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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Ragged Wing Ensemble announced Tuesday that \u003ca href=\"http://www.theflightdeck.org/\">Flight Deck\u003c/a>, Oakland’s only shared black-box theater, will close early next year in a serious loss for the East Bay’s performing arts landscape. \u003c/span>\u003c/p>\n\u003cp>Anna Shneiderman, co-founder and executive director of \u003ca href=\"https://www.raggedwing.org/\">Ragged Wing Ensemble\u003c/a>, stood in the 99-seat theater at 1540 Broadway in downtown Oakland, a venue used for performance, rehearsal and administration by 70 artists and organizations annually, and described the building seven years ago. “The roof was caving in,” she said. “You could see through this floor to the dirt underneath.” [aside postID=arts_13861153,arts_13866354,arts_13850988]\u003c/p>\n\u003cp>Shneiderman, who’d run Ragged Wing as a nomadic theater troupe with artistic director Amy Sass since 2004, raised $300,000 to create a 4,000-square-foot performing-arts hub within the dilapidated warehouse, immediately attracting resident companies such as \u003ca href=\"http://www.lowerbottomplayaz.com/\">Lower Bottom Playaz\u003c/a>. “With no marketing, people were banging on the door,” she said. Flight Deck, which Ragged Wing operates, is now booked 50 weeks a year, and since 2014 has quintupled its budget to more than $500,000.\u003c/p>\n\u003cp>Yet Flight Deck’s critical role in the East Bay theater community belies Ragged Wing’s financial insecurity. Facilities costs are double the rental revenue, Shneiderman said, and ticket prices similarly lag behind production expenses. Ragged Wing raises the shortfall, but even with key institutional support, its several part-time employees remain underpaid and without benefits. With its five-year lease set to lapse, Shneiderman sees little more room to grow.\u003c/p>\n\u003cp>“The looming lease renewal prompted some soul-searching,” she said. “Is this sustainable?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flight Deck will close following a “\u003ca href=\"http://www.theflightdeck.org/the-art-of-leaving.html\">ceremonial exit\u003c/a>” program March 29, 2020 entitled \u003cem>The Art of Leaving\u003c/em>. Ragged Wing, like Ayodele Nzinga’s troupe Lower Bottom Playaz, will resume a nomadic existence; an Oakland beacon and resource to dozens of artists will go dark. Shneiderman wants another entity to take over the lease, but Flight Deck as it’s known is done.\u003c/p>\n\u003cp>“Ragged Wing started Flight Deck because there was nowhere to stage a play in downtown Oakland,” she said. “Unless someone takes over our lease, it could be that way again.”\u003c/p>\n\u003cp>In either case, Shneiderman now believes the nonprofit arts system is broken beyond repair.\u003c/p>\n\u003cfigure id=\"attachment_13870008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg\" alt=\"Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nzinga founded Lower Bottom Playaz, an original Flight Deck resident, 20 years ago to produce original works and canonical black theater. It’s known for staging all of \u003cem>Century Cycle\u003c/em>, August Wilson’s epic exploration of the African-American experience, and in September premiered one-woman plays by Nzinga, Cat Brooks and Kharyshi Wiginton. Nzinga is also an activist who helps run a new \u003ca href=\"https://www.ccedoakland.org/\">anti-displacement fund\u003c/a>, and one day recently she sat in Flight Deck’s gallery distributing checks. “It feels fantastic,” she said, smiling to note the ironic timing and setting.\u003c/p>\n\u003cp>Theater in Oakland faces challenges besides the lack of venues. San Francisco companies tend to charge more at the door, and city government exponentially outspends Oakland in art grants; in Oakland’s most recent budget process, arts funding \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">even dipped\u003c/a>. Berkeley has several venues with resident companies supported by a wealthier, better-established audience. “We’re courting a different demographic,” Nzinga said. “We have a pricing scale, and we pass a hat at the end of each show—the joke is you have to pay at the door and then pay to leave.”