other events reopen, he says, “we’ll be the last to come back.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Hamilton' Canceled in San Francisco Due to Coronavirus",
"headTitle": "‘Hamilton’ Canceled in San Francisco Due to Coronavirus | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>UPDATE, March 31\u003c/strong>: The current tour of ‘Hamilton’ has now closed for good in San Francisco. It had been scheduled to play through May 31, 2020. ‘The Last Ship’ and others are now \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">canceled as well\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> has gone dark.\u003c/p>\n\u003cp>The hit Broadway musical currently at the Orpheum in San Francisco has been \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">temporarily canceled\u003c/a> due to coronavirus concerns. Additionally, \u003cem>The Last Ship\u003c/em>, starring Sting at the Golden Gate Theatre, has been put on hiatus as well.\u003c/p>\n\u003cp>Starting tonight, all performances of \u003cem>Hamilton\u003c/em> and \u003cem>The Last Ship\u003c/em> will be canceled through Tuesday, March 31. \u003c/p>\n\u003cp>Those who purchased official tickets for one of the canceled shows through \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">BroadwaySF\u003c/a>, the show’s presenter, will get a refund. (Tickets sold on a second-hand site are subject to that site’s terms and conditions.)\u003c/p>\n\u003cp>The statement from the show’s organizers follows: \u003c/p>\n\u003cp>\u003cem>At the direction of the City of San Francisco’s mandate to ban events larger than 1,000 people across the city, all BroadwaySF productions at the Orpheum and Golden Gate Theatres will be canceled beginning this evening (tonight’s performances of HAMILTON at 7pm and THE LAST SHIP at 7:30pm) through \u003cdel datetime=\"2020-03-12T20:58:28+00:00\">Wednesday March 25\u003c/del> Tuesday, March 31.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you have purchased tickets to a performance of HAMILTON or THE LAST SHIP during this time period, you will receive a refund. Tickets purchased through Goldstar, Vivid Seats, TodayTix and any other sources that are not BroadwaySF related should consult their place of purchase for a refund.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We take the health and safety of our patrons, staff and community seriously and urge everyone to continue to follow the guidelines set forth by public health officials.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We will continue to monitor the situation closely and provide updates as we receive them.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE, March 31\u003c/strong>: The current tour of ‘Hamilton’ has now closed for good in San Francisco. It had been scheduled to play through May 31, 2020. ‘The Last Ship’ and others are now \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">canceled as well\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> has gone dark.\u003c/p>\n\u003cp>The hit Broadway musical currently at the Orpheum in San Francisco has been \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">temporarily canceled\u003c/a> due to coronavirus concerns. Additionally, \u003cem>The Last Ship\u003c/em>, starring Sting at the Golden Gate Theatre, has been put on hiatus as well.\u003c/p>\n\u003cp>Starting tonight, all performances of \u003cem>Hamilton\u003c/em> and \u003cem>The Last Ship\u003c/em> will be canceled through Tuesday, March 31. \u003c/p>\n\u003cp>Those who purchased official tickets for one of the canceled shows through \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">BroadwaySF\u003c/a>, the show’s presenter, will get a refund. (Tickets sold on a second-hand site are subject to that site’s terms and conditions.)\u003c/p>\n\u003cp>The statement from the show’s organizers follows: \u003c/p>\n\u003cp>\u003cem>At the direction of the City of San Francisco’s mandate to ban events larger than 1,000 people across the city, all BroadwaySF productions at the Orpheum and Golden Gate Theatres will be canceled beginning this evening (tonight’s performances of HAMILTON at 7pm and THE LAST SHIP at 7:30pm) through \u003cdel datetime=\"2020-03-12T20:58:28+00:00\">Wednesday March 25\u003c/del> Tuesday, March 31.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you have purchased tickets to a performance of HAMILTON or THE LAST SHIP during this time period, you will receive a refund. Tickets purchased through Goldstar, Vivid Seats, TodayTix and any other sources that are not BroadwaySF related should consult their place of purchase for a refund.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We take the health and safety of our patrons, staff and community seriously and urge everyone to continue to follow the guidelines set forth by public health officials.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We will continue to monitor the situation closely and provide updates as we receive them.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gorgeous 'An American in Paris' Musical has Soulless Lead Character",
"headTitle": "Gorgeous ‘An American in Paris’ Musical has Soulless Lead Character | KQED",
"content": "\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Despite compelling music, dance and design, there is simply no overcoming the emptiness of the American in Christopher Wheeldon's 'An American in Paris.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-temptations-of-paris",
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"content": "\u003cp>\u003cstrong>Sept. 12–Oct. 8:\u003c/strong> \u003ca href=\"http://variety.com/1951/film/reviews/an-american-in-paris-1200417083/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An American in Paris\u003c/em>\u003c/a> is among the best movies of all time, a prime example of the golden age of the MGM musical. It features great Gershwin tunes, terrific dancing by Gene Kelly and Leslie Caron (Kelly did the choreography), and the acid wit of Oscar Levant. So why mess it up with a stage version? But there’s promise in the vision of playwright Craig Lucas and director and choreographer Christopher Wheeldon, who often choreographs for SF Ballet and other companies. The show won over critics in New York, and this touring production (presented here by SHN) could be a winner. \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z4B-BR2sV4Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"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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"soldout": {
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
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"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
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"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {},
"restaurantData": []
},
"location": {
"pathname": "/arts/tag/orpheum-theatre",
"previousPathname": "/"
}
}
