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"title": "How Do You Solve a Problem Like 'Timon of Athens'?",
"headTitle": "How Do You Solve a Problem Like ‘Timon of Athens’? | KQED",
"content": "\u003cp>One of Shakespeare’s least-produced plays, \u003cem>Timon of Athens\u003c/em> has several strikes against its popularity. Possibly unfinished, the play is thought to have been partially written by prolific Jacobean playwright Thomas Middleton, and doesn’t appear to have ever been performed during Shakespeare’s time. Its also difficult to categorize: \u003cem>Timon\u003c/em> is sometimes labeled a tragedy, sometimes a “problem play,” and rarely ever someone’s “favorite.”\u003c/p>\n\u003cp>Even so, it’s been on the shortlist for Cutting Ball Theater’s co-founder Rob Melrose since 2000, when the then-fledgling company was tapped to stage a reading of the work for the Bay Area Shakespeare Marathon, and \u003ca href=\"https://www.sfgate.com/style/article/Play-s-the-thing-at-Bard-marathon-3063905.php\" target=\"_blank\" rel=\"noopener\">it was a surprise hit\u003c/a>.\u003c/p>\n\u003cp>Now, on the verge of Cutting Ball’s 20-year anniversary, Melrose’s adaptation of \u003cem>Timon of Athens\u003c/em> is both a testament to the experimental nature of his brainchild company (slated to turn over to associate artistic director Ariel Craft in July), and a reflection of the economic disparities that characterize his adoptive neighborhood, the Tenderloin, where Cutting Ball resides at EXIT on Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13829031\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829031\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg\" alt=\"\" width=\"800\" height=\"1101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-160x220.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-768x1057.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-960x1321.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-240x330.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-375x516.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-520x716.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brennan Pickman-Thoon as Timon of Athens. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we first meet Timon (Brennan Pickman-Thoon) he’s jovial, benevolent. He pays out gold to cover a friend’s debt, increases the status of a manservant that he might wed, then invites everyone over for a feast at his expense. Clad in neat, inoffensive grayscale and expensive sneakers, he’s the very model of a modern-day, tech-minted millionaire. The citizens of Athens, all too happy to avail themselves of his seemingly bottomless generosity, carouse with him and sing his praises — all except the ragged philosopher of the street, Apemantus (David Sinaiko), whose ill-tempered pronouncements offer ignored foreshadowing of Timon’s eventual downfall.\u003c/p>\n\u003cp>While Timon as careless spendthrift is as colorless as his tailored suit, Apemantus as oracle is vulgar, florid, and dynamic, cursed like Cassandra to be disbelieved as he looks into the hearts of Timon’s inner circle and finds them hollow. “Who lives that’s not depraved or depraves?” he demands, as a cupid in silver disco chaps (John Steele Jr.) gyrates across the platform thrust of the stage (designed by Michael Locher) as if on a catwalk. Melrose deftly transplants this ancient bacchanal to the decadent excesses of the Bay Area elite, complete with wedge-heeled dancing girls, Venetian party masks, and a blowhard in a custom leather vest (Douglas Nolan, as Ventidius), who busts out an opportune baggie of cocaine, aka “four milk-white horses, trapped in silver.”\u003c/p>\n\u003cfigure id=\"attachment_13829032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg\" alt=\"\" width=\"800\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-960x819.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-520x444.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cupid (John Steele, Jr.) struts the catwalk. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t until Timon’s swift fall from favor once his money runs out that the play really comes into its own. Described by Shakespearean scholar G. Wilson Knight as a “pilgrimage of hate,” Timon’s descent into poverty and justifiable indignation of his so-called friends’ refusal to help in his time of need rivals Lear’s downward spiral. In his “cave” crafted of blue tarp, his clothing reduced to rags, talking frequently to himself, he cuts an all-too familiar figure of urban impoverishment. In just a few scenes he’s gone from one extreme to the other, a fact that Apemantus remarks upon when he comes to visit and trade comically caustic insults.