In ‘Suffs,’ a Theatrical Reminder That the Fight for Equality Is Eternal
Who Is a ‘Back to the Future’ Musical For?
'Hamilton' to Return to SF, Reopening the Orpheum Theater in August
The Orpheum and Golden Gate, Both Historic SF Theaters, Sold to UK Company
'Hamilton' Canceled in San Francisco Due to Coronavirus
Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle
Gorgeous 'An American in Paris' Musical has Soulless Lead Character
The Temptations of Paris
Sponsored
Player sponsored by
window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13982898": {
"type": "attachments",
"id": "arts_13982898",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13982898",
"found": true
},
"title": "2 SUFFS Tour_Maya Keleher as Alice Paul and SUFFS Company",
"publishDate": 1761335150,
"status": "inherit",
"parent": 13982892,
"modified": 1761337912,
"caption": "Maya Keleher as Alice Paul in 'Suffs,' which plays at San Francisco's Orpheum Theatre through Nov. 9.",
"credit": "Joan Marcus",
"altTag": "a woman stands on stage in front of other women in a play about the suffragettes",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2-SUFFS-Tour_Maya-Keleher-as-Alice-Paul-and-SUFFS-Company-2000x1341.jpg",
"width": 2000,
"height": 1341,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2-SUFFS-Tour_Maya-Keleher-as-Alice-Paul-and-SUFFS-Company-2000x1341.jpg",
"width": 2000,
"height": 1341,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2-SUFFS-Tour_Maya-Keleher-as-Alice-Paul-and-SUFFS-Company-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2-SUFFS-Tour_Maya-Keleher-as-Alice-Paul-and-SUFFS-Company-768x515.jpg",
"width": 768,
"height": 515,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2-SUFFS-Tour_Maya-Keleher-as-Alice-Paul-and-SUFFS-Company-1536x1030.jpg",
"width": 1536,
"height": 1030,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2-SUFFS-Tour_Maya-Keleher-as-Alice-Paul-and-SUFFS-Company-2048x1373.jpg",
"width": 2048,
"height": 1373,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2-SUFFS-Tour_Maya-Keleher-as-Alice-Paul-and-SUFFS-Company-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2-SUFFS-Tour_Maya-Keleher-as-Alice-Paul-and-SUFFS-Company-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2-SUFFS-Tour_Maya-Keleher-as-Alice-Paul-and-SUFFS-Company-2000x1341.jpg",
"width": 2000,
"height": 1341,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2-SUFFS-Tour_Maya-Keleher-as-Alice-Paul-and-SUFFS-Company-1600x900.jpg",
"width": 1600,
"height": 900,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2-SUFFS-Tour_Maya-Keleher-as-Alice-Paul-and-SUFFS-Company-scaled.jpg",
"width": 2560,
"height": 1716
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13971984": {
"type": "attachments",
"id": "arts_13971984",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13971984",
"found": true
},
"title": "11-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative",
"publishDate": 1739899247,
"status": "inherit",
"parent": 13971981,
"modified": 1739900219,
"caption": "(L-R): Don Stephenson (Doc Brown) and Lucas Hallauer (Marty McFly) in ‘Back to the Future: The Muscial.’",
"credit": "McLeod9 Creative",
"altTag": "An older man with a scientific steel contraption on his head stands next to a young teenager in an orange vest and jeans, both with confused looks on their faces",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13876418": {
"type": "attachments",
"id": "arts_13876418",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13876418",
"found": true
},
"parent": 13876404,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/Hamilton.Cast2_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/Hamilton.Cast2_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/Hamilton.Cast2_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/Hamilton.Cast2_.jpg",
"width": 1319,
"height": 742
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/Hamilton.Cast2_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/Hamilton.Cast2_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/Hamilton.Cast2_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1583965359,
"modified": 1622571360,
"caption": "'Hamilton' will return after being canceled due to coronavirus concerns last March in San Francisco.",
"description": "'Hamilton' will return after being canceled due to coronavirus concerns last March in San Francisco.",
"title": "Hamilton.Cast2",
"credit": "Broadway SF",
"status": "inherit",
"altTag": "'Hamilton' will return after being canceled due to coronavirus concerns last March in San Francisco.",
"fetchFailed": false,
"isLoading": false
},
"arts_13894450": {
"type": "attachments",
"id": "arts_13894450",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13894450",
"found": true
},
"parent": 13894448,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GoldenGateTheatre-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GoldenGateTheatre-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GoldenGateTheatre-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GoldenGateTheatre.jpg",
"width": 1200,
"height": 675
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GoldenGateTheatre-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GoldenGateTheatre-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/03/GoldenGateTheatre-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1616534726,
