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"content": "\u003cp>One of the many endearing characteristics of the East Bay’s Shotgun Players is their commitment to holiday season shows with zero holiday content, but nonetheless lean heavily into the capricious landscape of human emotion. In other words: the feels. And \u003cem>Thirty-Six\u003c/em>, by Leah Nanako Winkler, is rife with feelings, following two strangers who meet-not-quite-cute on an app and embark on a whirlwind first not-quite-date, accompanied by the hilariously laconic voice of the stage directions (nic feliciano). \u003c/p>\n\u003cp>In her script, Winkler appealingly captures the loaded subtext of such encounters, where every sentence uttered leaves two more unspoken. With so many conflicting sets of cookie-cutter, magazine-published “rules” for modern dating, simply figuring out which ones are in play can be a laborious process. This may explain the initial buzz surrounding Mandy Lee Catron’s 2015 \u003cem>New York Times\u003c/em> article “To Fall in Love With Anyone, Do This,” which introduced psychologist Arthur Aron’s “36 Questions That Lead to Love” to a wider audience. The questions bypass the typical first-date tips and tricks about who pays for what, and which topics are off-limits, and cut straight to the emotional jugular with questions designed to create a sense of intimacy between participants — a way to jumpstart or reinforce a personal connection.\u003c/p>\n\u003cfigure id=\"attachment_13968584\" class=\"wp-caption aligncenter\" style=\"max-width: 1401px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny.jpg\" alt=\"\" width=\"1401\" height=\"2000\" class=\"size-full wp-image-13968584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny.jpg 1401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-800x1142.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-1020x1456.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-768x1096.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-1076x1536.jpg 1076w\" sizes=\"auto, (max-width: 1401px) 100vw, 1401px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Andrei Garcia as Jenny in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s David’s (Soren Santos) hope when his date Jenny (Lauren Andrei Garcia) arrives at the quiet New York bistro where they’ve agreed to meet. A transplant from Kentucky (like Winkler), he loves the \u003cem>New York Times\u003c/em>, cheerfully admitting that it forms a cornerstone of his personality. He proposes they give the 36 Questions a shot. She almost immediately declares she’s only here to get laid. “I don’t want to give you depth, and I need you to respect that,” she asserts crisply. Despite their mismatched expectations, David soon winds up at Jenny’s “extremely nice” apartment, and the rest of the evening unfolds apace.\u003c/p>\n\u003cp>There’s a static quality to the staging of \u003cem>Thirty-Six\u003c/em> that enhances its unflinching post-modernity. Paneled white walls — designed by Randy Wong-Westbooke — frame the action like an Instagram reel. Matching clear lucite tables and rolling office chairs are the only furniture, easily transforming from bistro interior to apartment décor to subway seating by the power of suggestion. Table mics on stands, worthy of a podcast studio, pin the actors to their seats during their most intimate moments, allowing that same power of suggestion (and a nod to ASMR) to illustrate a far more ribald encounter than the chastely garbed performers seated on opposite sides of the stage would otherwise suggest. Kudos to director Michelle Talgarow, and intimacy choreographer Natalie Greene, for finding ways to create heat and connection between the actors using technology as a scene partner rather than an obstacle. \u003c/p>\n\u003cfigure id=\"attachment_13968586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano as Stage Directions in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jenny, Garcia presents convincingly as a no-nonsense, bluntly honest Millennial Miss on the prowl. She ricochets frenetically between self-assurance and self-doubt — sometimes spoken, sometimes implied by what’s left unsaid. Santos, as David, cultivates a gentler persona, down to his forgettable attire and unguarded facial expressions that speak volumes, whether telegraphing delight or scrunched up in disgust. As a world premiere production, there were some evident opening-night line stumbles, particularly from Garcia, but nothing that stalled the overall momentum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By design, the play often feels like an exercise in eavesdropping, even surveillance, following the two leads around New York City. Anonymous bars and bistros are full of connection-seekers meeting for the first time, and playing “Will they make it to round two?” is a not-unusual pastime for the bystanders they draw briefly into their orbit. David is the man who masks his romantic insecurities by learning to give great head, and Jenny, the woman who savvily uses words like “respect,” “consent” and “social construct,” not-so-secretly longs for the simplicity of a more traditional kind of attachment. But while the 36 questions they pepper each other with do lead to further revelation, and even occasional glimpses of profundity, the stakes never feel particularly urgent. Will they make it to round two? Who knows? Who cares? \u003c/p>\n\u003cfigure id=\"attachment_13968587\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David.jpg\" alt=\"\" width=\"2000\" height=\"1351\" class=\"size-full wp-image-13968587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1920x1297.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soren Santos as David in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless, as a rom-com with an irreverent streak, \u003cem>Thirty-Six\u003c/em> is a fun, flirty, occasionally dirty romp. Maybe bring a date. You’ll definitely learn something about each other by the end of the evening — even if it’s just how the other reacts to the play’s more humorous forays into kink, and the rare gift that Winkler bestows the actors in the final moments of the piece.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thirty-Six’ runs through Dec. 29 at the Ashby Stage in Berkeley. \u003ca href=\"http://shotgunplayers.org/online/article/thirty-six\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"title": "Review: ‘Thirty-Six’ at Shotgun Players Explores the 36 Questions That Lead to Love | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the many endearing characteristics of the East Bay’s Shotgun Players is their commitment to holiday season shows with zero holiday content, but nonetheless lean heavily into the capricious landscape of human emotion. In other words: the feels. And \u003cem>Thirty-Six\u003c/em>, by Leah Nanako Winkler, is rife with feelings, following two strangers who meet-not-quite-cute on an app and embark on a whirlwind first not-quite-date, accompanied by the hilariously laconic voice of the stage directions (nic feliciano). \u003c/p>\n\u003cp>In her script, Winkler appealingly captures the loaded subtext of such encounters, where every sentence uttered leaves two more unspoken. With so many conflicting sets of cookie-cutter, magazine-published “rules” for modern dating, simply figuring out which ones are in play can be a laborious process. This may explain the initial buzz surrounding Mandy Lee Catron’s 2015 \u003cem>New York Times\u003c/em> article “To Fall in Love With Anyone, Do This,” which introduced psychologist Arthur Aron’s “36 Questions That Lead to Love” to a wider audience. The questions bypass the typical first-date tips and tricks about who pays for what, and which topics are off-limits, and cut straight to the emotional jugular with questions designed to create a sense of intimacy between participants — a way to jumpstart or reinforce a personal connection.\u003c/p>\n\u003cfigure id=\"attachment_13968584\" class=\"wp-caption aligncenter\" style=\"max-width: 1401px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny.jpg\" alt=\"\" width=\"1401\" height=\"2000\" class=\"size-full wp-image-13968584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny.jpg 1401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-800x1142.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-1020x1456.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-768x1096.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-1076x1536.jpg 1076w\" sizes=\"auto, (max-width: 1401px) 100vw, 1401px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Andrei Garcia as Jenny in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s David’s (Soren Santos) hope when his date Jenny (Lauren Andrei Garcia) arrives at the quiet New York bistro where they’ve agreed to meet. A transplant from Kentucky (like Winkler), he loves the \u003cem>New York Times\u003c/em>, cheerfully admitting that it forms a cornerstone of his personality. He proposes they give the 36 Questions a shot. She almost immediately declares she’s only here to get laid. “I don’t want to give you depth, and I need you to respect that,” she asserts crisply. Despite their mismatched expectations, David soon winds up at Jenny’s “extremely nice” apartment, and the rest of the evening unfolds apace.\u003c/p>\n\u003cp>There’s a static quality to the staging of \u003cem>Thirty-Six\u003c/em> that enhances its unflinching post-modernity. Paneled white walls — designed by Randy Wong-Westbooke — frame the action like an Instagram reel. Matching clear lucite tables and rolling office chairs are the only furniture, easily transforming from bistro interior to apartment décor to subway seating by the power of suggestion. Table mics on stands, worthy of a podcast studio, pin the actors to their seats during their most intimate moments, allowing that same power of suggestion (and a nod to ASMR) to illustrate a far more ribald encounter than the chastely garbed performers seated on opposite sides of the stage would otherwise suggest. Kudos to director Michelle Talgarow, and intimacy choreographer Natalie Greene, for finding ways to create heat and connection between the actors using technology as a scene partner rather than an obstacle. \u003c/p>\n\u003cfigure id=\"attachment_13968586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano as Stage Directions in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jenny, Garcia presents convincingly as a no-nonsense, bluntly honest Millennial Miss on the prowl. She ricochets frenetically between self-assurance and self-doubt — sometimes spoken, sometimes implied by what’s left unsaid. Santos, as David, cultivates a gentler persona, down to his forgettable attire and unguarded facial expressions that speak volumes, whether telegraphing delight or scrunched up in disgust. As a world premiere production, there were some evident opening-night line stumbles, particularly from Garcia, but nothing that stalled the overall momentum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By design, the play often feels like an exercise in eavesdropping, even surveillance, following the two leads around New York City. Anonymous bars and bistros are full of connection-seekers meeting for the first time, and playing “Will they make it to round two?” is a not-unusual pastime for the bystanders they draw briefly into their orbit. David is the man who masks his romantic insecurities by learning to give great head, and Jenny, the woman who savvily uses words like “respect,” “consent” and “social construct,” not-so-secretly longs for the simplicity of a more traditional kind of attachment. But while the 36 questions they pepper each other with do lead to further revelation, and even occasional glimpses of profundity, the stakes never feel particularly urgent. Will they make it to round two? Who knows? Who cares? \u003c/p>\n\u003cfigure id=\"attachment_13968587\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David.jpg\" alt=\"\" width=\"2000\" height=\"1351\" class=\"size-full wp-image-13968587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1920x1297.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soren Santos as David in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless, as a rom-com with an irreverent streak, \u003cem>Thirty-Six\u003c/em> is a fun, flirty, occasionally dirty romp. Maybe bring a date. You’ll definitely learn something about each other by the end of the evening — even if it’s just how the other reacts to the play’s more humorous forays into kink, and the rare gift that Winkler bestows the actors in the final moments of the piece.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thirty-Six’ runs through Dec. 29 at the Ashby Stage in Berkeley. \u003ca href=\"http://shotgunplayers.org/online/article/thirty-six\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-choir-boy-shotgun-players-berkeley",
"title": "‘Choir Boy’ Sings to the Heavens at Shotgun Players",
"publishDate": 1728325594,
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"headTitle": "‘Choir Boy’ Sings to the Heavens at Shotgun Players | KQED",
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"content": "\u003cp>Pharus Jonathan Young is gifted beyond measure, and affirms that fact every time he opens his mouth to sing. \u003c/p>\n\u003cp>You see, there’s a sheen on his pipes, informed by his ancestry, the self-assured values of his theology and the knowledge that he, and no one else, needs to be the centerpiece of the choir at Charles R. Drew Preparatory School for Boys.\u003c/p>\n\u003cp>But young men who aren’t terribly masculine-presenting don’t get the privilege of being themselves. While Pharus’ quick and sly tongue matches his perfect pitch, every note he sings with persuasion is a threat to the other young Black men at the school.\u003c/p>\n\u003cfigure id=\"attachment_13966179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13966179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Miles Meckling as Bobby in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Shotgun Players’ tension-rich production of Tarell Alvin McCraney’s \u003cem>Choir Boy\u003c/em>, a young, effeminate teen faces self-imposed pressure. But the weight he creates for himself can’t compare to the heaviness placed on him by others. \u003c/p>\n\u003cp>With a voice built and blessed by the Lord, Pharus (William Schmidt) is a high school junior who is chosen to lead the choir at commencement exercises. Yet after Pharus decides to react onstage to a homophobic slur quietly delivered mid-song by Bobby (Miles Meckling), Headmaster Marrow (Fred Pitts) must take punitive action. After all, the audience had been loaded with well-connected Drew men, and words like “honor” and “integrity” are bandied about constantly at Drew, issued to students as a way of life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the headmaster demands answers, Pharus’ commitment to being all-Drew through and through means that outing the homophobe isn’t an option. \u003c/p>\n\u003cp>It is too simplistic to suggest Choir Boy is a coming-of-age tale, but the nuances of similar plays about teens navigating very specific challenges are present in McCraney’s story. Director Darryl V. Jones implements an insightful staging that allows the flow of information and ideas to move smoothly through 110 consecutive minutes, even with a fair share of different locations. And while at times the acting can be uneven, even a little hokey, the devices that tell the story are implemented with a keen, sharp eye. \u003c/p>\n\u003cfigure id=\"attachment_13966178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg\" alt=\"\" width=\"2000\" height=\"1185\" class=\"size-full wp-image-13966178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1536x910.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1920x1138.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) William Schmidt as Pharus, Omar Stewart as David, Wesley Barker as AJ, Brandon DiPaola – Ensemble, Miles Meckling as Bobby and Chachi Delgado as Junior in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A highlight is how music and dance is built to express the richness of the story, and its intersection of religion and sexuality. Luscious harmonies are carefully crafted by music director Daniel Alley, and recordings of multiple numbers, brilliantly engineered by Michael Kelly, create a smoking-hot fusion of sound that houses many surprises expressed through Ashby Stage’s speakers. The stepping in the show, driven home with a thunderous, authoritative boom, is masterful in the hands of choreographer AeJay Anotonis Marquis.\u003c/p>\n\u003cp>The strength of McCraney’s script, as well as Jones implementing his specific vision, is found in the fact that stock characteristics of teenage students do not dominate the storytelling. The students have piercing conversations about a variety of topics: how honor and trust applies in real time, gospel’s true role during chattel slavery, how to live an authentic life while not asking and not telling. Their brittle hearts break with each new discovery that shapes their future worldview, but those same hearts soar when the clouds of adolescence part for even the briefest of moments. \u003c/p>\n\u003cp>The unsung hero is AJ (Wesley Barker), who feels no threat by having a roommate many others would never allow in their presence. AJ is playful, handsome and deep. With AJ, Pharus can embrace his full self, accepting the soft in his dorm room as he deals constantly with the rough everywhere else. Barker advocates beautifully for AJ in a perceptive performance.