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"content": "\u003cp>The Orpheum Theatre and Golden Gate Theatre, two of San Francisco’s most historic auditoriums, will be sold to the parent company of the Ambassador Theatre Group (ATG), according to an \u003ca href=\"https://deadline.com/2021/03/nederlander-theater-broadway-san-francisco-golden-gate-orpheum-detroit-fisher-atg-acquisition-1234719273/\" target=\"_blank\" rel=\"noopener noreferrer\">announcement by ATG\u003c/a>. The sale transfers ownership of the theaters from the Nederlander Company, based in New York. The sale price was not announced.\u003c/p>\n\u003cp>In recent years, the Golden Gate and Orpheum have primarily been home to touring Broadway musicals such as \u003cem>Les Miserables, West Side Story, Waitress, Rent, The Book Of Mormon\u003c/em> and \u003cem>Phantom of The Opera\u003c/em>. When the pandemic closed theaters nationwide, the Golden Gate had just opened Sting’s musical \u003cem>The Last Ship\u003c/em>, while the Orpheum hosted \u003cem>Hamilton\u003c/em>. In October 2019, Madonna performed a run of concerts at the Golden Gate.\u003c/p>\n\u003cp>Based in the U.K., ATG is one of the largest operators of Broadway-style theaters around the globe, and the type of shows on offer at both theaters is not expected to fundamentally change. Local company BroadwaySF had been booking both theaters, following a \u003ca href=\"https://www.kqed.org/arts/13864475/bay-area-broadway-producers-announce-settlement-ending-five-year-legal-battle\" target=\"_blank\" rel=\"noopener noreferrer\">five-year legal battle\u003c/a> that resulted in the dissolving of the theaters’ previous operator, SHN.\u003c/p>\n\u003cp>The currently scheduled season of bookings at the theaters, starting with \u003cem>Mean Girls\u003c/em> on July 27, is expected to go on, pending local restrictions on live theater, ATG spokesperson Rick Miramontez told KQED.\u003c/p>\n\u003cfigure id=\"attachment_13894451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894451\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/OrpheumTheatre.jpg\" alt=\"The exterior of the Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the Orpheum Theatre in San Francisco. \u003ccite>(Courtesy BroadwaySF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After this season’s dates are up, Miramontez said, booking will transfer to ATG. Miramontez said that ATG will “welcome the Broadway SF team into its family,” and is open to hiring local BroadwaySF staff. (A representative from BroadwaySF declined to comment.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The situation is reminiscent of ATG’s operation of the Curran Theatre, which hosted \u003cem>Harry Potter and the Cursed Child\u003c/em> last year when the pandemic hit. ATG inherited local staff in that theater’s transfer from SHN as well. \u003cem>Harry Potter\u003c/em> is expected to return to a reopened Curran sometime this year. \u003c/p>\n\u003cp>It is “100% common” for ATG to perform renovations on theaters it acquires, Miramontez said, although it’s too soon to know exactly what type of renovations might take place at the Orpheum and Golden Gate. ATG already has experience reopening theaters with mask requirements and reduced capacity in cities like London, Miramontez said.\u003c/p>\n\u003cp>The Golden Gate Theatre opened in 1922, and the Orpheum, just two blocks up Market Street, opened in 1926. Their purchase by ATG adds to the company’s holdings of over 50 theaters around the world. “We look forward to providing the best of Broadway’s shows to their loyal following when the theaters reopen in 2021,” said ATG CEO Mark Cornell, in a statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Exactly when that might occur is still unknown, Miramontez said. After restaurants, museums, outdoor sports and other events reopen, he says, “we’ll be the last to come back.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tickets for Madonna’s \u003cem>Madame X\u003c/em> shows in San Francisco are bound to fly fast. Announced Monday morning, Madonna will play three shows (on Oct. 31, Nov. 2 and Nov. 4) at the 2,300-capacity Golden Gate Theatre. Size-wise, that’s about a tenth of the places she usually plays. There’s no way you’ll be able to get tickets. Right?\u003c/p>\n\u003cp>Well, maybe.\u003c/p>\n\u003cp>Madonna tickets go on sale Friday, Sept. 13, at 10am to the general public. But if you’re a true-blue fan who’s a Lifetime Legacy member of Madonna’s ICON fan club, you’ll be able to \u003ca href=\"http://madamex.shnsf.com\" rel=\"noopener\" target=\"_blank\">buy tickets\u003c/a> on Tuesday at 10am. Congratulations! That’s barely any of you, since you would have had to sign up for this fancy-sounding thing prior to Oct. 30, 2011 in order to qualify.\u003c/p>\n\u003cp>However, if you have or can borrow a credit card issued by Citi, you’ll have the chance to \u003ca href=\"http://madamex.shnsf.com\" rel=\"noopener\" target=\"_blank\">buy tickets\u003c/a> on Tuesday, Sept. 10 at noon ahead of everybody else, because \u003ca href=\"https://twitter.com/RickPaulas/status/1170323825894055936\" rel=\"noopener\" target=\"_blank\">this is the world we live in now\u003c/a>. If you get through, just know that you’ll have to buy the tickets with the Citi card. \u003c/p>\n\u003cp>Then, on Friday, it’s a free-for-all to the general public. Wanna try your luck? Tickets go on sale at 10am \u003ca href=\"http://madamex.shnsf.com\" rel=\"noopener\" target=\"_blank\">right here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle",
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"content": "\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area",
"headTitle": "Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area | KQED",
"content": "\u003cp>By now, you’ve probably heard that \u003cem>\u003ca href=\"https://hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Hamilton\u003c/a>\u003c/em> is in town, running through January of next year. You may have also heard that \u003ca href=\"https://sfcurran.com/shows/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a> is coming in October, \u003ca href=\"https://www.kqed.org/arts/13845883/the-curran-at-a-crossroads\" target=\"_blank\" rel=\"noopener\">possibly running for three or more years\u003c/a>.\u003c/p>\n\u003cp>But what of all the other great theater in the shadow of the blockbusters? This summer, the Bay Area is home to an array of the stellar productions, from big musicals to small dramas. Below, we round up the best summertime theater to see on opera stages, black boxes and even on the sidewalk—which, in the Bay Area, is often a stage unto itself.\u003c/p>\n\u003cfigure id=\"attachment_13857960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg\" alt=\"David Breitbarth in Eugène Ionesco's Rhinoceros at A.C.T.'s Geary Theater.\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth in Eugène Ionesco’s ‘Rhinoceros’ at A.C.T.’s Geary Theater. \u003ccite>(Cliff Roles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rhinocerous’\u003c/h2>\n\u003cp>\u003ci>May 29–June 23, 2019\u003cbr>\nGeary Theater, San Francisco\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Eugène Ionesco’s absurdist masterpiece involves the inhabitants of a small French town transforming, one by one, into rhinos. But the play’s allegories to fascism—and the characterization of those who oppose it as paranoid—could not be any more relevant to the United States in 2019. Staged by ACT, which last year put \u003ca href=\"https://www.kqed.org/arts/13849904/a-day-at-the-beach-interrupted-by-two-giant-lizards\" target=\"_blank\" rel=\"noopener\">giant lizards on the stage in Edward Albee’s \u003cem>Seascape\u003c/em>\u003c/a>, \u003cem>Rhinocerous\u003c/em> is not only a marvelous study in conformity, but a consistently fun stampede through the possibilities of set and wardrobe.\u003c/p>\n\u003cfigure id=\"attachment_13858006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg\" alt=\"Deri'Andra Tucker in the touring production of 'Rent.'\" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1200x826.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deri’Andra Tucker in the touring production of ‘Rent.’ \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rent’\u003c/h2>\n\u003cp>\u003ci>June 14–23, 2019\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The retelling of \u003cem>La bohème\u003c/em> that swept the world in the 1990s gets the 20th anniversary tour it deserves, including this very quick stop in San Francisco. \u003cem>Rent\u003c/em> is particularly resonant in the expensive Bay Area, where living in warehouses and off-the-grid spaces is a necessity for many, and the turmoil of HIV/AIDS hits close to home. If you still get chills at the opening chords of “Seasons of Love,” don’t sleep on this one-week-only run.\u003c/p>\n\u003cfigure id=\"attachment_13857974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg\" alt=\"J'Nai Bridges plays the lead role in 'Carmen' at SF Opera this June.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J’Nai Bridges plays the lead role in ‘Carmen’ at SF Opera this June. \u003ccite>(S. Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Carmen’\u003c/h2>\n\u003cp>\u003ci>June 5–29, 2019\u003cbr>\nWar Memorial Opera House, San Francisco\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/carmen/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You already know more songs from \u003cem>Carmen\u003c/em> than you think you know (thanks, \u003ca href=\"https://www.youtube.com/watch?v=3Wsx22WxWOc\" target=\"_blank\" rel=\"noopener\">Saturday morning cartoons\u003c/a>), and if you’re daunted by the marathon of \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener\">longer operas\u003c/a>, Bizet’s eternal tale of a woman who dares to live freely clocks in at under three hours. Add to it Francesca Zambello’s modern production, James Gaffigan conducting the orchestra and \u003ca href=\"https://www.youtube.com/watch?v=m_MMKJaIHes\" target=\"_blank\" rel=\"noopener\">basketball player-turned-opera star J’Nai Bridges\u003c/a> (pictured above) in the title role, and you’ve got a summertime opera that even those who \u003cem>think\u003c/em> they hate opera can enjoy.\u003c/p>\n\u003cfigure id=\"attachment_13857965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857965\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg\" alt=\"The cast of 'Kiss My Aztec!' at Berkeley Rep, directed by Tony Taccone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Kiss My Aztec!’ at Berkeley Rep, directed by Tony Taccone. \u003ccite>(Cheshire Isaacs/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Kiss My Aztec!’\u003c/h2>\n\u003cp>\u003ci>May 28–July 21, 2019\u003cbr>\nRoda Theatre, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1819/13384.