\u003c/p>\n\u003cp>Flight Deck’s monthly overhead, according to Shneiderman, is $20,000-$25,000. Rental rates, though subsidized by fundraising, make it difficult to fairly compensate performers while offering affordable tickets. TheatreFIRST, at Berkeley’s Live Oak Theater, this year replaced stipends with an hourly rate. Ragged Wing is instituting a similar policy in order to “prioritize people over space,” Shneiderman said. “Why commit all this money to rent and not pay our people right?”\u003c/p>\n\u003cp>For companies such as Ragged Wing and Lower Bottom Playaz, reducing overhead is necessary to offer a living wage. Gritty City Repertory Youth Theatre, a former resident company at Flight Deck, earlier this year moved its office and rehearsal space to the Flax Building, where Ubuntu Theater Project also operates. Nzinga similarly foresees a roving future—anchored in Oakland, performing in surrounding cities—for Lower Bottom Playaz.\u003c/p>\n\u003cp>“Maybe we need to be nimble enough again to perform in homeless shelters and halfway houses like when we started out, or outdoors in Frank Ogawa Plaza,” Nzinga said.\u003c/p>\n\u003cfigure id=\"attachment_13870009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg\" alt=\"Props and posters rest in Flight Deck's office mezzanine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Props and posters rest in Flight Deck’s office mezzanine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month Shneiderman spoke at a “social impact” business conference in Berkeley about “endemic problems in the nonprofit arts sector,” describing the struggles of Flight Deck and Ragged Wing as systemic problems of an industry beholden to philanthropic largesse.\u003c/p>\n\u003cp>Institutional funders want to support projects with marquee visibility instead of humdrum operating costs, and wages for staff suffer, she explained. Organizations compete against each other for grants, yielding programming tailored to the vision of a few private foundations. Nonprofits with too little or too much money alienate funders, discouraging growth. And few audience members realize this constant hustle effectively subsidizes the price of their tickets.\u003c/p>\n\u003cp>Part of the problem is the city’s cost-of-living outpacing public and private arts funding. Another is development: Cranes and new luxury housing in downtown Oakland make the neighborhood’s art spaces look like placeholders. Highbridge Capital Management, a hedge fund subsidiary of JPMorgan Chase, bought the Flight Deck building two years ago as part of a rush on commercial real-estate in the area. It’s the only single-story structure on the block.\u003c/p>\n\u003cfigure id=\"attachment_13870010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg\" alt=\"Posters for past productions hang framed in the Flight Deck hallway.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters for past productions hang framed in the Flight Deck hallway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even an abundance of grants and a longer-term lease on friendly terms wouldn’t address the underlying issue, Shneiderman believes. Relying on wealthy individual donors bends programming to a narrow demographic. “It begs the question of who’s being served,” she said. The arts nonprofit system entrenches instead of disperses social and economic standing, and donors receive tax advantages and burnished names without “rebalancing wealth or power in any significant way,” Shneiderman said, calling the model a form of “extractive capitalism.”\u003c/p>\n\u003cp>For Shneiderman, this critique is the prelude to a pitch for what she’s calling the “Oakland Cultural Space Cooperative,” a network of extant spaces for rehearsal and performance with a centralized booking portal. She’s preparing to begin a year-long design process—supported by local and state philanthropies—in collaboration with several other organizations. “We want it to also have a pathway to ownership,” she added.\u003c/p>\n\u003cp>Before then, Ragged Wing Ensemble will present \u003cem>The Art of Leaving\u003c/em>, its final program at Flight Deck, on March 29, 2020. Shneiderman describes it as a “multi-layered, participatory project” to gather thoughts on leaving from attendees, celebrate resiliency and culminate with a raucous march along Broadway. Like Nzinga with Lower Bottom Playaz, Shneiderman anticipates Ragged Wing returning to presenting compact, tourable productions in nontraditional venues such as homes and outdoor spaces.