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Unlike her bookish suitor, her mystical nature — some say her mother was a forest witch! — and appetite for life lend her ready access to a seemingly volcanic array of emotions, from giddy joy to unfathomable grief, all at the tips of her earth-soiled fingers.\u003c/p>\n\u003cp>[aside postid='arts_13983880']And volcanic is the best way to describe Jessie Buckley’s startling performance in \u003cem>Hamnet\u003c/em>, Zhao’s unabashedly emotional adaptation of Maggie O’Farrell’s acclaimed novel. Also starring a magnetic Paul Mescal as Will, it’s a story that imagines the early life of the young couple from Stratford. And as O’Farrell’s readers know, it centers on a life-altering loss: the death of their 11-year-old son, Hamnet.\u003c/p>\n\u003cp>You may have heard that early viewings of the film left swaths of the audience in tears. Spoiler alert: This is no surprise. 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The play’s the thing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xYcgQMxQwmk\u003c/p>\n\u003cp>Speaking of \u003cem>Hamlet\u003c/em>, a crucial fact is laid out at the very start: In 16th-century England, the names “Hamnet” and “Hamlet” were interchangeable.\u003c/p>\n\u003cp>Scholars also know that Shakespeare and his wife, Anne Hathaway (also called Agnes), indeed had a son named Hamnet who died at 11. Little else is known, including how he died or what — if any — connection there was to the creation, a few years later, of what many call the greatest play in the English language. A play, it bears noting, about untimely death and grief.\u003c/p>\n\u003cp>[aside postid='arts_13983512']Author O’Farrell, of course, imagines a deep connection. The movie stays largely faithful to her book but changes its structure, moving chronologically rather than toggling between time periods.\u003c/p>\n\u003cp>It starts with a vision of Agnes, curled in a tree hollow as if born there. No wonder Will is enchanted as he looks out his classroom window and spies this free spirit, whose chief companion is a hawk. He figures she’s a maid; actually, she’s the eldest daughter of the house where he’s tutoring to fulfill family debts. Their connection is electric. Soon, she’s pregnant.\u003c/p>\n\u003cp>Agnes will birth their first child, a daughter, alone in nature, clinging to tree branches. (Cinematographer Łukasz Żal makes especially deft use of light and lush foliage). A few years later, when she gives birth again, Will’s stern mother (Emily Watson) insists she stay inside. She delivers twins — a boy, then a girl who at first seems stillborn, but is revived by mother’s touch.\u003c/p>\n\u003cp>Still, Agnes is terrified, because she’s had a vision of two children — not three — at her deathbed. Meanwhile, Will is spending much time in London, pursuing business opportunities and, then, his theater ambitions. Agnes herself encouraged the move. But that changes when Hamnet (Jacobi Jupe, nobly endearing), who promised his father he’d look after everyone, takes ill.\u003c/p>\n\u003cp>When he succumbs, Agnes falls into inconsolable grief. And when a devastated Will comes home, she matter-of-factly explains how, no, he has actually no idea what it was like. “You weren’t here,” she says coldly. If he had been, he could have said goodbye.\u003c/p>\n\u003cp>But soon Will must leave again. He’s working on a play. We see early rehearsals of \u003cem>The Tragedie of Hamlet\u003c/em>, and at one point Mescal — frustrated with his players — shows his Shakespearean chops with an angry rendition of the “Get thee to a nunnery!” speech. (Side note: If all this leads to Mescal playing Hamlet someday in a theater somewhere, we’re here for it.)\u003c/p>\n\u003cp>[aside postid='arts_13983447']The mastery of these words, and their delivery, contrast starkly with Agnes’ most impactful scenes, which often occur with few or no words at all. We’ve already alluded to the walloping conclusion, where love, grief and art all converge in the film’s most powerful moment. To watch Buckley here is to appreciate that even in a story about Shakespeare, it can be the gaps between words that resonate profoundly.\u003c/p>\n\u003cp>So, yes, watch Agnes’ face as she listens. The famous words coming from the stage are only part of the equation. The rest — OK, we’ll say it — is silence.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hamnet’ is released nationwide on Nov. 26, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And volcanic is the best way to describe Jessie Buckley’s startling performance in \u003cem>Hamnet\u003c/em>, Zhao’s unabashedly emotional adaptation of Maggie O’Farrell’s acclaimed novel. Also starring a magnetic Paul Mescal as Will, it’s a story that imagines the early life of the young couple from Stratford. And as O’Farrell’s readers know, it centers on a life-altering loss: the death of their 11-year-old son, Hamnet.\u003c/p>\n\u003cp>You may have heard that early viewings of the film left swaths of the audience in tears. Spoiler alert: This is no surprise. Zhao, co-writing with O’Farrell, goes straight for the tear ducts, with crucial help from a superb cast led by Buckley — who, like her character, seems to have an extraordinary ability to dispense with artifice and access a wildness simmering beneath the surface. We’d tell you to watch her face during the riveting conclusion, where she’s part of a large crowd. But really, your eyes won’t go anywhere else.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So we begin with a heady love story, soon to be tested. “Love doesn’t die, it transforms,” Zhao has said. Her first task is to show how even the sturdiest love can be transformed by grief.\u003c/p>\n\u003cp>But of course, there’s another act. In \u003cem>Hamnet\u003c/em>, love is transformed by grief and then transformed again, by art. Which art, you ask? Well, that’s obvious from the title. The play’s the thing.\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/xYcgQMxQwmk'\n title='//www.youtube.com/embed/xYcgQMxQwmk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking of \u003cem>Hamlet\u003c/em>, a crucial fact is laid out at the very start: In 16th-century England, the names “Hamnet” and “Hamlet” were interchangeable.\u003c/p>\n\u003cp>Scholars also know that Shakespeare and his wife, Anne Hathaway (also called Agnes), indeed had a son named Hamnet who died at 11. Little else is known, including how he died or what — if any — connection there was to the creation, a few years later, of what many call the greatest play in the English language. A play, it bears noting, about untimely death and grief.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Author O’Farrell, of course, imagines a deep connection. The movie stays largely faithful to her book but changes its structure, moving chronologically rather than toggling between time periods.\u003c/p>\n\u003cp>It starts with a vision of Agnes, curled in a tree hollow as if born there. No wonder Will is enchanted as he looks out his classroom window and spies this free spirit, whose chief companion is a hawk. He figures she’s a maid; actually, she’s the eldest daughter of the house where he’s tutoring to fulfill family debts. Their connection is electric. Soon, she’s pregnant.\u003c/p>\n\u003cp>Agnes will birth their first child, a daughter, alone in nature, clinging to tree branches. (Cinematographer Łukasz Żal makes especially deft use of light and lush foliage). A few years later, when she gives birth again, Will’s stern mother (Emily Watson) insists she stay inside. She delivers twins — a boy, then a girl who at first seems stillborn, but is revived by mother’s touch.\u003c/p>\n\u003cp>Still, Agnes is terrified, because she’s had a vision of two children — not three — at her deathbed. Meanwhile, Will is spending much time in London, pursuing business opportunities and, then, his theater ambitions. Agnes herself encouraged the move. But that changes when Hamnet (Jacobi Jupe, nobly endearing), who promised his father he’d look after everyone, takes ill.\u003c/p>\n\u003cp>When he succumbs, Agnes falls into inconsolable grief. And when a devastated Will comes home, she matter-of-factly explains how, no, he has actually no idea what it was like. “You weren’t here,” she says coldly. If he had been, he could have said goodbye.\u003c/p>\n\u003cp>But soon Will must leave again. He’s working on a play. We see early rehearsals of \u003cem>The Tragedie of Hamlet\u003c/em>, and at one point Mescal — frustrated with his players — shows his Shakespearean chops with an angry rendition of the “Get thee to a nunnery!” speech. (Side note: If all this leads to Mescal playing Hamlet someday in a theater somewhere, we’re here for it.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The mastery of these words, and their delivery, contrast starkly with Agnes’ most impactful scenes, which often occur with few or no words at all. We’ve already alluded to the walloping conclusion, where love, grief and art all converge in the film’s most powerful moment. To watch Buckley here is to appreciate that even in a story about Shakespeare, it can be the gaps between words that resonate profoundly.\u003c/p>\n\u003cp>So, yes, watch Agnes’ face as she listens. The famous words coming from the stage are only part of the equation. The rest — OK, we’ll say it — is silence.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hamnet’ is released nationwide on Nov. 26, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13970506\" class=\"wp-caption aligncenter\" style=\"max-width: 1385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/mona.png\" alt=\"A book cover featuring an illustration of a woman dressed as Cleopatra walking past New York brownstone houses walking a beagle on a leash.\" width=\"1385\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/mona.png 1385w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/mona-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/mona-1020x1473.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/mona-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/mona-768x1109.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/mona-1064x1536.png 1064w\" sizes=\"auto, (max-width: 1385px) 100vw, 1385px\">\u003cfigcaption class=\"wp-caption-text\">‘Mona Acts Out’ by Mischa Berlinski . \u003ccite>(Liveright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Have you ever woken up on Thanksgiving morning to a house full of company and just wanted to flee? In Mischa Berlinski’s extravagantly brilliant and darkly funny new novel, \u003cem>Mona Acts Out\u003c/em>, the eponymous heroine does just that.\u003c/p>\n\u003cp>Mona Zahid, a celebrated stage actor, has a lot on her mind. She is worried that her surgeon husband, Phil, may be cheating on her. She, in turn, wonders whether she should cheat on him with a sexy former lover who has been cast opposite her in an upcoming production of \u003cem>Antony and Cleopatra\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13970407']She also worries about her college-age niece, Rachel, whose mother — Mona’s beloved sister, Zahra — has recently died, and who, as a high school intern, was instrumental in bringing about the downfall of Mona’s mentor, Milton Katz, legendary founder of an off-Broadway theater company.\u003c/p>\n\u003cp>Most of all, she worries about whether she even has the chops to play Cleopatra — in her opinion, the toughest role in Shakespeare, even harder than Hamlet. All this toil and trouble comes to a head on Thanksgiving morning when, under the influence of Zahra’s leftover pain pills and some very strong cannabis oil, Mona sets out to visit the disgraced Katz, who may or may not be dying.\u003c/p>\n\u003cp>Over the next 24 hours, Mona will stop at the neighborhood Whole Foods to buy parsley, the pretext she used to escape her family. She will cross Central Park, fuel up on caffeine at a Starbucks, and wind up at the apartment of the beautiful younger actress who, a long time ago, displaced her as the object of Katz’s lecherous affection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally, she will journey across the river to the Brooklyn townhouse where Katz has been living in exile from the theater world with his good-natured, eccentric Polish housekeeper. The whole time, Mona will be accompanied by her winsome beagle, Barney, one of the best dogs in recent American fiction.\u003c/p>\n\u003cp>[aside postid='arts_13970282']Berlinski, the author of \u003cem>Fieldwork\u003c/em>, a National Book Award finalist, has written a tour de force of a novel. Read it for its utterly convincing portrayal of female sexual desire. For its nuanced depiction of the aftermath of #MeToo, including the generational differences between Mona’s middle-age cohort and younger women like Rachel who, in real life, brought down Harvey Weinstein and so many others. But most of all, read it for Berlinski’s dazzling insights into how Shakespeare offers us mere mortals a playbook for every season of life.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mona Acts Out’ by Mischa Berlinski is out now, via Liveright.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally, she will journey across the river to the Brooklyn townhouse where Katz has been living in exile from the theater world with his good-natured, eccentric Polish housekeeper. The whole time, Mona will be accompanied by her winsome beagle, Barney, one of the best dogs in recent American fiction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Berlinski, the author of \u003cem>Fieldwork\u003c/em>, a National Book Award finalist, has written a tour de force of a novel. Read it for its utterly convincing portrayal of female sexual desire. For its nuanced depiction of the aftermath of #MeToo, including the generational differences between Mona’s middle-age cohort and younger women like Rachel who, in real life, brought down Harvey Weinstein and so many others. But most of all, read it for Berlinski’s dazzling insights into how Shakespeare offers us mere mortals a playbook for every season of life.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mona Acts Out’ by Mischa Berlinski is out now, via Liveright.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Marcus Gardley’s ‘LEAR’ is a Culturally Rich Re-Imagining of Shakespeare",