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Written by John Leguizamo and Tony Taccone, this world-premiere musical has more than a whiff of \u003cem>Hamilton\u003c/em> for Latin America: a history lesson of resistance in Spanish-occupied Mesoamerica told through salsa, hip-hop, merengue and funk, with a blend of 16th-century dialect and modern slang. Taccone and Leguizamo previously worked together on \u003cem>Latin History for Morons\u003c/em>, but this one’s special: it’s Taccone’s final production as artistic director \u003ca href=\"https://www.kqed.org/arts/12700435/berkeley-rep-artistic-director-tony-taccone-announces-departure\" target=\"_blank\" rel=\"noopener\">after 33 years at Berkeley Rep\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13858009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘A Midsummer Night’s Dream’\u003c/h2>\n\u003cp>\u003ci>May 22–June 16, 2019\u003cbr>\nBruns Amphitheater, Orinda\u003cbr>\n\u003ca href=\"https://calshakes.org/make/a-midsummer-nights-dream/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Cal Shakes, the region’s premier purveyors of the Bard, bring this Shakespeare favorite to life this summer with all the sprites, dukes, queens and faeries you’ve come to know and love. It’s easy to forget just how damn \u003cem>fun\u003c/em> the action is in \u003cem>A Midsummer Night’s Dream\u003c/em>, and with costume by Ásta Bennie Hostetter and set by Nina Ball, the visuals are sure to be dazzling. Tyne Rafaeli directs in the picturesque outdoor Bruns Amphitheater.\u003c/p>\n\u003cfigure id=\"attachment_13858316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg\" alt=\"Last year’s champions of ShortLived, The Geek Show, who won for their piece 'No Country for Old Henchmen.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last year’s champions of ShortLived, The Geek Show, who won for their piece ‘No Country for Old Henchmen.’ \u003ccite>(Courtesy PIanoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘ShortLived VII’\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 7, 2019\u003cbr>\nPianoFight and The Strand, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-viii/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Pushing the limits of theatrical possibility, \u003cem>ShortLived\u003c/em> is a marathon \u003cem>American Idol\u003c/em>-esque race to a $5,000 check and eternal Bay Area glory. This year’s audience-judged competition features 48 short plays running over the course of 8 weeks, and then a winner-take-all finals on Sept. 6 and 7. If you want to take a dip into the rampant creativity of Bay Area theater—and see some fun, charming competition along the way—you can’t do much better than this.\u003c/p>\n\u003cfigure id=\"attachment_13858015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858015\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg\" alt=\"(L to R) Lady Malavendra, Red Velvet, and Dee O’s Mío in 'Dollhouse Monsters.'\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Lady Malavendra, Red Velvet and Dee O’s Mío in ‘Dollhouse Monsters.’ \u003ccite>(Ross Pearson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dollhouse Monsters’\u003c/h2>\n\u003cp>\u003ci>July 12–27, 2019\u003cbr>\nExit Stage Left, San Francisco\u003cbr>\n\u003ca href=\"http://www.theexit.org/dollhouse/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>These days, burlesque is everywhere, thanks to an ongoing vaudeville-circus-steampunk revival especially resonant here on the Barbary Coast. And while body positivity has long been a staple of modern burlesque, the ladies of DIVA Or Die Burlesque take that introspection further in \u003cem>Dollhouse Monsters\u003c/em>, a half-theater, half-burlesque show that examines our inner behaviors and secrets, why we have them, and why we keep them.\u003c/p>\n\u003cfigure id=\"attachment_13857967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Hayes, Brian Freeman, Marga Gomez, J. Miko Thomas a.k.a. Landa Lakes for OUT of Site SOMA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘OUT of Site: SOMA’\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nHoward Langton Community Garden, San Francisco\u003cbr>\n\u003ca href=\"https://www.eyezen.org/out-of-site-soma\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cem>OUT of Site\u003c/em> has already brought history to life in North Beach, and now, the theatrical walking tour series alights South of Market for a reevaluation of the neighborhood’s LGBTQ contributions. The Castro gets most of the attention, but as \u003cem>OUT of Site\u003c/em> points out, SOMA is home to hidden stories, “from Native American Two-Spirit culture to the Folsom Street Fair, Lesbian auto-mechanics to labor activists and dock workers to drag queens.” Marga Gomez heads up a cast that should be illuminating and entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13857973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857973\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg\" alt=\"'The Flick' won the 2014 Pulitzer Prize for Drama.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Flick’ won the 2014 Pulitzer Prize for Drama. \u003ccite>(Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Flick’\u003c/h2>\n\u003cp>\u003ci>Aug. 22–Sept. 22, 2019\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"http://bit.ly/2rgcffY\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>People who work at movie theaters are a specific kind of nerd: exceedingly knowledgable about the minutiae of fictional film, but open to letting real life take over with gale force when it wants to. The winner of the 2014 Pulitzer Prize for Drama, \u003cem>The Flick\u003c/em> is about three employees of a suburban movie theater in Massachusetts who still know how to run 35mm film projectors, with a script that follows their personal struggles which overlap in unexpected, humorous and heartbreaking fashion.\u003c/p>\n\u003cfigure id=\"attachment_13858334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg\" alt=\"The Dragon Theatre stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dragon Theatre stage. \u003ccite>(Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Redwood City Play Festival\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nDragon Theatre, Redwood City\u003cbr>\n\u003ca href=\"http://www.fusetheatre.org/projects/rwc-festival/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A joint effort by Dragon Productions Theatre Company and Fuse Theatre, this festival of three one-act plays centers on issues of gender: \u003cem>Because I Went There\u003c/em>, \u003cem>Never Swim Alone\u003c/em> and \u003cem>Legal-Tender Loving Care\u003c/em>. Held in the heart of Redwood City’s downtown (time it right, and you could fit in the town’s surreal light show a block away in Courthouse Square), the plays should bring a good dose of social justice to the Peninsula.\u003c/p>\n\n",
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"excerpt": "Tony winners! New musicals! Shakespeare! Opera! Burlesque! All of this and more hits Bay Area stages this summer.",
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"title": "Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now, you’ve probably heard that \u003cem>\u003ca href=\"https://hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Hamilton\u003c/a>\u003c/em> is in town, running through January of next year. You may have also heard that \u003ca href=\"https://sfcurran.com/shows/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a> is coming in October, \u003ca href=\"https://www.kqed.org/arts/13845883/the-curran-at-a-crossroads\" target=\"_blank\" rel=\"noopener\">possibly running for three or more years\u003c/a>.\u003c/p>\n\u003cp>But what of all the other great theater in the shadow of the blockbusters? This summer, the Bay Area is home to an array of the stellar productions, from big musicals to small dramas. Below, we round up the best summertime theater to see on opera stages, black boxes and even on the sidewalk—which, in the Bay Area, is often a stage unto itself.\u003c/p>\n\u003cfigure id=\"attachment_13857960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg\" alt=\"David Breitbarth in Eugène Ionesco's Rhinoceros at A.C.T.'s Geary Theater.\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth in Eugène Ionesco’s ‘Rhinoceros’ at A.C.T.’s Geary Theater. \u003ccite>(Cliff Roles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rhinocerous’\u003c/h2>\n\u003cp>\u003ci>May 29–June 23, 2019\u003cbr>\nGeary Theater, San Francisco\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Eugène Ionesco’s absurdist masterpiece involves the inhabitants of a small French town transforming, one by one, into rhinos. But the play’s allegories to fascism—and the characterization of those who oppose it as paranoid—could not be any more relevant to the United States in 2019. Staged by ACT, which last year put \u003ca href=\"https://www.kqed.org/arts/13849904/a-day-at-the-beach-interrupted-by-two-giant-lizards\" target=\"_blank\" rel=\"noopener\">giant lizards on the stage in Edward Albee’s \u003cem>Seascape\u003c/em>\u003c/a>, \u003cem>Rhinocerous\u003c/em> is not only a marvelous study in conformity, but a consistently fun stampede through the possibilities of set and wardrobe.\u003c/p>\n\u003cfigure id=\"attachment_13858006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg\" alt=\"Deri'Andra Tucker in the touring production of 'Rent.'\" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1200x826.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deri’Andra Tucker in the touring production of ‘Rent.’ \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rent’\u003c/h2>\n\u003cp>\u003ci>June 14–23, 2019\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The retelling of \u003cem>La bohème\u003c/em> that swept the world in the 1990s gets the 20th anniversary tour it deserves, including this very quick stop in San Francisco. \u003cem>Rent\u003c/em> is particularly resonant in the expensive Bay Area, where living in warehouses and off-the-grid spaces is a necessity for many, and the turmoil of HIV/AIDS hits close to home. If you still get chills at the opening chords of “Seasons of Love,” don’t sleep on this one-week-only run.\u003c/p>\n\u003cfigure id=\"attachment_13857974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg\" alt=\"J'Nai Bridges plays the lead role in 'Carmen' at SF Opera this June.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J’Nai Bridges plays the lead role in ‘Carmen’ at SF Opera this June. \u003ccite>(S. Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Carmen’\u003c/h2>\n\u003cp>\u003ci>June 5–29, 2019\u003cbr>\nWar Memorial Opera House, San Francisco\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/carmen/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You already know more songs from \u003cem>Carmen\u003c/em> than you think you know (thanks, \u003ca href=\"https://www.youtube.com/watch?v=3Wsx22WxWOc\" target=\"_blank\" rel=\"noopener\">Saturday morning cartoons\u003c/a>), and if you’re daunted by the marathon of \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener\">longer operas\u003c/a>, Bizet’s eternal tale of a woman who dares to live freely clocks in at under three hours. Add to it Francesca Zambello’s modern production, James Gaffigan conducting the orchestra and \u003ca href=\"https://www.youtube.com/watch?v=m_MMKJaIHes\" target=\"_blank\" rel=\"noopener\">basketball player-turned-opera star J’Nai Bridges\u003c/a> (pictured above) in the title role, and you’ve got a summertime opera that even those who \u003cem>think\u003c/em> they hate opera can enjoy.