\u003c/p>\n\u003cfigure id=\"attachment_13966180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg\" alt=\"\" width=\"2000\" height=\"1408\" class=\"size-full wp-image-13966180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1920x1352.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Wesley Barker as AJ in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others round out the cast swimmingly. David (Omar Stewart) carries a mysterious bent, harboring secrets of his own, with Stewart keeping his David on the periphery of fuller engagement. Yet his voice is unmistakable, each note coming from a darker and more guttural place that ultimately leads to his brutal gut punch.\u003c/p>\n\u003cp>As Mr. Pendleton, the only white character, Malcolm B. Rodgers is able to offer the cringiest cringe while still assuring that his turn as the bumbling teacher has some depth. And as the headmaster, Pitts nicely portrays conflicts that so many carry when reckoning with the issues of authority, morality and tolerance. \u003c/p>\n\u003cp>In one of the play’s tenderest and most poignant moments, AJ invites Pharus into his bed at the end of a long day. It turns out, with the weight of the world on Pharus’ broad, suffocated shoulders, the offer of a shared pillow and some sweet bonding over a good night’s sleep is the most beautiful gift one friend can offer the other.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Choir Boy’ runs through Oct. 26 at Shotgun Players’ Ashby Stage in Berkeley. \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"excerpt": "Terrell Alvin McCraney's play about an effeminate singer at a rigorous preparatory school runs through Oct. 26 in Berkeley.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pharus Jonathan Young is gifted beyond measure, and affirms that fact every time he opens his mouth to sing. \u003c/p>\n\u003cp>You see, there’s a sheen on his pipes, informed by his ancestry, the self-assured values of his theology and the knowledge that he, and no one else, needs to be the centerpiece of the choir at Charles R. Drew Preparatory School for Boys.\u003c/p>\n\u003cp>But young men who aren’t terribly masculine-presenting don’t get the privilege of being themselves. While Pharus’ quick and sly tongue matches his perfect pitch, every note he sings with persuasion is a threat to the other young Black men at the school.\u003c/p>\n\u003cfigure id=\"attachment_13966179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13966179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Miles Meckling as Bobby in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Shotgun Players’ tension-rich production of Tarell Alvin McCraney’s \u003cem>Choir Boy\u003c/em>, a young, effeminate teen faces self-imposed pressure. But the weight he creates for himself can’t compare to the heaviness placed on him by others. \u003c/p>\n\u003cp>With a voice built and blessed by the Lord, Pharus (William Schmidt) is a high school junior who is chosen to lead the choir at commencement exercises. Yet after Pharus decides to react onstage to a homophobic slur quietly delivered mid-song by Bobby (Miles Meckling), Headmaster Marrow (Fred Pitts) must take punitive action. After all, the audience had been loaded with well-connected Drew men, and words like “honor” and “integrity” are bandied about constantly at Drew, issued to students as a way of life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the headmaster demands answers, Pharus’ commitment to being all-Drew through and through means that outing the homophobe isn’t an option. \u003c/p>\n\u003cp>It is too simplistic to suggest Choir Boy is a coming-of-age tale, but the nuances of similar plays about teens navigating very specific challenges are present in McCraney’s story. Director Darryl V. Jones implements an insightful staging that allows the flow of information and ideas to move smoothly through 110 consecutive minutes, even with a fair share of different locations. And while at times the acting can be uneven, even a little hokey, the devices that tell the story are implemented with a keen, sharp eye. \u003c/p>\n\u003cfigure id=\"attachment_13966178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg\" alt=\"\" width=\"2000\" height=\"1185\" class=\"size-full wp-image-13966178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1536x910.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1920x1138.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) William Schmidt as Pharus, Omar Stewart as David, Wesley Barker as AJ, Brandon DiPaola – Ensemble, Miles Meckling as Bobby and Chachi Delgado as Junior in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A highlight is how music and dance is built to express the richness of the story, and its intersection of religion and sexuality. Luscious harmonies are carefully crafted by music director Daniel Alley, and recordings of multiple numbers, brilliantly engineered by Michael Kelly, create a smoking-hot fusion of sound that houses many surprises expressed through Ashby Stage’s speakers. The stepping in the show, driven home with a thunderous, authoritative boom, is masterful in the hands of choreographer AeJay Anotonis Marquis.\u003c/p>\n\u003cp>The strength of McCraney’s script, as well as Jones implementing his specific vision, is found in the fact that stock characteristics of teenage students do not dominate the storytelling. The students have piercing conversations about a variety of topics: how honor and trust applies in real time, gospel’s true role during chattel slavery, how to live an authentic life while not asking and not telling. Their brittle hearts break with each new discovery that shapes their future worldview, but those same hearts soar when the clouds of adolescence part for even the briefest of moments. \u003c/p>\n\u003cp>The unsung hero is AJ (Wesley Barker), who feels no threat by having a roommate many others would never allow in their presence. AJ is playful, handsome and deep. With AJ, Pharus can embrace his full self, accepting the soft in his dorm room as he deals constantly with the rough everywhere else. Barker advocates beautifully for AJ in a perceptive performance.\u003c/p>\n\u003cfigure id=\"attachment_13966180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg\" alt=\"\" width=\"2000\" height=\"1408\" class=\"size-full wp-image-13966180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1920x1352.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Wesley Barker as AJ in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others round out the cast swimmingly. David (Omar Stewart) carries a mysterious bent, harboring secrets of his own, with Stewart keeping his David on the periphery of fuller engagement. Yet his voice is unmistakable, each note coming from a darker and more guttural place that ultimately leads to his brutal gut punch.\u003c/p>\n\u003cp>As Mr. Pendleton, the only white character, Malcolm B. Rodgers is able to offer the cringiest cringe while still assuring that his turn as the bumbling teacher has some depth. And as the headmaster, Pitts nicely portrays conflicts that so many carry when reckoning with the issues of authority, morality and tolerance. \u003c/p>\n\u003cp>In one of the play’s tenderest and most poignant moments, AJ invites Pharus into his bed at the end of a long day. It turns out, with the weight of the world on Pharus’ broad, suffocated shoulders, the offer of a shared pillow and some sweet bonding over a good night’s sleep is the most beautiful gift one friend can offer the other.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Choir Boy’ runs through Oct. 26 at Shotgun Players’ Ashby Stage in Berkeley. \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-plays-musicals-summer",
"title": "10 Hot Tickets to Bay Area Plays and Musicals This Summer",
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"headTitle": "10 Hot Tickets to Bay Area Plays and Musicals This Summer | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Theater companies typically grind hard from September to June, and as a result, the summer months ease up a bit before the cycle starts again in the fall. This doesn’t mean the Bay Area theater scene is a barren wasteland over the summer; quite the opposite.\u003c/p>\n\u003cp>Bay Area stages this summer host a healthy mix of the classic and contemporary, along with world premieres and hearty musicals. Here are 10 shows from late May to early September that you don’t want to miss.\u003c/p>\n\u003cfigure id=\"attachment_13929271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg\" alt=\"a photo of three people posed in front of a wooden door, two youngish Latino-appearing men with a Latina woman in an orange standing between them, looking at the camera\" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1020x1043.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1502x1536.jpg 1502w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1920x1963.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caleb Cabrera and Regina Morones and Samuel Prince in ‘Yerma.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Yerma\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003cbr>\nMay 27–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Spanish poet Federico Garcia Lorca, whose passion explodes from the ink, has a special quality that knows no end. Lorca’s characters are not simply products of circumstance; they are wholly consumed by fate. His ideas and word combinations are incredibly thrilling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003cem>Yerma\u003c/em>, a play not as frequently produced as the two others in his Rural Trilogy, the title character is childless, desperately yearning to be a mother. Her desperation leads to her self-destruction, which parallels the tragedy of Lorca himself, killed in 1936 at the hands of a firing squad at age 38. \u003cem>Yerma\u003c/em> is the type of play that Shotgun Players does beautifully, with the immeasurable benefit of one of Spain’s greatest voices.\u003c/p>\n\u003cfigure id=\"attachment_13929279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929279\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg\" alt=\"three people, a white woman, a Black man and a Japanese-American man in colorful outfits, perform on a stage with a fake animal skeleton of some kind\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aymee Garcia, Cole Thompson and Kennedy Kanagawa in ‘Into the Woods’ \u003ccite>(Matthew Murphy and Evan Zimmerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfcurran.com/\">Into the Woods\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Curran, San Francisco\u003cbr>\nJune 20–25, 2023\u003c/em>\u003c/p>\n\u003cp>The Bay Area is a regular stop for national tours, but \u003cem>Into the Woods\u003c/em> offers an added bonus: multiple original cast members from the critically acclaimed Broadway production. The show opened in May of 2022 as a two-week run at the New York City Center before a Broadway transfer led to multiple extensions and six Tony Award nominations.\u003c/p>\n\u003cp>The masterpiece from James Lapine and Stephen Sondheim joins together multiple plots of various fairy tales of the Brothers Grimm — often with much darker consequences than their Disney counterparts. Making its way out West as well is the melancholy cow puppet Milky White, an aspect of the show that was all the rage in New York.\u003c/p>\n\u003cfigure id=\"attachment_13929281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg\" alt=\"a young Black woman with curly hair poses for a portrait in a red dress\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Longtime Bay Area performer Elizabeth Carter makes her TheatreWorks directorial debut with ‘Steel Magnolias.’ \u003ccite>(Jenny Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/\">Steel Magnolias\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Mountain View Center for the Performing Arts\u003cbr>\nJune 7–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>TheatreWorks Silicon Valley has been crafting great, innovative artistry for its recent productions, rethinking what a classic can be and infusing the work with components that expand a show’s inclusivity. (Exhibit A: their \u003cem>Little Shop of Horrors\u003c/em>, placed in San Francisco’s Chinatown, this past December.) This year, a play set in the South, which featured an all-white cast in the popular 1989 film, adapts the action into a Black-owned salon. Longtime Bay Area performer Elizabeth Carter directs.\u003c/p>\n\u003cfigure id=\"attachment_13929283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg\" alt=\"a large group of people in top hats and shiny outfits perform a dance in a chorus line on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘A Chorus Line’ at the London Palladium. San Francisco Playhouse closes its 20th anniversary season with the musical starting June 22. \u003ccite>(Alamy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/2022-2023-season/a-chorus-line/\">A Chorus Line\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Francisco Playhouse\u003cbr>\nJune 22–Sept. 9, 2023\u003c/em>\u003c/p>\n\u003cp>San Francisco Playhouse is going all in with its collection of musicals, offering up three in a 12-month span. One of the most decorated musicals in history, winning nine Tony awards and the Pulitzer Prize for drama in 1976, \u003cem>A Chorus Line\u003c/em> follows a colorful group of dancers vying for a coveted spot on a Broadway chorus line. Each dancer brings deep, personal stories with lots of humor and heartbreak. Despite their variety of backgrounds, each of the dancers ultimately asks the same question — if the dream were to end instantly after so much sacrifice, \u003ca href=\"https://www.youtube.com/watch?v=dwk0Sh3id4w\">are there any regrets\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13929284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929284\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-800x450.png\" alt=\"a group of four people, three Black women and one Black man, Questlove, smile for the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0.png 970w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hippest Trip’: Dominique Morrisseau (book), Ahmir ‘Questlove’ Thompson (executive producer), Camille A. Brown (choreography), Kamilah Forbes (director). \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Hippest Trip — The Soul Train Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Toni Rembe Theater, San Francisco\u003cbr>\nAug. 25–Oct. 1, 2023\u003c/em>\u003c/p>\n\u003cp>When Chicago disc jockey Joe Cobb pierced the television speaker with his dulcet falsetto screaming, “The soooooouuulllll train,” followed by Sid McCoy smoothly introducing “the hippest trip in America” while a colorful train \u003ca href=\"https://www.youtube.com/watch?v=f8osiVlz6Ws\">bounced along outer space\u003c/a>, you knew that Saturday morning was ready to commence with unbridled Black joy. Every ounce of \u003cem>Soul Train\u003c/em> is iconic — dapper host Don Cornelius, the \u003ca href=\"https://www.youtube.com/watch?v=lODBVM802H8\">Soul Train line\u003c/a>, prime fashion, and the show’s indelible role in popular culture.\u003c/p>\n\u003cp>This new musical, which finally premieres at A.C.T. after plenty of delays, is led by a dream team, including playwright Dominique Morrisseau and musician/Soul Train savant Ahmir “Questlove” Thompson. A long-anticipated world premiere, it’s poised to become the theatre event of the summer with high ambitions beyond the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13929285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg\" alt=\"a glass of water on a table in front of a woman's face, lit darkly; she has brown skin and black hair and is wearing dark lipstick\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez in ‘Who’s Afraid of Virginia Woolf.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/virginia\">Who’s Afraid of Virginia Woolf\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Flax Art & Design, Oakland\u003cbr>\nMay 26–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Long considered a masterpiece of the American theater, this unflinchingly comedic and profound work from Edward Albee follows middle-aged couple George and Martha, who invite a young professor and his wife over to their place for a nightcap; a dangerous round of fun and games ensues.\u003c/p>\n\u003cp>Oakland Theater Project is on a roll of late, producing gritty narratives from fresh playwrights while continuing to build upon a healthy repertory company of terrific artists. Popular company members Lisa Ramirez and Michael Socrates Moran perform and direct, respectively.\u003c/p>\n\u003cfigure id=\"attachment_13929286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929286\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg\" alt=\"a portrait of a man with light brown skin and a very short beard wearing a black t-shirt\" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ari’el Stachel in ‘Out of Character’ \u003ccite>(Sergio Pasquariello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/out-of-character/\">Out of Character\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre\u003cbr>\nJune 23–July 20, 2023\u003c/em>\u003c/p>\n\u003cp>Seeing the beautiful musical \u003cem>The Band’s Visit\u003c/em> in 2017 was to witness an incredible set of performances from an all-star cast. One of those performers, the handsome Berkeley-raised talent Ari’el Stachel, \u003ca href=\"https://www.youtube.com/watch?v=GUW-yM2y53s\">made audiences swoon\u003c/a> as the confident musician Haled. That swooning was no accident; his performance landed him the 2018 Tony Award for best featured actor in a musical.