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Historically, the problem of \u003cem>Timon of Athens\u003c/em> is that the play never resolves itself in a truly satisfactory manner. The titular character dies almost of spite before the other plot threads come to an end, and much of the dialogue is so gleefully absurd as to make characterizing it a tragedy nigh impossible. Even so, under Melrose’s sure direction, the able ensemble cast skillfully morphs from lords to servants, senators to soldiers; a few astutely chosen costume pieces (provided by Alina Bokovikova and Erika Mae Martin) anchoring their transformation. Courtney Walsh, in a scene-stealing performance as Timon’s faithful steward, Flavius, offers the audience more nuanced context on her employer’s character than he is able to provide on his own, while Ed Berkeley, as the exiled Alcibiades — who bears a chip on his shoulder almost as large as Timon’s — swaggers in the spotlight, a conqueror in the making.\u003c/p>\n\u003cfigure id=\"attachment_13829030\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg\" alt=\"\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-960x786.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-520x425.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timon (Brennan Pickman-Thoon) toasts his guests. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the lead, Pickman-Thoon plays to his extremes admirably, from generous benefactor to indigent recluse. But what his Timon possibly lacks is a middle range of emotions. He’s so eventually consumed with pure vitriol, it leaves little room for him to express shades of sorrow, enlightenment, or true self-awareness. This is a detriment in one sense, and yet his inability to see beyond his limited perspective cements him very much in the here-and-now, where crafting the perfect Twitter bio passes for self-examination, and disregarding the counsel of others is a national pastime.\u003c/p>\n\u003cp>Overall, Melrose’s triumphal close to Cutting Ball’s 19th season offers both a rare chance to see a little-performed Shakespearean work, and an opportunity to examine our own attitudes regarding the acquisition and unequal distribution of wealth — in a neighborhood that exemplifies and amplifies the realities of both.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Timon of Athens’ runs through Sunday, April 29, at Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of Shakespeare’s least-produced plays, \u003cem>Timon of Athens\u003c/em> has several strikes against its popularity. Possibly unfinished, the play is thought to have been partially written by prolific Jacobean playwright Thomas Middleton, and doesn’t appear to have ever been performed during Shakespeare’s time. Its also difficult to categorize: \u003cem>Timon\u003c/em> is sometimes labeled a tragedy, sometimes a “problem play,” and rarely ever someone’s “favorite.”\u003c/p>\n\u003cp>Even so, it’s been on the shortlist for Cutting Ball Theater’s co-founder Rob Melrose since 2000, when the then-fledgling company was tapped to stage a reading of the work for the Bay Area Shakespeare Marathon, and \u003ca href=\"https://www.sfgate.com/style/article/Play-s-the-thing-at-Bard-marathon-3063905.php\" target=\"_blank\" rel=\"noopener\">it was a surprise hit\u003c/a>.\u003c/p>\n\u003cp>Now, on the verge of Cutting Ball’s 20-year anniversary, Melrose’s adaptation of \u003cem>Timon of Athens\u003c/em> is both a testament to the experimental nature of his brainchild company (slated to turn over to associate artistic director Ariel Craft in July), and a reflection of the economic disparities that characterize his adoptive neighborhood, the Tenderloin, where Cutting Ball resides at EXIT on Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13829031\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829031\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg\" alt=\"\" width=\"800\" height=\"1101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-160x220.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-768x1057.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-960x1321.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-240x330.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-375x516.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-520x716.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brennan Pickman-Thoon as Timon of Athens. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we first meet Timon (Brennan Pickman-Thoon) he’s jovial, benevolent. He pays out gold to cover a friend’s debt, increases the status of a manservant that he might wed, then invites everyone over for a feast at his expense. Clad in neat, inoffensive grayscale and expensive sneakers, he’s the very model of a modern-day, tech-minted millionaire. The citizens of Athens, all too happy to avail themselves of his seemingly bottomless generosity, carouse with him and sing his praises — all except the ragged philosopher of the street, Apemantus (David Sinaiko), whose ill-tempered pronouncements offer ignored foreshadowing of Timon’s eventual downfall.