"modified": 1616534791,
"caption": "The interior of the Golden Gate Theatre in San Francsico. ",
"description": "The interior of the Golden Gate Theatre in San Francsico. ",
"title": "GoldenGateTheatre",
"credit": "Courtesy BroadwaySF",
"status": "inherit",
"altTag": "The interior of the Golden Gate Theatre in San Francsico.",
"fetchFailed": false,
"isLoading": false
},
"arts_12644539": {
"type": "attachments",
"id": "arts_12644539",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12644539",
"found": true
},
"title": "The Refurbished Curran Theater reopens Jan. 25 with the show 'Fun Home'",
"publishDate": 1484762268,
"status": "inherit",
"parent": 12641506,
"modified": 1766104346,
"caption": "The refurbished Curran Theater in 2017.",
"credit": "Cy Musiker/KQED",
"altTag": "The Refurbished Curran Theater reopens Jan. 25 with the show 'Fun Home'",
"description": "The Refurbished Curran Theater reopens Jan. 25 with the show 'Fun Home'",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-160x99.jpg",
"width": 160,
"height": 99,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-800x495.jpg",
"width": 800,
"height": 495,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-768x475.jpg",
"width": 768,
"height": 475,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-1020x631.jpg",
"width": 1020,
"height": 631,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-1920x1188.jpg",
"width": 1920,
"height": 1188,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-1180x730.jpg",
"width": 1180,
"height": 730,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-960x594.jpg",
"width": 960,
"height": 594,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-240x148.jpg",
"width": 240,
"height": 148,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-375x232.jpg",
"width": 375,
"height": 232,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-520x322.jpg",
"width": 520,
"height": 322,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-1180x730.jpg",
"width": 1180,
"height": 730,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-1920x1188.jpg",
"width": 1920,
"height": 1188,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-32x32.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-50x50.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-64x64.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-96x96.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-128x128.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12-150x150.jpg",
"width": 150,
"height": 150,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-12.jpg",
"width": 2048,
"height": 1267
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13808892": {
"type": "attachments",
"id": "arts_13808892",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13808892",
"found": true
},
"parent": 13808888,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273.jpg",
"width": 3030,
"height": 1704
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/AAIP_TOUR_0573-e1505763994273-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1505763520,
"modified": 1505763822,
"caption": "Jerry Mulligan (McGee Maddox) gives a final salute to his old life as a soldier to become an artist in Paris.",
"description": "Jerry Mulligan (McGee Maddox) gives a final salute to his old life as a soldier to become an artist in Paris.",
"title": "AAIP_TOUR_0573",
"credit": "Photo: Courtesy of the Company",
"status": "inherit",
"fetchFailed": false,
"isLoading": false
},
"arts_13807692": {
"type": "attachments",
"id": "arts_13807692",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13807692",
"found": true
},
"parent": 13807685,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864.jpg",
"width": 4815,
"height": 2708
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/A-touring-production-of-An-American-in-Paris-comes-to-San-Francisco-with-a-ballet-choreographer-in-charge-e1504742269864-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1504742151,
"modified": 1504742233,
"caption": "A touring production of 'An American in Paris' comes to San Francisco with a ballet choreographer in charge",
"description": "A touring production of 'An American in Paris' comes to San Francisco with a ballet choreographer in charge",
"title": "A touring production of 'An American in Paris' comes to San Francisco with a ballet choreographer in charge",
"credit": "Photo: Matthew Murphy/SHN",
"status": "inherit",
"fetchFailed": false,
"isLoading": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false
},
"authorsReducer": {
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "gmeline",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
},
"jwilkins": {
"type": "authors",
"id": "8668",
"meta": {
"index": "authors_1716337520",
"id": "8668",
"found": true
},
"name": "John Wilkins",
"firstName": "John",
"lastName": "Wilkins",
"slug": "jwilkins",
"email": "Johnrwilkins@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "John Wilkins is the theater critic for KQED Arts. He was the Artistic Director of Last Planet Theatre for ten years and teaches in the Writing and Literature program at CCA. Follow him on Twitter @johnrwilkins2",
"avatar": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "John Wilkins | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jwilkins"
},
"jmelido": {
"type": "authors",
"id": "11972",
"meta": {
"index": "authors_1716337520",
"id": "11972",