\u003c/p>\n\u003cfigure id=\"attachment_13857965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857965\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg\" alt=\"The cast of 'Kiss My Aztec!' at Berkeley Rep, directed by Tony Taccone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Kiss My Aztec!’ at Berkeley Rep, directed by Tony Taccone. \u003ccite>(Cheshire Isaacs/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Kiss My Aztec!’\u003c/h2>\n\u003cp>\u003ci>May 28–July 21, 2019\u003cbr>\nRoda Theatre, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1819/13384.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Written by John Leguizamo and Tony Taccone, this world-premiere musical has more than a whiff of \u003cem>Hamilton\u003c/em> for Latin America: a history lesson of resistance in Spanish-occupied Mesoamerica told through salsa, hip-hop, merengue and funk, with a blend of 16th-century dialect and modern slang. Taccone and Leguizamo previously worked together on \u003cem>Latin History for Morons\u003c/em>, but this one’s special: it’s Taccone’s final production as artistic director \u003ca href=\"https://www.kqed.org/arts/12700435/berkeley-rep-artistic-director-tony-taccone-announces-departure\" target=\"_blank\" rel=\"noopener\">after 33 years at Berkeley Rep\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13858009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘A Midsummer Night’s Dream’\u003c/h2>\n\u003cp>\u003ci>May 22–June 16, 2019\u003cbr>\nBruns Amphitheater, Orinda\u003cbr>\n\u003ca href=\"https://calshakes.org/make/a-midsummer-nights-dream/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Cal Shakes, the region’s premier purveyors of the Bard, bring this Shakespeare favorite to life this summer with all the sprites, dukes, queens and faeries you’ve come to know and love. It’s easy to forget just how damn \u003cem>fun\u003c/em> the action is in \u003cem>A Midsummer Night’s Dream\u003c/em>, and with costume by Ásta Bennie Hostetter and set by Nina Ball, the visuals are sure to be dazzling. Tyne Rafaeli directs in the picturesque outdoor Bruns Amphitheater.\u003c/p>\n\u003cfigure id=\"attachment_13858316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg\" alt=\"Last year’s champions of ShortLived, The Geek Show, who won for their piece 'No Country for Old Henchmen.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last year’s champions of ShortLived, The Geek Show, who won for their piece ‘No Country for Old Henchmen.’ \u003ccite>(Courtesy PIanoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘ShortLived VII’\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 7, 2019\u003cbr>\nPianoFight and The Strand, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-viii/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Pushing the limits of theatrical possibility, \u003cem>ShortLived\u003c/em> is a marathon \u003cem>American Idol\u003c/em>-esque race to a $5,000 check and eternal Bay Area glory. This year’s audience-judged competition features 48 short plays running over the course of 8 weeks, and then a winner-take-all finals on Sept. 6 and 7. If you want to take a dip into the rampant creativity of Bay Area theater—and see some fun, charming competition along the way—you can’t do much better than this.\u003c/p>\n\u003cfigure id=\"attachment_13858015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858015\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg\" alt=\"(L to R) Lady Malavendra, Red Velvet, and Dee O’s Mío in 'Dollhouse Monsters.'\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Lady Malavendra, Red Velvet and Dee O’s Mío in ‘Dollhouse Monsters.’ \u003ccite>(Ross Pearson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dollhouse Monsters’\u003c/h2>\n\u003cp>\u003ci>July 12–27, 2019\u003cbr>\nExit Stage Left, San Francisco\u003cbr>\n\u003ca href=\"http://www.theexit.org/dollhouse/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>These days, burlesque is everywhere, thanks to an ongoing vaudeville-circus-steampunk revival especially resonant here on the Barbary Coast. And while body positivity has long been a staple of modern burlesque, the ladies of DIVA Or Die Burlesque take that introspection further in \u003cem>Dollhouse Monsters\u003c/em>, a half-theater, half-burlesque show that examines our inner behaviors and secrets, why we have them, and why we keep them.\u003c/p>\n\u003cfigure id=\"attachment_13857967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Hayes, Brian Freeman, Marga Gomez, J. Miko Thomas a.k.a. Landa Lakes for OUT of Site SOMA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘OUT of Site: SOMA’\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nHoward Langton Community Garden, San Francisco\u003cbr>\n\u003ca href=\"https://www.eyezen.org/out-of-site-soma\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cem>OUT of Site\u003c/em> has already brought history to life in North Beach, and now, the theatrical walking tour series alights South of Market for a reevaluation of the neighborhood’s LGBTQ contributions. The Castro gets most of the attention, but as \u003cem>OUT of Site\u003c/em> points out, SOMA is home to hidden stories, “from Native American Two-Spirit culture to the Folsom Street Fair, Lesbian auto-mechanics to labor activists and dock workers to drag queens.” Marga Gomez heads up a cast that should be illuminating and entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13857973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857973\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg\" alt=\"'The Flick' won the 2014 Pulitzer Prize for Drama.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Flick’ won the 2014 Pulitzer Prize for Drama. \u003ccite>(Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Flick’\u003c/h2>\n\u003cp>\u003ci>Aug. 22–Sept. 22, 2019\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"http://bit.ly/2rgcffY\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>People who work at movie theaters are a specific kind of nerd: exceedingly knowledgable about the minutiae of fictional film, but open to letting real life take over with gale force when it wants to. The winner of the 2014 Pulitzer Prize for Drama, \u003cem>The Flick\u003c/em> is about three employees of a suburban movie theater in Massachusetts who still know how to run 35mm film projectors, with a script that follows their personal struggles which overlap in unexpected, humorous and heartbreaking fashion.\u003c/p>\n\u003cfigure id=\"attachment_13858334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg\" alt=\"The Dragon Theatre stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dragon Theatre stage. \u003ccite>(Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Redwood City Play Festival\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nDragon Theatre, Redwood City\u003cbr>\n\u003ca href=\"http://www.fusetheatre.org/projects/rwc-festival/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A joint effort by Dragon Productions Theatre Company and Fuse Theatre, this festival of three one-act plays centers on issues of gender: \u003cem>Because I Went There\u003c/em>, \u003cem>Never Swim Alone\u003c/em> and \u003cem>Legal-Tender Loving Care\u003c/em>. Held in the heart of Redwood City’s downtown (time it right, and you could fit in the town’s surreal light show a block away in Courthouse Square), the plays should bring a good dose of social justice to the Peninsula.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Turns Out the Anti-Capitalist Agitator We Needed is (Checks Notes)... Sting??",
"headTitle": "Turns Out the Anti-Capitalist Agitator We Needed is (Checks Notes)… Sting?? | KQED",
"content": "\u003cp>\u003ca href=\"https://www.sting.com/\" target=\"_blank\" rel=\"noopener\">Sting\u003c/a>, the 17-time Grammy-winning rock star who jet-sets between his five residences around the globe, probably isn’t the first person who comes to mind when one thinks of famous anti-capitalists.\u003c/p>\n\u003cp>But in an interview today at the \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">SHN Golden Gate Theatre\u003c/a> in San Francisco, he lets me in on a little-known fact.\u003c/p>\n\u003cp>“Yeah, I’m a critic of capitalism. I think when you take out the value of community from the economic equation, you end up with something, in the long-term, that is untenable,” he says. “I studied economics; it’s based on community. You can’t have it without community. Otherwise we’re being run by an algorithm that has no feeling for human dignity.”\u003c/p>\n\u003cp>So Sting the, uh… socialist?\u003c/p>\n\u003cp>“I won’t give it a name,” he says of his belief system. “I just think it’s basic human decency to look after people more than looking after money.”\u003c/p>\n\u003cfigure id=\"attachment_13853899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg\" alt=\"Sting speaks from his working class roots in 'The Last Ship,' a play about a shipbuilding community in decline.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting speaks from his working class roots in ‘The Last Ship,’ a play about a shipbuilding community in decline. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sting is in town to talk about his 2014 Broadway musical,\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">\u003cem> The Last Ship\u003c/em>\u003c/a>, which will come to the Golden Gate Theatre—with Sting in the starring role—in February 2020. Set in the ’80s in his hometown of Wallsend, Tyne and Wear, England, the musical is a love story set to the backdrop of a shipbuilding community in decline.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the surface, its subject matter might seem niche. But \u003cem>The Last Ship\u003c/em>‘s central theme, of market forces disenfranchising the working class, has a deep resonance with today’s political moment. One could say it echoes the plight of Rust Belt steelworkers, Detroiters feeling the loss of the automotive industry and even low-income Bay Area residents pushed out by big tech.\u003c/p>\n\u003cp>“This is happening everywhere,” he says. “We were just in Toronto where a GM plant was about to close because they could move it to Mexico and pay workers $2 an hour.”\u003c/p>\n\u003cp>Sting then describes how he and the cast visited the plant workers, and performed an intimate, private show for them of songs from \u003cem>The Last Ship\u003c/em>. “The workers recognized the story we were telling,” he says. “And my actors were exposed to the reality of what they were portraying on stage. It was an electric moment, and it galvanized the whole thing. Then GM came back to the table to start renegotiating after that event, so we thought we were doing something useful.