\u003c/p>\n\u003cp>While Timon as careless spendthrift is as colorless as his tailored suit, Apemantus as oracle is vulgar, florid, and dynamic, cursed like Cassandra to be disbelieved as he looks into the hearts of Timon’s inner circle and finds them hollow. “Who lives that’s not depraved or depraves?” he demands, as a cupid in silver disco chaps (John Steele Jr.) gyrates across the platform thrust of the stage (designed by Michael Locher) as if on a catwalk. Melrose deftly transplants this ancient bacchanal to the decadent excesses of the Bay Area elite, complete with wedge-heeled dancing girls, Venetian party masks, and a blowhard in a custom leather vest (Douglas Nolan, as Ventidius), who busts out an opportune baggie of cocaine, aka “four milk-white horses, trapped in silver.”\u003c/p>\n\u003cfigure id=\"attachment_13829032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg\" alt=\"\" width=\"800\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-960x819.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-520x444.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cupid (John Steele, Jr.) struts the catwalk. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t until Timon’s swift fall from favor once his money runs out that the play really comes into its own. Described by Shakespearean scholar G. Wilson Knight as a “pilgrimage of hate,” Timon’s descent into poverty and justifiable indignation of his so-called friends’ refusal to help in his time of need rivals Lear’s downward spiral. In his “cave” crafted of blue tarp, his clothing reduced to rags, talking frequently to himself, he cuts an all-too familiar figure of urban impoverishment. In just a few scenes he’s gone from one extreme to the other, a fact that Apemantus remarks upon when he comes to visit and trade comically caustic insults.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Historically, the problem of \u003cem>Timon of Athens\u003c/em> is that the play never resolves itself in a truly satisfactory manner. The titular character dies almost of spite before the other plot threads come to an end, and much of the dialogue is so gleefully absurd as to make characterizing it a tragedy nigh impossible. Even so, under Melrose’s sure direction, the able ensemble cast skillfully morphs from lords to servants, senators to soldiers; a few astutely chosen costume pieces (provided by Alina Bokovikova and Erika Mae Martin) anchoring their transformation. Courtney Walsh, in a scene-stealing performance as Timon’s faithful steward, Flavius, offers the audience more nuanced context on her employer’s character than he is able to provide on his own, while Ed Berkeley, as the exiled Alcibiades — who bears a chip on his shoulder almost as large as Timon’s — swaggers in the spotlight, a conqueror in the making.\u003c/p>\n\u003cfigure id=\"attachment_13829030\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg\" alt=\"\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-960x786.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-520x425.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timon (Brennan Pickman-Thoon) toasts his guests. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the lead, Pickman-Thoon plays to his extremes admirably, from generous benefactor to indigent recluse. But what his Timon possibly lacks is a middle range of emotions. He’s so eventually consumed with pure vitriol, it leaves little room for him to express shades of sorrow, enlightenment, or true self-awareness. This is a detriment in one sense, and yet his inability to see beyond his limited perspective cements him very much in the here-and-now, where crafting the perfect Twitter bio passes for self-examination, and disregarding the counsel of others is a national pastime.\u003c/p>\n\u003cp>Overall, Melrose’s triumphal close to Cutting Ball’s 19th season offers both a rare chance to see a little-performed Shakespearean work, and an opportunity to examine our own attitudes regarding the acquisition and unequal distribution of wealth — in a neighborhood that exemplifies and amplifies the realities of both.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Timon of Athens’ runs through Sunday, April 29, at Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In a Time of Economic Extremes, Shakespeare's Timon Recast as a Silicon Valley CEO",
"headTitle": "In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO | KQED",