\u003c/p>\n\u003cp>Stachel returns home for this solo debut, telling his story of the difficulties he faced as an Israeli American of Yemeni Jewish descent shortly after the 9/11 attacks. In keeping with the homegrown nature of the piece, the show was developed at the Rep’s Ground Floor and is directed by former artistic director Tony Taccone, who led the Rep for 33 years before retiring in 2019.\u003c/p>\n\u003cfigure id=\"attachment_13929288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929288\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg\" alt=\"three people, a Black man in a suit, a Black woman in a white top and black pants and a Black woman in a peach dress, laugh while performing a reading in front of an applauding crowd\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1536x962.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited.jpg 1599w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Rotimi Agbabiaka, playwright Traci Tolmaire and actor Ryan Nicole Austin perform a staged reading of ‘In the Evening by the Moonlight’ at the Museum of African Diaspora. \u003ccite>(Courtesy Lorraine Hansberry Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.lhtsf.org/\">In the Evening by the Moonlight\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Young Performer’s Theatre at Fort Mason, San Francisco\u003cbr>\nJune 15–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>The Lorraine Hansberry Theatre is the home for this new play that imagines a conversation between three major figures: the theatre’s namesake, Lorraine Hansberry, Nina Simone and James Baldwin. The piece is set in Hansberry’s Waverly Place flat in New York, as the three icons confront a fearful future while expressing hopes for a revolution.\u003c/p>\n\u003cp>The play, which received a successful reading in April, is written by Traci Tolmaire, and co-created and directed by artistic director Margo Hall.\u003c/p>\n\u003cfigure id=\"attachment_13929291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png\" alt=\"three white people, two men and one woman, smile for the camera while sitting in an empty theater\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1536x1152.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1.png 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hamlet’ from the Marin Shakespeare Company, left to right: Jon Tracy (director), Bridgette Loriaux (‘Gertrude’) and Nick Musleh (‘Hamlet’). \u003ccite>(Jon Tracy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/\">Hamlet\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Forest Meadows Amphitheatre, San Rafael\u003cbr>\nJune 16–July 16, 2023\u003c/em>\u003c/p>\n\u003cp>Nothing screams summer like Shakespeare in an outdoor setting, and the Marin Shakespeare Company has presented the Bard outside since 1989. Well-known Bay Area director Jon Tracy is taking over the reins as summer season artistic producer, and while he has directed for the company plenty, this is his debut in the new role.\u003c/p>\n\u003cp>The story of Hamlet has everything one can ask for in a drama — iconic characters, lust, betrayal, greed, humor and deception. To be or not to be in the house? Grabbing some Shakespeare on a beautiful North Bay night under the stars is a definite “to be.”\u003c/p>\n\u003cfigure id=\"attachment_13929293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg\" alt=\"\" width=\"800\" height=\"1105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1020x1408.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-160x221.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-768x1060.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1112x1536.jpeg 1112w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1483x2048.jpeg 1483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg 1854w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Timothy Near, director of ‘The Road to Mecca.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.zspace.org/\">The Road to Mecca\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Z Below, San Francisco\u003cbr>\nJune 4–30, 2023\u003c/em>\u003c/p>\n\u003cp>This work from Athol Fugard, long considered the greatest of South African playwrights, centers an aging Miss Helen, who fills her home and garden with sculptures made from junk after the death of her husband. As her mental health continues to deteriorate, two people — a local pastor and a young teacher — fight to determine the ultimate path of her perilous future.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The piece brings together a group of artists who last worked together on another Fugard piece at Z Below, \u003cem>A Lesson from Aloes\u003c/em>, in 2018. Timothy Near leads the three-hander, reuniting the longtime director with top acting talents Victor Talmadge and Wendy vanden Heuvel.\u003c/p>\n\n",
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"excerpt": "This summer, local theatre stages host a mix of the classic and contemporary, alongside world premieres and hearty musicals.",
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"title": "10 Hot Tickets to Bay Area Plays and Musicals This Summer | KQED",
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"headline": "10 Hot Tickets to Bay Area Plays and Musicals This Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Theater companies typically grind hard from September to June, and as a result, the summer months ease up a bit before the cycle starts again in the fall. This doesn’t mean the Bay Area theater scene is a barren wasteland over the summer; quite the opposite.\u003c/p>\n\u003cp>Bay Area stages this summer host a healthy mix of the classic and contemporary, along with world premieres and hearty musicals. Here are 10 shows from late May to early September that you don’t want to miss.\u003c/p>\n\u003cfigure id=\"attachment_13929271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg\" alt=\"a photo of three people posed in front of a wooden door, two youngish Latino-appearing men with a Latina woman in an orange standing between them, looking at the camera\" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1020x1043.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1502x1536.jpg 1502w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1920x1963.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caleb Cabrera and Regina Morones and Samuel Prince in ‘Yerma.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Yerma\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003cbr>\nMay 27–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Spanish poet Federico Garcia Lorca, whose passion explodes from the ink, has a special quality that knows no end. Lorca’s characters are not simply products of circumstance; they are wholly consumed by fate. His ideas and word combinations are incredibly thrilling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Yerma\u003c/em>, a play not as frequently produced as the two others in his Rural Trilogy, the title character is childless, desperately yearning to be a mother. Her desperation leads to her self-destruction, which parallels the tragedy of Lorca himself, killed in 1936 at the hands of a firing squad at age 38. \u003cem>Yerma\u003c/em> is the type of play that Shotgun Players does beautifully, with the immeasurable benefit of one of Spain’s greatest voices.\u003c/p>\n\u003cfigure id=\"attachment_13929279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929279\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg\" alt=\"three people, a white woman, a Black man and a Japanese-American man in colorful outfits, perform on a stage with a fake animal skeleton of some kind\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aymee Garcia, Cole Thompson and Kennedy Kanagawa in ‘Into the Woods’ \u003ccite>(Matthew Murphy and Evan Zimmerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfcurran.com/\">Into the Woods\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Curran, San Francisco\u003cbr>\nJune 20–25, 2023\u003c/em>\u003c/p>\n\u003cp>The Bay Area is a regular stop for national tours, but \u003cem>Into the Woods\u003c/em> offers an added bonus: multiple original cast members from the critically acclaimed Broadway production. The show opened in May of 2022 as a two-week run at the New York City Center before a Broadway transfer led to multiple extensions and six Tony Award nominations.\u003c/p>\n\u003cp>The masterpiece from James Lapine and Stephen Sondheim joins together multiple plots of various fairy tales of the Brothers Grimm — often with much darker consequences than their Disney counterparts. Making its way out West as well is the melancholy cow puppet Milky White, an aspect of the show that was all the rage in New York.\u003c/p>\n\u003cfigure id=\"attachment_13929281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg\" alt=\"a young Black woman with curly hair poses for a portrait in a red dress\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Longtime Bay Area performer Elizabeth Carter makes her TheatreWorks directorial debut with ‘Steel Magnolias.’ \u003ccite>(Jenny Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/\">Steel Magnolias\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Mountain View Center for the Performing Arts\u003cbr>\nJune 7–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>TheatreWorks Silicon Valley has been crafting great, innovative artistry for its recent productions, rethinking what a classic can be and infusing the work with components that expand a show’s inclusivity. (Exhibit A: their \u003cem>Little Shop of Horrors\u003c/em>, placed in San Francisco’s Chinatown, this past December.) This year, a play set in the South, which featured an all-white cast in the popular 1989 film, adapts the action into a Black-owned salon. Longtime Bay Area performer Elizabeth Carter directs.\u003c/p>\n\u003cfigure id=\"attachment_13929283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg\" alt=\"a large group of people in top hats and shiny outfits perform a dance in a chorus line on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘A Chorus Line’ at the London Palladium. San Francisco Playhouse closes its 20th anniversary season with the musical starting June 22. \u003ccite>(Alamy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/2022-2023-season/a-chorus-line/\">A Chorus Line\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Francisco Playhouse\u003cbr>\nJune 22–Sept. 9, 2023\u003c/em>\u003c/p>\n\u003cp>San Francisco Playhouse is going all in with its collection of musicals, offering up three in a 12-month span. One of the most decorated musicals in history, winning nine Tony awards and the Pulitzer Prize for drama in 1976, \u003cem>A Chorus Line\u003c/em> follows a colorful group of dancers vying for a coveted spot on a Broadway chorus line. Each dancer brings deep, personal stories with lots of humor and heartbreak. Despite their variety of backgrounds, each of the dancers ultimately asks the same question — if the dream were to end instantly after so much sacrifice, \u003ca href=\"https://www.youtube.com/watch?v=dwk0Sh3id4w\">are there any regrets\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13929284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929284\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-800x450.png\" alt=\"a group of four people, three Black women and one Black man, Questlove, smile for the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0.png 970w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hippest Trip’: Dominique Morrisseau (book), Ahmir ‘Questlove’ Thompson (executive producer), Camille A. Brown (choreography), Kamilah Forbes (director). \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Hippest Trip — The Soul Train Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Toni Rembe Theater, San Francisco\u003cbr>\nAug. 25–Oct. 1, 2023\u003c/em>\u003c/p>\n\u003cp>When Chicago disc jockey Joe Cobb pierced the television speaker with his dulcet falsetto screaming, “The soooooouuulllll train,” followed by Sid McCoy smoothly introducing “the hippest trip in America” while a colorful train \u003ca href=\"https://www.youtube.com/watch?v=f8osiVlz6Ws\">bounced along outer space\u003c/a>, you knew that Saturday morning was ready to commence with unbridled Black joy. Every ounce of \u003cem>Soul Train\u003c/em> is iconic — dapper host Don Cornelius, the \u003ca href=\"https://www.youtube.com/watch?v=lODBVM802H8\">Soul Train line\u003c/a>, prime fashion, and the show’s indelible role in popular culture.\u003c/p>\n\u003cp>This new musical, which finally premieres at A.C.T. after plenty of delays, is led by a dream team, including playwright Dominique Morrisseau and musician/Soul Train savant Ahmir “Questlove” Thompson. A long-anticipated world premiere, it’s poised to become the theatre event of the summer with high ambitions beyond the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13929285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg\" alt=\"a glass of water on a table in front of a woman's face, lit darkly; she has brown skin and black hair and is wearing dark lipstick\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez in ‘Who’s Afraid of Virginia Woolf.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/virginia\">Who’s Afraid of Virginia Woolf\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Flax Art & Design, Oakland\u003cbr>\nMay 26–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Long considered a masterpiece of the American theater, this unflinchingly comedic and profound work from Edward Albee follows middle-aged couple George and Martha, who invite a young professor and his wife over to their place for a nightcap; a dangerous round of fun and games ensues.\u003c/p>\n\u003cp>Oakland Theater Project is on a roll of late, producing gritty narratives from fresh playwrights while continuing to build upon a healthy repertory company of terrific artists. Popular company members Lisa Ramirez and Michael Socrates Moran perform and direct, respectively.\u003c/p>\n\u003cfigure id=\"attachment_13929286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929286\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg\" alt=\"a portrait of a man with light brown skin and a very short beard wearing a black t-shirt\" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ari’el Stachel in ‘Out of Character’ \u003ccite>(Sergio Pasquariello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/out-of-character/\">Out of Character\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre\u003cbr>\nJune 23–July 20, 2023\u003c/em>\u003c/p>\n\u003cp>Seeing the beautiful musical \u003cem>The Band’s Visit\u003c/em> in 2017 was to witness an incredible set of performances from an all-star cast. One of those performers, the handsome Berkeley-raised talent Ari’el Stachel, \u003ca href=\"https://www.youtube.com/watch?v=GUW-yM2y53s\">made audiences swoon\u003c/a> as the confident musician Haled. That swooning was no accident; his performance landed him the 2018 Tony Award for best featured actor in a musical.\u003c/p>\n\u003cp>Stachel returns home for this solo debut, telling his story of the difficulties he faced as an Israeli American of Yemeni Jewish descent shortly after the 9/11 attacks. In keeping with the homegrown nature of the piece, the show was developed at the Rep’s Ground Floor and is directed by former artistic director Tony Taccone, who led the Rep for 33 years before retiring in 2019.\u003c/p>\n\u003cfigure id=\"attachment_13929288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929288\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg\" alt=\"three people, a Black man in a suit, a Black woman in a white top and black pants and a Black woman in a peach dress, laugh while performing a reading in front of an applauding crowd\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1536x962.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited.jpg 1599w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Rotimi Agbabiaka, playwright Traci Tolmaire and actor Ryan Nicole Austin perform a staged reading of ‘In the Evening by the Moonlight’ at the Museum of African Diaspora. \u003ccite>(Courtesy Lorraine Hansberry Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.lhtsf.org/\">In the Evening by the Moonlight\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Young Performer’s Theatre at Fort Mason, San Francisco\u003cbr>\nJune 15–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>The Lorraine Hansberry Theatre is the home for this new play that imagines a conversation between three major figures: the theatre’s namesake, Lorraine Hansberry, Nina Simone and James Baldwin. The piece is set in Hansberry’s Waverly Place flat in New York, as the three icons confront a fearful future while expressing hopes for a revolution.\u003c/p>\n\u003cp>The play, which received a successful reading in April, is written by Traci Tolmaire, and co-created and directed by artistic director Margo Hall.