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Sting']‘I just think it’s basic human decency to look after people more than looking after money.’[/pullquote]\u003c/p>\n\u003cp>Talking with Sting, it’s clear that \u003cem>The Last Ship\u003c/em> is his way of both reconnecting to and speaking from his working-class roots, using personal insight to illuminate broader issues of economic inequality. Sting’s father and grandfather both worked in the Wallsend shipyards—where “the biggest ships on Earth were built at the end of my street,” he says—and he was expected to follow their footsteps and take up the family trade.\u003c/p>\n\u003cp>But the young boy then known as Gordon Sumner had a different dream: to become a rock star who got paid “big piles of money.” He especially wanted nothing to do with Wallsend and its ships. Fast-forward to now, over a dozen Platinum albums and hundreds of sold-out arenas later, and the Sting who sings of shipyards and labor organizing finally sees the value of those humble beginnings he once yearned to escape.\u003c/p>\n\u003cfigure id=\"attachment_13853901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg\" alt=\"Sting's musical 'The Last Ship' has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting’s musical ‘The Last Ship’ has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be real: Sting is widely seen as a self-serious, Bono-esque mega-star (critics often bring up his well-publicized interest in \u003ca href=\"https://www.theguardian.com/music/2011/sep/25/interview-the-thing-about-sting\" target=\"_blank\" rel=\"noopener\">tantric sex\u003c/a> and his passionate dabbling in \u003ca href=\"https://www.youtube.com/watch?v=bcvF6SI0A8s\" target=\"_blank\" rel=\"noopener\">the lute\u003c/a>). But in person, he’s welcoming and friendly, with a loud laugh and a gift for putting people at ease.\u003c/p>\n\u003cp>Someone in Sting’s position could easily rest on his laurels, enjoy Malibu’s beaches and Tuscany’s vineyards, and count his millions without much need to take creative risk. But Sting continues to push his own limits, undaunted by critical reception, and his fans love him for it. His last album, \u003cem>44/876,\u003c/em> a pop-reggae collaboration with Shaggy, peaked at No. 11 on the Billboard charts, even though it received lukewarm press (Pitchfork called it “\u003ca href=\"https://pitchfork.com/reviews/albums/sting-shaggy-44876/\" target=\"_blank\" rel=\"noopener\">helplessly uncool\u003c/a>“). And though \u003cem>The Last Ship \u003c/em>also received \u003ca href=\"https://www.broadwayworld.com/article/Review-Roundup-Sting-In-THE-LAST-SHIP-In-Toronto-20190221\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a> from theater critics during its latest run in Canada, Sting’s passion for the storyline was apparent as he performed songs on the Golden Gate stage Thursday from the perspective of a union organizer and a shipyard manager fighting for his workers.\u003c/p>\n\u003cp>So what does success mean to Sting at this stage in his career, when he’s accomplished nearly everything a rock star can?\u003c/p>\n\u003cp>“For me, it’s about surprise,” he says. “I want people to be surprised by the choices I make, and this play is very surprising. People are kind of gobsmacked.”\u003c/p>\n\u003cp>He adds, laughing, “\u003cem>I’m\u003c/em> surprised that I can act! It was never an ambition of mine to be an actor. But I can see the value of my name in the marquee to bring people in, and I believe in this play enough to take that risk.”\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>‘The Last Ship’ runs Feb. 20, 2020–March 22, 2020 at the SHN Golden Gate Theatre. Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "Turns Out the Anti-Capitalist Agitator We Needed is (Checks Notes)... Sting??",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sting.com/\" target=\"_blank\" rel=\"noopener\">Sting\u003c/a>, the 17-time Grammy-winning rock star who jet-sets between his five residences around the globe, probably isn’t the first person who comes to mind when one thinks of famous anti-capitalists.\u003c/p>\n\u003cp>But in an interview today at the \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">SHN Golden Gate Theatre\u003c/a> in San Francisco, he lets me in on a little-known fact.\u003c/p>\n\u003cp>“Yeah, I’m a critic of capitalism. I think when you take out the value of community from the economic equation, you end up with something, in the long-term, that is untenable,” he says. “I studied economics; it’s based on community. You can’t have it without community. Otherwise we’re being run by an algorithm that has no feeling for human dignity.”\u003c/p>\n\u003cp>So Sting the, uh… socialist?\u003c/p>\n\u003cp>“I won’t give it a name,” he says of his belief system. “I just think it’s basic human decency to look after people more than looking after money.”\u003c/p>\n\u003cfigure id=\"attachment_13853899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg\" alt=\"Sting speaks from his working class roots in 'The Last Ship,' a play about a shipbuilding community in decline.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting speaks from his working class roots in ‘The Last Ship,’ a play about a shipbuilding community in decline. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sting is in town to talk about his 2014 Broadway musical,\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">\u003cem> The Last Ship\u003c/em>\u003c/a>, which will come to the Golden Gate Theatre—with Sting in the starring role—in February 2020. Set in the ’80s in his hometown of Wallsend, Tyne and Wear, England, the musical is a love story set to the backdrop of a shipbuilding community in decline.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the surface, its subject matter might seem niche. But \u003cem>The Last Ship\u003c/em>‘s central theme, of market forces disenfranchising the working class, has a deep resonance with today’s political moment. One could say it echoes the plight of Rust Belt steelworkers, Detroiters feeling the loss of the automotive industry and even low-income Bay Area residents pushed out by big tech.\u003c/p>\n\u003cp>“This is happening everywhere,” he says. “We were just in Toronto where a GM plant was about to close because they could move it to Mexico and pay workers $2 an hour.”\u003c/p>\n\u003cp>Sting then describes how he and the cast visited the plant workers, and performed an intimate, private show for them of songs from \u003cem>The Last Ship\u003c/em>. “The workers recognized the story we were telling,” he says. “And my actors were exposed to the reality of what they were portraying on stage. It was an electric moment, and it galvanized the whole thing. Then GM came back to the table to start renegotiating after that event, so we thought we were doing something useful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Talking with Sting, it’s clear that \u003cem>The Last Ship\u003c/em> is his way of both reconnecting to and speaking from his working-class roots, using personal insight to illuminate broader issues of economic inequality. Sting’s father and grandfather both worked in the Wallsend shipyards—where “the biggest ships on Earth were built at the end of my street,” he says—and he was expected to follow their footsteps and take up the family trade.\u003c/p>\n\u003cp>But the young boy then known as Gordon Sumner had a different dream: to become a rock star who got paid “big piles of money.” He especially wanted nothing to do with Wallsend and its ships. Fast-forward to now, over a dozen Platinum albums and hundreds of sold-out arenas later, and the Sting who sings of shipyards and labor organizing finally sees the value of those humble beginnings he once yearned to escape.\u003c/p>\n\u003cfigure id=\"attachment_13853901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg\" alt=\"Sting's musical 'The Last Ship' has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting’s musical ‘The Last Ship’ has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be real: Sting is widely seen as a self-serious, Bono-esque mega-star (critics often bring up his well-publicized interest in \u003ca href=\"https://www.theguardian.com/music/2011/sep/25/interview-the-thing-about-sting\" target=\"_blank\" rel=\"noopener\">tantric sex\u003c/a> and his passionate dabbling in \u003ca href=\"https://www.youtube.com/watch?v=bcvF6SI0A8s\" target=\"_blank\" rel=\"noopener\">the lute\u003c/a>). But in person, he’s welcoming and friendly, with a loud laugh and a gift for putting people at ease.\u003c/p>\n\u003cp>Someone in Sting’s position could easily rest on his laurels, enjoy Malibu’s beaches and Tuscany’s vineyards, and count his millions without much need to take creative risk. But Sting continues to push his own limits, undaunted by critical reception, and his fans love him for it. His last album, \u003cem>44/876,\u003c/em> a pop-reggae collaboration with Shaggy, peaked at No. 11 on the Billboard charts, even though it received lukewarm press (Pitchfork called it “\u003ca href=\"https://pitchfork.com/reviews/albums/sting-shaggy-44876/\" target=\"_blank\" rel=\"noopener\">helplessly uncool\u003c/a>“). And though \u003cem>The Last Ship \u003c/em>also received \u003ca href=\"https://www.broadwayworld.com/article/Review-Roundup-Sting-In-THE-LAST-SHIP-In-Toronto-20190221\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a> from theater critics during its latest run in Canada, Sting’s passion for the storyline was apparent as he performed songs on the Golden Gate stage Thursday from the perspective of a union organizer and a shipyard manager fighting for his workers.\u003c/p>\n\u003cp>So what does success mean to Sting at this stage in his career, when he’s accomplished nearly everything a rock star can?\u003c/p>\n\u003cp>“For me, it’s about surprise,” he says. “I want people to be surprised by the choices I make, and this play is very surprising. People are kind of gobsmacked.”\u003c/p>\n\u003cp>He adds, laughing, “\u003cem>I’m\u003c/em> surprised that I can act! It was never an ambition of mine to be an actor. But I can see the value of my name in the marquee to bring people in, and I believe in this play enough to take that risk.”\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>‘The Last Ship’ runs Feb. 20, 2020–March 22, 2020 at the SHN Golden Gate Theatre. Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Curran at a Crossroads",
"headTitle": "The Curran at a Crossroads | KQED",