"content": "\u003cp>For nearly two decades now, \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">the Cutting Ball Theater\u003c/a> in San Francisco has taken classics and set them in modern times to make relevant points. That’s the case with Shakespeare’s \u003cem>Timon of Athens.\u003c/em> (Say TIE-mon to sound smart.)\u003c/p>\n\u003cp>Timon in this version of the play is a young, wildly successful CEO who loves to throw wild parties for others like himself. But when his fortunes fail, he finds himself friendless. And because this is a work from Shakespeare, Timon is exquisitely eloquent expressing his rage and disgust.\u003c/p>\n\u003cp>“It’s a very interesting play, but one that you rarely get to see,” says Cutting Board co-founder and director Rob Melrose.\u003c/p>\n\u003cp>Now, he is the first to praise the generosity of techies like those on the theater’s board, but San Francisco is a city marked by sweeping gentrification and radical economic disparity.\u003c/p>\n\u003cp>“We have the experiences of, you know, tech billionaires right up against people living in the street right here in our own neighborhood. The vast income inequality of our city is reflected in this play of Shakespeare’s,” Melrose says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Timon of Athens\u003c/em> runs through April 29 at the Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Timon of Athens is \"a play that explores the extremes, and we're living with the extremes,\" says director Rob Melrose of the Cutting Ball Theater.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For nearly two decades now, \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">the Cutting Ball Theater\u003c/a> in San Francisco has taken classics and set them in modern times to make relevant points. That’s the case with Shakespeare’s \u003cem>Timon of Athens.\u003c/em> (Say TIE-mon to sound smart.)\u003c/p>\n\u003cp>Timon in this version of the play is a young, wildly successful CEO who loves to throw wild parties for others like himself. But when his fortunes fail, he finds himself friendless. And because this is a work from Shakespeare, Timon is exquisitely eloquent expressing his rage and disgust.\u003c/p>\n\u003cp>“It’s a very interesting play, but one that you rarely get to see,” says Cutting Board co-founder and director Rob Melrose.\u003c/p>\n\u003cp>Now, he is the first to praise the generosity of techies like those on the theater’s board, but San Francisco is a city marked by sweeping gentrification and radical economic disparity.\u003c/p>\n\u003cp>“We have the experiences of, you know, tech billionaires right up against people living in the street right here in our own neighborhood. The vast income inequality of our city is reflected in this play of Shakespeare’s,” Melrose says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Timon of Athens\u003c/em> runs through April 29 at the Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shelton Theater Dust-Up is Minor, But The Conflict it Reveals is Not",
"headTitle": "Shelton Theater Dust-Up is Minor, But The Conflict it Reveals is Not | KQED",
"content": "\u003cp>So here’s what seems to be the problem: The \u003ca href=\"http://sheltontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Shelton Theater\u003c/a>, a small company in downtown San Francisco, produced Stephen Adly Guirgis’ \u003cem>The Last Days of Judas Iscariot,\u003c/em> and for a number of reasons — financial, aesthetic, a sense of daring — cut about a third of the play without the dramatist’s permission. That’s a violation of the company’s licensing agreement as well as federal copyright law.\u003c/p>\n\u003cp>Guirgis demanded that the Shelton include an insert in the program that read: “The play you are seeing tonight has been improperly and extensively cut & edited. These edits were made without permission and against the wishes of the playwright, and in violation of federal copyright law.”\u003c/p>\n\u003cfigure id=\"attachment_13804807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg\" alt=\"Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics' Circle Awards at 54 Below on May 19, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics’ Circle Awards at 54 Below on May 19, 2015 in New York City. \u003ccite>(Photo: Monica Schipper/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater company complied, but stamped the notice with a red warning sign that seemed to give the retraction a kind of rebel spin. This angered Guirgis even further. A few Facebook posts later, the theater apologized, the production shut down, and Guirgis declared the contretemps over: “We are all theater people here,” the Pulitzer prize-winning playwright wrote. “Many freaks — but one tribe.”\u003c/p>\n\u003cp>From a legal perspective, the issues couldn’t be clearer. But if you tug a bit on the aesthetic ones — and I would argue that those are the ones that matter — things get a lot messier. What this seemingly insignificant controversy reveals is a series of assumptions about how we view the theater and contemporary playwriting.