\u003c/p>\n\u003cfigure id=\"attachment_13929291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png\" alt=\"three white people, two men and one woman, smile for the camera while sitting in an empty theater\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1536x1152.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1.png 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hamlet’ from the Marin Shakespeare Company, left to right: Jon Tracy (director), Bridgette Loriaux (‘Gertrude’) and Nick Musleh (‘Hamlet’). \u003ccite>(Jon Tracy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/\">Hamlet\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Forest Meadows Amphitheatre, San Rafael\u003cbr>\nJune 16–July 16, 2023\u003c/em>\u003c/p>\n\u003cp>Nothing screams summer like Shakespeare in an outdoor setting, and the Marin Shakespeare Company has presented the Bard outside since 1989. Well-known Bay Area director Jon Tracy is taking over the reins as summer season artistic producer, and while he has directed for the company plenty, this is his debut in the new role.\u003c/p>\n\u003cp>The story of Hamlet has everything one can ask for in a drama — iconic characters, lust, betrayal, greed, humor and deception. To be or not to be in the house? Grabbing some Shakespeare on a beautiful North Bay night under the stars is a definite “to be.”\u003c/p>\n\u003cfigure id=\"attachment_13929293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg\" alt=\"\" width=\"800\" height=\"1105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1020x1408.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-160x221.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-768x1060.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1112x1536.jpeg 1112w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1483x2048.jpeg 1483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg 1854w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Timothy Near, director of ‘The Road to Mecca.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.zspace.org/\">The Road to Mecca\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Z Below, San Francisco\u003cbr>\nJune 4–30, 2023\u003c/em>\u003c/p>\n\u003cp>This work from Athol Fugard, long considered the greatest of South African playwrights, centers an aging Miss Helen, who fills her home and garden with sculptures made from junk after the death of her husband. As her mental health continues to deteriorate, two people — a local pastor and a young teacher — fight to determine the ultimate path of her perilous future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The piece brings together a group of artists who last worked together on another Fugard piece at Z Below, \u003cem>A Lesson from Aloes\u003c/em>, in 2018. Timothy Near leads the three-hander, reuniting the longtime director with top acting talents Victor Talmadge and Wendy vanden Heuvel.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "so-you-began-your-event-with-an-indigenous-land-acknowledgement-now-what",
"title": "So You Began Your Event With an Indigenous Land Acknowledgement. Now What?",
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"headTitle": "So You Began Your Event With an Indigenous Land Acknowledgement. Now What? | KQED",
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"content": "\u003cp>Land acknowledgments have become increasingly common nationwide over the past few years. Many mainstream public events — from soccer games and performing arts productions to city council meetings and corporate conferences — begin with these formal statements recognizing Indigenous communities’ rights to territories seized by colonial powers.\u003c/p>\n\u003cp>Indigenous leaders and activists have mixed feelings about land acknowledgments. While some say they are a waste of time, others are working to make the well-meaning but often empty speeches more useful. The debate is more than a niche issue; the pros and cons of land acknowledgments are the subject of myriad \u003ca href=\"https://www.theatlantic.com/ideas/archive/2021/11/against-land-acknowledgements-native-american/620820/\">mainstream media articles\u003c/a>, \u003ca href=\"https://twitter.com/michellecyca/status/1525198115304636416?lang=en\">social media posts \u003c/a>and \u003ca href=\"https://www.youtube.com/watch?v=Q_3W7KKB-Vc\">online videos\u003c/a>. And they’ve even been parodied on TV, in series like \u003cem>Reservation Dogs, \u003c/em>about the exploits of a group of Oklahoma Indigenous teens.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r8UpKVImNcU&t=72s\u003c/p>\n\u003ch3>In one ear and out the other\u003c/h3>\n\u003cp>“If it becomes routine, or worse yet, is strictly performative, then it has no meaning at all,” said \u003ca href=\"https://www.si.edu/about/bios/kevin-gover\">Kevin Gover\u003c/a>, a citizen of the Pawnee Nation of Oklahoma and undersecretary for museums and culture at the \u003ca href=\"https://www.si.edu/\">Smithsonian Institution\u003c/a>. “It goes in one ear and out the other.” (Gover said only one or two Smithsonian museums have land acknowledgments; the \u003ca href=\"https://americanindian.si.edu/\">National Museum of the American Indian\u003c/a> is among those that do, and \u003ca href=\"https://americanindian.si.edu/nk360/informational/land-acknowledgment\">its acknowledgment\u003c/a> is only one sentence long.)\u003c/p>\n\u003cp>[aside postid='arts_13920243']Gover said the statements — which first appeared in Australia back in the 1970s in the push for Aboriginal peoples’ rights and more recently blossomed in Canada with the \u003ca href=\"https://nctr.ca/records/reports/\">Truth and Reconciliation Commission Report\u003c/a>, which brought to light how generations of Indigenous school children had been stripped of their native languages and cultural traditions — can also feel disempowering to the very people they’re supposed to uplift.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If I hear a land acknowledgment, part of what I’m hearing is, ‘There used to be Indians here. But now they’re gone. Isn’t that a shame?’ And I don’t wish to be made to feel that way,” Gover said.\u003c/p>\n\u003ch3>A first step toward positive action\u003c/h3>\n\u003cp>But other Indigenous experts say land acknowledgments do have value. If people are thinking about how they go about crafting and using these statements, they can provide a first step toward action.\u003c/p>\n\u003cp>“The land acknowledgment gets you to that start,” said \u003ca href=\"https://nasp.humboldt.edu/people/dr-cutcha-risling-baldy\">Cutcha Risling Baldy\u003c/a>, a member of the Hoopa Valley Tribe and an associate professor of Native American Studies at \u003ca href=\"https://www.humboldt.edu/\">California State Polytechnic University, Humboldt\u003c/a>. “Now it’s time to think about what that actually means for you or your institution. What are the concrete actions you’re gonna take? What are the ways you’re gonna assist Indigenous peoples in uplifting and upholding their sovereignty and self-determination?”\u003c/p>\n\u003cfigure id=\"attachment_13926295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d-800x600.jpg\" alt='A poster for an \"Unthanksgiving event\" welcomes visitors in a hallway.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d.jpg 1474w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flyer advertising Cutcha Risling Baldy’s talk at Dominican University in which she used the land acknowledgment to solicit support for the First Nations Garden in nearby Chicago. \u003ccite>(Fawn Pochel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Baldy demonstrates how land acknowledgments can be used in talks she gives around the country. For example, she used the land acknowledgment at the start of a lecture at Dominican University in River Forest, Ill., in November 2022 to ask audience members to support an Indigenous community garden nearby Chicago.\u003c/p>\n\u003cp>[aside postid='arts_13916457']“She put up a QR code for people to donate directly to the \u003ca href=\"https://chinations.org/first-nations-garden/\">First Nations Garden\u003c/a>,” said Fawn Pochel, who was in Baldy’s audience that day. “She literally paused so people could take pictures and create donations.”\u003c/p>\n\u003cp>Pochel, who identifies as First Nations Ojibwe and is part of the community organization effort around the First Nations Garden, said her group received more than $200 in unexpected donations within 24 hours due to Baldy’s callout during the land acknowledgment.\u003c/p>\n\u003cp>“That was a direct result of her uplifting our space during her conversation,” Pochel said.\u003c/p>\n\u003ch3>Putting land acknowledgments to further use\u003c/h3>\n\u003cp>Sometimes land acknowledgments can lead to more than one-off donations.\u003c/p>\n\u003cp>[aside postid='arts_13916175']At \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>, a theater company in Berkeley, Calif., all performances and staff meetings begin with a 45-second-long statement acknowledging, “that the land beneath our theater and our studios and throughout East Bay is Huichin, the traditional unceded land of the Lisjan Ohlone people.”\u003c/p>\n\u003cp>Artistic director Patrick Dooley, who’s not Native American, said having a land acknowledgment helps remind his theater company and audience of their privileges.\u003c/p>\n\u003cp>“We’re just here for a brief time,” Dooley said. “And the way we can really honor our opportunity to live wherever we live is to acknowledge and honor the people that came before us.”\u003c/p>\n\u003cp>The company developed its land acknowledgment three years ago in collaboration with the \u003ca href=\"https://sogoreate-landtrust.org/\">Sogorea Te’ Land Trust\u003c/a>, a San Francisco Bay Area nonprofit focused on Indigenous land return.\u003c/p>\n\u003cp>“When we work with people around creating land acknowledgments, it really has to be a reciprocal relationship,” said \u003ca href=\"https://sogoreate-landtrust.org/directors/corrina-gould/\">Corrina Gould\u003c/a>, co-director of the land trust and tribal chair of the \u003ca href=\"https://villagesoflisjan.org/\">Confederated Villages of Lisjan-Ohlone\u003c/a>.\u003c/p>\n\u003cp>The theater company takes the reciprocity seriously.\u003c/p>\n\u003cp>[aside postid='arts_13921886']Artistic director Dooley said Shotgun Players pays a voluntary land tax — known as “\u003ca href=\"https://sogoreate-landtrust.org/shuumi-land-tax/\">Shuumi Land Tax\u003c/a>,” incorporating the Chochenyo word for “gift” — of between $3,000 and $6,000 a year to the trust. (Dooley said the amount depends on the company’s annual income). The theater company has also offered the trust tickets to performances and invitations to use its space.\u003c/p>\n\u003cp>Sogorea Te’ Land Trust co-director Gould said she’d like to see Shotgun Players do even more, including hiring Indigenous theater artists.\u003c/p>\n\u003cp>“We’re hoping that it’ll be a long-term relationship that our children will be able to say, ‘Hey, this started a long time ago, but we’re still in this together,’ ” said Gould, who added her organization has been developing deeper relationships with a variety of local organizations including \u003ca href=\"https://www.oaklandrootssc.com/stolen-land/\">Oakland Roots\u003c/a> soccer team and \u003ca href=\"https://www.berkeleyrep.org/about/land-acknowledgement/\">Berkeley Repertory Theatre\u003c/a>.\u003c/p>\n\u003cp>Shotgun’s Dooley said he agrees. But he admits he still needs to do more to seek out Indigenous talent for his theater’s productions.\u003c/p>\n\u003cp>“We have a seasoned selection committee,” the artistic director said. “And one of the priorities that we have is to do that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003cem>. Audio produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez-Sarmiento\u003c/em>\u003c/a>\u003cem>. Web copy edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/348743704/beth-novey\">\u003cem>Beth Novey\u003c/em>\u003c/a>\u003cem>. Editorial consultant, \u003c/em>\u003ca href=\"https://www.npr.org/people/933079708/sam-yellowhorse-kesler\">\u003cem>Sam Yellowhorse Kesler\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=So+you+began+your+event+with+an+indigenous+land+acknowledgement.+Now+what%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Land acknowledgments have become increasingly common nationwide over the past few years. Many mainstream public events — from soccer games and performing arts productions to city council meetings and corporate conferences — begin with these formal statements recognizing Indigenous communities’ rights to territories seized by colonial powers.\u003c/p>\n\u003cp>Indigenous leaders and activists have mixed feelings about land acknowledgments. While some say they are a waste of time, others are working to make the well-meaning but often empty speeches more useful. The debate is more than a niche issue; the pros and cons of land acknowledgments are the subject of myriad \u003ca href=\"https://www.theatlantic.com/ideas/archive/2021/11/against-land-acknowledgements-native-american/620820/\">mainstream media articles\u003c/a>, \u003ca href=\"https://twitter.com/michellecyca/status/1525198115304636416?lang=en\">social media posts \u003c/a>and \u003ca href=\"https://www.youtube.com/watch?v=Q_3W7KKB-Vc\">online videos\u003c/a>. And they’ve even been parodied on TV, in series like \u003cem>Reservation Dogs, \u003c/em>about the exploits of a group of Oklahoma Indigenous teens.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r8UpKVImNcU'\n title='//www.youtube.com/embed/r8UpKVImNcU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>In one ear and out the other\u003c/h3>\n\u003cp>“If it becomes routine, or worse yet, is strictly performative, then it has no meaning at all,” said \u003ca href=\"https://www.si.edu/about/bios/kevin-gover\">Kevin Gover\u003c/a>, a citizen of the Pawnee Nation of Oklahoma and undersecretary for museums and culture at the \u003ca href=\"https://www.si.edu/\">Smithsonian Institution\u003c/a>. “It goes in one ear and out the other.” (Gover said only one or two Smithsonian museums have land acknowledgments; the \u003ca href=\"https://americanindian.si.edu/\">National Museum of the American Indian\u003c/a> is among those that do, and \u003ca href=\"https://americanindian.si.edu/nk360/informational/land-acknowledgment\">its acknowledgment\u003c/a> is only one sentence long.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gover said the statements — which first appeared in Australia back in the 1970s in the push for Aboriginal peoples’ rights and more recently blossomed in Canada with the \u003ca href=\"https://nctr.ca/records/reports/\">Truth and Reconciliation Commission Report\u003c/a>, which brought to light how generations of Indigenous school children had been stripped of their native languages and cultural traditions — can also feel disempowering to the very people they’re supposed to uplift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If I hear a land acknowledgment, part of what I’m hearing is, ‘There used to be Indians here. But now they’re gone. Isn’t that a shame?’ And I don’t wish to be made to feel that way,” Gover said.\u003c/p>\n\u003ch3>A first step toward positive action\u003c/h3>\n\u003cp>But other Indigenous experts say land acknowledgments do have value. If people are thinking about how they go about crafting and using these statements, they can provide a first step toward action.\u003c/p>\n\u003cp>“The land acknowledgment gets you to that start,” said \u003ca href=\"https://nasp.humboldt.edu/people/dr-cutcha-risling-baldy\">Cutcha Risling Baldy\u003c/a>, a member of the Hoopa Valley Tribe and an associate professor of Native American Studies at \u003ca href=\"https://www.humboldt.edu/\">California State Polytechnic University, Humboldt\u003c/a>. “Now it’s time to think about what that actually means for you or your institution. What are the concrete actions you’re gonna take? What are the ways you’re gonna assist Indigenous peoples in uplifting and upholding their sovereignty and self-determination?”\u003c/p>\n\u003cfigure id=\"attachment_13926295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d-800x600.jpg\" alt='A poster for an \"Unthanksgiving event\" welcomes visitors in a hallway.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/img_0446-86c59dac84f2d23b473bc6f1d360c2351653ac6d.jpg 1474w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flyer advertising Cutcha Risling Baldy’s talk at Dominican University in which she used the land acknowledgment to solicit support for the First Nations Garden in nearby Chicago. \u003ccite>(Fawn Pochel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Baldy demonstrates how land acknowledgments can be used in talks she gives around the country. For example, she used the land acknowledgment at the start of a lecture at Dominican University in River Forest, Ill., in November 2022 to ask audience members to support an Indigenous community garden nearby Chicago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She put up a QR code for people to donate directly to the \u003ca href=\"https://chinations.org/first-nations-garden/\">First Nations Garden\u003c/a>,” said Fawn Pochel, who was in Baldy’s audience that day. “She literally paused so people could take pictures and create donations.”