"content": "\u003cp>When the Curran Theater reopened in early 2017 after two years of renovation, owner Carole Shorenstein Hays declared her vision to create an innovative arts space in San Francisco.\u003c/p>\n\u003cp>Even before the Curran was able to open for full productions, it made do—and made headlines—in 2015 with a series of experimental and off-kilter works called \u003cem>Curran: Under Construction\u003c/em>. Entering through a side door and sitting directly on the stage, theatergoers witnessed a staging of David Greig’s provocative Edinburgh Fringe hit, \u003cem>The Events\u003c/em>, Dave Malloy’s experiential \u003cem>Ghost Quartet\u003c/em>, and even a workshopped version of what would become Taylor Mac’s sumptuous \u003cem>A 24-Decade History of Popular Music\u003c/em>.\u003c/p>\n\u003cp>It set a tone, and heralded a sea change from the usual “Best of Broadway” touring fare such as \u003cem>Phantom of the Opera\u003c/em>, which ran at the pre-renovated Curran for five years in the ’90s.\u003c/p>\n\u003cfigure id=\"attachment_13845888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac busting through the fourth wall in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This vision came to grand fruition in September 2017, with a full staging of Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>. Enlisting dozens of local performers and the extravagant costuming abilities of a designer whose preferred moniker “Machine Dazzle” would fit right into a work of utopian fiction, \u003cem>A 24-Decade History of Popular Music \u003c/em>challenged the notion that in order for theater to be impactful it must be “serious.” For Mac’s happy band of misfits, the weirdly static theatrical norms were simply thrown out the window. The fourth wall didn’t exist. Audiences were given a place on the stage, fed soup, and urged to recreate community-building in the aisles.\u003c/p>\n\u003cp>There was glitter. There were tears. There were monumental costume changes. And there were 246 songs, each one meticulously researched and carefully chosen to represent a moment in the history. It was a grand, queer sendoff for 2017, a year that desperately called out for some queering.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But after that heady inauguration, the Curran’s 2018 season has been decidedly less audacious, mainly dedicated to musicals that have continued to stray from the Curran’s trail of innovation. There was the futuristic \u003cem>Soft Power\u003c/em>, by David Henry Hwang and Jeanne Tesori, followed by the fantasy-forward Go-Go’s jukebox musical \u003cem>Head Over Heels\u003c/em>. November saw the welcome return of Taylor Mac with \u003cem>Holiday Sauce\u003c/em>, a season-specific coda to his triumphal 2017 tour.\u003c/p>\n\u003cp>Now, with the \u003ca href=\"https://datebook.sfchronicle.com/theater/judge-denies-injunction-to-stop-dear-evan-hansen-at-curran-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">dust settled last week on a legal battle\u003c/a>, the Curran is at an artistic crossroads.\u003c/p>\n\u003cfigure id=\"attachment_13845894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Levi Ross, Aaron Lazar, Christiane Noll, and Maggie McKenna from the National tour of ‘Dear Evan Hansen.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First, about that legal battle: last Friday, a judge shot down a request by Nederlander of San Francisco, a.k.a. San Francisco theater company SHN, to block Hays from producing \u003cem>Dear Evan Hansen\u003c/em>, which opens this week, and \u003cem>Harry Potter and the Cursed Child\u003c/em>, scheduled to open in the fall of 2019.\u003c/p>\n\u003cp>Both are the types of commercially attractive productions SHN is known to present at the two theaters it operates in San Francisco, the Orpheum and the Golden Gate. SHN had argued that Hays’ booking of the shows violated a noncompete clause. The judge, noting that both shows are touring productions with an open bidding process, ruled in Hays’ favor.\u003c/p>\n\u003cp>For years, Hays and Robert Nederlander were powerhouse theater presenters together under the SHN name. Hays stepped down from the SHN board in 2014, recusing herself from any active decision-making. But she is still a co-owner of SHN, adding another layer of messy to the already awkward professional rivalry under which \u003cem>Dear Evan Hansen\u003c/em> opens this week.\u003c/p>\n\u003cp>While \u003cem>Dear Evan Hansen \u003c/em>is certainly well-regarded, winning numerous Tony awards in 2017 and a Grammy in 2018, it sits solidly in the mainstream of musical theater. Like \u003cem>Fun Home\u003c/em>, which opened the 2017 season at the Curran, \u003cem>Dear Evan Hansen\u003c/em>’s socially-awkward teenage protagonist has resonated deeply with a younger generation of theater-goers who may have left their high school years behind, but have not forgotten the special angst of adolescence. \u003cem>Dear Evan Hansen\u003c/em> should prove to be a lucrative and popular choice for the Curran, as will the 2019-scheduled \u003cem>Harry Potter and the Cursed Child\u003c/em> (also included in the Nederlander suit).\u003c/p>\n\u003cfigure id=\"attachment_13845886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fun Home’ opened the 2017 season at the Curran Theater. Pictured are Karen Eilbacher (lying down) and Abby Corrigan (standing). \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But lucrative and popular doesn’t necessarily translate to groundbreaking. Furthermore, as \u003ca href=\"https://www.nytimes.com/2018/12/01/theater/judge-allows-harry-potter-and-evan-hansen-in-san-francisco.html\">reported in the \u003cem>New York Times\u003c/em> on Saturday\u003c/a>, the ruling revealed that \u003cem>Harry Potter\u003c/em> is intended to run at the Curran for three years, with the possibility of an extension. (Publicists for the Curran did not respond to a request for confirmation of the length of the show’s run.) It’s beginning to seem as if the Curran’s grand ambitions to create an “artistic hub” of “bold, daring work” may already be coming to an end.\u003c/p>\n\u003cp>For Hays’ vision of innovation to stick, the Curran will need to find a show as generous in spirit and perspective-shifting in execution as Mac’s 2017 \u003cem>tour de force\u003c/em> to take center stage between \u003cem>Evan Hansen\u003c/em> and \u003cem>Harry Potter\u003c/em>. No doubt Hays feels some pressure too, before she mounts a long-running commercial success based on one of the highest-grossing movie franchises of all time.\u003c/p>\n\u003cfigure id=\"attachment_13845885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg\" alt=\"Taylor Mac and players in 'A 24-Decade History of Popular Music.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac and players in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Curran’s 2019 season has not been announced yet. In a statement to KQED, Hays was vague about what San Francisco audiences can expect next after \u003cem>Dear Evan Hansen\u003c/em>. “In 2019, and before \u003cem>Harry Potter\u003c/em>, the Curran will be home to an extraordinary theater event, the kind of work that I’ve been most honored to present over the years, and the kind of theater that is essential to our community.”\u003c/p>\n\u003cp>It bears noting that as a Broadway producer, Hays acquired her first Tony in 1987 backing August Wilson’s \u003cem>Fences\u003c/em> (an award she won again in 2010 with the revival), and that her taste for more unconventional work contributed to her desire to acquire and operate the Curran in the first place. It remains to be seen whether the Curran will serve the same purpose it did in years past—as a tourist destination producing the hits \u003cem>du jour\u003c/em> for years-long engagements—or as the embodiment of a more forward-thinking artistic imperative.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I know which direction I’d like to see the trail blazed.\u003c/p>\n\n",
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"excerpt": "As a judge clears the way for the Curran Theater to produce 'Dear Evan Hansen' and 'Harry Potter and the Cursed Child,' its artistic vision remains undefined.",
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"title": "The Curran at a Crossroads | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Curran Theater reopened in early 2017 after two years of renovation, owner Carole Shorenstein Hays declared her vision to create an innovative arts space in San Francisco.\u003c/p>\n\u003cp>Even before the Curran was able to open for full productions, it made do—and made headlines—in 2015 with a series of experimental and off-kilter works called \u003cem>Curran: Under Construction\u003c/em>. Entering through a side door and sitting directly on the stage, theatergoers witnessed a staging of David Greig’s provocative Edinburgh Fringe hit, \u003cem>The Events\u003c/em>, Dave Malloy’s experiential \u003cem>Ghost Quartet\u003c/em>, and even a workshopped version of what would become Taylor Mac’s sumptuous \u003cem>A 24-Decade History of Popular Music\u003c/em>.\u003c/p>\n\u003cp>It set a tone, and heralded a sea change from the usual “Best of Broadway” touring fare such as \u003cem>Phantom of the Opera\u003c/em>, which ran at the pre-renovated Curran for five years in the ’90s.\u003c/p>\n\u003cfigure id=\"attachment_13845888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac busting through the fourth wall in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This vision came to grand fruition in September 2017, with a full staging of Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>. Enlisting dozens of local performers and the extravagant costuming abilities of a designer whose preferred moniker “Machine Dazzle” would fit right into a work of utopian fiction, \u003cem>A 24-Decade History of Popular Music \u003c/em>challenged the notion that in order for theater to be impactful it must be “serious.” For Mac’s happy band of misfits, the weirdly static theatrical norms were simply thrown out the window. The fourth wall didn’t exist. Audiences were given a place on the stage, fed soup, and urged to recreate community-building in the aisles.\u003c/p>\n\u003cp>There was glitter. There were tears. There were monumental costume changes. And there were 246 songs, each one meticulously researched and carefully chosen to represent a moment in the history. It was a grand, queer sendoff for 2017, a year that desperately called out for some queering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But after that heady inauguration, the Curran’s 2018 season has been decidedly less audacious, mainly dedicated to musicals that have continued to stray from the Curran’s trail of innovation. There was the futuristic \u003cem>Soft Power\u003c/em>, by David Henry Hwang and Jeanne Tesori, followed by the fantasy-forward Go-Go’s jukebox musical \u003cem>Head Over Heels\u003c/em>. November saw the welcome return of Taylor Mac with \u003cem>Holiday Sauce\u003c/em>, a season-specific coda to his triumphal 2017 tour.\u003c/p>\n\u003cp>Now, with the \u003ca href=\"https://datebook.sfchronicle.com/theater/judge-denies-injunction-to-stop-dear-evan-hansen-at-curran-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">dust settled last week on a legal battle\u003c/a>, the Curran is at an artistic crossroads.\u003c/p>\n\u003cfigure id=\"attachment_13845894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Levi Ross, Aaron Lazar, Christiane Noll, and Maggie McKenna from the National tour of ‘Dear Evan Hansen.