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"content": "\u003cp>When King Lear, played by James A. Williams, first appears on stage, he wears a long fur coat. His crown: a black fedora with gold ribbon trim. It’s a distinctly Black regalness that makes you think Teddy Pendergrass, not Anthony Hopkins. The scene is San Francisco’s Fillmore District in 1969–a time of “urban renewal,” which led to gentrification and the upheaval of Black communities.\u003c/p>\n\u003cp>These are the makings of Marcus Gardley’s \u003cem>\u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">LEAR\u003c/a>\u003c/em>, a modern-verse adaptation of Shakespeare’s famous tragedy, about an aging king who mentally comes undone. Gardley, an Obie-winning playwright who was born in Oakland, stays true to the original story and plot line of \u003cem>King Lear\u003c/em> but gives it his signature stamp of poetic lyricism steeped in Black culture.\u003c/p>\n\u003cp>At the intimate yet towering Bruns Amphitheater, the soft sound of crickets is our silence and the starry night sky is our ceiling. The single set, by San Francisco scenic designer Tanya Orellana, is a cream-colored, open-faced two-story house that feels modern yet classic, walking the same line that Gardley does in his text.\u003c/p>\n\u003cfigure id=\"attachment_13919519\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_225.jpg\" alt=\"Dancers in foreground, actors on second story of modernist style home on stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marcus Gardley’s ‘LEAR.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley’s interpretation gives birth to empowered performances across the entire cast, which is co-directed by fellow Oakland-born Dawn Monique Williams, alongside departing CalShakes artistic director, Eric Ting. The Black Queen, played by Verlina Brown, is striking in all white when she narrates the opening of the play, letting the audience know to essentially freak what you heard about that \u003cem>other\u003c/em> King Lear. She then seamlessly slips into a beautiful singing voice that returns later in the play for the occasional jazzy interlude.\u003c/p>\n\u003cp>Acclaimed San Francisco-based jazz musician Marcus Shelby, who wrote the music for LEAR, plays his upright bass in an upper room of the house, alongside Scott Larson on trombone. This subtle but integral sonic backdrop aids the audience in moving from tender moments to funny exchanges to a few violent fight scenes. It also firmly plants the audience in late ’60s Fillmore, a.k.a. the “Harlem of the West.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sam Jackson shines as Lear’s youngest daughter Cordelia and even more so as The Comic, whose styling is reminiscent of Morris Day as she delivers jokes as biting in social commentary as they are funny. That Gardley renames the character “The Comic” instead of Shakespeare’s “The Fool”–Lear’s comedic court jester-slash-adviser–is a small yet noteworthy update. It’s a nod to the role comics often play as truth-tellers in the Black community, and society as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13919518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_062.jpg\" alt=\"A Black man in a fedora with a cane sits and smiles\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James A. Williams as King Lear in Marcus Gardley’s ‘LEAR,’ at Cal Shakes. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rousing, closing monologue by Kent, played by Cathleen Riddley in another standout performance, feels like a sermon, offering critiques on the use of power and the treatment of Black women in society. It stirred me and quite a few other Black women in the audience to punctuate the on-stage monologue with a “say it!” when Kent, who’s asked to lead the kingdom following Lear’s death, points out how Black women always seem to be the ones tapped clean up the mess others have left behind (\u003cem>mmhmm!\u003c/em>).\u003c/p>\n\u003cp>As the lights go down and the standing ovation ensues, you don’t feel like you’ve been at a two and a half-hour play–yes, two and a half hours, it’s still Shakespeare after all. Rather, you feel the energy of the performance and the obvious pride and love Gardley and company have for Black culture and Black people, beating warm in your chest.\u003c/p>\n\u003cp>And it’s a feeling so good, like one audience member told me, you just might want to come back and experience it all over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘LEAR’ plays at the Bruns Amphitheater in Orinda through Oct. 2, 2022. \u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When King Lear, played by James A. Williams, first appears on stage, he wears a long fur coat. His crown: a black fedora with gold ribbon trim. It’s a distinctly Black regalness that makes you think Teddy Pendergrass, not Anthony Hopkins. The scene is San Francisco’s Fillmore District in 1969–a time of “urban renewal,” which led to gentrification and the upheaval of Black communities.\u003c/p>\n\u003cp>These are the makings of Marcus Gardley’s \u003cem>\u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">LEAR\u003c/a>\u003c/em>, a modern-verse adaptation of Shakespeare’s famous tragedy, about an aging king who mentally comes undone. Gardley, an Obie-winning playwright who was born in Oakland, stays true to the original story and plot line of \u003cem>King Lear\u003c/em> but gives it his signature stamp of poetic lyricism steeped in Black culture.\u003c/p>\n\u003cp>At the intimate yet towering Bruns Amphitheater, the soft sound of crickets is our silence and the starry night sky is our ceiling. The single set, by San Francisco scenic designer Tanya Orellana, is a cream-colored, open-faced two-story house that feels modern yet classic, walking the same line that Gardley does in his text.\u003c/p>\n\u003cfigure id=\"attachment_13919519\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_225.jpg\" alt=\"Dancers in foreground, actors on second story of modernist style home on stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marcus Gardley’s ‘LEAR.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley’s interpretation gives birth to empowered performances across the entire cast, which is co-directed by fellow Oakland-born Dawn Monique Williams, alongside departing CalShakes artistic director, Eric Ting. The Black Queen, played by Verlina Brown, is striking in all white when she narrates the opening of the play, letting the audience know to essentially freak what you heard about that \u003cem>other\u003c/em> King Lear. She then seamlessly slips into a beautiful singing voice that returns later in the play for the occasional jazzy interlude.\u003c/p>\n\u003cp>Acclaimed San Francisco-based jazz musician Marcus Shelby, who wrote the music for LEAR, plays his upright bass in an upper room of the house, alongside Scott Larson on trombone. This subtle but integral sonic backdrop aids the audience in moving from tender moments to funny exchanges to a few violent fight scenes. It also firmly plants the audience in late ’60s Fillmore, a.k.a. the “Harlem of the West.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sam Jackson shines as Lear’s youngest daughter Cordelia and even more so as The Comic, whose styling is reminiscent of Morris Day as she delivers jokes as biting in social commentary as they are funny. That Gardley renames the character “The Comic” instead of Shakespeare’s “The Fool”–Lear’s comedic court jester-slash-adviser–is a small yet noteworthy update. It’s a nod to the role comics often play as truth-tellers in the Black community, and society as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13919518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_062.jpg\" alt=\"A Black man in a fedora with a cane sits and smiles\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James A. Williams as King Lear in Marcus Gardley’s ‘LEAR,’ at Cal Shakes. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rousing, closing monologue by Kent, played by Cathleen Riddley in another standout performance, feels like a sermon, offering critiques on the use of power and the treatment of Black women in society. It stirred me and quite a few other Black women in the audience to punctuate the on-stage monologue with a “say it!” when Kent, who’s asked to lead the kingdom following Lear’s death, points out how Black women always seem to be the ones tapped clean up the mess others have left behind (\u003cem>mmhmm!\u003c/em>).\u003c/p>\n\u003cp>As the lights go down and the standing ovation ensues, you don’t feel like you’ve been at a two and a half-hour play–yes, two and a half hours, it’s still Shakespeare after all. Rather, you feel the energy of the performance and the obvious pride and love Gardley and company have for Black culture and Black people, beating warm in your chest.\u003c/p>\n\u003cp>And it’s a feeling so good, like one audience member told me, you just might want to come back and experience it all over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘LEAR’ plays at the Bruns Amphitheater in Orinda through Oct. 2, 2022. \u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-theatre-fall-preview-2022",
"title": "This Fall, the (Real, In-Person!) Play’s the Thing",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Returning to theater regularly after the heights of the pandemic is all about getting comfortable with new normals. Showing your vax card, slapping a little sticker on your shirt as proof of checking in and masking up while taking in a staged story are all small sacrifices—ones well worth making in order to support theater companies in the Bay.\u003c/p>\n\u003cp>This fall lineup of shows has something for everyone, from intimate, narrative-driven gatherings to mammoth regional and world premieres—as well as a prodigal child triumphantly returning to the Bay Area.\u003c/p>\n\u003cp>Here are 11 shows you don’t want to miss this fall.\u003c/p>\n\u003cfigure id=\"attachment_13918390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lear.Marcus-Gardley.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lear.Marcus-Gardley-800x534.jpeg\" alt=\"an African American man in jeans a red shirt smiles while posing in front of a wooden fence\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland native Marcus Gardley will debut his modern-day verse translation of William Shakespeare’s ‘King Lear’ at Cal Shakes in Orinda. \u003ccite>(Courtesy California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://calshakes.org/\">Lear\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 7-Oct. 2\u003cbr>\nBruns Amphitheater, Orinda\u003c/em>\u003c/p>\n\u003cp>Playwright and poet Marcus Gardley has achieved an impressive national profile, and is now lending his talents to constructing a modern-day verse translation of William Shakespeare’s \u003cem>King Lear\u003c/em>. The West Oakland native is part of an incredible East Bay crew crafting the show, including fellow Oaklander Dawn Monique Williams, who’s co-directing the piece with outgoing artistic director Eric Ting, departing Cal Shakes after seven years at the helm.\u003cbr>\nThe company partnered with Oakland Theater Project to tell the story of Lear, a man whose loyalties to two of his three daughters lead to his self-destruction. San Francisco-based jazz icon Marcus Shelby lends original, live compositions to the production.\u003c/p>\n\u003cfigure id=\"attachment_13918386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918386\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-800x500.jpg\" alt=\"An African AMerican woman in black shirt and glasses smiles in a portrait\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina.jpg 1143w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Christina Anderson \u003ccite>(Courtesy Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/\">The Ripple, the Wave that Carried Me Home\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 9-Oct. 16\u003c/em>\u003cbr>\n\u003cem>Berkeley Repertory Theatre\u003c/em>\u003c/p>\n\u003cp>This long-anticipated world premiere was developed at Berkeley Rep’s Center for the Creation and Development of New Work, named the Ground Floor. The show, written by Tony nominee Christina Anderson and co-produced with Chicago’s Goodman Theatre, follows Janice as she wrestles with her childhood and her parents’ activism; themes include political inheritance, racial justice and family forgiveness.\u003c/p>\n\u003cfigure id=\"attachment_13918383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Passengers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Passengers-800x533.jpg\" alt=\"five people in a play pretend to be on a train\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 7 Fingers Creative Collective open ‘Passengers’ at American Conservatory Theater Sept. 15. \u003ccite>(Courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/202223-season/passengers/\">Passengers\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 15-Oct. 9\u003cbr>\nThe Geary Theater\u003c/em>\u003c/p>\n\u003cp>The 7 Fingers Creative Collective has made a strong footprint in the Bay Area, bringing back the legendary venue Club Fugazi with their love-letter production of \u003cem>Dear San Francisco\u003c/em>, focusing on mind-blowing circus acts and live music. Now, founding co-artistic director Shana Carroll has written, directed and choreographed the new production \u003cem>Passengers\u003c/em>, telling a story about transit in all its forms through circus arts, dance, song, acrobatics and theater.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13918385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Indecent.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918385\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Indecent-800x533.jpg\" alt=\"two women in white outfits dance in front of a brick wall in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left, Rivka Borek and Malka Wallick in ‘Indecent,’ which opens at the San Francisco Playhouse Sept. 22. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/\">Indecent\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22-Nov. 5\u003cbr>\nSan Francisco Playhouse\u003c/em>\u003c/p>\n\u003cp>The Bay Area premiere of highly decorated and Pulitzer-winning playwright Paula Vogel (\u003cem>How I Learned to Drive\u003c/em>) explores the story of Sholem Asch and his debut of \u003cem>The God of Vengeance\u003c/em>, in 1922, which polarized Broadway, ultimately leading to the \u003ca href=\"https://web.uwm.edu/yiddish-stage/10-things-you-need-to-know-about-god-of-vengeance\">arrests of cast members and an obscenity trial\u003c/a>. The score is loaded with traditional Eastern European Jewish music, or klezmer, and is co-produced with the Bay Area’s Yiddish Theatre Ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13918381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/LanguageofWildBerries.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/LanguageofWildBerries.jpg\" alt=\"two women smile in side by side portraits, one in a yellow head scarf\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries-768x384.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right, ‘The Language of Wild Berries’ translator-director Torange Yeghiazarian and playwright Naghmeh Samini. \u003ccite>(Courtesy Golden Thread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://goldenthread.org/\">The Language of Wild Berries\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 13-Nov. 6\u003cbr>\nPotrero Stage, San Francisco\u003c/em>\u003c/p>\n\u003cp>Like so many performing arts groups in March of 2020, Golden Thread was forced to rethink and ultimately postpone their upcoming production—\u003cem>The Language of Wild Berries\u003c/em> is a long time in the making. Written by Iranian playwright Naghmeh Samini and translated by Torange Yeghiazarian, the play’s plot revolves around the 10th wedding anniversary of Donya and Davood, who return to their honeymoon spot on the Caspian Sea to celebrate. But there is an eerie factor, as they are now followed by a mysterious stranger who forces the couple to deeply examine their marriage both present and past. The company’s answer two years ago was to release the show as a radio play, but Golden Thread is now ready for the in-person production in its U.S. premiere, which provides a glimpse into the lives of contemporary Iranians.\u003c/p>\n\u003cfigure id=\"attachment_13918382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/RedShades.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918382 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/RedShades-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tommy Clifford-Carlos as Ida in ‘The Red Shades,’ in which a trans teen escapes her small town and finds herself among a gang of trans superheroes in the Tenderloin. \u003ccite>(Tristan Crane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.zspace.org/\">The Red Shades: A Trans Superhero Rock Opera\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 13-Nov. 5\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003c/em>\u003cbr>\nThe world premiere of \u003cem>The Red Shades\u003c/em> takes the thrill of musical theater and fuses it with a rock concert. The story follows transgender teen girl Ida, who escapes from her small town to a gang of trans superheroes in the Tenderloin. Leading the show are two incredible forces—the fantastic Edris Cooper-Anifowoshe co-directs with phenomenal multi-hyphenate Rotimi Agbabiaka, who is coming off performing multiple roles in a glitzy production of \u003cem>Midsummer Night’s Dream\u003c/em> in Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_13918384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918384\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-800x552.jpg\" alt=\"a woman with dark gray hair in a gray suit poses with her chin in her hand in front of trees\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Theater Project associate artistic director Lisa Ramirez’s play, ‘Book of Sand,’ is inspired by Jorge Luis Borges’ 1975 short story. \u003ccite>(Courtesy Oakland Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ci.ovationtix.com/35459/production/1092708\">Book of Sand\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 28-Nov. 20\u003cbr>\nThe Oakland Theater at Flax Art & Design\u003c/em>\u003c/p>\n\u003cp>A mysterious book, an unknown language, and an infinite number of pages are the backbone of the narrative, inspired by Argentine author Jorge Luis Borges’ short story from 1975. The piece of magical realism is the basis for the company’s wonderful associate artistic director Lisa Ramirez and her script to ask many profound questions about beginnings, endings and the journey to achieve peace.\u003c/p>\n\u003cfigure id=\"attachment_13918380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/River-Bride.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/River-Bride-800x600.jpg\" alt=\"a woman with black hair in a pink top poses in a restaurant booth\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marisela Treviño Orta, playwright of ‘River Bride,’ which opens at the 6th Street Playhouse in Santa Rosa Nov. 3. \u003ccite>(Courtesy Marisela Treviño Orta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://6thstreetplayhouse.com/shows/2022-23/the-river-bride-la-novia-del-rio/\">The River Bride\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Nov. 3-20\u003cbr>\n6th Street Playhouse, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>\u003cem>The River Bride\u003c/em> is a highly produced work by Texas native Marisela Treviño Orta, who spent many years honing her craft in the Bay Area and received her MFA at the University of San Francisco; the piece was developed in San Rafael at Alter Theater’s AlterLab in 2013 before making its world premiere at the Oregon Shakespeare Festival in 2016. Its story takes place over three days before a wedding, when a handsome man is fished from the Amazon River, forcing two sisters into potentially dangerous choices. Amazon folklore and magical realism inform this powerful tale of love and transformation.\u003c/p>\n\u003cfigure id=\"attachment_13918388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Natasha.Pierre.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918388\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Natasha.Pierre-800x465.jpg\" alt=\"a man in a colorful red and grey jacket and black hat stands looking defiant in a portrait\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Albert Hodge plays Pierre in the Shotgun Players’ production of ‘Natasha, Pierre & the Great Comet of 1812’ at the Ashby Stage in Berkeley beginning Nov. 5. \u003ccite>(Benjamin Krantz/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=75468815-60C2-4313-920F-CAF102016CFA&menu_id=48FA49FA-9662-4A5C-B77F-0D14F007E1A5\">Natasha, Pierre & the Great Comet of 1812\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003cbr>\nNov. 5-Dec. 30\u003c/em>\u003c/p>\n\u003cp>The daring artists at Shotgun Players take on the highly acclaimed musical, which got its start in 2012 at the phenomenal Ars Nova in Lower Manhattan. A snippet of Leo Tolstoy’s epic novel \u003cem>War and Peace\u003c/em> is the basis for composer Dave Malloy’s adaptation focusing on Natasha, a young woman in search of her fiancé in 19th-century Russia, and middle-aged soul Pierre, a man awash in regrets. A standard setup in the Ashby is out the window, and in its place are cabaret tables topped with Russian vodka, and a scintillating set from designer Nina Ball.\u003c/p>\n\u003cfigure id=\"attachment_13918389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ainttooproud.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ainttooproud-800x450.jpeg\" alt=\"a group of men dressed as the Motown group the Temptations stand around a piano and sing\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud.jpeg 1180w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) Smokey Robinson (Christian Thompson), David Ruffin (Ephraim Sykes), Melvin Franklin (Jared Joseph), Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope) and Paul Williams (James Harkness) build a tune in ‘Ain’t Too Proud,’ which made its world premiere at Berkeley Rep in 2017 before landing in New York City two years later. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://broadwaysf.com/Online/default.asp\">Ain’t Too Proud: The Life and Times of the Temptations\u003c/a>‘\u003c/h2>\n\u003cp>\u003cem>Nov. 9-Dec. 4\u003cbr>\nGolden Gate Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>A touring show might be an odd choice for a region’s top fall theatre picks, but \u003cem>Ain’t Too Proud \u003c/em>has a rich history in the Bay Area. It made its world premiere at the Berkeley Repertory Theatre in 2017 and became the Rep’s highest grossing production before transferring to multiple cities and then Broadway. The show was nominated for 12 Tonys, but only snagged one, which honored Sergio Trujillo’s scintillating choreography. It went strong for a year in New York until COVID-19 wreaked havoc everywhere; the musical then struggled to find its footing after re-opening in October of 2021, closing for good in January. Still, a plethora of feel-good hits and some delightful insight into the story of the iconic Motown group make for a fun evening of nostalgia—and a second chance to score tickets after the Rep’s multiple sold-out extensions.\u003c/p>\n\u003cfigure id=\"attachment_13918387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Thanksgiving-Play.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918387\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Thanksgiving-Play-800x533.jpg\" alt=\"a woman dressed in grey sits in a folding chair outside a small trailer\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Larissa Fasthorse, whose satirical ‘Thanksgiving Play’ opens Nov. 17 at the City Lights Theater Company in San Jose. \u003ccite>(John D. & Catherine T. MacArthur Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://cltc.org/\">The Thanksgiving Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Nov. 17-Dec. 18\u003cbr>\nCity Lights Theater Company, San Jose\u003c/em>\u003c/p>\n\u003cp>The venerable 40-year-old South Bay company takes on MacArthur “Genius Grant” recipient Larissa Fasthorse’s satirical send-up. The play focuses on a group of white teaching artists tasked with creating a Thanksgiving pageant. Their mission: honor both the holiday and Native American Heritage Month while displaying cultural sensitivity towards everyone and everything. The searing one-act play is slated for Broadway in the spring of 2023, produced by non-profit theater Second Stage, who stated that Fasthorse will be the first female Native American playwright to land on the Great White Way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Daring new works, a transgender rock musical, a Shakespeare adaptation and more return to the Bay Area's stages this fall.",
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"title": "Bay Area Theatre Preview: This Fall, the (Real, In-Person!) Play's the Thing | KQED",
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"source": "Fall Arts Guide 2022",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Returning to theater regularly after the heights of the pandemic is all about getting comfortable with new normals. Showing your vax card, slapping a little sticker on your shirt as proof of checking in and masking up while taking in a staged story are all small sacrifices—ones well worth making in order to support theater companies in the Bay.\u003c/p>\n\u003cp>This fall lineup of shows has something for everyone, from intimate, narrative-driven gatherings to mammoth regional and world premieres—as well as a prodigal child triumphantly returning to the Bay Area.\u003c/p>\n\u003cp>Here are 11 shows you don’t want to miss this fall.\u003c/p>\n\u003cfigure id=\"attachment_13918390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lear.Marcus-Gardley.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lear.Marcus-Gardley-800x534.jpeg\" alt=\"an African American man in jeans a red shirt smiles while posing in front of a wooden fence\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland native Marcus Gardley will debut his modern-day verse translation of William Shakespeare’s ‘King Lear’ at Cal Shakes in Orinda. \u003ccite>(Courtesy California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://calshakes.org/\">Lear\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 7-Oct. 2\u003cbr>\nBruns Amphitheater, Orinda\u003c/em>\u003c/p>\n\u003cp>Playwright and poet Marcus Gardley has achieved an impressive national profile, and is now lending his talents to constructing a modern-day verse translation of William Shakespeare’s \u003cem>King Lear\u003c/em>. The West Oakland native is part of an incredible East Bay crew crafting the show, including fellow Oaklander Dawn Monique Williams, who’s co-directing the piece with outgoing artistic director Eric Ting, departing Cal Shakes after seven years at the helm.\u003cbr>\nThe company partnered with Oakland Theater Project to tell the story of Lear, a man whose loyalties to two of his three daughters lead to his self-destruction. San Francisco-based jazz icon Marcus Shelby lends original, live compositions to the production.\u003c/p>\n\u003cfigure id=\"attachment_13918386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918386\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-800x500.jpg\" alt=\"An African AMerican woman in black shirt and glasses smiles in a portrait\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina.jpg 1143w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Christina Anderson \u003ccite>(Courtesy Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/\">The Ripple, the Wave that Carried Me Home\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 9-Oct. 16\u003c/em>\u003cbr>\n\u003cem>Berkeley Repertory Theatre\u003c/em>\u003c/p>\n\u003cp>This long-anticipated world premiere was developed at Berkeley Rep’s Center for the Creation and Development of New Work, named the Ground Floor. The show, written by Tony nominee Christina Anderson and co-produced with Chicago’s Goodman Theatre, follows Janice as she wrestles with her childhood and her parents’ activism; themes include political inheritance, racial justice and family forgiveness.