\u003c/p>\n\u003cp>Pochel, who identifies as First Nations Ojibwe and is part of the community organization effort around the First Nations Garden, said her group received more than $200 in unexpected donations within 24 hours due to Baldy’s callout during the land acknowledgment.\u003c/p>\n\u003cp>“That was a direct result of her uplifting our space during her conversation,” Pochel said.\u003c/p>\n\u003ch3>Putting land acknowledgments to further use\u003c/h3>\n\u003cp>Sometimes land acknowledgments can lead to more than one-off donations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>, a theater company in Berkeley, Calif., all performances and staff meetings begin with a 45-second-long statement acknowledging, “that the land beneath our theater and our studios and throughout East Bay is Huichin, the traditional unceded land of the Lisjan Ohlone people.”\u003c/p>\n\u003cp>Artistic director Patrick Dooley, who’s not Native American, said having a land acknowledgment helps remind his theater company and audience of their privileges.\u003c/p>\n\u003cp>“We’re just here for a brief time,” Dooley said. “And the way we can really honor our opportunity to live wherever we live is to acknowledge and honor the people that came before us.”\u003c/p>\n\u003cp>The company developed its land acknowledgment three years ago in collaboration with the \u003ca href=\"https://sogoreate-landtrust.org/\">Sogorea Te’ Land Trust\u003c/a>, a San Francisco Bay Area nonprofit focused on Indigenous land return.\u003c/p>\n\u003cp>“When we work with people around creating land acknowledgments, it really has to be a reciprocal relationship,” said \u003ca href=\"https://sogoreate-landtrust.org/directors/corrina-gould/\">Corrina Gould\u003c/a>, co-director of the land trust and tribal chair of the \u003ca href=\"https://villagesoflisjan.org/\">Confederated Villages of Lisjan-Ohlone\u003c/a>.\u003c/p>\n\u003cp>The theater company takes the reciprocity seriously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Artistic director Dooley said Shotgun Players pays a voluntary land tax — known as “\u003ca href=\"https://sogoreate-landtrust.org/shuumi-land-tax/\">Shuumi Land Tax\u003c/a>,” incorporating the Chochenyo word for “gift” — of between $3,000 and $6,000 a year to the trust. (Dooley said the amount depends on the company’s annual income). The theater company has also offered the trust tickets to performances and invitations to use its space.\u003c/p>\n\u003cp>Sogorea Te’ Land Trust co-director Gould said she’d like to see Shotgun Players do even more, including hiring Indigenous theater artists.\u003c/p>\n\u003cp>“We’re hoping that it’ll be a long-term relationship that our children will be able to say, ‘Hey, this started a long time ago, but we’re still in this together,’ ” said Gould, who added her organization has been developing deeper relationships with a variety of local organizations including \u003ca href=\"https://www.oaklandrootssc.com/stolen-land/\">Oakland Roots\u003c/a> soccer team and \u003ca href=\"https://www.berkeleyrep.org/about/land-acknowledgement/\">Berkeley Repertory Theatre\u003c/a>.\u003c/p>\n\u003cp>Shotgun’s Dooley said he agrees. But he admits he still needs to do more to seek out Indigenous talent for his theater’s productions.\u003c/p>\n\u003cp>“We have a seasoned selection committee,” the artistic director said. “And one of the priorities that we have is to do that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003cem>. Audio produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez-Sarmiento\u003c/em>\u003c/a>\u003cem>. Web copy edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/348743704/beth-novey\">\u003cem>Beth Novey\u003c/em>\u003c/a>\u003cem>. Editorial consultant, \u003c/em>\u003ca href=\"https://www.npr.org/people/933079708/sam-yellowhorse-kesler\">\u003cem>Sam Yellowhorse Kesler\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=So+you+began+your+event+with+an+indigenous+land+acknowledgement.+Now+what%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Natasha, Pierre & the Great Comet of 1812' a Grand Reunion for Dave Malloy and Shotgun Players",
"headTitle": "‘Natasha, Pierre & the Great Comet of 1812’ a Grand Reunion for Dave Malloy and Shotgun Players | KQED",
"content": "\u003cp>It’s been a good year for composer and playsmith Dave Malloy reconnecting to the Bay Area. His chamber musical \u003cem>Octet\u003c/em> had a Berkeley Rep run in the spring, and, last week, his highly-anticipated West Coast premiere of \u003cem>Natasha, Pierre & the Great Comet of 1812 \u003c/em>opened for previews at the Ashby Stage. Once a Shotgun Players regular — having co-developed \u003cem>Beowulf, a Thousand Years of Baggage\u003c/em> in 2008, and \u003cem>Beardo\u003c/em> in 2011 — Malloy’s triumphal return feels almost pre-ordained. \u003c/p>\n\u003cp>Watch enough theatre in the Bay Area and you start to identify how one moment in an artist’s trajectory connects to another, years, sometimes decades down the line. In \u003cem>Great Comet\u003c/em> are reverberations of Malloy’s earlier works: A riff on a literary manuscript of great importance (in this case, \u003cem>War and Peace\u003c/em>), a reuniting with Imperial Russia, a rock-inflected score revealing the emotional layers of each character before they’re expressed in verse, and a playful quality infusing the action with an undercurrent of genial bonhomie, no matter its weight.\u003c/p>\n\u003cfigure id=\"attachment_13921570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-800x533.jpg\" alt=\"Jacqueline Dennis, a Black woman in a pink satin ballgown, stands centerstage in blue lighti, singing with her arms outstretched beneath a large chandelier\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacqueline Dennis as Natasha in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This gaiety makes itself known even before the play begins. A Nina Ball-designed banquet table-cum-catwalk stretches from the stage into the center of the room, with the audience seated on either side. An enormous chandelier commands the space from above, a lone chair upholstered in red satin sits at one end of the runway, and the world’s smallest orchestra pit — containing just two musicians — peeks up from its center. (From here, music director Daniel Alley conducts and plays an upright piano while actors spin and prance all around.) Some audience members have come in costume (those who do get free drinks), jello shots are on the menu, and Russian electronica pumps through the sound system. It all adds up to a modern-day approximation of aristocratic decadence circa 1812.\u003c/p>\n\u003cp>Right from the top, Malloy makes this small foray into Tolstoy’s masterpiece as breezy and accessible as possible. There’s no need to have done the reading beforehand. The characters are each introduced by their defining characteristic. Natasha (Jacqueline Dennis) is “young.” Marya (Michelle Ianiro) is “old-school.” Anatole (Nick Rodrigues) is “hot.” His sister Hélène (Angel Adedokun) is a “slut.” And Andrey (James Mayagoitia) — Natasha’s fiancé — “isn’t here.”\u003c/p>\n\u003cfigure id=\"attachment_13921569\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-800x1200.jpg\" alt=\"Angel Adedokun walks down a long catwalk, her hand raised in the air. She is a slender Black woman with long textured hair and a purple silk dress and black boots. The ensemble dances behind her.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Angel Adedokun as Hélène owning the runway in ‘Natasha, Pierre & the Great Comet of 1812,’ \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From this point the story follows a predictable, almost melodramatic path. Natasha falls for the rakish Anaotle. Marya (and most of Moscovian society) is appalled. Hélène is an active participant in orchestrating their impending elopement. And Pierre (Albert Hodge) — Hélène’s beleaguered husband, whose satined seat at the center of the room affords him the best, most voyeuristic view into the lives of his play-mates — quietly turns the pages of his leather-bound copy of \u003cem>War and Peace\u003c/em> as its rambunctious contents unfold on the stage in front of him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Natasha, Jacqueline Dennis is a delightful anchor for the staged tempests of Tolstoy. Wearing her ill-advised desire for Anatole as freshly as the virginal rose she wears in her hair, Dennis shines with a celestial radiance that brightens and enhances each performer pulled into her orbit. These include a blissfully lovely duet with her winsome cousin Sonya (Veronica Renner); a blushing acceptance of the effects of her evident charms on Moscow’s elite, gathered around her at the opera; and the rakish whims of Anatole transformed almost to gentleness by her illuminating presence.\u003c/p>\n\u003cfigure id=\"attachment_13921571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-800x533.jpg\" alt=\"Nick Rodrigues wearing a loose purple silk shirt and tight black trousers holds out his hand and smiles.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anatole is hot. Nick Rodrigues as Anatole in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In turn, Nick Rodrigues as Anatole cuts a very convincing cad. His vocals, while sometimes shaky, combine with superlative cheekbones to lend him the blazing sex appeal of a Wham!-era George Michael. Equally matched for heat and charm, Angel Adedokun as Hélène steals almost every scene she’s present in, even when it’s merely as a witness to the forward motion of unstoppable events. She struts down the catwalk like she owns it, flirts outrageously with every person within a 100-foot radius, and pounds out the beat of Anatole’s own overheated heart on a drum as he capriciously plots Natasha’s inevitable downfall.\u003c/p>\n\u003cfigure id=\"attachment_13921568\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-800x1200.jpg\" alt=\"Albert Hodge, a Black Man in a furcoat and a brown suit and red satin tie looks into the distance, a red curtain behind him.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Albert Hodge as Pierre in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through all of the tumult and drama and excess, Pierre watches, often silently, from his corner of the room. When he joins the others, he drinks too much and speaks too loudly — a barroom philosophizer with a maudlin streak. And yet, Albert Hodge imbues his Pierre with a gravitas befitting his centrality to the plot. Despite (or perhaps because of) his less dignified moments, one can’t help but to root for things to finally work out in his favor. And so they do, when the long tail of the play comes back around to meet itself on the other side of intermission, like that of the titular Great Comet that dazzles both the nineteenth-century countryside and the twenty-first century theatre set. A brilliant beacon heralding a new age. Or, at least, a new path forward for Pierre and for his well-wishers, past and present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Natasha, Pierre & the Great Comet of 1812’ runs through Jan. 15, 2023, at Ashby Stage in Berkeley. \u003ca href=\"http://shotgunplayers.org/online/article/great-comet\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a good year for composer and playsmith Dave Malloy reconnecting to the Bay Area. His chamber musical \u003cem>Octet\u003c/em> had a Berkeley Rep run in the spring, and, last week, his highly-anticipated West Coast premiere of \u003cem>Natasha, Pierre & the Great Comet of 1812 \u003c/em>opened for previews at the Ashby Stage. Once a Shotgun Players regular — having co-developed \u003cem>Beowulf, a Thousand Years of Baggage\u003c/em> in 2008, and \u003cem>Beardo\u003c/em> in 2011 — Malloy’s triumphal return feels almost pre-ordained. \u003c/p>\n\u003cp>Watch enough theatre in the Bay Area and you start to identify how one moment in an artist’s trajectory connects to another, years, sometimes decades down the line. In \u003cem>Great Comet\u003c/em> are reverberations of Malloy’s earlier works: A riff on a literary manuscript of great importance (in this case, \u003cem>War and Peace\u003c/em>), a reuniting with Imperial Russia, a rock-inflected score revealing the emotional layers of each character before they’re expressed in verse, and a playful quality infusing the action with an undercurrent of genial bonhomie, no matter its weight.\u003c/p>\n\u003cfigure id=\"attachment_13921570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-800x533.jpg\" alt=\"Jacqueline Dennis, a Black woman in a pink satin ballgown, stands centerstage in blue lighti, singing with her arms outstretched beneath a large chandelier\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacqueline Dennis as Natasha in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This gaiety makes itself known even before the play begins. A Nina Ball-designed banquet table-cum-catwalk stretches from the stage into the center of the room, with the audience seated on either side. An enormous chandelier commands the space from above, a lone chair upholstered in red satin sits at one end of the runway, and the world’s smallest orchestra pit — containing just two musicians — peeks up from its center. (From here, music director Daniel Alley conducts and plays an upright piano while actors spin and prance all around.) Some audience members have come in costume (those who do get free drinks), jello shots are on the menu, and Russian electronica pumps through the sound system. It all adds up to a modern-day approximation of aristocratic decadence circa 1812.\u003c/p>\n\u003cp>Right from the top, Malloy makes this small foray into Tolstoy’s masterpiece as breezy and accessible as possible. There’s no need to have done the reading beforehand. The characters are each introduced by their defining characteristic. Natasha (Jacqueline Dennis) is “young.” Marya (Michelle Ianiro) is “old-school.” Anatole (Nick Rodrigues) is “hot.” His sister Hélène (Angel Adedokun) is a “slut.” And Andrey (James Mayagoitia) — Natasha’s fiancé — “isn’t here.”\u003c/p>\n\u003cfigure id=\"attachment_13921569\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-800x1200.jpg\" alt=\"Angel Adedokun walks down a long catwalk, her hand raised in the air. She is a slender Black woman with long textured hair and a purple silk dress and black boots. The ensemble dances behind her.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Angel Adedokun as Hélène owning the runway in ‘Natasha, Pierre & the Great Comet of 1812,’ \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From this point the story follows a predictable, almost melodramatic path. Natasha falls for the rakish Anaotle. Marya (and most of Moscovian society) is appalled. Hélène is an active participant in orchestrating their impending elopement. And Pierre (Albert Hodge) — Hélène’s beleaguered husband, whose satined seat at the center of the room affords him the best, most voyeuristic view into the lives of his play-mates — quietly turns the pages of his leather-bound copy of \u003cem>War and Peace\u003c/em> as its rambunctious contents unfold on the stage in front of him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Natasha, Jacqueline Dennis is a delightful anchor for the staged tempests of Tolstoy. Wearing her ill-advised desire for Anatole as freshly as the virginal rose she wears in her hair, Dennis shines with a celestial radiance that brightens and enhances each performer pulled into her orbit. These include a blissfully lovely duet with her winsome cousin Sonya (Veronica Renner); a blushing acceptance of the effects of her evident charms on Moscow’s elite, gathered around her at the opera; and the rakish whims of Anatole transformed almost to gentleness by her illuminating presence.\u003c/p>\n\u003cfigure id=\"attachment_13921571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-800x533.jpg\" alt=\"Nick Rodrigues wearing a loose purple silk shirt and tight black trousers holds out his hand and smiles.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anatole is hot. Nick Rodrigues as Anatole in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In turn, Nick Rodrigues as Anatole cuts a very convincing cad. His vocals, while sometimes shaky, combine with superlative cheekbones to lend him the blazing sex appeal of a Wham!-era George Michael. Equally matched for heat and charm, Angel Adedokun as Hélène steals almost every scene she’s present in, even when it’s merely as a witness to the forward motion of unstoppable events. She struts down the catwalk like she owns it, flirts outrageously with every person within a 100-foot radius, and pounds out the beat of Anatole’s own overheated heart on a drum as he capriciously plots Natasha’s inevitable downfall.\u003c/p>\n\u003cfigure id=\"attachment_13921568\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-800x1200.jpg\" alt=\"Albert Hodge, a Black Man in a furcoat and a brown suit and red satin tie looks into the distance, a red curtain behind him.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Albert Hodge as Pierre in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through all of the tumult and drama and excess, Pierre watches, often silently, from his corner of the room. When he joins the others, he drinks too much and speaks too loudly — a barroom philosophizer with a maudlin streak. And yet, Albert Hodge imbues his Pierre with a gravitas befitting his centrality to the plot. Despite (or perhaps because of) his less dignified moments, one can’t help but to root for things to finally work out in his favor. And so they do, when the long tail of the play comes back around to meet itself on the other side of intermission, like that of the titular Great Comet that dazzles both the nineteenth-century countryside and the twenty-first century theatre set. A brilliant beacon heralding a new age. Or, at least, a new path forward for Pierre and for his well-wishers, past and present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Natasha, Pierre & the Great Comet of 1812’ runs through Jan. 15, 2023, at Ashby Stage in Berkeley. \u003ca href=\"http://shotgunplayers.org/online/article/great-comet\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shotgun Players Kicks Off 30th Season by Going to Church in 'Feel the Spirit'",