"found": true
},
"name": "Janea Melido",
"firstName": "Janea",
"lastName": "Melido",
"slug": "jmelido",
"email": "jmelido@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Intern, KQED Arts & Culture",
"bio": "Janea Melido is an intern for KQED Arts & Culture. She holds a Bachelor of Arts in English and minor in Ethnic Studies from the University of Portland. She's drawn to the quiet power of everyday stories, especially ones that often go overlooked. When she's not reporting, she enjoys cutting up her old print stories and making collages out of them.",
"avatar": "https://secure.gravatar.com/avatar/1e679c879b975011fb9063670025e2cf?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Janea Melido | KQED",
"description": "Intern, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/1e679c879b975011fb9063670025e2cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1e679c879b975011fb9063670025e2cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jmelido"
}
},
"breakingNewsReducer": {},
"pagesReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13982892": {
"type": "posts",
"id": "arts_13982892",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13982892",
"score": null,
"sort": [
1761338962000
]
},
"guestAuthors": [],
"slug": "in-suffs-a-theatrical-reminder-that-the-fight-for-equality-is-eternal",
"title": "In ‘Suffs,’ a Theatrical Reminder That the Fight for Equality Is Eternal",
"publishDate": 1761338962,
"format": "standard",
"headTitle": "In ‘Suffs,’ a Theatrical Reminder That the Fight for Equality Is Eternal | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "In its San Francisco premiere, the Tony-winning musical about the suffrage movement hits all too close to home.",
"status": "publish",
"parent": 0,
"modified": 1761668651,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 742
},
"headData": {
"title": "In ‘Suffs,’ a Theatrical Reminder That the Fight for Equality Is Eternal | KQED",
"description": "In its San Francisco premiere, the Tony-winning musical about the suffrage movement hits all too close to home.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘Suffs,’ a Theatrical Reminder That the Fight for Equality Is Eternal",
"datePublished": "2025-10-24T13:49:22-07:00",
"dateModified": "2025-10-28T09:24:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13982892",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13982892/in-suffs-a-theatrical-reminder-that-the-fight-for-equality-is-eternal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13982892/in-suffs-a-theatrical-reminder-that-the-fight-for-equality-is-eternal",
"authors": [
"11972"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_967"
],
"tags": [
"arts_10278",
"arts_1962",
"arts_13825",
"arts_2366",
"arts_585"
],
"featImg": "arts_13982898",
"label": "arts_140"
},
"arts_13971981": {
"type": "posts",
"id": "arts_13971981",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13971981",
"score": null,
"sort": [
1739908200000
]
},
"guestAuthors": [],
"slug": "review-back-to-the-future-musical-san-francisco-orpheum-theatre",
"title": "Who Is a ‘Back to the Future’ Musical For?",
"publishDate": 1739908200,
"format": "standard",
"headTitle": "Who Is a ‘Back to the Future’ Musical For? | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "‘Back to the Future: The Musical’ knows its audience — and gives them exactly what they don’t want.",
"status": "publish",
"parent": 0,
"modified": 1739919733,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 690
},
"headData": {
"title": "Review: ‘Back to the Future: The Musical’ in San Francisco | KQED",
"description": "At the Orpheum, this show knows its audience — and gives them exactly what they don’t want.",
"ogTitle": "Who Is a ‘Back to the Future’ Musical For?",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Who Is a ‘Back to the Future’ Musical For?",
"twDescription": "",
"twImgId": "",
"socialTitle": "Review: ‘Back to the Future: The Musical’ in San Francisco %%page%% %%sep%% KQED",
"socialDescription": "At the Orpheum, this show knows its audience — and gives them exactly what they don’t want.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Who Is a ‘Back to the Future’ Musical For?",
"datePublished": "2025-02-18T11:50:00-08:00",
"dateModified": "2025-02-18T15:02:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13971981",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13971981/review-back-to-the-future-musical-san-francisco-orpheum-theatre",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13971920",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13971981/review-back-to-the-future-musical-san-francisco-orpheum-theatre",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_22313",
"arts_967"
],
"tags": [
"arts_10493",
"arts_10278",
"arts_13825",
"arts_2366",
"arts_769",
"arts_3797",
"arts_585"
],
"featImg": "arts_13971984",
"label": "arts_140"
},
"arts_13898117": {
"type": "posts",
"id": "arts_13898117",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13898117",
"score": null,
"sort": [
1622572183000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1622572183,
"format": "standard",
"title": "'Hamilton' to Return to SF, Reopening the Orpheum Theater in August",
"headTitle": "‘Hamilton’ to Return to SF, Reopening the Orpheum Theater in August | KQED",