\u003c/p>\n\u003cfigure id=\"attachment_13918383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Passengers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Passengers-800x533.jpg\" alt=\"five people in a play pretend to be on a train\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 7 Fingers Creative Collective open ‘Passengers’ at American Conservatory Theater Sept. 15. \u003ccite>(Courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/202223-season/passengers/\">Passengers\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 15-Oct. 9\u003cbr>\nThe Geary Theater\u003c/em>\u003c/p>\n\u003cp>The 7 Fingers Creative Collective has made a strong footprint in the Bay Area, bringing back the legendary venue Club Fugazi with their love-letter production of \u003cem>Dear San Francisco\u003c/em>, focusing on mind-blowing circus acts and live music. Now, founding co-artistic director Shana Carroll has written, directed and choreographed the new production \u003cem>Passengers\u003c/em>, telling a story about transit in all its forms through circus arts, dance, song, acrobatics and theater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13918385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Indecent.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918385\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Indecent-800x533.jpg\" alt=\"two women in white outfits dance in front of a brick wall in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left, Rivka Borek and Malka Wallick in ‘Indecent,’ which opens at the San Francisco Playhouse Sept. 22. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/\">Indecent\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22-Nov. 5\u003cbr>\nSan Francisco Playhouse\u003c/em>\u003c/p>\n\u003cp>The Bay Area premiere of highly decorated and Pulitzer-winning playwright Paula Vogel (\u003cem>How I Learned to Drive\u003c/em>) explores the story of Sholem Asch and his debut of \u003cem>The God of Vengeance\u003c/em>, in 1922, which polarized Broadway, ultimately leading to the \u003ca href=\"https://web.uwm.edu/yiddish-stage/10-things-you-need-to-know-about-god-of-vengeance\">arrests of cast members and an obscenity trial\u003c/a>. The score is loaded with traditional Eastern European Jewish music, or klezmer, and is co-produced with the Bay Area’s Yiddish Theatre Ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13918381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/LanguageofWildBerries.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/LanguageofWildBerries.jpg\" alt=\"two women smile in side by side portraits, one in a yellow head scarf\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries-768x384.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right, ‘The Language of Wild Berries’ translator-director Torange Yeghiazarian and playwright Naghmeh Samini. \u003ccite>(Courtesy Golden Thread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://goldenthread.org/\">The Language of Wild Berries\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 13-Nov. 6\u003cbr>\nPotrero Stage, San Francisco\u003c/em>\u003c/p>\n\u003cp>Like so many performing arts groups in March of 2020, Golden Thread was forced to rethink and ultimately postpone their upcoming production—\u003cem>The Language of Wild Berries\u003c/em> is a long time in the making. Written by Iranian playwright Naghmeh Samini and translated by Torange Yeghiazarian, the play’s plot revolves around the 10th wedding anniversary of Donya and Davood, who return to their honeymoon spot on the Caspian Sea to celebrate. But there is an eerie factor, as they are now followed by a mysterious stranger who forces the couple to deeply examine their marriage both present and past. The company’s answer two years ago was to release the show as a radio play, but Golden Thread is now ready for the in-person production in its U.S. premiere, which provides a glimpse into the lives of contemporary Iranians.\u003c/p>\n\u003cfigure id=\"attachment_13918382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/RedShades.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918382 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/RedShades-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tommy Clifford-Carlos as Ida in ‘The Red Shades,’ in which a trans teen escapes her small town and finds herself among a gang of trans superheroes in the Tenderloin. \u003ccite>(Tristan Crane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.zspace.org/\">The Red Shades: A Trans Superhero Rock Opera\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 13-Nov. 5\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003c/em>\u003cbr>\nThe world premiere of \u003cem>The Red Shades\u003c/em> takes the thrill of musical theater and fuses it with a rock concert. The story follows transgender teen girl Ida, who escapes from her small town to a gang of trans superheroes in the Tenderloin. Leading the show are two incredible forces—the fantastic Edris Cooper-Anifowoshe co-directs with phenomenal multi-hyphenate Rotimi Agbabiaka, who is coming off performing multiple roles in a glitzy production of \u003cem>Midsummer Night’s Dream\u003c/em> in Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_13918384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918384\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-800x552.jpg\" alt=\"a woman with dark gray hair in a gray suit poses with her chin in her hand in front of trees\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Theater Project associate artistic director Lisa Ramirez’s play, ‘Book of Sand,’ is inspired by Jorge Luis Borges’ 1975 short story. \u003ccite>(Courtesy Oakland Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ci.ovationtix.com/35459/production/1092708\">Book of Sand\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 28-Nov. 20\u003cbr>\nThe Oakland Theater at Flax Art & Design\u003c/em>\u003c/p>\n\u003cp>A mysterious book, an unknown language, and an infinite number of pages are the backbone of the narrative, inspired by Argentine author Jorge Luis Borges’ short story from 1975. The piece of magical realism is the basis for the company’s wonderful associate artistic director Lisa Ramirez and her script to ask many profound questions about beginnings, endings and the journey to achieve peace.\u003c/p>\n\u003cfigure id=\"attachment_13918380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/River-Bride.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/River-Bride-800x600.jpg\" alt=\"a woman with black hair in a pink top poses in a restaurant booth\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marisela Treviño Orta, playwright of ‘River Bride,’ which opens at the 6th Street Playhouse in Santa Rosa Nov. 3. \u003ccite>(Courtesy Marisela Treviño Orta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://6thstreetplayhouse.com/shows/2022-23/the-river-bride-la-novia-del-rio/\">The River Bride\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Nov. 3-20\u003cbr>\n6th Street Playhouse, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>\u003cem>The River Bride\u003c/em> is a highly produced work by Texas native Marisela Treviño Orta, who spent many years honing her craft in the Bay Area and received her MFA at the University of San Francisco; the piece was developed in San Rafael at Alter Theater’s AlterLab in 2013 before making its world premiere at the Oregon Shakespeare Festival in 2016. Its story takes place over three days before a wedding, when a handsome man is fished from the Amazon River, forcing two sisters into potentially dangerous choices. Amazon folklore and magical realism inform this powerful tale of love and transformation.\u003c/p>\n\u003cfigure id=\"attachment_13918388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Natasha.Pierre.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918388\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Natasha.Pierre-800x465.jpg\" alt=\"a man in a colorful red and grey jacket and black hat stands looking defiant in a portrait\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Albert Hodge plays Pierre in the Shotgun Players’ production of ‘Natasha, Pierre & the Great Comet of 1812’ at the Ashby Stage in Berkeley beginning Nov. 5. \u003ccite>(Benjamin Krantz/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=75468815-60C2-4313-920F-CAF102016CFA&menu_id=48FA49FA-9662-4A5C-B77F-0D14F007E1A5\">Natasha, Pierre & the Great Comet of 1812\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003cbr>\nNov. 5-Dec. 30\u003c/em>\u003c/p>\n\u003cp>The daring artists at Shotgun Players take on the highly acclaimed musical, which got its start in 2012 at the phenomenal Ars Nova in Lower Manhattan. A snippet of Leo Tolstoy’s epic novel \u003cem>War and Peace\u003c/em> is the basis for composer Dave Malloy’s adaptation focusing on Natasha, a young woman in search of her fiancé in 19th-century Russia, and middle-aged soul Pierre, a man awash in regrets. A standard setup in the Ashby is out the window, and in its place are cabaret tables topped with Russian vodka, and a scintillating set from designer Nina Ball.\u003c/p>\n\u003cfigure id=\"attachment_13918389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ainttooproud.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ainttooproud-800x450.jpeg\" alt=\"a group of men dressed as the Motown group the Temptations stand around a piano and sing\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud.jpeg 1180w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) Smokey Robinson (Christian Thompson), David Ruffin (Ephraim Sykes), Melvin Franklin (Jared Joseph), Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope) and Paul Williams (James Harkness) build a tune in ‘Ain’t Too Proud,’ which made its world premiere at Berkeley Rep in 2017 before landing in New York City two years later. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://broadwaysf.com/Online/default.asp\">Ain’t Too Proud: The Life and Times of the Temptations\u003c/a>‘\u003c/h2>\n\u003cp>\u003cem>Nov. 9-Dec. 4\u003cbr>\nGolden Gate Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>A touring show might be an odd choice for a region’s top fall theatre picks, but \u003cem>Ain’t Too Proud \u003c/em>has a rich history in the Bay Area. It made its world premiere at the Berkeley Repertory Theatre in 2017 and became the Rep’s highest grossing production before transferring to multiple cities and then Broadway. The show was nominated for 12 Tonys, but only snagged one, which honored Sergio Trujillo’s scintillating choreography. It went strong for a year in New York until COVID-19 wreaked havoc everywhere; the musical then struggled to find its footing after re-opening in October of 2021, closing for good in January. Still, a plethora of feel-good hits and some delightful insight into the story of the iconic Motown group make for a fun evening of nostalgia—and a second chance to score tickets after the Rep’s multiple sold-out extensions.\u003c/p>\n\u003cfigure id=\"attachment_13918387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Thanksgiving-Play.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918387\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Thanksgiving-Play-800x533.jpg\" alt=\"a woman dressed in grey sits in a folding chair outside a small trailer\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Larissa Fasthorse, whose satirical ‘Thanksgiving Play’ opens Nov. 17 at the City Lights Theater Company in San Jose. \u003ccite>(John D. & Catherine T. MacArthur Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://cltc.org/\">The Thanksgiving Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Nov. 17-Dec. 18\u003cbr>\nCity Lights Theater Company, San Jose\u003c/em>\u003c/p>\n\u003cp>The venerable 40-year-old South Bay company takes on MacArthur “Genius Grant” recipient Larissa Fasthorse’s satirical send-up. The play focuses on a group of white teaching artists tasked with creating a Thanksgiving pageant. Their mission: honor both the holiday and Native American Heritage Month while displaying cultural sensitivity towards everyone and everything. The searing one-act play is slated for Broadway in the spring of 2023, produced by non-profit theater Second Stage, who stated that Fasthorse will be the first female Native American playwright to land on the Great White Way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sir Patrick Stewart has been calming me down for six months now. Throughout shelter in place, every time there’s a new piece of apocalyptic news; every time my chest starts feeling tight or my heart starts racing; every time I feel on the verge of a meltdown, the fix is the same. I scramble over to Sir Patrick’s Instagram page and listen to him reading the sonnets of Shakespeare.\u003c/p>\n\u003cp>He has been doing this every single day for six months now. And he knew from the get-go how people like me would be using them. As he said back in March, “A sonnet a day keeps the doctor away.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B-DeQAGh4eS/\u003c/p>\n\u003cp>I’m not going to lie—I don’t always understand the content of all of the sonnets. And sometimes I don’t even try to. It doesn’t really matter, truth be told. Because the sound of Sir Patrick’s calm, beautifully enunciated voice is always soothing. His relaxed demeanor and peaceful facial expressions are somehow infectious. And even when he misses a beat, his delivery is a delight.\u003c/p>\n\u003cp>https://www.instagram.com/p/B-x9eryBJw7/\u003c/p>\n\u003cp>Watching him has become a form of meditation. But this week, Sir Patrick upped the stakes and brought his foster dog into the mix. (I will be scrolling back to this one for weeks to come.)\u003c/p>\n\u003cp>https://www.instagram.com/p/CE0QRU7jzu2/\u003c/p>\n\u003cp>And this morning when I woke up in San Francisco to a bleak, dark sky and red horizon, and immediately started to feel the walls closing in, I went straight to yesterday’s sonnet to calm down. (One made all the better by one commenter noting, “I don’t know what’s more rich and buttery, your voice or that leather chair.”)\u003c/p>\n\u003cp>https://www.instagram.com/p/CE5Rx-ahFSt/\u003c/p>\n\u003cp>It was impossible to foresee at the beginning of 2020 just how badly I would one day need Sir Patrick Stewart reading bite-sized Shakespeare on social media. But I do. And maybe you do too. It has proven to be one of the only consistently pleasant features in an otherwise anxiety-inducing year.