"headTitle": "Shotgun Players Kicks Off 30th Season by Going to Church in ‘Feel the Spirit’ | KQED",
"content": "\u003cp>While it’s safe to say that the Berkeley-based Shotgun Players would have preferred to kick off their 30th anniversary season in person, their ongoing innovation has nonetheless given shape to a robust slate of upcoming events. In addition to their projected Mainstage season, combined with an attendant Champagne staged reading series as in years past, Shotgun has actually expanded their programming to add what they’re calling their “Bridge” series of four plays. These productions are performed exclusively online—as with their current production of \u003cem>Feel the Spirit\u003c/em>—or with a combination of small audiences and streaming, helping “bridge” the transition between all-remote programming and full, in-person productions.[aside postID='arts_13890054']\u003c/p>\n\u003cp>And indeed, season opener \u003cem>Feel the Spirit\u003c/em>—a commissioned play written specifically for Zoom by Noelle Viñas—does feel transitional. Bringing the audience back to the early days of shutdown—and all of the awkwardness that entailed—as schools, theaters, and places of worship all shifted their practice online, \u003cem>Feel the Spirit \u003c/em>revisits a moment in time perhaps not far enough removed to feel historic. Centered primarily on a “progressive” church congregation and their dynamic queer pastor, Gabriela (Vero Maynez), \u003cem>Feel the Spirit\u003c/em> unpacks the everyday traumas and misconceptions of pandemic life and worship. To punctuate it all, an embodied holy trinity (Akaina Ghosh, J. Riley Jr., and Linda Girón) occasionally interjects their views on faith and human nature in triplicate verse.\u003c/p>\n\u003cfigure id=\"attachment_13895202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGiro%CC%81n_photocredit_JaymeCatalano-800x458.png\" alt=\"\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1020x584.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-768x440.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1536x880.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-2048x1173.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1920x1099.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">God waiting for their entrance in ‘Feel the Spirit,’ by Noelle Viñas, with J. Riley Jr., Akaina Ghosh, and Linda Girón. \u003ccite>(Jayme Catalano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The struggles encountered by Gabriela are both personal and professional. And though they’re exacerbated by the pandemic, like many struggles, their roots lie outside of it. Gabriela’s luminous wife, Rebecca (Lauren Garcia), is pregnant with their first child. The congregation is welcoming but wary, with an attachment to their insular traditions despite their progressive mission. Gabriela still feels like the newcomer she is, and as the very real distance created by various stay-at-home orders and protocols begins to erode her community relationships, she finds her very faith shaken. Meanwhile, the pandemic continues apace, and grim statistics of both COVID cases and deaths scroll across our screens, as devastating now as the first time they rolled in real time from March to June 2020.\u003c/p>\n\u003cfigure id=\"attachment_13895199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-800x431.png\" alt=\"\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-800x431.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-1020x549.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-768x413.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern.png 1271w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Garcia as Rebecca and Vero Maynez as Gabriela in ‘Feel the Spirit,’ by Noelle Viñas. \u003ccite>(screenshot/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by Elizabeth Carter, Vero Maynez as Gabriela is vivacious and compelling. Her frustrations with her reluctant congregants—some of whom pressure her to reopen the church for in-person services within a month of the shutdown—crease the corners of her eyes and furrow her brow. She exudes kindness, but also insecurity, as she internalizes the myriad complaints of her congregants.\u003c/p>\n\u003cp>As Rebecca, Lauren Garcia alternates between loving and longing. She wants to be supportive of Gabriela, but comes to the conclusion much earlier that perhaps she’s taken on too much. Fred Pitts and Jean Forsman, as a pair of church “elders” with contradictory views about Gabriela’s role and efficacy, provide a grounded energy to the overall production. And footage of the three faces of God—interspersed with that of blue skies, cherry blossoms, redwoods, and other natural phenomena—shifts the mood of the play from the workaday to the metaphysical. But the fact that even God thinks Gabriela should ditch her congregation doesn’t bode well for it, and we really only hear of the church’s spiritual pain circuitously, with Pitts and Forsman as conduits.\u003c/p>\n\u003cfigure id=\"attachment_13895200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895200\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-800x447.png\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern.png 1273w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fred Pitts as Carleton, Jean Forsman as Angie, and Vero Maynez as Gabriela in ‘Feel the Spirit,’ by Noelle Viñas. \u003ccite>(screenshot/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where \u003cem>Feel the Spirit\u003c/em> falters is mostly in its format, and in making the case for a Zoom production as \u003cem>compelling\u003c/em>, now that theater has mostly left the platform behind. Commissioning Noelle Viñas (whose recent \u003cem>Derecho\u003c/em> delved into the human impact of electoral politics and grassroots campaigning) to explore the pandemic shutdown through a lens of faith and community is an inspired choice for Shotgun. But while plays like \u003cem>Derecho\u003c/em> have had years to develop into their fullness, this play feels rushed, both in concept and in execution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A nominally “interactive” play, the audience is positioned as the congregation. But the interactivity is limited and superficial: a moment to drop gratitude on the chat, a muted singalong, the dreaded breakout rooms. Despite the very real stakes as experienced by the cast, the audience-as-congregation doesn’t get a chance to experience those stakes for themselves, and it’s difficult to “bridge” that distance.[aside postID='arts_13894324']\u003c/p>\n\u003cp>Unlike some of the more innovatively crafted or raucously interactive streaming experiences that have pushed the boundaries of what’s possible with these technologies over the past few months, \u003cem>Feel the Spirit\u003c/em> gets an earnest, face-forward Zoom meeting experience with very little to separate it technologically or creatively from the “early” days of Zoom theater. The overall effect is very much that of a production designed to make one yearn wholeheartedly for the return of a live theater experience.\u003c/p>\n\u003cp>When we look back upon this past year, it will be a blessing to have these records of our first impulses and evolving attitudes to draw from. It’s exciting to think that several years from now, should Viñas decide to revisit these characters and this time period, she’ll have this work to build from and expand upon. As seeds of a deeper historical narrative, \u003cem>Feel the Spirit\u003c/em> displays great promise. But as a bridge to what otherwise looks to be a wild and long-anticipated anniversary season, it’s shaky at best.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Feel the Spirit’ runs through April 11. \u003ca href=\"https://shotgunplayers.org/online/article/spirit\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While it’s safe to say that the Berkeley-based Shotgun Players would have preferred to kick off their 30th anniversary season in person, their ongoing innovation has nonetheless given shape to a robust slate of upcoming events. In addition to their projected Mainstage season, combined with an attendant Champagne staged reading series as in years past, Shotgun has actually expanded their programming to add what they’re calling their “Bridge” series of four plays. These productions are performed exclusively online—as with their current production of \u003cem>Feel the Spirit\u003c/em>—or with a combination of small audiences and streaming, helping “bridge” the transition between all-remote programming and full, in-person productions.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And indeed, season opener \u003cem>Feel the Spirit\u003c/em>—a commissioned play written specifically for Zoom by Noelle Viñas—does feel transitional. Bringing the audience back to the early days of shutdown—and all of the awkwardness that entailed—as schools, theaters, and places of worship all shifted their practice online, \u003cem>Feel the Spirit \u003c/em>revisits a moment in time perhaps not far enough removed to feel historic. Centered primarily on a “progressive” church congregation and their dynamic queer pastor, Gabriela (Vero Maynez), \u003cem>Feel the Spirit\u003c/em> unpacks the everyday traumas and misconceptions of pandemic life and worship. To punctuate it all, an embodied holy trinity (Akaina Ghosh, J. Riley Jr., and Linda Girón) occasionally interjects their views on faith and human nature in triplicate verse.\u003c/p>\n\u003cfigure id=\"attachment_13895202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGiro%CC%81n_photocredit_JaymeCatalano-800x458.png\" alt=\"\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1020x584.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-768x440.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1536x880.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-2048x1173.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1920x1099.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">God waiting for their entrance in ‘Feel the Spirit,’ by Noelle Viñas, with J. Riley Jr., Akaina Ghosh, and Linda Girón. \u003ccite>(Jayme Catalano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The struggles encountered by Gabriela are both personal and professional. And though they’re exacerbated by the pandemic, like many struggles, their roots lie outside of it. Gabriela’s luminous wife, Rebecca (Lauren Garcia), is pregnant with their first child. The congregation is welcoming but wary, with an attachment to their insular traditions despite their progressive mission. Gabriela still feels like the newcomer she is, and as the very real distance created by various stay-at-home orders and protocols begins to erode her community relationships, she finds her very faith shaken. Meanwhile, the pandemic continues apace, and grim statistics of both COVID cases and deaths scroll across our screens, as devastating now as the first time they rolled in real time from March to June 2020.\u003c/p>\n\u003cfigure id=\"attachment_13895199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-800x431.png\" alt=\"\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-800x431.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-1020x549.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-768x413.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern.png 1271w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Garcia as Rebecca and Vero Maynez as Gabriela in ‘Feel the Spirit,’ by Noelle Viñas. \u003ccite>(screenshot/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by Elizabeth Carter, Vero Maynez as Gabriela is vivacious and compelling. Her frustrations with her reluctant congregants—some of whom pressure her to reopen the church for in-person services within a month of the shutdown—crease the corners of her eyes and furrow her brow. She exudes kindness, but also insecurity, as she internalizes the myriad complaints of her congregants.\u003c/p>\n\u003cp>As Rebecca, Lauren Garcia alternates between loving and longing. She wants to be supportive of Gabriela, but comes to the conclusion much earlier that perhaps she’s taken on too much. Fred Pitts and Jean Forsman, as a pair of church “elders” with contradictory views about Gabriela’s role and efficacy, provide a grounded energy to the overall production. And footage of the three faces of God—interspersed with that of blue skies, cherry blossoms, redwoods, and other natural phenomena—shifts the mood of the play from the workaday to the metaphysical. But the fact that even God thinks Gabriela should ditch her congregation doesn’t bode well for it, and we really only hear of the church’s spiritual pain circuitously, with Pitts and Forsman as conduits.\u003c/p>\n\u003cfigure id=\"attachment_13895200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895200\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-800x447.png\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern.png 1273w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fred Pitts as Carleton, Jean Forsman as Angie, and Vero Maynez as Gabriela in ‘Feel the Spirit,’ by Noelle Viñas. \u003ccite>(screenshot/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where \u003cem>Feel the Spirit\u003c/em> falters is mostly in its format, and in making the case for a Zoom production as \u003cem>compelling\u003c/em>, now that theater has mostly left the platform behind. Commissioning Noelle Viñas (whose recent \u003cem>Derecho\u003c/em> delved into the human impact of electoral politics and grassroots campaigning) to explore the pandemic shutdown through a lens of faith and community is an inspired choice for Shotgun. But while plays like \u003cem>Derecho\u003c/em> have had years to develop into their fullness, this play feels rushed, both in concept and in execution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A nominally “interactive” play, the audience is positioned as the congregation. But the interactivity is limited and superficial: a moment to drop gratitude on the chat, a muted singalong, the dreaded breakout rooms. Despite the very real stakes as experienced by the cast, the audience-as-congregation doesn’t get a chance to experience those stakes for themselves, and it’s difficult to “bridge” that distance.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unlike some of the more innovatively crafted or raucously interactive streaming experiences that have pushed the boundaries of what’s possible with these technologies over the past few months, \u003cem>Feel the Spirit\u003c/em> gets an earnest, face-forward Zoom meeting experience with very little to separate it technologically or creatively from the “early” days of Zoom theater. The overall effect is very much that of a production designed to make one yearn wholeheartedly for the return of a live theater experience.\u003c/p>\n\u003cp>When we look back upon this past year, it will be a blessing to have these records of our first impulses and evolving attitudes to draw from. It’s exciting to think that several years from now, should Viñas decide to revisit these characters and this time period, she’ll have this work to build from and expand upon. As seeds of a deeper historical narrative, \u003cem>Feel the Spirit\u003c/em> displays great promise. But as a bridge to what otherwise looks to be a wild and long-anticipated anniversary season, it’s shaky at best.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Feel the Spirit’ runs through April 11. \u003ca href=\"https://shotgunplayers.org/online/article/spirit\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Good, the Bad, and the Glitchy: Streaming Theater During Shelter-in-Place",