"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",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 178,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705008287,
"excerpt": "Tickets go on sale June 2 for both the San Francisco and San Jose run of Lin-Manuel Miranda's hit musical.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Tickets go on sale June 2 for both the San Francisco and San Jose run of Lin-Manuel Miranda's hit musical.",
"title": "'Hamilton' to Return to SF, Reopening the Orpheum Theater in August | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Hamilton' to Return to SF, Reopening the Orpheum Theater in August",
"datePublished": "2021-06-01T11:29:43-07:00",
"dateModified": "2024-01-11T13:24:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hamilton-to-return-to-sf-reopening-the-orpheum-theater-in-august",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13898117/hamilton-to-return-to-sf-reopening-the-orpheum-theater-in-august",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13898117/hamilton-to-return-to-sf-reopening-the-orpheum-theater-in-august",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_967"
],
"tags": [
"arts_1922",
"arts_2366",
"arts_1072"
],
"featImg": "arts_13876418",
"label": "arts_140"
},
"arts_13894448": {
"type": "posts",
"id": "arts_13894448",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13894448",
"score": null,
"sort": [
1616537020000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1616537020,
"format": "standard",
"title": "The Orpheum and Golden Gate, Both Historic SF Theaters, Sold to UK Company",
"headTitle": "The Orpheum and Golden Gate, Both Historic SF Theaters, Sold to UK Company | KQED",
"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",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 491,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705019300,
"excerpt": "Programming is not expected to change at the theaters, which were built in the 1920s and are now home to big, touring Broadway musicals.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Programming is not expected to change at the theaters, which were built in the 1920s and are now home to big, touring Broadway musicals.",
"title": "The Orpheum and Golden Gate, Both Historic SF Theaters, Sold to UK Company | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Orpheum and Golden Gate, Both Historic SF Theaters, Sold to UK Company",
"datePublished": "2021-03-23T15:03:40-07:00",
"dateModified": "2024-01-11T16:28:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-orpheum-and-golden-gate-both-historic-sf-theaters-sold-to-uk-company",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13894448/the-orpheum-and-golden-gate-both-historic-sf-theaters-sold-to-uk-company",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13894448/the-orpheum-and-golden-gate-both-historic-sf-theaters-sold-to-uk-company",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_235",
"arts_967"
],
"tags": [
"arts_10278",
"arts_7032",
"arts_2366",
"arts_3129",
"arts_1072"
],
"featImg": "arts_13894450",
"label": "arts"
},
"arts_13876404": {
"type": "posts",
"id": "arts_13876404",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13876404",
"score": null,
"sort": [
1583965398000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1583965398,
"format": "standard",
"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",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 300,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705021117,
"excerpt": "The hit Broadway show 'Hamilton' and Sting's 'The Last Ship' will both go dark in San Francisco through March 25.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The hit Broadway show 'Hamilton' and Sting's 'The Last Ship' will both go dark in San Francisco through March 25.",
"title": "'Hamilton' Canceled in San Francisco Due to Coronavirus | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Hamilton' Canceled in San Francisco Due to Coronavirus",
"datePublished": "2020-03-11T15:23:18-07:00",
"dateModified": "2024-01-11T16:58:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hamilton-canceled-in-san-francisco-due-to-coronavirus",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus",
"authors": [
"185"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_10126",
"arts_7032",
"arts_1922",
"arts_2366",
"arts_1146",
"arts_1072"
],
"featImg": "arts_13876418",
"label": "arts"
},
"arts_13864475": {
"type": "posts",
"id": "arts_13864475",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864475",
"score": null,
"sort": [
1566248527000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1566248527,
"format": "audio",
"title": "Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle",
"headTitle": "Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle | KQED",
"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",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 295,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705022291,
"excerpt": "The owners of SHN and the Curran announced an “amicable settlement\" of litigation involving the Golden Gate Theatre, the Orpheum Theatre and the Curran. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The owners of SHN and the Curran announced an “amicable settlement" of litigation involving the Golden Gate Theatre, the Orpheum Theatre and the Curran. ",
"title": "Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle",
"datePublished": "2019-08-19T14:02:07-07:00",