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m not going to lie—I don’t always understand the content of all of the sonnets. And sometimes I don’t even try to. It doesn’t really matter, truth be told. Because the sound of Sir Patrick’s calm, beautifully enunciated voice is always soothing. His relaxed demeanor and peaceful facial expressions are somehow infectious. And even when he misses a beat, his delivery is a delight.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>And this morning when I woke up in San Francisco to a bleak, dark sky and red horizon, and immediately started to feel the walls closing in, I went straight to yesterday’s sonnet to calm down. (One made all the better by one commenter noting, “I don’t know what’s more rich and buttery, your voice or that leather chair.”)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was impossible to foresee at the beginning of 2020 just how badly I would one day need Sir Patrick Stewart reading bite-sized Shakespeare on social media. But I do. And maybe you do too. It has proven to be one of the only consistently pleasant features in an otherwise anxiety-inducing year.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This far into shelter-in-place, it’s hard not to feel, as the eponymous character in \u003cem>Macbeth\u003c/em> once \u003ca href=\"https://www.enotes.com/homework-help/explain-this-quote-from-macbeth-i-had-else-been-281677\" target=\"_blank\" rel=\"noopener noreferrer\">bemoaned\u003c/a>, “cabined, cribbed, confined.” And for those of us missing the thrill of live theatre, now seems like a pretty good time to get lost in Shakespeare’s timeless texts.\u003c/p>\n\u003cp>Thankfully, \u003ca href=\"https://www.shakespearesglobe.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Globe\u003c/a> is on hand to assist. The world-renowned London theater began streaming its 2020 production of \u003cem>Macbeth\u003c/em> this week, entirely \u003ca href=\"https://www.youtube.com/watch?v=PFwHmgA9nno&\" target=\"_blank\" rel=\"noopener noreferrer\">free of charge on YouTube\u003c/a>. The play, which opened Feb. 26 but was forced to close early due to COVID-related precautions, is fast-paced, intermission-free and designed specifically to appeal to a younger audience. (Take heed, parents with high schoolers at home!)\u003c/p>\n\u003cp>In addition, the Globe—a meticulous replica of the theater where Shakespeare presented many of his plays in the early 1600s—will grant the world free \u003ca href=\"https://www.shakespearesglobe.com/watch/#free-youtube-premieres\" target=\"_blank\" rel=\"noopener noreferrer\">access to some of its other productions\u003c/a> until at least the end of June. 2018’s \u003cem>A Winter’s Tale\u003c/em> will stream from May 18-31; 2019’s \u003cem>The Merry Wives of Windsor\u003c/em> will stream from June 1-14; and 2013’s \u003cem>A Midsummer Night’s Dream\u003c/em> will stream from June 15-28.\u003c/p>\n\u003cp>What’s more, the Globe has also launched \u003cem>\u003ca href=\"https://www.shakespearesglobe.com/watch/love-in-isolation-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Love in Isolation\u003c/a>\u003c/em>: a series of bitesize videos in which actors (and occasionally members of the public) recite some of Shakespeare’s most treasured passages. Despite the plain clothes and domestic settings, some of the readings—like the one below from \u003cem>The Tempest\u003c/em> by Alfred Enoch—are surprisingly soothing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ei0Npe4B26k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While all of these presentations by the Globe are free, the theater asks viewers to consider \u003ca href=\"https://www.shakespearesglobe.com/donate\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This far into shelter-in-place, it’s hard not to feel, as the eponymous character in \u003cem>Macbeth\u003c/em> once \u003ca href=\"https://www.enotes.com/homework-help/explain-this-quote-from-macbeth-i-had-else-been-281677\" target=\"_blank\" rel=\"noopener noreferrer\">bemoaned\u003c/a>, “cabined, cribbed, confined.” And for those of us missing the thrill of live theatre, now seems like a pretty good time to get lost in Shakespeare’s timeless texts.\u003c/p>\n\u003cp>Thankfully, \u003ca href=\"https://www.shakespearesglobe.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Globe\u003c/a> is on hand to assist. The world-renowned London theater began streaming its 2020 production of \u003cem>Macbeth\u003c/em> this week, entirely \u003ca href=\"https://www.youtube.com/watch?v=PFwHmgA9nno&\" target=\"_blank\" rel=\"noopener noreferrer\">free of charge on YouTube\u003c/a>. The play, which opened Feb. 26 but was forced to close early due to COVID-related precautions, is fast-paced, intermission-free and designed specifically to appeal to a younger audience. (Take heed, parents with high schoolers at home!)\u003c/p>\n\u003cp>In addition, the Globe—a meticulous replica of the theater where Shakespeare presented many of his plays in the early 1600s—will grant the world free \u003ca href=\"https://www.shakespearesglobe.com/watch/#free-youtube-premieres\" target=\"_blank\" rel=\"noopener noreferrer\">access to some of its other productions\u003c/a> until at least the end of June. 2018’s \u003cem>A Winter’s Tale\u003c/em> will stream from May 18-31; 2019’s \u003cem>The Merry Wives of Windsor\u003c/em> will stream from June 1-14; and 2013’s \u003cem>A Midsummer Night’s Dream\u003c/em> will stream from June 15-28.\u003c/p>\n\u003cp>What’s more, the Globe has also launched \u003cem>\u003ca href=\"https://www.shakespearesglobe.com/watch/love-in-isolation-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Love in Isolation\u003c/a>\u003c/em>: a series of bitesize videos in which actors (and occasionally members of the public) recite some of Shakespeare’s most treasured passages. Despite the plain clothes and domestic settings, some of the readings—like the one below from \u003cem>The Tempest\u003c/em> by Alfred Enoch—are surprisingly soothing.\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/ei0Npe4B26k'\n title='//www.youtube.com/embed/ei0Npe4B26k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While all of these presentations by the Globe are free, the theater asks viewers to consider \u003ca href=\"https://www.shakespearesglobe.com/donate\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mills College to Sell Shakespeare First Folio, Mozart Manuscript Amid Budget Woes",
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"content": "\u003cp>Mills College, the private liberal arts institution in Oakland, plans to sell its coveted 1623 copy of playwright William Shakespeare’s First Folio as well as a handwritten musical score by the 18th-century composer Wolfgang Amadeus Mozart, KQED has learned. [aside postID=arts_13870226,arts_12248119,arts_13389908]\u003c/p>\n\u003cp>In an internal email Thursday, college president Elizabeth Hillman revealed the planned sale of the First Folio—one of the English language’s most influential and valuable books, expected to draw millions of dollars at auction—as part of “MillsNext,” the school’s plan to overcome a budget deficit that’s led to controversial layoffs of tenured faculty and union organizing among staff. Selling the “precious assets” will support current programs “while we build a bridge to a sustainable future,” the email reads.\u003c/p>\n\u003cp>Hillman’s email also mentions selling a “musical transcript,” which a source close to Mills’ F.W. Olin Library said refers to Mozart’s notation of five epistle sonatas created in the early 1770s. The source also said the First Folio will be auctioned by Christie’s, while the manuscript is being sold privately. As a private college, Mills is not obligated to publicly disclose its de-accessions.\u003c/p>\n\u003cp>“My first thought is disappointment,” said Thomas Goldwasser, an antiquarian book dealer in San Francisco. “It’s a shame because institutional libraries are supposed to steward and preserve cultural properties, and use them to teach and inspire, not treat them as commodities.”\u003c/p>\n\u003cp>“Christie’s has no news to announce at this time,” an auction house spokesperson said. Library staff directed inquiries to the Mills administration, and a school spokesperson declined to provide information for this article. “These gifts have been treasured deeply by the Mills community and will now be sold in compliance with College regulations,” reads Hillman’s email.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mills, a historic private college for women and gender non-binary students, with graduate programs for all genders, enrolls some 1,200 students in East Oakland. The Olin Library’s special collections and archives includes the papers of artists such as Pauline Oliveros and Patti Smith, and as recently as Tuesday the website listed the First Folio in its Early Printed Books Collection.\u003c/p>\n\u003cp>The book, which the source close to the library said has already left campus, was a 1977 gift from Mary Louise O’Brien in honor of her father Elias Olan James, a former English professor at Mills and namesake of a Shakespeare collection at the Olin Library.\u003c/p>\n\u003cp>When copies of the First Folio change hands, it tends to make headlines. Christie’s sold one in 2001 for $6.1 million, establishing a then-world record for a 17th-century book, and another copy fetched $5.1 million in 2006 at Sotheby’s. Most recently, in 2016, a newly-discovered copy of the First Folio exceeded Christie’s auctioneers expectations by garnering $2.75 million.\u003c/p>\n\u003cp>Goldwasser expects Mills’ First Folio to also snare millions, while the Mozart manuscript is easily worth six figures. It’s not unusual for Mills and other private institutions to quietly sell assets, he said, but the First Folio is uniquely monumental, and its sale will dissuade prospective donors from continuing to bestow important research objects and archives to Mills’ special collections.\u003c/p>\n\u003cp>“Maybe Shakespeare’s not so important anymore at some undergraduate institutions,” he said.\u003c/p>\n\u003cp>Mills’ First Folio is one of 235 extant copies of the book known worldwide, according to the Folger Shakespeare Library. Its original publication in 1623, seven years after the playwright’s death, marked the first-ever printed appearance of 18 of its 36 collected plays, including \u003cem>Macbeth\u003c/em> and \u003cem>The Tempest\u003c/em>, changing the course of English literature.\u003c/p>\n\u003cp>“Without this particular copy, we wouldn’t have authoritative versions of many of Shakespeare’s works,” said Diana Kohnke, a librarian at the California State Library’s Sutro Library in San Francisco, one of few other local institutions possessing a First Folio. “Laws prohibit us from selling—our deed from the Sutro family says the collection can’t even leave San Francisco.”\u003c/p>\n\u003cp>Peter Hanff, deputy director of the Bancroft Library at UC Berkeley, another academic research library with a First Folio, said that the sale signals a smaller institution redefining or narrowing its primary purpose—and weighing a cash infusion against the book’s research value to students. “They’re going, ‘This doesn’t advance our primary mission,’ and making a challenging decision,” Hanff said. “Personally I still hate it when this happens, because I really value the accessibility.”\u003c/p>\n\u003cp>The sales reflect Mills’ efforts to manage a budget deficit due in part to declining enrollment. In 2017, the school declared a financial emergency, and controversially moved to lay off 11 professors, many of them tenured, including renowned composer Roscoe Mitchell. The restructuring particularly impacted the storied Center for Contemporary Music; co-directors Maggi Payne and Chris Brown retired early in the hopes of pre-empting additional cuts.\u003c/p>\n\u003cp>Replacing tenured faculty with adjunct professors has become a common cost-saving strategy for college administrations, one deeply unpopular with academics and students alike. (Mills recently posted job listings for several adjunct music professors.) Brown, the former CCM co-director, said Mills selling the documents is another worrisome sign. “My impression is this is part of the pattern—things have not improved since the purge,” he said. “Now it’s the rainy day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Staff at Mills recently launched a campaign to unionize with Service Employees International Union (SEIU) Local 1021, which already represents school faculty. Members of the organizing committee previously told KQED that part of their motivation for unionizing is to attain greater representation and transparency in institutional decision-making as the administration tries to rebound financially.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mills College, the private liberal arts institution in Oakland, plans to sell its coveted 1623 copy of playwright William Shakespeare’s First Folio as well as a handwritten musical score by the 18th-century composer Wolfgang Amadeus Mozart, KQED has learned. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an internal email Thursday, college president Elizabeth Hillman revealed the planned sale of the First Folio—one of the English language’s most influential and valuable books, expected to draw millions of dollars at auction—as part of “MillsNext,” the school’s plan to overcome a budget deficit that’s led to controversial layoffs of tenured faculty and union organizing among staff. Selling the “precious assets” will support current programs “while we build a bridge to a sustainable future,” the email reads.\u003c/p>\n\u003cp>Hillman’s email also mentions selling a “musical transcript,” which a source close to Mills’ F.W. Olin Library said refers to Mozart’s notation of five epistle sonatas created in the early 1770s. The source also said the First Folio will be auctioned by Christie’s, while the manuscript is being sold privately. As a private college, Mills is not obligated to publicly disclose its de-accessions.\u003c/p>\n\u003cp>“My first thought is disappointment,” said Thomas Goldwasser, an antiquarian book dealer in San Francisco. “It’s a shame because institutional libraries are supposed to steward and preserve cultural properties, and use them to teach and inspire, not treat them as commodities.”