\u003c/p>\n\u003cp>As a matter of course, many plays are chopped, diced, flipped, abused, and re-imagined for both good and ill. The counter argument to that is most of the works that enterprising theater artists adapt in these various ways are classics, and that Shakespeare, Marlowe, Calderón, Euripides, Molière, Racine, and all the rest of the dead dramatists of the world could only dream of the protections that living and recently deceased playwrights (through literary estates) possess. Okay, true, but that’s a legal technicality and not an aesthetic or cultural argument.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The productions that these rights-deprived dead geniuses receive are often more vibrant, innovative, alive, and attuned to the world than the paint-by-numbers approach authorial control demands under the law. In the last year, Bay Area audiences have had the pleasure of the Shotgun Players’ \u003cem>Hamlet\u003c/em> roulette, Ubuntu Theater Project’s rug store \u003cem>Othello\u003c/em>, and California Shakespeare Theater’s servants’ rights \u003cem>Much Ado About Nothing\u003c/em>, a housing crises \u003cem>As You Like It\u003c/em>, and a Black Lives Matter \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Not all of them were successful, but I enjoyed thinking along with their sometimes loony premises. At no time did I question the directors or theaters’ right to bend these plays to their individual needs and interests.\u003c/p>\n\u003cfigure id=\"attachment_13804760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804760\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg\" alt='Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional \"Roulette\" Hamlet\" produced by the Shotgun Players.' width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-520x290.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional ‘”Roulette” Hamlet’ produced by the Shotgun Players. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In more recent playwriting history, authors have gained an inordinate amount of control over their work. Samuel Beckett, Harold Pinter, and Edward Albee were notoriously hawkish about how their plays were produced. Thanks to the continued vigilance of these playwrights’ estates, there’s a musty edge to what we see of their work. From a cultural point of view, every playwright needs some idiotic productions to loosen things up. We should never underestimate the great potential of failure and foolishness.\u003c/p>\n\u003cp>Beneath the logic of Guirgis’ complaint and copyright law is the notion that the play is a kind of sacred text under the control of the God-author — that cutting, changing the blocking, casting against type, etc. constitute grievous violations of meaning. From a legal standpoint, there’s not much that can be done, but from an aesthetic one I fear that we are losing out on great riches for a rather dubious ideal.\u003c/p>\n\u003cp>I’ve often wondered about the famous Wooster Group production of Arthur Miller’s \u003cem>The Crucible\u003c/em> and why Miller retracted the rights to his play after seeing a performance by the famous avant-garde New York company. I have a theory and it’s not a kind one. Everything the Wooster Group does is a brutal interrogation, and any weakness in the material is obvious under the company’s stringent methods. I think Miller felt that the Wooster Group had exposed his artistic limitations and got scared.\u003c/p>\n\u003cp>Guirgis is an excellent writer who in the past few years has received very good but staid productions of his work in the Bay Area — \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2013/02/05/hold_on_to_your_hat_in_sf_playhouses_unmentionable_play/\" target=\"_blank\" rel=\"noopener noreferrer\">The Motherfucker with the Hat\u003c/a>\u003c/em> at SF Playhouse and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/18/theater-junkie-amelie-at-berkeley-rep-act-takes-on-guirgis-auroras-mud-blue-sky/\" target=\"_blank\" rel=\"noopener noreferrer\">Between Riverside and Crazy\u003c/a>\u003c/em> at American Conservatory Theater. These were solid outings, but less reverential productions might have brought out the wilder, more ambitious aspects of his work. Fidelity is a rather wan virtue.\u003c/p>\n\u003cfigure id=\"attachment_13804758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-800x450.jpg\" alt='Carl Lumbly in Stephen Adly Guirgis’s \"Between Riverside and Crazy\" at ACT. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carl Lumbly in Stephen Adly Guirgis’ ‘Between Riverside and Crazy’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though not a perfect analogy, the lifecycle of a song provides a dynamic counter-model. A composer writes a song and maybe even performs it, giving it a definitive reading. Then another singer comes along and sings it in a different way, maybe even changes the gender of the pronouns, cuts a verse, distorts the tempo or slips into a higher or lower key. I don’t think that song has been damaged as a result. That song continues to have an ongoing cultural life and the ability to attract new meanings and ideas.