"dateModified": "2024-01-11T17:18:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bay-area-broadway-producers-announce-settlement-ending-five-year-legal-battle",
"status": "publish",
"templateType": "standard",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2019/08/VeltmanTheaterSettlement.mp3",
"featuredImageType": "standard",
"sticky": false,
"audioTrackLength": 73,
"path": "/arts/13864475/bay-area-broadway-producers-announce-settlement-ending-five-year-legal-battle",
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864475/bay-area-broadway-producers-announce-settlement-ending-five-year-legal-battle",
"authors": [
"8608"
],
"categories": [
"arts_1",
"arts_235",
"arts_967"
],
"tags": [
"arts_2372",
"arts_7032",
"arts_6742",
"arts_596",
"arts_2366",
"arts_3129"
],
"featImg": "arts_12644539",
"label": "arts"
},
"arts_13808888": {
"type": "posts",
"id": "arts_13808888",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13808888",
"score": null,
"sort": [
1505833232000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1505833232,
"format": "standard",
"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",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 873,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705029513,
"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.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Despite compelling music, dance and design, there is simply no overcoming the emptiness of the American in Christopher Wheeldon's 'An American in Paris.'",
"title": "Gorgeous 'An American in Paris' Musical has Soulless Lead Character | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Gorgeous 'An American in Paris' Musical has Soulless Lead Character",
"datePublished": "2017-09-19T08:00:32-07:00",
"dateModified": "2024-01-11T19:18:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "gorgeous-an-american-in-paris-musical-has-soulless-lead-character",
"status": "publish",
"sticky": false,
"path": "/arts/13808888/gorgeous-an-american-in-paris-musical-has-soulless-lead-character",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13808888/gorgeous-an-american-in-paris-musical-has-soulless-lead-character",
"authors": [
"8668"
],
"categories": [
"arts_966",
"arts_235",
"arts_967"
],
"tags": [
"arts_2347",
"arts_1118",
"arts_977",
"arts_596",
"arts_2366",
"arts_769"
],
"featImg": "arts_13808892",
"label": "arts"
},
"arts_13807685": {
"type": "posts",
"id": "arts_13807685",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13807685",
"score": null,
"sort": [
1504753616000
]
},
"guestAuthors": [],
"slug": "the-temptations-of-paris",
"title": "The Temptations of Paris",
"publishDate": 1504753616,
"format": "standard",
"headTitle": "The Temptations of Paris | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "An 'American in Paris' adapts a beloved MGM musical for the stage with a ballet choreographer in charge.",
"status": "publish",
"parent": 0,
"modified": 1726782075,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 3,
"wordCount": 123
},
"headData": {
"title": "The Temptations of Paris | KQED",
"description": "An 'American in Paris' adapts a beloved MGM musical for the stage with a ballet choreographer in charge.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Temptations of Paris",
"datePublished": "2017-09-06T20:06:56-07:00",
"dateModified": "2024-09-19T14:41:15-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13807685/the-temptations-of-paris",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\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/z4B-BR2sV4Y'\n title='//www.youtube.com/embed/z4B-BR2sV4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13807685/the-temptations-of-paris",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_966",
"arts_74",
"arts_69",
"arts_235",
"arts_75",
"arts_967"
],
"tags": [
"arts_2347",
"arts_977",
"arts_1006",
"arts_596",
"arts_2366",
"arts_626"
],
"featImg": "arts_13807692",
"label": "arts_140"
}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "\"KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "\"KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9zZXJpZXMvamVycnlicm93bi9mZWVkL3BvZGNhc3Qv"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"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.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vc29sZG91dA"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"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.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM4MjU5Nzg2MzI3",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM0NTcwODQ2MjY2",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=orpheum-theatre": {
"isFetching": false,
"latestQuery": {
"from": 0,
"postsToRender": 9
},
"tag": null,
"vitalsOnly": true,
"totalRequested": 8,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 8,
"relation": "eq"
},
"items": [
"arts_13982892",
"arts_13971981",
"arts_13898117",
"arts_13894448",
"arts_13876404",
"arts_13864475",
"arts_13808888",
"arts_13807685"
]
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"pfsSessionReducer": {},
"subscriptionsReducer": {},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_2366": {
"type": "terms",
"id": "arts_2366",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2366",
"found": true
},
"relationships": {},
"featImg": null,