\u003c/p>\n\u003cp>“Christie’s has no news to announce at this time,” an auction house spokesperson said. Library staff directed inquiries to the Mills administration, and a school spokesperson declined to provide information for this article. “These gifts have been treasured deeply by the Mills community and will now be sold in compliance with College regulations,” reads Hillman’s email.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mills, a historic private college for women and gender non-binary students, with graduate programs for all genders, enrolls some 1,200 students in East Oakland. The Olin Library’s special collections and archives includes the papers of artists such as Pauline Oliveros and Patti Smith, and as recently as Tuesday the website listed the First Folio in its Early Printed Books Collection.\u003c/p>\n\u003cp>The book, which the source close to the library said has already left campus, was a 1977 gift from Mary Louise O’Brien in honor of her father Elias Olan James, a former English professor at Mills and namesake of a Shakespeare collection at the Olin Library.\u003c/p>\n\u003cp>When copies of the First Folio change hands, it tends to make headlines. Christie’s sold one in 2001 for $6.1 million, establishing a then-world record for a 17th-century book, and another copy fetched $5.1 million in 2006 at Sotheby’s. Most recently, in 2016, a newly-discovered copy of the First Folio exceeded Christie’s auctioneers expectations by garnering $2.75 million.\u003c/p>\n\u003cp>Goldwasser expects Mills’ First Folio to also snare millions, while the Mozart manuscript is easily worth six figures. It’s not unusual for Mills and other private institutions to quietly sell assets, he said, but the First Folio is uniquely monumental, and its sale will dissuade prospective donors from continuing to bestow important research objects and archives to Mills’ special collections.\u003c/p>\n\u003cp>“Maybe Shakespeare’s not so important anymore at some undergraduate institutions,” he said.\u003c/p>\n\u003cp>Mills’ First Folio is one of 235 extant copies of the book known worldwide, according to the Folger Shakespeare Library. Its original publication in 1623, seven years after the playwright’s death, marked the first-ever printed appearance of 18 of its 36 collected plays, including \u003cem>Macbeth\u003c/em> and \u003cem>The Tempest\u003c/em>, changing the course of English literature.\u003c/p>\n\u003cp>“Without this particular copy, we wouldn’t have authoritative versions of many of Shakespeare’s works,” said Diana Kohnke, a librarian at the California State Library’s Sutro Library in San Francisco, one of few other local institutions possessing a First Folio. “Laws prohibit us from selling—our deed from the Sutro family says the collection can’t even leave San Francisco.”\u003c/p>\n\u003cp>Peter Hanff, deputy director of the Bancroft Library at UC Berkeley, another academic research library with a First Folio, said that the sale signals a smaller institution redefining or narrowing its primary purpose—and weighing a cash infusion against the book’s research value to students. “They’re going, ‘This doesn’t advance our primary mission,’ and making a challenging decision,” Hanff said. “Personally I still hate it when this happens, because I really value the accessibility.”\u003c/p>\n\u003cp>The sales reflect Mills’ efforts to manage a budget deficit due in part to declining enrollment. In 2017, the school declared a financial emergency, and controversially moved to lay off 11 professors, many of them tenured, including renowned composer Roscoe Mitchell. The restructuring particularly impacted the storied Center for Contemporary Music; co-directors Maggi Payne and Chris Brown retired early in the hopes of pre-empting additional cuts.\u003c/p>\n\u003cp>Replacing tenured faculty with adjunct professors has become a common cost-saving strategy for college administrations, one deeply unpopular with academics and students alike. (Mills recently posted job listings for several adjunct music professors.) Brown, the former CCM co-director, said Mills selling the documents is another worrisome sign. “My impression is this is part of the pattern—things have not improved since the purge,” he said. “Now it’s the rainy day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Staff at Mills recently launched a campaign to unionize with Service Employees International Union (SEIU) Local 1021, which already represents school faculty. Members of the organizing committee previously told KQED that part of their motivation for unionizing is to attain greater representation and transparency in institutional decision-making as the administration tries to rebound financially.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Stunning New 'Romeo & Juliet' to Open at the San Francisco Dance Film Festival",
"headTitle": "Stunning New ‘Romeo & Juliet’ to Open at the San Francisco Dance Film Festival | KQED",
"content": "\u003cp>At a time when societies are increasingly fractured along tribal lines, there may be no more potent a reflection of the personal costs of these conflicts than Shakespeare’s \u003cstrong>\u003cem>Romeo & Juliet\u003c/em>\u003c/strong>. Though the tale has been reinvented in countless ways, prepare to be torn to shreds by a new film version from Britain’s \u003ca href=\"https://www.balletboyz.com\" target=\"_blank\" rel=\"noopener\">BalletBoyz\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7XjMg1iPaZQ\u003c/p>\n\u003cp>Directors Michael Nunn and William Trevitt have swept Kenneth MacMillan’s dramatic ballet onto the streets of Budapest, and drafted a captivating cast from a young generation of stars at the Royal Ballet. Their staging injects new realism and intimacy into the classic work without sacrificing the grandeur and drama. They’ve driven the action along at a furious pace, trimming the darkly glorious Prokofiev score to a lean, mean, fighting 90 minutes, and unleashed the heavens on a pivotal fight scene—it’s sensual, adrenaline-pumping stuff.\u003c/p>\n\u003cfigure id=\"attachment_13869100\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>American audiences will get their first view of this \u003cstrong>\u003cem>\u003ca href=\"https://www.sfdancefilmfest.org/festival-films/2019-program/romeo-juliet/\" target=\"_blank\" rel=\"noopener\">Romeo & Juliet\u003c/a> \u003c/em>\u003c/strong>when it opens on Wednesday, Nov. 6, at the San Francisco Dance Film Festival, close to the time of the U.K. premiere. I caught up with Trevitt over the phone as he and Nunn prepared to fly to San Francisco for the opening. Both men danced for many years with the Royal before helming their own gutsy all-male contemporary troupe, and have earned accolades for their innovative \u003ca href=\"https://www.balletboyz.com/stage\" target=\"_blank\" rel=\"noopener\">stage\u003c/a> and \u003ca href=\"https://www.balletboyz.com/film\" target=\"_blank\" rel=\"noopener\">film\u003c/a> projects.\u003c/p>\n\u003cp>Of ballet on the big screen, Trevitt said, “Film opens up so much potential in an art form that can seem slightly frozen in time.” Restless cameras weave in and out of market square and ballroom crowds, pry into Juliet’s balcony and bedroom, and penetrate the gloom of the Capulet clan’s underground crypt. The dancers’ taut physiques may be sheathed in tights and pointe shoes, but their barely made-up faces register deep, often conflicting emotions with a refreshing naturalness.\u003c/p>\n\u003cfigure id=\"attachment_13869101\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869101\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Hayward as Juliet in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>The cast reflects the \u003ca href=\"https://www.pointemagazine.com/new-promotions-royal-ballet-2412894276.html\" target=\"_blank\" rel=\"noopener\">increasing diversity\u003c/a> of the Royal Ballet’s ranks—Francesca Hayward as Juliet, in particular, has made waves as \u003ca href=\"https://www.essence.com/articles/francesca-hayward-black-female-lead-cats/\" target=\"_blank\" rel=\"noopener\">one of the few black ballerinas\u003c/a> to be named a Principal dancer in a major classical ballet company. Her chemistry with William Bracewell’s boyish, impetuous Romeo is undeniable—yet at their first encounter, when he and his pals gatecrash the Capulets’ ball, the overwhelming sense from the camerawork is one of claustrophobia, as society closes in on the pair.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even as individual characters are finely etched, the framing of the action throughout the film reinforces the idea of the powerlessness of the individual in a monstrous feudal system. Juliet is just an impressionable teenager, and Romeo no more of a hero than his cocky pals (the exuberant Marcelino Sambé and James Hay), and they don’t fully comprehend the game in which they are pawns. The whirlwind infatuation and its deadly consequences could have been the fate of any of their peers: it’s presented as a tragedy of society more than the tragic love story of these two young people with horrible parents. That the grownups themselves feel trapped is evident in searing portrayals of the grief-stricken Lady Capulet by Kristen McNally, the chilling Lord Capulet by Christopher Saunders, the fiery Tybalt by Matthew Ball, and the conflicted Friar Laurence by Bennet Gartside.\u003c/p>\n\u003cfigure id=\"attachment_13869102\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Bracewell and Francesca Hayward in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Trevitt said, “We had some pushback from people early on saying, ‘You need to tell me which one is Romeo from the beginning, you need to show me a headshot so I can identify him.’ We said, ‘We don’t want to do it like that, we want to have this community where gradually one of the people is revealed because their storyline happens to be the one that you follow. But you don’t need to know which one that is until the storyline begins to reveal itself.’ So, it’s more about a bunch of three friends, and a family preparing for a marriage, and much less about the stars, the lead characters.”\u003c/p>\n\u003cp>He went on to reflect, “But part of that is because—although Michael and I did perform Romeo, Mercutio and Benvolio in our day, all the leading male roles—we also spent a lot of time as townspeople. We know the stars can’t do it unless the community around them responds in the right way. We wanted to really respect the work of the \u003cem>corps de ballet \u003c/em>dancers and for them to end up being as important a character as the leads were. Perhaps that’s why you saw what you described as something that could have happened to any of them: it’s just a tragic sequence of events that led to it being this particular tragedy on this particular day.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=0&v=EHPT8IglL0s\u003c/p>\n\u003cp>Teenage passions and swordfights to the death aren’t the only things to look forward to at the San Francisco Dance Film Festival. In 10 years, the festival has seen an explosion in submissions, across an abundance of dance forms. This year 120+ entries from 25 countries offer a wide-ranging exploration of why people dance. And they celebrate the kinds of superheroes who don’t need stuntmen to pull off extraordinary feats of artistry and daredevilry on screen.\u003c/p>\n\u003cp>https://vimeo.com/369463318\u003c/p>\n\u003cp>That would include the Memphis jookers in \u003cem>Lil’ Buck: Real Swan\u003c/em>, a documentary that traces the journey of Charles “Lil’ Buck” Riley from the streets of Memphis to ballet studios and international concert stages, and then back to Memphis to inspire the next generation of jookers.\u003c/p>\n\u003cfigure id=\"attachment_13869099\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg\" alt=\"\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1920x1165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ekaterina Kondaurova and Lil’ Buck. Photo: Dan Krauss. Image courtesy of Versatile Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Lil’ Buck’s fleet-footed \u003ca href=\"https://www.youtube.com/watch?v=C9jghLeYufQ\" target=\"_blank\" rel=\"noopener\">collaborations\u003c/a> with cellist Yo-Yo Ma feel as serendipitous as the extravaganza that united French choreographer Maurice Béjart with the music of Queen and Mozart, and the designs of Gianni Versace. Though Béjart was moved to create his ballet by the deaths from AIDS of his lover and muse Jorge Donn, and Freddie Mercury, the work itself is more joyous than mournful. The making of the ballet in 1997 is recounted in the new documentary \u003cem>Queen + Béjart: Ballet For Life\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=0aXEsYAjYWE\u003c/p>\n\u003cp>Scottish Ballet is a smallish company with an outsize digital footprint and an appetite for trying new things. This year, Jessica Wright and Morgann Runacre-Temple envisioned a fine dining experience gone hilariously wrong in \u003cem>Tremble\u003c/em>. And for a piece called \u003cem>Frontiers\u003c/em>, San Francisco Ballet’s Myles Thatcher flew in to engineer an assortment of intimate grapplings by pairs of dancers of mixed- and same-sex, in the shelter of Glasgow’s colossal concrete underpasses.\u003c/p>\n\u003cfigure id=\"attachment_13869110\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869110\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg\" alt=\"\" width=\"800\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-768x653.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1020x868.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1200x1021.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamara Rojo for English National Ballet / Akram Khan’s Giselle. Photo: Jason Bell.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Akram Khan’s\u003c/em> \u003cem>Giselle \u003c/em>is an austere and gripping reimagining of the classic 19th century ballet about class betrayal—this version set in a community of garment factory workers. The Kathak-trained contemporary choreographer has given the classically trained dancers of English National Ballet a hypnotic movement idiom, and the brigade of undead women in Act II are every bit as eerie as in the traditional rendering.