\u003c/p>\n\u003cp>Great plays should be able to handle the same types of changes. Some experiments work and others don’t. But a freewheeling sense of giving it a go is crucial for a truly vibrant culture. We shouldn’t be satisfied with what the law allows for now — the aesthetic equivalent of a Starbucks franchise. We should hope for and demand interpretations attuned to the producing artists’ abilities and vision, and not be content with variations on some false Platonic ideal to which the author clings.\u003c/p>\n\u003cp>The issue is not this particular production, but rather the beliefs behind the conflict. The Shelton Theater violated Guirgis’ legal rights, but those legal rights are artistically limiting. And when you compare the production of classical plays by dead writers without living estates with those of most contemporary plays, you can begin to see the cracks in a rather unpromising system.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Stephen Adly Guirgis had the legal right to shut down Shelton Theater's 'The Last Days of Judas Iscariot.' But there's more at stake here than the law.",
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"description": "Stephen Adly Guirgis had the legal right to shut down Shelton Theater's 'The Last Days of Judas Iscariot.' But there's more at stake here than the law.",
"title": "Shelton Theater Dust-Up is Minor, But The Conflict it Reveals is Not | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So here’s what seems to be the problem: The \u003ca href=\"http://sheltontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Shelton Theater\u003c/a>, a small company in downtown San Francisco, produced Stephen Adly Guirgis’ \u003cem>The Last Days of Judas Iscariot,\u003c/em> and for a number of reasons — financial, aesthetic, a sense of daring — cut about a third of the play without the dramatist’s permission. That’s a violation of the company’s licensing agreement as well as federal copyright law.\u003c/p>\n\u003cp>Guirgis demanded that the Shelton include an insert in the program that read: “The play you are seeing tonight has been improperly and extensively cut & edited. These edits were made without permission and against the wishes of the playwright, and in violation of federal copyright law.”\u003c/p>\n\u003cfigure id=\"attachment_13804807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg\" alt=\"Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics' Circle Awards at 54 Below on May 19, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics’ Circle Awards at 54 Below on May 19, 2015 in New York City. \u003ccite>(Photo: Monica Schipper/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater company complied, but stamped the notice with a red warning sign that seemed to give the retraction a kind of rebel spin. This angered Guirgis even further. A few Facebook posts later, the theater apologized, the production shut down, and Guirgis declared the contretemps over: “We are all theater people here,” the Pulitzer prize-winning playwright wrote. “Many freaks — but one tribe.”\u003c/p>\n\u003cp>From a legal perspective, the issues couldn’t be clearer. But if you tug a bit on the aesthetic ones — and I would argue that those are the ones that matter — things get a lot messier. What this seemingly insignificant controversy reveals is a series of assumptions about how we view the theater and contemporary playwriting.\u003c/p>\n\u003cp>As a matter of course, many plays are chopped, diced, flipped, abused, and re-imagined for both good and ill. The counter argument to that is most of the works that enterprising theater artists adapt in these various ways are classics, and that Shakespeare, Marlowe, Calderón, Euripides, Molière, Racine, and all the rest of the dead dramatists of the world could only dream of the protections that living and recently deceased playwrights (through literary estates) possess. Okay, true, but that’s a legal technicality and not an aesthetic or cultural argument.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The productions that these rights-deprived dead geniuses receive are often more vibrant, innovative, alive, and attuned to the world than the paint-by-numbers approach authorial control demands under the law. In the last year, Bay Area audiences have had the pleasure of the Shotgun Players’ \u003cem>Hamlet\u003c/em> roulette, Ubuntu Theater Project’s rug store \u003cem>Othello\u003c/em>, and California Shakespeare Theater’s servants’ rights \u003cem>Much Ado About Nothing\u003c/em>, a housing crises \u003cem>As You Like It\u003c/em>, and a Black Lives Matter \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Not all of them were successful, but I enjoyed thinking along with their sometimes loony premises. At no time did I question the directors or theaters’ right to bend these plays to their individual needs and interests.