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First, about that legal battle: last Friday, a judge shot down a request by Nederlander of San Francisco, a.k.a. San Francisco theater company SHN, to block Hays from producing \u003cem>Dear Evan Hansen\u003c/em>, which opens this week, and \u003cem>Harry Potter and the Cursed Child\u003c/em>, scheduled to open in the fall of 2019.\u003c/p>\n\u003cp>Both are the types of commercially attractive productions SHN is known to present at the two theaters it operates in San Francisco, the Orpheum and the Golden Gate. SHN had argued that Hays’ booking of the shows violated a noncompete clause. The judge, noting that both shows are touring productions with an open bidding process, ruled in Hays’ favor.\u003c/p>\n\u003cp>For years, Hays and Robert Nederlander were powerhouse theater presenters together under the SHN name. Hays stepped down from the SHN board in 2014, recusing herself from any active decision-making. But she is still a co-owner of SHN, adding another layer of messy to the already awkward professional rivalry under which \u003cem>Dear Evan Hansen\u003c/em> opens this week.\u003c/p>\n\u003cp>While \u003cem>Dear Evan Hansen \u003c/em>is certainly well-regarded, winning numerous Tony awards in 2017 and a Grammy in 2018, it sits solidly in the mainstream of musical theater. Like \u003cem>Fun Home\u003c/em>, which opened the 2017 season at the Curran, \u003cem>Dear Evan Hansen\u003c/em>’s socially-awkward teenage protagonist has resonated deeply with a younger generation of theater-goers who may have left their high school years behind, but have not forgotten the special angst of adolescence. \u003cem>Dear Evan Hansen\u003c/em> should prove to be a lucrative and popular choice for the Curran, as will the 2019-scheduled \u003cem>Harry Potter and the Cursed Child\u003c/em> (also included in the Nederlander suit).\u003c/p>\n\u003cfigure id=\"attachment_13845886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fun Home’ opened the 2017 season at the Curran Theater. Pictured are Karen Eilbacher (lying down) and Abby Corrigan (standing). \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But lucrative and popular doesn’t necessarily translate to groundbreaking. Furthermore, as \u003ca href=\"https://www.nytimes.com/2018/12/01/theater/judge-allows-harry-potter-and-evan-hansen-in-san-francisco.html\">reported in the \u003cem>New York Times\u003c/em> on Saturday\u003c/a>, the ruling revealed that \u003cem>Harry Potter\u003c/em> is intended to run at the Curran for three years, with the possibility of an extension. (Publicists for the Curran did not respond to a request for confirmation of the length of the show’s run.) It’s beginning to seem as if the Curran’s grand ambitions to create an “artistic hub” of “bold, daring work” may already be coming to an end.\u003c/p>\n\u003cp>For Hays’ vision of innovation to stick, the Curran will need to find a show as generous in spirit and perspective-shifting in execution as Mac’s 2017 \u003cem>tour de force\u003c/em> to take center stage between \u003cem>Evan Hansen\u003c/em> and \u003cem>Harry Potter\u003c/em>. No doubt Hays feels some pressure too, before she mounts a long-running commercial success based on one of the highest-grossing movie franchises of all time.\u003c/p>\n\u003cfigure id=\"attachment_13845885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg\" alt=\"Taylor Mac and players in 'A 24-Decade History of Popular Music.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac and players in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Curran’s 2019 season has not been announced yet. In a statement to KQED, Hays was vague about what San Francisco audiences can expect next after \u003cem>Dear Evan Hansen\u003c/em>. “In 2019, and before \u003cem>Harry Potter\u003c/em>, the Curran will be home to an extraordinary theater event, the kind of work that I’ve been most honored to present over the years, and the kind of theater that is essential to our community.”\u003c/p>\n\u003cp>It bears noting that as a Broadway producer, Hays acquired her first Tony in 1987 backing August Wilson’s \u003cem>Fences\u003c/em> (an award she won again in 2010 with the revival), and that her taste for more unconventional work contributed to her desire to acquire and operate the Curran in the first place. It remains to be seen whether the Curran will serve the same purpose it did in years past—as a tourist destination producing the hits \u003cem>du jour\u003c/em> for years-long engagements—or as the embodiment of a more forward-thinking artistic imperative.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Love the Film? Then 'Waitress' the Musical is a Side Dish Worth Ordering",
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"content": "\u003cp>The story of a server and pie-maker at a roadside diner who gets pregnant and has an affair with her gynecologist, \u003cem>Waitress\u003c/em> began life as a charming, deceptively simple movie starring Keri Russell, in 2007. Portraying the darker side of small-town America in film is not new, but writer and director Adrienne Shelly brought a refreshing female perspective to that Hitchcockian trope—and added plenty of sugar, butter and flour. It remains one of \u003ca href=\"https://www.facebook.com/notes/gabe-meline/25-favorite-films-of-the-last-decade/228229688659/\" rel=\"noopener\" target=\"_blank\">my favorite films\u003c/a>. \u003c/p>\n\u003cp>[contextly_sidebar id=”Cb81J78cBx16pgeSqdWfPUeBbfvYPm8U”]\u003c/p>\n\u003cp>Enter \u003cem>Waitress\u003c/em> the musical, which \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=&gclid=EAIaIQobChMIp9-4o-mR3gIVAb7ACh37vwRKEAAYASAAEgJo8fD_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">opened this week\u003c/a> at the Golden Gate Theater in San Francisco. Loyal to Shelly’s film (down to some exact dialogue), plus 17 fine but mostly forgettable songs by adult-contemporary radio hitmaker Sara Bareilles, the show peddles in both the cute and the complicated. Unlike the movie, which blended those two elements in a natural, realistic way, the musical version maximizes both and sends them in different directions. There is exaggerated, slapstick physical comedy for guaranteed laughs, and there is the belted, introspective who-am-I number in the second act that moves the crowd to sustained applause. Such is the way of Broadway.\u003c/p>\n\u003cp>Still, along with its eye-popping set and affable cast, the strength of Shelly’s intricate story carries this production. One has to wonder what Shelly, who was \u003ca href=\"https://www.nytimes.com/2006/11/07/nyregion/07actress.html\" rel=\"noopener\" target=\"_blank\">tragically murdered\u003c/a> in her home by a stranger just months before \u003cem>Waitress\u003c/em> opened in movie theaters, would make of this musical. With the lead character Jenna played to perfection by Christine Dwyer, and with Jenna’s agency intact at story’s end, and with an all-female creative team—including director Diane Paulus—I’d like to think she’d hail this \u003cem>Waitress\u003c/em> for the confection it is: sweet, satisfying, and comfortable.\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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Waitress’ runs through Nov. 11 at the Golden Gate Theater in San Francisco. \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=&gclid=EAIaIQobChMIp9-4o-mR3gIVAb7ACh37vwRKEAAYASAAEgJo8fD_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The story of a server and pie-maker at a roadside diner who gets pregnant and has an affair with her gynecologist, \u003cem>Waitress\u003c/em> began life as a charming, deceptively simple movie starring Keri Russell, in 2007. Portraying the darker side of small-town America in film is not new, but writer and director Adrienne Shelly brought a refreshing female perspective to that Hitchcockian trope—and added plenty of sugar, butter and flour. It remains one of \u003ca href=\"https://www.facebook.com/notes/gabe-meline/25-favorite-films-of-the-last-decade/228229688659/\" rel=\"noopener\" target=\"_blank\">my favorite films\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Enter \u003cem>Waitress\u003c/em> the musical, which \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=&gclid=EAIaIQobChMIp9-4o-mR3gIVAb7ACh37vwRKEAAYASAAEgJo8fD_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">opened this week\u003c/a> at the Golden Gate Theater in San Francisco. Loyal to Shelly’s film (down to some exact dialogue), plus 17 fine but mostly forgettable songs by adult-contemporary radio hitmaker Sara Bareilles, the show peddles in both the cute and the complicated. Unlike the movie, which blended those two elements in a natural, realistic way, the musical version maximizes both and sends them in different directions. There is exaggerated, slapstick physical comedy for guaranteed laughs, and there is the belted, introspective who-am-I number in the second act that moves the crowd to sustained applause. Such is the way of Broadway.\u003c/p>\n\u003cp>Still, along with its eye-popping set and affable cast, the strength of Shelly’s intricate story carries this production. One has to wonder what Shelly, who was \u003ca href=\"https://www.nytimes.com/2006/11/07/nyregion/07actress.html\" rel=\"noopener\" target=\"_blank\">tragically murdered\u003c/a> in her home by a stranger just months before \u003cem>Waitress\u003c/em> opened in movie theaters, would make of this musical. With the lead character Jenna played to perfection by Christine Dwyer, and with Jenna’s agency intact at story’s end, and with an all-female creative team—including director Diane Paulus—I’d like to think she’d hail this \u003cem>Waitress\u003c/em> for the confection it is: sweet, satisfying, and comfortable.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Waitress’ runs through Nov. 11 at the Golden Gate Theater in San Francisco. \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=&gclid=EAIaIQobChMIp9-4o-mR3gIVAb7ACh37vwRKEAAYASAAEgJo8fD_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fall Into Theater: 9 Bay Area Stage and Performance Picks",
"headTitle": "Fall Into Theater: 9 Bay Area Stage and Performance Picks | KQED",