\u003c/p>\n\u003cfigure id=\"attachment_13869108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869108\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valtteri Raekallio in Fram. Choreography and direction: Thomas Freundlich and Valtteri Raekallio. Photo: Thomas Freundlich\u003c/figcaption>\u003c/figure>\n\u003cp>Because easy things are rarely worth doing, dancers traveled literally to opposite ends of the earth to make \u003cem>Dancing on Icebergs\u003c/em>, by New Zealand’s Corey Baker, and \u003cem>Fram\u003c/em>, by Finland’s Thomas Freundlich and Valtteri Raekallio.\u003c/p>\n\u003cp>(In full disclosure, sticking closer to home is a pair of films from KQED’s Webby Award-winning series \u003cem>\u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"noopener\">If Cities Could Dance\u003c/a>, \u003c/em>in which local dance crews Turf Feinz thread their way through the streets of Oakland, and R.O.O.T.S. The Movement imprint Richmond locales with their distinctive high-octane movement style.)\u003c/p>\n\u003cp>It wouldn’t be San Francisco without an ultra-high tech angle. Two years ago, the festival started screening \u003ca href=\"https://www.kqed.org/arts/13811546/is-virtual-reality-the-future-of-dance\" target=\"_blank\" rel=\"noopener\">virtual reality (VR) dance films\u003c/a>. Today, festival executive director Judy Flannery notes that VR is “still outside the reach of a ‘regular filmmaker’ both in terms of costs and truly understanding how best to utilize the unique advantages the technology can bring to a dance film.” But from the handful of recent submissions, she notes that “what was purely experimental two years ago is now more thoughtful and deliberate.”\u003c/p>\n\u003cp>https://vimeo.com/289988509\u003c/p>\n\u003cp>So, for the first time, the festival has commissioned a VR dance film, pairing a research engineer with a choreographer to produce the work in a tight timeframe. Jodi Lomask and Bhautik Joshi’s \u003cem>Into the Neural Forest\u003c/em> was inspired by actual brain imagery, and whisks viewers into a model of the brain, populated by dancers who behave like neurons.\u003c/p>\n\u003cp>It’s a brave new world.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>The San Francisco Dance Film Festival runs from Nov. 2–10 at various venues around the city. \u003ca href=\"https://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "BalletBoyz' adaptation of the Shakespeare classic is just one of many offerings at the festival.",
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"title": "Stunning New 'Romeo & Juliet' to Open at the San Francisco Dance Film Festival | KQED",
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"headline": "Stunning New 'Romeo & Juliet' to Open at the San Francisco Dance Film Festival",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when societies are increasingly fractured along tribal lines, there may be no more potent a reflection of the personal costs of these conflicts than Shakespeare’s \u003cstrong>\u003cem>Romeo & Juliet\u003c/em>\u003c/strong>. Though the tale has been reinvented in countless ways, prepare to be torn to shreds by a new film version from Britain’s \u003ca href=\"https://www.balletboyz.com\" target=\"_blank\" rel=\"noopener\">BalletBoyz\u003c/a>.\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/7XjMg1iPaZQ'\n title='//www.youtube.com/embed/7XjMg1iPaZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Directors Michael Nunn and William Trevitt have swept Kenneth MacMillan’s dramatic ballet onto the streets of Budapest, and drafted a captivating cast from a young generation of stars at the Royal Ballet. Their staging injects new realism and intimacy into the classic work without sacrificing the grandeur and drama. They’ve driven the action along at a furious pace, trimming the darkly glorious Prokofiev score to a lean, mean, fighting 90 minutes, and unleashed the heavens on a pivotal fight scene—it’s sensual, adrenaline-pumping stuff.\u003c/p>\n\u003cfigure id=\"attachment_13869100\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>American audiences will get their first view of this \u003cstrong>\u003cem>\u003ca href=\"https://www.sfdancefilmfest.org/festival-films/2019-program/romeo-juliet/\" target=\"_blank\" rel=\"noopener\">Romeo & Juliet\u003c/a> \u003c/em>\u003c/strong>when it opens on Wednesday, Nov. 6, at the San Francisco Dance Film Festival, close to the time of the U.K. premiere. I caught up with Trevitt over the phone as he and Nunn prepared to fly to San Francisco for the opening. Both men danced for many years with the Royal before helming their own gutsy all-male contemporary troupe, and have earned accolades for their innovative \u003ca href=\"https://www.balletboyz.com/stage\" target=\"_blank\" rel=\"noopener\">stage\u003c/a> and \u003ca href=\"https://www.balletboyz.com/film\" target=\"_blank\" rel=\"noopener\">film\u003c/a> projects.\u003c/p>\n\u003cp>Of ballet on the big screen, Trevitt said, “Film opens up so much potential in an art form that can seem slightly frozen in time.” Restless cameras weave in and out of market square and ballroom crowds, pry into Juliet’s balcony and bedroom, and penetrate the gloom of the Capulet clan’s underground crypt. The dancers’ taut physiques may be sheathed in tights and pointe shoes, but their barely made-up faces register deep, often conflicting emotions with a refreshing naturalness.\u003c/p>\n\u003cfigure id=\"attachment_13869101\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869101\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Hayward as Juliet in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>The cast reflects the \u003ca href=\"https://www.pointemagazine.com/new-promotions-royal-ballet-2412894276.html\" target=\"_blank\" rel=\"noopener\">increasing diversity\u003c/a> of the Royal Ballet’s ranks—Francesca Hayward as Juliet, in particular, has made waves as \u003ca href=\"https://www.essence.com/articles/francesca-hayward-black-female-lead-cats/\" target=\"_blank\" rel=\"noopener\">one of the few black ballerinas\u003c/a> to be named a Principal dancer in a major classical ballet company. Her chemistry with William Bracewell’s boyish, impetuous Romeo is undeniable—yet at their first encounter, when he and his pals gatecrash the Capulets’ ball, the overwhelming sense from the camerawork is one of claustrophobia, as society closes in on the pair.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even as individual characters are finely etched, the framing of the action throughout the film reinforces the idea of the powerlessness of the individual in a monstrous feudal system. Juliet is just an impressionable teenager, and Romeo no more of a hero than his cocky pals (the exuberant Marcelino Sambé and James Hay), and they don’t fully comprehend the game in which they are pawns. The whirlwind infatuation and its deadly consequences could have been the fate of any of their peers: it’s presented as a tragedy of society more than the tragic love story of these two young people with horrible parents. That the grownups themselves feel trapped is evident in searing portrayals of the grief-stricken Lady Capulet by Kristen McNally, the chilling Lord Capulet by Christopher Saunders, the fiery Tybalt by Matthew Ball, and the conflicted Friar Laurence by Bennet Gartside.\u003c/p>\n\u003cfigure id=\"attachment_13869102\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Bracewell and Francesca Hayward in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Trevitt said, “We had some pushback from people early on saying, ‘You need to tell me which one is Romeo from the beginning, you need to show me a headshot so I can identify him.’ We said, ‘We don’t want to do it like that, we want to have this community where gradually one of the people is revealed because their storyline happens to be the one that you follow. But you don’t need to know which one that is until the storyline begins to reveal itself.’ So, it’s more about a bunch of three friends, and a family preparing for a marriage, and much less about the stars, the lead characters.”\u003c/p>\n\u003cp>He went on to reflect, “But part of that is because—although Michael and I did perform Romeo, Mercutio and Benvolio in our day, all the leading male roles—we also spent a lot of time as townspeople. We know the stars can’t do it unless the community around them responds in the right way. We wanted to really respect the work of the \u003cem>corps de ballet \u003c/em>dancers and for them to end up being as important a character as the leads were. Perhaps that’s why you saw what you described as something that could have happened to any of them: it’s just a tragic sequence of events that led to it being this particular tragedy on this particular day.”\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/EHPT8IglL0s'\n title='//www.youtube.com/embed/EHPT8IglL0s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Teenage passions and swordfights to the death aren’t the only things to look forward to at the San Francisco Dance Film Festival. In 10 years, the festival has seen an explosion in submissions, across an abundance of dance forms. This year 120+ entries from 25 countries offer a wide-ranging exploration of why people dance. And they celebrate the kinds of superheroes who don’t need stuntmen to pull off extraordinary feats of artistry and daredevilry on screen.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>That would include the Memphis jookers in \u003cem>Lil’ Buck: Real Swan\u003c/em>, a documentary that traces the journey of Charles “Lil’ Buck” Riley from the streets of Memphis to ballet studios and international concert stages, and then back to Memphis to inspire the next generation of jookers.\u003c/p>\n\u003cfigure id=\"attachment_13869099\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg\" alt=\"\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1920x1165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ekaterina Kondaurova and Lil’ Buck. Photo: Dan Krauss. Image courtesy of Versatile Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Lil’ Buck’s fleet-footed \u003ca href=\"https://www.youtube.com/watch?v=C9jghLeYufQ\" target=\"_blank\" rel=\"noopener\">collaborations\u003c/a> with cellist Yo-Yo Ma feel as serendipitous as the extravaganza that united French choreographer Maurice Béjart with the music of Queen and Mozart, and the designs of Gianni Versace. Though Béjart was moved to create his ballet by the deaths from AIDS of his lover and muse Jorge Donn, and Freddie Mercury, the work itself is more joyous than mournful. The making of the ballet in 1997 is recounted in the new documentary \u003cem>Queen + Béjart: Ballet For Life\u003c/em>.\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/0aXEsYAjYWE'\n title='//www.youtube.com/embed/0aXEsYAjYWE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Scottish Ballet is a smallish company with an outsize digital footprint and an appetite for trying new things. This year, Jessica Wright and Morgann Runacre-Temple envisioned a fine dining experience gone hilariously wrong in \u003cem>Tremble\u003c/em>. And for a piece called \u003cem>Frontiers\u003c/em>, San Francisco Ballet’s Myles Thatcher flew in to engineer an assortment of intimate grapplings by pairs of dancers of mixed- and same-sex, in the shelter of Glasgow’s colossal concrete underpasses.\u003c/p>\n\u003cfigure id=\"attachment_13869110\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869110\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg\" alt=\"\" width=\"800\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-768x653.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1020x868.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1200x1021.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamara Rojo for English National Ballet / Akram Khan’s Giselle. Photo: Jason Bell.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Akram Khan’s\u003c/em> \u003cem>Giselle \u003c/em>is an austere and gripping reimagining of the classic 19th century ballet about class betrayal—this version set in a community of garment factory workers. The Kathak-trained contemporary choreographer has given the classically trained dancers of English National Ballet a hypnotic movement idiom, and the brigade of undead women in Act II are every bit as eerie as in the traditional rendering.\u003c/p>\n\u003cfigure id=\"attachment_13869108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869108\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valtteri Raekallio in Fram. Choreography and direction: Thomas Freundlich and Valtteri Raekallio. Photo: Thomas Freundlich\u003c/figcaption>\u003c/figure>\n\u003cp>Because easy things are rarely worth doing, dancers traveled literally to opposite ends of the earth to make \u003cem>Dancing on Icebergs\u003c/em>, by New Zealand’s Corey Baker, and \u003cem>Fram\u003c/em>, by Finland’s Thomas Freundlich and Valtteri Raekallio.\u003c/p>\n\u003cp>(In full disclosure, sticking closer to home is a pair of films from KQED’s Webby Award-winning series \u003cem>\u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"noopener\">If Cities Could Dance\u003c/a>, \u003c/em>in which local dance crews Turf Feinz thread their way through the streets of Oakland, and R.O.O.T.S. The Movement imprint Richmond locales with their distinctive high-octane movement style.)\u003c/p>\n\u003cp>It wouldn’t be San Francisco without an ultra-high tech angle. Two years ago, the festival started screening \u003ca href=\"https://www.kqed.org/arts/13811546/is-virtual-reality-the-future-of-dance\" target=\"_blank\" rel=\"noopener\">virtual reality (VR) dance films\u003c/a>. Today, festival executive director Judy Flannery notes that VR is “still outside the reach of a ‘regular filmmaker’ both in terms of costs and truly understanding how best to utilize the unique advantages the technology can bring to a dance film.” But from the handful of recent submissions, she notes that “what was purely experimental two years ago is now more thoughtful and deliberate.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So, for the first time, the festival has commissioned a VR dance film, pairing a research engineer with a choreographer to produce the work in a tight timeframe. Jodi Lomask and Bhautik Joshi’s \u003cem>Into the Neural Forest\u003c/em> was inspired by actual brain imagery, and whisks viewers into a model of the brain, populated by dancers who behave like neurons.\u003c/p>\n\u003cp>It’s a brave new world.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>The San Francisco Dance Film Festival runs from Nov. 2–10 at various venues around the city. \u003ca href=\"https://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hail Caesar! Shakespearean Drama Meets Historical San Francisco in 'Caesar Maximus'",