"name": "orpheum theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "orpheum theatre Archives | KQED Arts",
"ogDescription": null,
"imageData": {
"ogImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"width": 1200,
"height": 630
},
"twImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
},
"twitterCard": "summary_large_image"
}
},
"ttid": 2378,
"slug": "orpheum-theatre",
"isLoading": false,
"link": "/arts/tag/orpheum-theatre"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_1962": {
"type": "terms",
"id": "arts_1962",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1974,
"slug": "feminism",
"isLoading": false,
"link": "/arts/tag/feminism"
},
"arts_13825": {
"type": "terms",
"id": "arts_13825",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13825",
"found": true
},
"relationships": {},
"featImg": null,
"name": "musicals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "musicals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13837,
"slug": "musicals",
"isLoading": false,
"link": "/arts/tag/musicals"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_10493": {
"type": "terms",
"id": "arts_10493",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10493",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1980s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1980s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10505,
"slug": "1980s",
"isLoading": false,
"link": "/arts/tag/1980s"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_3797": {
"type": "terms",
"id": "arts_3797",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3797",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sci-fi",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sci-fi Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3809,
"slug": "sci-fi",
"isLoading": false,
"link": "/arts/tag/sci-fi"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_1922": {
"type": "terms",
"id": "arts_1922",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1922",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hamilton",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hamilton Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1934,
"slug": "hamilton",
"isLoading": false,
"link": "/arts/tag/hamilton"
},
"arts_1072": {
"type": "terms",
"id": "arts_1072",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1072",
"found": true
},
"relationships": {},
"featImg": null,
"name": "theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1089,
"slug": "theater",
"isLoading": false,
"link": "/arts/tag/theater"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_7032": {
"type": "terms",
"id": "arts_7032",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7032",
"found": true
},
"relationships": {},
"featImg": null,
"name": "golden gate theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "golden gate theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7044,
"slug": "golden-gate-theatre",
"isLoading": false,
"link": "/arts/tag/golden-gate-theatre"
},
"arts_3129": {
"type": "terms",
"id": "arts_3129",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3129",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SHN",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SHN Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3141,
"slug": "shn",
"isLoading": false,
"link": "/arts/tag/shn"
},
"arts_10126": {
"type": "terms",
"id": "arts_10126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "coronavirus",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "coronavirus Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10138,
"slug": "coronavirus",
"isLoading": false,
"link": "/arts/tag/coronavirus"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_2372": {
"type": "terms",
"id": "arts_2372",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2372",
"found": true
},
"relationships": {},
"featImg": null,
"name": "curran theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "curran theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2384,
"slug": "curran-theatre",
"isLoading": false,
"link": "/arts/tag/curran-theatre"
},
"arts_6742": {
"type": "terms",
"id": "arts_6742",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6742",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lawsuit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lawsuit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6754,
"slug": "lawsuit",
"isLoading": false,
"link": "/arts/tag/lawsuit"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_2347": {
"type": "terms",
"id": "arts_2347",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2347",
"found": true
},
"relationships": {},
"featImg": null,
"name": "broadway",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "broadway Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2359,
"slug": "broadway",
"isLoading": false,
"link": "/arts/tag/broadway"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
}
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"localStorageReducer": {},
"browserHistoryReducer": [],
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"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": [
{
"id": null,
"startDate": null,
"firstName": null,
"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": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {},
"restaurantData": []
},
"location": {
"pathname": "/arts/tag/orpheum-theatre",
"previousPathname": "/"
}
}