"content": "\u003cp>Autumn in the Bay Area is a vibrant time for the performing arts, the only real limit being the number of days in a week to fit it all in. During a time when theater companies are either ending seasons or beginning new ones, the overlap creates a truly staggering array of options. World premieres, revisited triumphs, anniversary celebrations, and international visitors fill this season’s arts calendar. Here are but a few of its offerings worth seeing.\u003c/p>\n\u003cfigure id=\"attachment_13840018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg\" alt=\"Young Jean Lee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Jean Lee. \u003ccite>(Blaine Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Church’\u003c/h2>\n\u003cp>\u003cb>Crowded Fire Theatre Company, Portrero Stage, San Francisco\u003cbr>\nSept. 13–Oct 6, 2018\u003c/b>\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/church/\">Details Here\u003c/a>\u003c/p>\n\u003cp>Written over 10 years ago, Young Jean Lee’s faith-finding mission \u003cem>Church\u003c/em> consistently resonates with those who struggle with the losing-my-religion syndrome of the pragmatic empiricist. Raised in a Korean-American evangelical family, Lee knows all too well the feeling of comfort and familiarity a well-timed church service can offer even a skeptic. In \u003cem>Church\u003c/em>, directed for Crowded Fire by Mina Morita, she explores the various manifestations of faith-based thinking for believers and non-believers alike.\u003c/p>\n\u003cfigure id=\"attachment_13839813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band YASSOU scores ‘FURY’ at the Midway. \u003ccite>(Austin Hobart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘FURY’\u003c/h2>\n\u003cp>\u003cstrong>The Midway, San Francisco\u003cbr>\nSept. 14–15, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.furyshow.com/\">Details Here\u003c/a>\u003c/p>\n\u003cp>An ambitious collaboration with Mill Valley-based indie rockers YASSOU and a coterie of high-level Bay Area ballet dancers, \u003cem>FURY\u003c/em> brings the core narrative of \u003cem>Mad Max: Fury Road\u003c/em> to the club. Combining live music, projections, and dance, the show contains themes of hope, heroism, and homecoming for adventurous audiences. Installed at the Midway, a multi-use space in the Dogpatch perhaps best known for late-night electronic music events, \u003cem>FURY\u003c/em>seeks to challenge the norms of ballet performance by integrating it with pop culture touchstones to create a vibrant, immersive experience.\u003c/p>\n\u003cfigure id=\"attachment_13839815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839815\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-%E2%80%99s-2017-production-of-Marcus-Gardley%E2%80%99s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of California Shakespeare Theater’s 2017 production of ‘black odyssey.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘black odyssey’\u003c/h2>\n\u003cp>\u003cstrong>California Shakespeare Theater, Bruns Amphitheater, Orinda\u003cbr>\nSept. 25–Oct. 7, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This revival of Marcus Gardley’s Homeric epic updates the pain and poetry of a man in exile, as one Ulysses Jackson struggles to return home to Oakland after being shipwrecked in another time and place. His journey to find himself, physically and metaphorically, includes the squabbling gods and patient wife of the Greek original, mixed with modern references to Afghanistan, Hurricane Katrina, and the cold-blooded assassinations of black men throughout history. Gardley has a longtime connection to the East Bay, and closes out the Cal Shakes 2018 season with a heroic flourish.\u003c/p>\n\u003cfigure id=\"attachment_13840016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg\" alt=\"Pulitzer-winning playwright Lynn Nottage.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pulitzer-winning playwright Lynn Nottage.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sweat’\u003c/h2>\n\u003cp>\u003cstrong>ACT Geary Theater, San Francisco\u003cbr>\nSept. 26–Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat/about.html\">Details Here\u003c/a>\u003c/p>\n\u003cp>The first play under the tenure of ACT’s new artistic director Pam MacKinnon, \u003cem>Sweat\u003c/em> is set in a Pennsylvania factory town, where union strife, racial tension, and recession woes are tearing longtime relationships apart. Playwright Lynn Nottage famously spent over two years interviewing the citizens of Reading, Pennsylvania in order to distill their hopes and fears in this very timely and Pulitzer-winning play, hailed by the \u003cem>New Yorker\u003c/em> as “the first theatrical landmark of the Trump era.” Directed by Magic Theatre’s Loretta Greco.\u003c/p>\n\u003cfigure id=\"attachment_13839822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christoph Gawenda in Schaubühne Theater’s ‘An Enemy of the People.’ \u003ccite>(Arno Declair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Schaubühne Theater’s ‘An Enemy of the People’\u003c/h2>\n\u003cp>\u003cstrong>Cal Performances, Zellerbach Hall, Berkeley\u003cbr>\nOct. 12–13, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/theater/schaubuhne-an-enemy-of-the-people.php\">Details Here\u003c/a>\u003c/p>\n\u003cp>One of Europe’s top-rated theater companies, Berlin-based Schaubühne Theater first staged its controversial take on Ibsen’s ode to a whistleblower, \u003cem>An Enemy of the People\u003c/em>, in 2012. Rather than lose any of the urgency with which Ibsen imbued it in 1882, this touring production has stirred impassioned audience responses from Avignon to London to New York. Adapted and updated by Floriam Borchmeyer, featuring \u003ca href=\"https://www.schaubuehne.de/en/personen/christoph-gawenda.html\">Christoph Gawenda\u003c/a> as a scruffy, hipster Stockmann, who nonetheless takes his responsibility to the public good seriously, the play is performed in the cast’s native German, with English supertitles.\u003c/p>\n\u003cfigure id=\"attachment_13839820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Hellman in ‘Traumboy’ at CounterPulse. \u003ccite>(Raphael Hadad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Weekend at CounterPulse: ‘The Homophobes, a Clown Show’ and ‘Traumboy’\u003c/h2>\n\u003cp>\u003cstrong>CounterPulse, San Francisco\u003cbr>\nOct. 17–19 and Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://counterpulse.org\">Details Here\u003c/a>\u003c/p>\n\u003cp>CounterPulse has long championed genre-defying work from both hyperlocal performers and touring ones, and in October the venue co-hosts two edgy out-of-town performances: \u003cem>The Homophobes, a Clown Show\u003c/em>, brought by longtime queer artmaker and director Dino Dinco, and \u003cem>Traumboy \u003c/em>starring Daniel Hellman, a Swiss-born male prostitute and performance artist, in conjunction with the \u003ca href=\"https://www.zurichmeetssanfrancisco.org/events\" target=\"_blank\" rel=\"noopener\">Zürich Meets San Francisco Festival\u003c/a>. \u003cem>The Homophobes\u003c/em>, a genderqueered divine comedy by Argentinean playwright Susana Cook, features a pregnant reverend whose congregation is taken aback by the implications of tangible immaculate conception. \u003cem>Traumboy\u003c/em>, meanwhile, explores the realities and fantasies of male sex work from Hellman’s perspective. Both shows should prove to be fascinating forays, whether on their own or in tandem.\u003c/p>\n\u003cfigure id=\"attachment_13839814\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839814\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg\" alt=\"\" width=\"700\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-520x260.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">American playwright Robert O’Hara returns to Brava Theater. \u003ccite>(Zack Dezon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An American Ma(u)l’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 18–Nov. 11, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/18/an-american-maul\">Details Here\u003c/a>\u003c/p>\n\u003cp>The satirical genius of playwright Robert O’Hara has found a solid home with Black Artists Contemporary Cultural Experience, who presented his subversive \u003cem>Bootycandy\u003c/em> in 2017. This fall, they produce his \u003cem>American Ma(u)l\u003c/em>, an irreverent script that brings the cotton gin and all its attendant social and political implications to a futurist America (an improbable scenario which nonetheless seems more and more believable as the current administration progresses). Directed by Edris Cooper-Anifowoshe at Brava Theater.\u003c/p>\n\u003cfigure id=\"attachment_13839819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839819\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Epifano, founder of San Francisco Trolley Dances, prepares for adventure. \u003ccite>(Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Trolley Dances 15-year Anniversary\u003c/h2>\n\u003cp>\u003cstrong>Mission Creek Park, N-Judah Muni Line, San Francisco\u003cbr>\nOct. 20–21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://epiphanydance.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>For lovers of the \u003ca href=\"http://www.munidiaries.com/\">Muni Diaries\u003c/a>, SF’s robust, homegrown dance scene, and the hybrid performance/tour model, there’s nothing like this year’s 15-year anniversary for Epiphany Dance Theater’s charming \u003cem>Trolley Dances\u003c/em>, a site-integrated, transit-minded showcase. For the price of a MUNI ticket, riders join the trolley dancers as they meet up at Mission Creek Park, then jump on the N-Judah line to head over to SFMOMA—stopping along the way to experience mini dance performances. A diverse array of companies is involved, including SF stalwarts such as ODC/Dance and Robert Moses’ Kin, traveling guests from San Diego Dance Theater, and festival newcomers such as Aisan Hoss and Dancers and the Hālau Makana Polynesian Cultural Arts company.\u003c/p>\n\u003cfigure id=\"attachment_13839816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Medea Project’s Rhodessa Jones. \u003ccite>(Thatcher Hayward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘When Did Your Hands Become a Weapon?’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 25–Nov. 4, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/25/when-did-your-hands-become-a-weapon\">Details Here\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Within Bay Area arts organization Cultural Odyssey are nested several long-term performance projects, including the Medea Project, Theater for Incarcerated Women and HIV Circle. Helmed by Cultural Odyssey’s Rhodessa Jones, the almost-30-year-old Medea Project collaborates with and performs works by incarcerated women and women living with HIV, combining urgent storytelling with physical movement, music, and ritual. \u003cem>When Did Your Hands Become a Weapon?\u003c/em> tackles themes of domestic violence and sexual abuse, as well as the mechanisms we use to survive and heal from it, part of Cultural Odyssey’s 40-year anniversary season.\u003c/p>\n\n",
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"excerpt": "Autumn is always a busy time for theater; here are nine of the best shows to see this season.",
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"description": "Autumn is always a busy time for theater; here are nine of the best shows to see this season.",