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"content": "\u003cp>Normally, you wouldn’t be allowed to eat a bowl of caramel corn while watching a play. Even the most accommodating and hip theater companies don’t offer snacks that are so notably \u003cem>audible\u003c/em>—at least not to be eaten during the show. But that’s one of the secret silver linings of watching theater during the coronavirus crisis: kicking one’s snack game up a notch.\u003c/p>\n\u003cp>In fact, more often than not, my online theater watching coincides with my full dinner hour, an enjoyable combination that’s far less possible to pull off when a show is \u003cem>in situ\u003c/em>. Nor do I have to worry about an unpredictable BART delay making me late for curtain, since curtain can be whenever I decide, and perhaps most amazingly of all, intermission and bathroom breaks are whenever I want them.\u003c/p>\n\u003cfigure id=\"attachment_13879321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Ishida in 2011’s ‘Beardo,’ part of Shotgun Players’ Art in the Time of Corona screening series. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the last show I was able to review live, \u003ca href=\"http://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">\u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a> (which closed the morning after its March 11 opening night), I haven’t been able to attend any shows in person. But thanks to modern technology, recorded shows from the archives of notable companies from around the globe are now available to anyone with an internet connection. Being able to binge-watch my way around the world—from The National Theatre of London to Schaubühne Berlin to the Wooster Group from NYC—has been an instructive crash course in shows that, in some cases, haven’t been seen onstage in decades, and never in the Bay Area.\u003c/p>\n\u003cp>But catching up with the many works offered by local theaters online has been a wonderful way to fill in some recent gaps, as well as revisit old favorites. Theaters that are challenging for a non-driver such as myself to visit, such as Marin Theatre Company and TheatreWorks, are suddenly accessible, and closed-captioning options offer another important accommodation not generally available in a live setting. With a few exceptions, such as TheatreWorks live-streamed \u003cem>Pride and Prejudice\u003c/em>—which had a proscribed, universal “curtain time”—videos can be viewed when convenient for the viewer. This removes some of the ritual of live performance, to be sure, but increases access for people on unconventional timelines (quarantine-induced or otherwise).\u003c/p>\n\u003cfigure id=\"attachment_13879320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Marin Theatre Company’s ‘Love,’ the first show presented as part of their ongoing virtual programming. With Rebecca Schweitzer, Clea Alsip, and Bobak Cyrus Bakhtiari. \u003ccite>(Alessandra Mello/mellophoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A known hotbed of new works, the Bay Area premieres many shows that tend to be one-and-done, rarely performed again elsewhere. So what a rare joy it’s been to dive into Shotgun Players’ Art in the Time of Corona series online, where they’ve been posting two shows a week from their archives. Through May 8, you can check out the 2008 Glickman award-winning, Banana Bag & Bodice collaboration, \u003cem>Beowulf: A Thousand Years of Baggage\u003c/em>, as well as last year’s triumphal \u003cem>Three Sisters\u003c/em>-remix \u003cem>Kill the Debbie Downers! Kill Them! Kill Them! Kill Them Off!\u003c/em>, both of which defied conventional structures at their inception, and neither of which are likely to see another full production this side of the continent any time soon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enough time has passed for some companies to pivot to creating new made-for-digital content while sheltered-in-place, such as the San Francisco Neo-Futurists and Queer Cat Productions. Queer Cat’s quarantine-specific web series \u003cem>Felix B. Love is Not Alone\u003c/em>, available through April 30, stars Nic A. Sommerfeld as the somewhat bemused Felix, who deals with isolation by dropping in on exes and struggles with the quest for “closure”—all while in the company of Zoomed-in friends. I discover, in a group-chat breakout room, that the audience is watching from at least five different states. It’s one of my favorite revelations about the experience: here is an instance where not being under the same roof is actually connecting audience members for a ritual far better than would a conventional, location-specific production.\u003c/p>\n\u003cfigure id=\"attachment_13879318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1920x1277.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of ‘They Promised Her the Moon,’ by Lauren Ollstein, at TheatreWorks. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, even pre-recorded theater-in-place has had its challenges. A streamed version of A.C.T.’s \u003cem>Gloria\u003c/em>, which had opened on Feb. 13, kept pausing to rebuffer, derailing its fierce momentum and therefore its emotional impact. I couldn’t get the livestream of TheatreWorks’ \u003cem>Pride and Prejudice\u003c/em> to work at all, so I watched their curtailed production of \u003cem>They Promised Her the Moon\u003c/em>, by Laurel Ollstein instead. Sound and lighting issues plagued almost all of the videos. Because they were filmed for archival purposes rather than polished production values, certain effects simply didn’t translate to video the way they did onstage.\u003c/p>\n\u003cp>Overall, though, I’m grateful that in this moment, theater-lovers still have ways to satiate our craving for whatever part of the experience we can access safely. In the long term, theaters large and small will likely undergo a huge restructuring in order to accommodate the new normal—a formidable task. Which makes these archives of past productions seem especially valuable, even historic. Don’t miss your opportunity to check some of them out while you have the chance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>For more details, dates, and costs of online theater streams, see the \u003ca href=\"http://www.nationaltheatre.org.uk\">National Theatre\u003c/a>, \u003ca href=\"http://www.schaubuehne.de\">Schaubühne Berlin\u003c/a>, \u003ca href=\"http://thewoostergroup.org\">The Wooster Group\u003c/a>, \u003ca href=\"http://www.marintheatre.org\">Marin Theatre Company\u003c/a>, \u003ca href=\"https://theatreworks.org\">TheatreWorks\u003c/a>, \u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">A.C.T.\u003c/a>, \u003ca href=\"https://shotgunplayers.org\">Shotgun Players\u003c/a>, \u003ca href=\"http://www.sfneofuturists.org\">San Francisco Neo-Futurists\u003c/a>, or \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>—and don’t forget to check out your favorite local theater companies to see what online productions they may have available.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Normally, you wouldn’t be allowed to eat a bowl of caramel corn while watching a play. Even the most accommodating and hip theater companies don’t offer snacks that are so notably \u003cem>audible\u003c/em>—at least not to be eaten during the show. But that’s one of the secret silver linings of watching theater during the coronavirus crisis: kicking one’s snack game up a notch.\u003c/p>\n\u003cp>In fact, more often than not, my online theater watching coincides with my full dinner hour, an enjoyable combination that’s far less possible to pull off when a show is \u003cem>in situ\u003c/em>. Nor do I have to worry about an unpredictable BART delay making me late for curtain, since curtain can be whenever I decide, and perhaps most amazingly of all, intermission and bathroom breaks are whenever I want them.\u003c/p>\n\u003cfigure id=\"attachment_13879321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Ishida in 2011’s ‘Beardo,’ part of Shotgun Players’ Art in the Time of Corona screening series. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the last show I was able to review live, \u003ca href=\"http://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">\u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a> (which closed the morning after its March 11 opening night), I haven’t been able to attend any shows in person. But thanks to modern technology, recorded shows from the archives of notable companies from around the globe are now available to anyone with an internet connection. Being able to binge-watch my way around the world—from The National Theatre of London to Schaubühne Berlin to the Wooster Group from NYC—has been an instructive crash course in shows that, in some cases, haven’t been seen onstage in decades, and never in the Bay Area.\u003c/p>\n\u003cp>But catching up with the many works offered by local theaters online has been a wonderful way to fill in some recent gaps, as well as revisit old favorites. Theaters that are challenging for a non-driver such as myself to visit, such as Marin Theatre Company and TheatreWorks, are suddenly accessible, and closed-captioning options offer another important accommodation not generally available in a live setting. With a few exceptions, such as TheatreWorks live-streamed \u003cem>Pride and Prejudice\u003c/em>—which had a proscribed, universal “curtain time”—videos can be viewed when convenient for the viewer. This removes some of the ritual of live performance, to be sure, but increases access for people on unconventional timelines (quarantine-induced or otherwise).\u003c/p>\n\u003cfigure id=\"attachment_13879320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Marin Theatre Company’s ‘Love,’ the first show presented as part of their ongoing virtual programming. With Rebecca Schweitzer, Clea Alsip, and Bobak Cyrus Bakhtiari. \u003ccite>(Alessandra Mello/mellophoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A known hotbed of new works, the Bay Area premieres many shows that tend to be one-and-done, rarely performed again elsewhere. So what a rare joy it’s been to dive into Shotgun Players’ Art in the Time of Corona series online, where they’ve been posting two shows a week from their archives. Through May 8, you can check out the 2008 Glickman award-winning, Banana Bag & Bodice collaboration, \u003cem>Beowulf: A Thousand Years of Baggage\u003c/em>, as well as last year’s triumphal \u003cem>Three Sisters\u003c/em>-remix \u003cem>Kill the Debbie Downers! Kill Them! Kill Them! Kill Them Off!\u003c/em>, both of which defied conventional structures at their inception, and neither of which are likely to see another full production this side of the continent any time soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enough time has passed for some companies to pivot to creating new made-for-digital content while sheltered-in-place, such as the San Francisco Neo-Futurists and Queer Cat Productions. Queer Cat’s quarantine-specific web series \u003cem>Felix B. Love is Not Alone\u003c/em>, available through April 30, stars Nic A. Sommerfeld as the somewhat bemused Felix, who deals with isolation by dropping in on exes and struggles with the quest for “closure”—all while in the company of Zoomed-in friends. I discover, in a group-chat breakout room, that the audience is watching from at least five different states. It’s one of my favorite revelations about the experience: here is an instance where not being under the same roof is actually connecting audience members for a ritual far better than would a conventional, location-specific production.\u003c/p>\n\u003cfigure id=\"attachment_13879318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1920x1277.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of ‘They Promised Her the Moon,’ by Lauren Ollstein, at TheatreWorks. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, even pre-recorded theater-in-place has had its challenges. A streamed version of A.C.T.’s \u003cem>Gloria\u003c/em>, which had opened on Feb. 13, kept pausing to rebuffer, derailing its fierce momentum and therefore its emotional impact. I couldn’t get the livestream of TheatreWorks’ \u003cem>Pride and Prejudice\u003c/em> to work at all, so I watched their curtailed production of \u003cem>They Promised Her the Moon\u003c/em>, by Laurel Ollstein instead. Sound and lighting issues plagued almost all of the videos. Because they were filmed for archival purposes rather than polished production values, certain effects simply didn’t translate to video the way they did onstage.\u003c/p>\n\u003cp>Overall, though, I’m grateful that in this moment, theater-lovers still have ways to satiate our craving for whatever part of the experience we can access safely. In the long term, theaters large and small will likely undergo a huge restructuring in order to accommodate the new normal—a formidable task. Which makes these archives of past productions seem especially valuable, even historic. Don’t miss your opportunity to check some of them out while you have the chance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>For more details, dates, and costs of online theater streams, see the \u003ca href=\"http://www.nationaltheatre.org.uk\">National Theatre\u003c/a>, \u003ca href=\"http://www.schaubuehne.de\">Schaubühne Berlin\u003c/a>, \u003ca href=\"http://thewoostergroup.org\">The Wooster Group\u003c/a>, \u003ca href=\"http://www.marintheatre.org\">Marin Theatre Company\u003c/a>, \u003ca href=\"https://theatreworks.org\">TheatreWorks\u003c/a>, \u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">A.C.T.\u003c/a>, \u003ca href=\"https://shotgunplayers.org\">Shotgun Players\u003c/a>, \u003ca href=\"http://www.sfneofuturists.org\">San Francisco Neo-Futurists\u003c/a>, or \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>—and don’t forget to check out your favorite local theater companies to see what online productions they may have available.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 Plays to See for the Holidays (That Aren't 'A Christmas Carol')",
"headTitle": "5 Plays to See for the Holidays (That Aren’t ‘A Christmas Carol’) | KQED",
"content": "\u003cp>Ah, December. The most magical time of year… unless the relentless onslaught of the holly-daze leaves you cold.\u003c/p>\n\u003cp>I gave up counting how many Christmas-themed theater shows are currently running in the Bay Area, from the old standby \u003cem>A Christmas Carol\u003c/em> to fanciful mashups such as \u003cem>Christmas in OZ\u003c/em> and Peaches Christ’s \u003cem>Femlins\u003c/em>. (Not to mention at least eight versions of \u003cem>The Nutcracker\u003c/em>.) And while these clearly beloved classics and comedies appeal to a specific, doubtlessly enthusiastic audience, for the non-denominational arts lover in December it can be difficult to find secular alternatives. \u003c/p>\n\u003cp>Happily, they do exist. Here are just a few standouts to get you started on your mistletoe-free theater spree.\u003c/p>\n\u003cfigure id=\"attachment_13871098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-1200x855.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King.jpg 1658w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Aaron Oh, Will Livingston, and Caitlin Evenson in Shualee Cook’s ‘An Invitation Out,’ presented by Quantum Dragon Theatre. \u003ccite>(Morgan Finley King)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An Invitation Out’\u003c/h2>\n\u003cp>\u003cstrong>By Shualee Cook, Quantum Dragon Theatre\u003c/strong>\u003c/p>\n\u003cp>The Bay Area’s only theatre company dedicated to the production of science fiction and fantasy plays presents the West Coast premiere of Shualee Cook’s \u003cem>An Invitation Out.\u003c/em> Billed as a “science fiction comedy of manners,” this social-media inspired futuristic comedy is set in an online virtual reality, where one can assume and shed identities with the click of a button. But can anything convince them to “unplug” and rejoin the world of the Outdwellers? Anchored by a nine-person cast of Bay Area stalwarts, and directed by Kieran Beccia, this play delves into the questions that make us human—while wrapped in neo-Victorian/cyberspace glamour. (\u003cem>Runs Dec. 14-29; \u003ca href=\"http://www.quantumdragon.org/an-invitation-out\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871097\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-805x1200.jpg\" alt=\"Robert Ernst as Niels Bohr in 'Copenhagen,' by Michael Frayn, presented by Indra's Net Theater.\" width=\"640\" height=\"954\" class=\"size-complete_open_graph wp-image-13871097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-805x1200.jpg 805w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-800x1193.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-768x1145.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ernst as Niels Bohr in ‘Copenhagen,’ by Michael Frayn, presented by Indra’s Net Theater. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Copenhagen’\u003c/h2>\n\u003cp>\u003cstrong>By Michael Frayn, Indra’s Net Theater\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From science fiction to scientists, Bay Area Theater is carving out a space for scientific discourse of many kinds, and Indra’s Net Theater is at the forefront. As a company focused on producing plays about hard science, their characters include Richard Feynman, Stephen Hawking, and Shrinivasa Ramanujan. This year they’re reprising their successful 2013 production, \u003cem>Copenhagen\u003c/em>—a play about a secret meeting between Niels Bohr and Werner Heisenberg to discuss the viability of an atomic bomb. After new information about the historic meeting between Bohr and Heisenberg came to light in 2018, Michael Frayn made some changes to his Tony Award-winning script to reflect the additional material. This is the Bay Area premiere of the newly revised script, and a chance to revisit this ethical dilemma as it plays out in the afterlife. (\u003cem>Runs Dec. 19, 2019-Jan. 12, 2020. \u003ca href=\"http://www.indrasnettheater.com/\">Details here\u003c/a>\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13871094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871094\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pamela Reed in Berkeley Repertory Theatre’s production of Sarah Ruhl’s world premiere, ‘Becky Nurse.