\u003c/p>\n\u003cfigure id=\"attachment_13804760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804760\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg\" alt='Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional \"Roulette\" Hamlet\" produced by the Shotgun Players.' width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-520x290.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional ‘”Roulette” Hamlet’ produced by the Shotgun Players. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In more recent playwriting history, authors have gained an inordinate amount of control over their work. Samuel Beckett, Harold Pinter, and Edward Albee were notoriously hawkish about how their plays were produced. Thanks to the continued vigilance of these playwrights’ estates, there’s a musty edge to what we see of their work. From a cultural point of view, every playwright needs some idiotic productions to loosen things up. We should never underestimate the great potential of failure and foolishness.\u003c/p>\n\u003cp>Beneath the logic of Guirgis’ complaint and copyright law is the notion that the play is a kind of sacred text under the control of the God-author — that cutting, changing the blocking, casting against type, etc. constitute grievous violations of meaning. From a legal standpoint, there’s not much that can be done, but from an aesthetic one I fear that we are losing out on great riches for a rather dubious ideal.\u003c/p>\n\u003cp>I’ve often wondered about the famous Wooster Group production of Arthur Miller’s \u003cem>The Crucible\u003c/em> and why Miller retracted the rights to his play after seeing a performance by the famous avant-garde New York company. I have a theory and it’s not a kind one. Everything the Wooster Group does is a brutal interrogation, and any weakness in the material is obvious under the company’s stringent methods. I think Miller felt that the Wooster Group had exposed his artistic limitations and got scared.\u003c/p>\n\u003cp>Guirgis is an excellent writer who in the past few years has received very good but staid productions of his work in the Bay Area — \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2013/02/05/hold_on_to_your_hat_in_sf_playhouses_unmentionable_play/\" target=\"_blank\" rel=\"noopener noreferrer\">The Motherfucker with the Hat\u003c/a>\u003c/em> at SF Playhouse and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/18/theater-junkie-amelie-at-berkeley-rep-act-takes-on-guirgis-auroras-mud-blue-sky/\" target=\"_blank\" rel=\"noopener noreferrer\">Between Riverside and Crazy\u003c/a>\u003c/em> at American Conservatory Theater. These were solid outings, but less reverential productions might have brought out the wilder, more ambitious aspects of his work. Fidelity is a rather wan virtue.\u003c/p>\n\u003cfigure id=\"attachment_13804758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-800x450.jpg\" alt='Carl Lumbly in Stephen Adly Guirgis’s \"Between Riverside and Crazy\" at ACT. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carl Lumbly in Stephen Adly Guirgis’ ‘Between Riverside and Crazy’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though not a perfect analogy, the lifecycle of a song provides a dynamic counter-model. A composer writes a song and maybe even performs it, giving it a definitive reading. Then another singer comes along and sings it in a different way, maybe even changes the gender of the pronouns, cuts a verse, distorts the tempo or slips into a higher or lower key. I don’t think that song has been damaged as a result. That song continues to have an ongoing cultural life and the ability to attract new meanings and ideas.\u003c/p>\n\u003cp>Great plays should be able to handle the same types of changes. Some experiments work and others don’t. But a freewheeling sense of giving it a go is crucial for a truly vibrant culture. We shouldn’t be satisfied with what the law allows for now — the aesthetic equivalent of a Starbucks franchise. We should hope for and demand interpretations attuned to the producing artists’ abilities and vision, and not be content with variations on some false Platonic ideal to which the author clings.\u003c/p>\n\u003cp>The issue is not this particular production, but rather the beliefs behind the conflict. The Shelton Theater violated Guirgis’ legal rights, but those legal rights are artistically limiting. And when you compare the production of classical plays by dead writers without living estates with those of most contemporary plays, you can begin to see the cracks in a rather unpromising system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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