"title": "Fall Into Theater: 9 Bay Area Stage and Performance Picks | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Autumn in the Bay Area is a vibrant time for the performing arts, the only real limit being the number of days in a week to fit it all in. During a time when theater companies are either ending seasons or beginning new ones, the overlap creates a truly staggering array of options. World premieres, revisited triumphs, anniversary celebrations, and international visitors fill this season’s arts calendar. Here are but a few of its offerings worth seeing.\u003c/p>\n\u003cfigure id=\"attachment_13840018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg\" alt=\"Young Jean Lee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Jean Lee. \u003ccite>(Blaine Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Church’\u003c/h2>\n\u003cp>\u003cb>Crowded Fire Theatre Company, Portrero Stage, San Francisco\u003cbr>\nSept. 13–Oct 6, 2018\u003c/b>\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/church/\">Details Here\u003c/a>\u003c/p>\n\u003cp>Written over 10 years ago, Young Jean Lee’s faith-finding mission \u003cem>Church\u003c/em> consistently resonates with those who struggle with the losing-my-religion syndrome of the pragmatic empiricist. Raised in a Korean-American evangelical family, Lee knows all too well the feeling of comfort and familiarity a well-timed church service can offer even a skeptic. In \u003cem>Church\u003c/em>, directed for Crowded Fire by Mina Morita, she explores the various manifestations of faith-based thinking for believers and non-believers alike.\u003c/p>\n\u003cfigure id=\"attachment_13839813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band YASSOU scores ‘FURY’ at the Midway. \u003ccite>(Austin Hobart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘FURY’\u003c/h2>\n\u003cp>\u003cstrong>The Midway, San Francisco\u003cbr>\nSept. 14–15, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.furyshow.com/\">Details Here\u003c/a>\u003c/p>\n\u003cp>An ambitious collaboration with Mill Valley-based indie rockers YASSOU and a coterie of high-level Bay Area ballet dancers, \u003cem>FURY\u003c/em> brings the core narrative of \u003cem>Mad Max: Fury Road\u003c/em> to the club. Combining live music, projections, and dance, the show contains themes of hope, heroism, and homecoming for adventurous audiences. Installed at the Midway, a multi-use space in the Dogpatch perhaps best known for late-night electronic music events, \u003cem>FURY\u003c/em>seeks to challenge the norms of ballet performance by integrating it with pop culture touchstones to create a vibrant, immersive experience.\u003c/p>\n\u003cfigure id=\"attachment_13839815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839815\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-%E2%80%99s-2017-production-of-Marcus-Gardley%E2%80%99s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of California Shakespeare Theater’s 2017 production of ‘black odyssey.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘black odyssey’\u003c/h2>\n\u003cp>\u003cstrong>California Shakespeare Theater, Bruns Amphitheater, Orinda\u003cbr>\nSept. 25–Oct. 7, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This revival of Marcus Gardley’s Homeric epic updates the pain and poetry of a man in exile, as one Ulysses Jackson struggles to return home to Oakland after being shipwrecked in another time and place. His journey to find himself, physically and metaphorically, includes the squabbling gods and patient wife of the Greek original, mixed with modern references to Afghanistan, Hurricane Katrina, and the cold-blooded assassinations of black men throughout history. Gardley has a longtime connection to the East Bay, and closes out the Cal Shakes 2018 season with a heroic flourish.\u003c/p>\n\u003cfigure id=\"attachment_13840016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg\" alt=\"Pulitzer-winning playwright Lynn Nottage.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pulitzer-winning playwright Lynn Nottage.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sweat’\u003c/h2>\n\u003cp>\u003cstrong>ACT Geary Theater, San Francisco\u003cbr>\nSept. 26–Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat/about.html\">Details Here\u003c/a>\u003c/p>\n\u003cp>The first play under the tenure of ACT’s new artistic director Pam MacKinnon, \u003cem>Sweat\u003c/em> is set in a Pennsylvania factory town, where union strife, racial tension, and recession woes are tearing longtime relationships apart. Playwright Lynn Nottage famously spent over two years interviewing the citizens of Reading, Pennsylvania in order to distill their hopes and fears in this very timely and Pulitzer-winning play, hailed by the \u003cem>New Yorker\u003c/em> as “the first theatrical landmark of the Trump era.” Directed by Magic Theatre’s Loretta Greco.\u003c/p>\n\u003cfigure id=\"attachment_13839822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christoph Gawenda in Schaubühne Theater’s ‘An Enemy of the People.’ \u003ccite>(Arno Declair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Schaubühne Theater’s ‘An Enemy of the People’\u003c/h2>\n\u003cp>\u003cstrong>Cal Performances, Zellerbach Hall, Berkeley\u003cbr>\nOct. 12–13, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/theater/schaubuhne-an-enemy-of-the-people.php\">Details Here\u003c/a>\u003c/p>\n\u003cp>One of Europe’s top-rated theater companies, Berlin-based Schaubühne Theater first staged its controversial take on Ibsen’s ode to a whistleblower, \u003cem>An Enemy of the People\u003c/em>, in 2012. Rather than lose any of the urgency with which Ibsen imbued it in 1882, this touring production has stirred impassioned audience responses from Avignon to London to New York. Adapted and updated by Floriam Borchmeyer, featuring \u003ca href=\"https://www.schaubuehne.de/en/personen/christoph-gawenda.html\">Christoph Gawenda\u003c/a> as a scruffy, hipster Stockmann, who nonetheless takes his responsibility to the public good seriously, the play is performed in the cast’s native German, with English supertitles.\u003c/p>\n\u003cfigure id=\"attachment_13839820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Hellman in ‘Traumboy’ at CounterPulse. \u003ccite>(Raphael Hadad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Weekend at CounterPulse: ‘The Homophobes, a Clown Show’ and ‘Traumboy’\u003c/h2>\n\u003cp>\u003cstrong>CounterPulse, San Francisco\u003cbr>\nOct. 17–19 and Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://counterpulse.org\">Details Here\u003c/a>\u003c/p>\n\u003cp>CounterPulse has long championed genre-defying work from both hyperlocal performers and touring ones, and in October the venue co-hosts two edgy out-of-town performances: \u003cem>The Homophobes, a Clown Show\u003c/em>, brought by longtime queer artmaker and director Dino Dinco, and \u003cem>Traumboy \u003c/em>starring Daniel Hellman, a Swiss-born male prostitute and performance artist, in conjunction with the \u003ca href=\"https://www.zurichmeetssanfrancisco.org/events\" target=\"_blank\" rel=\"noopener\">Zürich Meets San Francisco Festival\u003c/a>. \u003cem>The Homophobes\u003c/em>, a genderqueered divine comedy by Argentinean playwright Susana Cook, features a pregnant reverend whose congregation is taken aback by the implications of tangible immaculate conception. \u003cem>Traumboy\u003c/em>, meanwhile, explores the realities and fantasies of male sex work from Hellman’s perspective. Both shows should prove to be fascinating forays, whether on their own or in tandem.\u003c/p>\n\u003cfigure id=\"attachment_13839814\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839814\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg\" alt=\"\" width=\"700\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-520x260.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">American playwright Robert O’Hara returns to Brava Theater. \u003ccite>(Zack Dezon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An American Ma(u)l’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 18–Nov. 11, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/18/an-american-maul\">Details Here\u003c/a>\u003c/p>\n\u003cp>The satirical genius of playwright Robert O’Hara has found a solid home with Black Artists Contemporary Cultural Experience, who presented his subversive \u003cem>Bootycandy\u003c/em> in 2017. This fall, they produce his \u003cem>American Ma(u)l\u003c/em>, an irreverent script that brings the cotton gin and all its attendant social and political implications to a futurist America (an improbable scenario which nonetheless seems more and more believable as the current administration progresses). Directed by Edris Cooper-Anifowoshe at Brava Theater.\u003c/p>\n\u003cfigure id=\"attachment_13839819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839819\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Epifano, founder of San Francisco Trolley Dances, prepares for adventure. \u003ccite>(Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Trolley Dances 15-year Anniversary\u003c/h2>\n\u003cp>\u003cstrong>Mission Creek Park, N-Judah Muni Line, San Francisco\u003cbr>\nOct. 20–21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://epiphanydance.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>For lovers of the \u003ca href=\"http://www.munidiaries.com/\">Muni Diaries\u003c/a>, SF’s robust, homegrown dance scene, and the hybrid performance/tour model, there’s nothing like this year’s 15-year anniversary for Epiphany Dance Theater’s charming \u003cem>Trolley Dances\u003c/em>, a site-integrated, transit-minded showcase. For the price of a MUNI ticket, riders join the trolley dancers as they meet up at Mission Creek Park, then jump on the N-Judah line to head over to SFMOMA—stopping along the way to experience mini dance performances. A diverse array of companies is involved, including SF stalwarts such as ODC/Dance and Robert Moses’ Kin, traveling guests from San Diego Dance Theater, and festival newcomers such as Aisan Hoss and Dancers and the Hālau Makana Polynesian Cultural Arts company.\u003c/p>\n\u003cfigure id=\"attachment_13839816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Medea Project’s Rhodessa Jones. \u003ccite>(Thatcher Hayward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘When Did Your Hands Become a Weapon?’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 25–Nov. 4, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/25/when-did-your-hands-become-a-weapon\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within Bay Area arts organization Cultural Odyssey are nested several long-term performance projects, including the Medea Project, Theater for Incarcerated Women and HIV Circle. Helmed by Cultural Odyssey’s Rhodessa Jones, the almost-30-year-old Medea Project collaborates with and performs works by incarcerated women and women living with HIV, combining urgent storytelling with physical movement, music, and ritual. \u003cem>When Did Your Hands Become a Weapon?\u003c/em> tackles themes of domestic violence and sexual abuse, as well as the mechanisms we use to survive and heal from it, part of Cultural Odyssey’s 40-year anniversary season.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Aladdin Delights Despite Our Resistance",
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"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. ",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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