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Becky Nurse’\u003c/h2>\n\u003cp>\u003cstrong>By Sarah Ruhl, Berkeley Repertory Theatre\u003c/strong>\u003c/p>\n\u003cp>Wrestling with the complex reverberations of the Salem Witch trials through the eyes of a present-day descendant of Rebecca Nurse, one of the wrongfully accused and murdered, this world premiere production ties the two together with dark comedy and a magickal reckoning. Written by Sarah Ruhl, an award-winning playwright whose deft and inspired comedies have been produced five other times on the Berkeley Rep stage, and starring Pamela Reed in the titular role, \u003cem>Becky Nurse \u003c/em>will provide a bracing antidote to the “holiday spirit” with its nods to the occult, female power, and the art of speaking out. (\u003cem>Previews from Dec. 12, show runs through Jan. 26, 2020. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14545.asp\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-800x503.jpg\" alt=\"\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1200x754.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Trout as Alice in ‘Vinegar Tom,’ by Caryl Churchill, presented by Shotgun Players. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Vinegar Tom’\u003c/h2>\n\u003cp>\u003cstrong>By Caryl Churchill, Shotgun Players\u003c/strong>\u003c/p>\n\u003cp>Speaking of the occult and female power, Caryl Churchill’s exploration of witchy women \u003cem>Vinegar Tom\u003c/em> gets the Shotgun Players treatment this month on the Ashby Stage. Directed by Ariel Craft, with music direction by Daniel Alley and original music by songwriter Diana Lawrence, this audacious nod to Brechtian “epic theater” examines the ruling power’s propensity to demonize its challengers—one witch trial and contemporary ballad at a time. Celebrate the continuation of the Bay Area’s spontaneous Caryl Churchill revival with the fourth play of hers to be produced this year on area stages, with a fifth to open at Magic Theatre next April. (\u003cem>Runs Dec. 6, 2019-Jan. 5, 2020. \u003ca href=\"http://bit.ly/2FPuyCJ\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871095\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-960x1200.jpg\" alt=\"Devin A. Cunningham and Funmi Lola in the African-American Shakespeare Company's annual presentation of 'Cinderella.'\" width=\"640\" height=\"800\" class=\"size-complete_open_graph wp-image-13871095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Devin A. Cunningham and Funmi Lola in the African-American Shakespeare Company’s annual presentation of ‘Cinderella.’ \u003ccite>(Lance Huntley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Cinderella’\u003c/h2>\n\u003cp>\u003cstrong>By the African American Shakespeare Company\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s fun to spend time with family during the holidays, but there are only so many times one can bring the kids to the \u003cem>Nutcracker\u003c/em> before “Dance of the Sugar Plum Fairy” imprints itself permanently into your auditory cortex. Spare yourself and take the kiddies instead to \u003cem>Cinderella\u003c/em>, presented by the African American Shakespeare Company. This traditional offering, now in its 18th year, is an elegant, big-hearted foray into a world of lovers, dreamers, and fairy magic (not the sugar plum kind) sprinkled throughout. This year’s action-packed weekend of shows also includes an activity-filled afternoon tea with a meet-and-greet opportunity with the cast, and treats for all. Directed by Sherri Young. (Runs Dec. 20-22. \u003ca href=\"http://www.african-americanshakes.org/productions/cinderella/\">Details here\u003c/a>.)\u003c/p>\n\n",
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"excerpt": "Science fiction! Witches! Cinderella! There's more than 'The Nutcracker' on Bay Area stages this December.",
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"title": "5 Plays to See for the Holidays (That Aren't 'A Christmas Carol') | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, December. The most magical time of year… unless the relentless onslaught of the holly-daze leaves you cold.\u003c/p>\n\u003cp>I gave up counting how many Christmas-themed theater shows are currently running in the Bay Area, from the old standby \u003cem>A Christmas Carol\u003c/em> to fanciful mashups such as \u003cem>Christmas in OZ\u003c/em> and Peaches Christ’s \u003cem>Femlins\u003c/em>. (Not to mention at least eight versions of \u003cem>The Nutcracker\u003c/em>.) And while these clearly beloved classics and comedies appeal to a specific, doubtlessly enthusiastic audience, for the non-denominational arts lover in December it can be difficult to find secular alternatives. \u003c/p>\n\u003cp>Happily, they do exist. Here are just a few standouts to get you started on your mistletoe-free theater spree.\u003c/p>\n\u003cfigure id=\"attachment_13871098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-1200x855.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King.jpg 1658w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Aaron Oh, Will Livingston, and Caitlin Evenson in Shualee Cook’s ‘An Invitation Out,’ presented by Quantum Dragon Theatre. \u003ccite>(Morgan Finley King)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An Invitation Out’\u003c/h2>\n\u003cp>\u003cstrong>By Shualee Cook, Quantum Dragon Theatre\u003c/strong>\u003c/p>\n\u003cp>The Bay Area’s only theatre company dedicated to the production of science fiction and fantasy plays presents the West Coast premiere of Shualee Cook’s \u003cem>An Invitation Out.\u003c/em> Billed as a “science fiction comedy of manners,” this social-media inspired futuristic comedy is set in an online virtual reality, where one can assume and shed identities with the click of a button. But can anything convince them to “unplug” and rejoin the world of the Outdwellers? Anchored by a nine-person cast of Bay Area stalwarts, and directed by Kieran Beccia, this play delves into the questions that make us human—while wrapped in neo-Victorian/cyberspace glamour. (\u003cem>Runs Dec. 14-29; \u003ca href=\"http://www.quantumdragon.org/an-invitation-out\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871097\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-805x1200.jpg\" alt=\"Robert Ernst as Niels Bohr in 'Copenhagen,' by Michael Frayn, presented by Indra's Net Theater.\" width=\"640\" height=\"954\" class=\"size-complete_open_graph wp-image-13871097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-805x1200.jpg 805w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-800x1193.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-768x1145.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ernst as Niels Bohr in ‘Copenhagen,’ by Michael Frayn, presented by Indra’s Net Theater. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Copenhagen’\u003c/h2>\n\u003cp>\u003cstrong>By Michael Frayn, Indra’s Net Theater\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From science fiction to scientists, Bay Area Theater is carving out a space for scientific discourse of many kinds, and Indra’s Net Theater is at the forefront. As a company focused on producing plays about hard science, their characters include Richard Feynman, Stephen Hawking, and Shrinivasa Ramanujan. This year they’re reprising their successful 2013 production, \u003cem>Copenhagen\u003c/em>—a play about a secret meeting between Niels Bohr and Werner Heisenberg to discuss the viability of an atomic bomb. After new information about the historic meeting between Bohr and Heisenberg came to light in 2018, Michael Frayn made some changes to his Tony Award-winning script to reflect the additional material. This is the Bay Area premiere of the newly revised script, and a chance to revisit this ethical dilemma as it plays out in the afterlife. (\u003cem>Runs Dec. 19, 2019-Jan. 12, 2020. \u003ca href=\"http://www.indrasnettheater.com/\">Details here\u003c/a>\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13871094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871094\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pamela Reed in Berkeley Repertory Theatre’s production of Sarah Ruhl’s world premiere, ‘Becky Nurse.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Becky Nurse’\u003c/h2>\n\u003cp>\u003cstrong>By Sarah Ruhl, Berkeley Repertory Theatre\u003c/strong>\u003c/p>\n\u003cp>Wrestling with the complex reverberations of the Salem Witch trials through the eyes of a present-day descendant of Rebecca Nurse, one of the wrongfully accused and murdered, this world premiere production ties the two together with dark comedy and a magickal reckoning. Written by Sarah Ruhl, an award-winning playwright whose deft and inspired comedies have been produced five other times on the Berkeley Rep stage, and starring Pamela Reed in the titular role, \u003cem>Becky Nurse \u003c/em>will provide a bracing antidote to the “holiday spirit” with its nods to the occult, female power, and the art of speaking out. (\u003cem>Previews from Dec. 12, show runs through Jan. 26, 2020. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14545.asp\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-800x503.jpg\" alt=\"\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1200x754.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Trout as Alice in ‘Vinegar Tom,’ by Caryl Churchill, presented by Shotgun Players. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Vinegar Tom’\u003c/h2>\n\u003cp>\u003cstrong>By Caryl Churchill, Shotgun Players\u003c/strong>\u003c/p>\n\u003cp>Speaking of the occult and female power, Caryl Churchill’s exploration of witchy women \u003cem>Vinegar Tom\u003c/em> gets the Shotgun Players treatment this month on the Ashby Stage. Directed by Ariel Craft, with music direction by Daniel Alley and original music by songwriter Diana Lawrence, this audacious nod to Brechtian “epic theater” examines the ruling power’s propensity to demonize its challengers—one witch trial and contemporary ballad at a time. Celebrate the continuation of the Bay Area’s spontaneous Caryl Churchill revival with the fourth play of hers to be produced this year on area stages, with a fifth to open at Magic Theatre next April. (\u003cem>Runs Dec. 6, 2019-Jan. 5, 2020. \u003ca href=\"http://bit.ly/2FPuyCJ\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871095\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-960x1200.jpg\" alt=\"Devin A. Cunningham and Funmi Lola in the African-American Shakespeare Company's annual presentation of 'Cinderella.'\" width=\"640\" height=\"800\" class=\"size-complete_open_graph wp-image-13871095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Devin A. Cunningham and Funmi Lola in the African-American Shakespeare Company’s annual presentation of ‘Cinderella.’ \u003ccite>(Lance Huntley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Cinderella’\u003c/h2>\n\u003cp>\u003cstrong>By the African American Shakespeare Company\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s fun to spend time with family during the holidays, but there are only so many times one can bring the kids to the \u003cem>Nutcracker\u003c/em> before “Dance of the Sugar Plum Fairy” imprints itself permanently into your auditory cortex. Spare yourself and take the kiddies instead to \u003cem>Cinderella\u003c/em>, presented by the African American Shakespeare Company. This traditional offering, now in its 18th year, is an elegant, big-hearted foray into a world of lovers, dreamers, and fairy magic (not the sugar plum kind) sprinkled throughout. This year’s action-packed weekend of shows also includes an activity-filled afternoon tea with a meet-and-greet opportunity with the cast, and treats for all. Directed by Sherri Young. (Runs Dec. 20-22. \u003ca href=\"http://www.african-americanshakes.org/productions/cinderella/\">Details here\u003c/a>.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Secret Life of Movie Theater Employees in 'The Flick'",
"headTitle": "The Secret Life of Movie Theater Employees in ‘The Flick’ | KQED",
"content": "\u003cp>Every customer service job comes with moments of relative inactivity; those blessed stretches of the work shift where there’s nobody to wait on, and where you can take a breather to commiserate with your fellow employees. \u003c/p>\n\u003cp>At movie theaters, those stretches last much longer, and the routine talk between rushes goes deeper. Add the fact that many theater staff are young. Also, that discussing why you like or don’t like a movie usually brings up personal experiences and emotional details. All of this gets magnified as the clock ticks into nighttime, when movies regularly get out after midnight.\u003c/p>\n\u003cp>This is the premise of \u003cem>The Flick\u003c/em>, the Pulitzer-winning play by Annie Baker currently making its West Coast premiere at Shotgun Players’ Ashby Stage in Berkeley. Full of dialogue and situations that will feel very familiar to anyone who’s worked a customer service job, it also (hopefully) inspires empathy toward the beleaguered minimum-wage worker in those who haven’t.\u003c/p>\n\u003cp>\u003cem>The Flick\u003c/em> starts slowly, because time at a movie theater moves slowly. As Sam (Chris Ginesi) and Avery (Justin Howard) sweep up between rows of seats after a show, the pauses between conversation are almost painfully long. Sam is showing new employee Avery the basic stuff like where to take the trash, and soon, more complicated stuff, like the elaborate system of skimming the box office cash register.\u003c/p>\n\u003cp>Also complicated is Sam’s attraction to projectionist Rose (Ari Rampy), who flirts instead with Avery, the new kid on the block. Meanwhile, Avery’s worried about Rose’s blatant overtures upsetting Sam, and about being blamed, as a nonwhite employee, should the cash-theft scheme be discovered. Hanging over all this is the theater industry’s imminent conversion to digital projection, and rumors that the small local theater will be sold to a corporate chain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by Jon Tracy, \u003cem>The Flick\u003c/em>‘s pace may throw some viewers off. But not only is it necessary for the revelations in the space between, it’s realistic to customer-service life. That’s true also for the set, designed by Randy Wong-Westbrooke: a perfect replica of a faded 1970s movie theater auditorium and projection booth. \u003c/p>\n\u003cp>But there’s a lot here that resonates beyond movie theaters. Love, ethics, mental health, goals, race, courage and vulnerability all play a role in \u003cem>The Flick\u003c/em>. They’re the type of things that stick around long after the credits roll and the lights come up. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n",
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"excerpt": "In Berkeley, Shotgun Players' production of this Pulitzer-winning play nails the customer-service experience.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every customer service job comes with moments of relative inactivity; those blessed stretches of the work shift where there’s nobody to wait on, and where you can take a breather to commiserate with your fellow employees. \u003c/p>\n\u003cp>At movie theaters, those stretches last much longer, and the routine talk between rushes goes deeper. Add the fact that many theater staff are young. Also, that discussing why you like or don’t like a movie usually brings up personal experiences and emotional details. All of this gets magnified as the clock ticks into nighttime, when movies regularly get out after midnight.\u003c/p>\n\u003cp>This is the premise of \u003cem>The Flick\u003c/em>, the Pulitzer-winning play by Annie Baker currently making its West Coast premiere at Shotgun Players’ Ashby Stage in Berkeley. Full of dialogue and situations that will feel very familiar to anyone who’s worked a customer service job, it also (hopefully) inspires empathy toward the beleaguered minimum-wage worker in those who haven’t.\u003c/p>\n\u003cp>\u003cem>The Flick\u003c/em> starts slowly, because time at a movie theater moves slowly. As Sam (Chris Ginesi) and Avery (Justin Howard) sweep up between rows of seats after a show, the pauses between conversation are almost painfully long. Sam is showing new employee Avery the basic stuff like where to take the trash, and soon, more complicated stuff, like the elaborate system of skimming the box office cash register.\u003c/p>\n\u003cp>Also complicated is Sam’s attraction to projectionist Rose (Ari Rampy), who flirts instead with Avery, the new kid on the block. Meanwhile, Avery’s worried about Rose’s blatant overtures upsetting Sam, and about being blamed, as a nonwhite employee, should the cash-theft scheme be discovered. Hanging over all this is the theater industry’s imminent conversion to digital projection, and rumors that the small local theater will be sold to a corporate chain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Directed by Jon Tracy, \u003cem>The Flick\u003c/em>‘s pace may throw some viewers off. But not only is it necessary for the revelations in the space between, it’s realistic to customer-service life. That’s true also for the set, designed by Randy Wong-Westbrooke: a perfect replica of a faded 1970s movie theater auditorium and projection booth. \u003c/p>\n\u003cp>But there’s a lot here that resonates beyond movie theaters. Love, ethics, mental health, goals, race, courage and vulnerability all play a role in \u003cem>The Flick\u003c/em>. They’re the type of things that stick around long after the credits roll and the lights come up. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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