"headTitle": "Hail Caesar! Shakespearean Drama Meets Historical San Francisco in ‘Caesar Maximus’ | KQED",
"content": "\u003cp>In these politically charged times, the impetus to draw parallels with similarly fraught occasions in history becomes an irresistible pastime. This month, it’s We Players’ turn, with a timely adaptation of Shakespeare’s \u003cem>Julius Caesar\u003c/em> that recalls the origins of Senate obfuscation and the long struggle to distinguish between political and personal ambition within the various seats of office and leadership.\u003c/p>\n\u003cp>Set at the music concourse in Golden Gate Park, with its grand bandshell, the gracious Rideout Fountain, and several pedestrian underpasses, the actors’ Gilded-Age top hats and waistcoats (designed by Brooke Jennings and Kathleen Qiu) lend a raffish, robber-baron aesthetic to the production, neatly fusing Old San Francisco to Old Rome.\u003c/p>\n\u003cfigure id=\"attachment_13839773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-800x520.jpg\" alt=\"\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-520x338.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of Caesar Maximus stroll through Golden Gate Park’s Music Concourse. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frequent proponents of cross-casting, We Players has Libby Oberlin in the role of Caesar, which she plays to the hilt with brash swagger, clad in high boots and breeches and brandishing a riding crop. It is her stance as a woman in power that has turned her conspirators against her, We Players suggests, her self-assuredness mistaken for tyranny. As Caesar, Oberlin helps her conspirators set their case at certain moments—particularly when mocking a soothsayer (Emily Stone) come to warn her (not a good look, as one might say in today’s vernacular). But is such careless ego truly a mark of a tyrant? We Players forces us to consider the spectrum of self-absorption, neither excusing Caesar’s behavior nor explicitly condemning it.\u003c/p>\n\u003cp>More compact than certain past We Players productions, \u003cem>Caesar Maximus\u003c/em> (adapted by Nick Medina and director Ava Roy) practically zooms by in just a couple of hours. The action is limited to just a few locations, all within a brief stroll of each other. The cast, too, is streamlined, with most actors doubling their roles, and several characters serving as composites—such as Chris Steele’s impish Casca (who arrives to the Lupercalia on roller skates) speaking lines to woo Caesar to the Senate House originally intended by Shakespeare to be spoken by Decius Brutus. In effect, it plays like a greatest-hits reel of the play, the minutiae mostly not missed as the San Francisco fog settles in for the evening and blankets are passed out to the audience. (Pro tip: do not neglect to bring your layers.)\u003c/p>\n\u003cfigure id=\"attachment_13839772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg\" alt=\"\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alan Coyne, Hunter MacNair and Chris Steele as the conspirators in the plot to kill Caesar. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only really disconcerting jolt in the pacing is the swiftness with which Caesar is dispatched to her death. It happens early in the production, before it feels as if enough momentum or acrimony has gathered against her to justify the boldness of the deed. The death itself is curiously bloodless, built up with some neat, slow-motion fighting choreographed by Chris Steele, but leaving the actors in their frozen positions for much too long after. Only Antony’s mellifluous monologue, expertly delivered by Rotimi Agbabiaka, cements the moment with the appropriate solemnity. Agbabiaka anchors Caesar’s funeral scene as well, inciting a too-small mob in a too-large playing area to enact some too-staged violence, setting the stage, as it were, for the eventual downfall of Brutus (Joseph Schommer) and Cassius’ (Hunter Scott MacNair).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In every We Players show, there is a concentrated effort to mold the piece visually into its staging ground. For \u003cem>Ondine\u003c/em>, ocean spray crashing against the ruins of Sutro Baths provided an essential backdrop; for \u003cem>Hamlet\u003c/em> on Alcatraz, even the ferry boat on the way to “The Rock” was used for an introductory scene. Here at the music concourse, the actors playing the conspirators lounge against the towering pillars of the bandshell, the vaulted ceiling of which lends architectural gravitas, and high-spirited parades are led through the central promenade. Less immediately intuitive are moments when the audience is led from scene to scene as actors pose in the distance at street level with fluttering red scarves in hand, or the curious choice to eschew the conveniently located seating which already faces the bandshell stage, opting instead to arrange its audience on folding stools a few feet closer to the action.\u003c/p>\n\u003cfigure id=\"attachment_13839771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Timekeeper (Emily Stone) assists Brutus (Joseph Schommer) with his suicide, as the ghost of Caesar watches from the background. \u003ccite>(Mark Kitaoka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the decision to end the play in the dark confines of a low tunnel arching over a pedestrian path at the far end of the concourse is an inspired one. By the beam of a single amber light—framed from behind by the bars of an iron gate, a diaphanous furl of fabric, and the unbowed ghost of Caesar—Cassius and Brutus face their final moments, assisted silently by the production’s audience guide and chief wrangler, the Timekeeper (Emily Stone).\u003c/p>\n\u003cp>Walking back into the light, flanked by overgrown foliage and a burst of pink amaryllis, feels like a triumph. For a moment, everything seems possible: the dispatching of would-be tyrants, the power of a well-turned oratorical phrase to inspire action, and the continual evolution of the “classics” in their ability to reveal modern concerns.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Caesar Maximus’ runs through Sept. 30 in Golden Gate Park. Details \u003ca href=\"http://www.weplayers.org\"> here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "We Players' Gilded-Age reinterpretation of Shakespeare's 'Julius Caesar' plays at Golden Gate Park's music concourse. ",
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"description": "We Players' Gilded-Age reinterpretation of Shakespeare's 'Julius Caesar' plays at Golden Gate Park's music concourse. ",
"title": "Hail Caesar! Shakespearean Drama Meets Historical San Francisco in 'Caesar Maximus' | KQED",
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"headline": "Hail Caesar! Shakespearean Drama Meets Historical San Francisco in 'Caesar Maximus'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In these politically charged times, the impetus to draw parallels with similarly fraught occasions in history becomes an irresistible pastime. This month, it’s We Players’ turn, with a timely adaptation of Shakespeare’s \u003cem>Julius Caesar\u003c/em> that recalls the origins of Senate obfuscation and the long struggle to distinguish between political and personal ambition within the various seats of office and leadership.\u003c/p>\n\u003cp>Set at the music concourse in Golden Gate Park, with its grand bandshell, the gracious Rideout Fountain, and several pedestrian underpasses, the actors’ Gilded-Age top hats and waistcoats (designed by Brooke Jennings and Kathleen Qiu) lend a raffish, robber-baron aesthetic to the production, neatly fusing Old San Francisco to Old Rome.\u003c/p>\n\u003cfigure id=\"attachment_13839773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-800x520.jpg\" alt=\"\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-520x338.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of Caesar Maximus stroll through Golden Gate Park’s Music Concourse. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frequent proponents of cross-casting, We Players has Libby Oberlin in the role of Caesar, which she plays to the hilt with brash swagger, clad in high boots and breeches and brandishing a riding crop. It is her stance as a woman in power that has turned her conspirators against her, We Players suggests, her self-assuredness mistaken for tyranny. As Caesar, Oberlin helps her conspirators set their case at certain moments—particularly when mocking a soothsayer (Emily Stone) come to warn her (not a good look, as one might say in today’s vernacular). But is such careless ego truly a mark of a tyrant? We Players forces us to consider the spectrum of self-absorption, neither excusing Caesar’s behavior nor explicitly condemning it.\u003c/p>\n\u003cp>More compact than certain past We Players productions, \u003cem>Caesar Maximus\u003c/em> (adapted by Nick Medina and director Ava Roy) practically zooms by in just a couple of hours. The action is limited to just a few locations, all within a brief stroll of each other. The cast, too, is streamlined, with most actors doubling their roles, and several characters serving as composites—such as Chris Steele’s impish Casca (who arrives to the Lupercalia on roller skates) speaking lines to woo Caesar to the Senate House originally intended by Shakespeare to be spoken by Decius Brutus. In effect, it plays like a greatest-hits reel of the play, the minutiae mostly not missed as the San Francisco fog settles in for the evening and blankets are passed out to the audience. (Pro tip: do not neglect to bring your layers.)\u003c/p>\n\u003cfigure id=\"attachment_13839772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg\" alt=\"\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alan Coyne, Hunter MacNair and Chris Steele as the conspirators in the plot to kill Caesar. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only really disconcerting jolt in the pacing is the swiftness with which Caesar is dispatched to her death. It happens early in the production, before it feels as if enough momentum or acrimony has gathered against her to justify the boldness of the deed. The death itself is curiously bloodless, built up with some neat, slow-motion fighting choreographed by Chris Steele, but leaving the actors in their frozen positions for much too long after. Only Antony’s mellifluous monologue, expertly delivered by Rotimi Agbabiaka, cements the moment with the appropriate solemnity. Agbabiaka anchors Caesar’s funeral scene as well, inciting a too-small mob in a too-large playing area to enact some too-staged violence, setting the stage, as it were, for the eventual downfall of Brutus (Joseph Schommer) and Cassius’ (Hunter Scott MacNair).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In every We Players show, there is a concentrated effort to mold the piece visually into its staging ground. For \u003cem>Ondine\u003c/em>, ocean spray crashing against the ruins of Sutro Baths provided an essential backdrop; for \u003cem>Hamlet\u003c/em> on Alcatraz, even the ferry boat on the way to “The Rock” was used for an introductory scene. Here at the music concourse, the actors playing the conspirators lounge against the towering pillars of the bandshell, the vaulted ceiling of which lends architectural gravitas, and high-spirited parades are led through the central promenade. Less immediately intuitive are moments when the audience is led from scene to scene as actors pose in the distance at street level with fluttering red scarves in hand, or the curious choice to eschew the conveniently located seating which already faces the bandshell stage, opting instead to arrange its audience on folding stools a few feet closer to the action.\u003c/p>\n\u003cfigure id=\"attachment_13839771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Timekeeper (Emily Stone) assists Brutus (Joseph Schommer) with his suicide, as the ghost of Caesar watches from the background. \u003ccite>(Mark Kitaoka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the decision to end the play in the dark confines of a low tunnel arching over a pedestrian path at the far end of the concourse is an inspired one. By the beam of a single amber light—framed from behind by the bars of an iron gate, a diaphanous furl of fabric, and the unbowed ghost of Caesar—Cassius and Brutus face their final moments, assisted silently by the production’s audience guide and chief wrangler, the Timekeeper (Emily Stone).\u003c/p>\n\u003cp>Walking back into the light, flanked by overgrown foliage and a burst of pink amaryllis, feels like a triumph. For a moment, everything seems possible: the dispatching of would-be tyrants, the power of a well-turned oratorical phrase to inspire action, and the continual evolution of the “classics” in their ability to reveal modern concerns.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Caesar Maximus’ runs through Sept. 30 in Golden Gate Park. Details \u003ca href=\"http://www.weplayers.org\"> here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
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"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. ",
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"order": 15
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"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": {
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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",
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"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"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
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"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"
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},
"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.",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"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/",
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