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s sad,” she said. “But it’s precipitating something new.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shneiderman, who’d run Ragged Wing as a nomadic theater troupe with artistic director Amy Sass since 2004, raised $300,000 to create a 4,000-square-foot performing-arts hub within the dilapidated warehouse, immediately attracting resident companies such as \u003ca href=\"http://www.lowerbottomplayaz.com/\">Lower Bottom Playaz\u003c/a>. “With no marketing, people were banging on the door,” she said. Flight Deck, which Ragged Wing operates, is now booked 50 weeks a year, and since 2014 has quintupled its budget to more than $500,000.\u003c/p>\n\u003cp>Yet Flight Deck’s critical role in the East Bay theater community belies Ragged Wing’s financial insecurity. Facilities costs are double the rental revenue, Shneiderman said, and ticket prices similarly lag behind production expenses. Ragged Wing raises the shortfall, but even with key institutional support, its several part-time employees remain underpaid and without benefits. With its five-year lease set to lapse, Shneiderman sees little more room to grow.\u003c/p>\n\u003cp>“The looming lease renewal prompted some soul-searching,” she said. “Is this sustainable?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Flight Deck will close following a “\u003ca href=\"http://www.theflightdeck.org/the-art-of-leaving.html\">ceremonial exit\u003c/a>” program March 29, 2020 entitled \u003cem>The Art of Leaving\u003c/em>. Ragged Wing, like Ayodele Nzinga’s troupe Lower Bottom Playaz, will resume a nomadic existence; an Oakland beacon and resource to dozens of artists will go dark. Shneiderman wants another entity to take over the lease, but Flight Deck as it’s known is done.\u003c/p>\n\u003cp>“Ragged Wing started Flight Deck because there was nowhere to stage a play in downtown Oakland,” she said. “Unless someone takes over our lease, it could be that way again.”\u003c/p>\n\u003cp>In either case, Shneiderman now believes the nonprofit arts system is broken beyond repair.\u003c/p>\n\u003cfigure id=\"attachment_13870008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg\" alt=\"Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nzinga founded Lower Bottom Playaz, an original Flight Deck resident, 20 years ago to produce original works and canonical black theater. It’s known for staging all of \u003cem>Century Cycle\u003c/em>, August Wilson’s epic exploration of the African-American experience, and in September premiered one-woman plays by Nzinga, Cat Brooks and Kharyshi Wiginton. Nzinga is also an activist who helps run a new \u003ca href=\"https://www.ccedoakland.org/\">anti-displacement fund\u003c/a>, and one day recently she sat in Flight Deck’s gallery distributing checks. “It feels fantastic,” she said, smiling to note the ironic timing and setting.\u003c/p>\n\u003cp>Theater in Oakland faces challenges besides the lack of venues. San Francisco companies tend to charge more at the door, and city government exponentially outspends Oakland in art grants; in Oakland’s most recent budget process, arts funding \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">even dipped\u003c/a>. Berkeley has several venues with resident companies supported by a wealthier, better-established audience. “We’re courting a different demographic,” Nzinga said. “We have a pricing scale, and we pass a hat at the end of each show—the joke is you have to pay at the door and then pay to leave.”\u003c/p>\n\u003cp>Flight Deck’s monthly overhead, according to Shneiderman, is $20,000-$25,000. Rental rates, though subsidized by fundraising, make it difficult to fairly compensate performers while offering affordable tickets. TheatreFIRST, at Berkeley’s Live Oak Theater, this year replaced stipends with an hourly rate. Ragged Wing is instituting a similar policy in order to “prioritize people over space,” Shneiderman said. “Why commit all this money to rent and not pay our people right?”\u003c/p>\n\u003cp>For companies such as Ragged Wing and Lower Bottom Playaz, reducing overhead is necessary to offer a living wage. Gritty City Repertory Youth Theatre, a former resident company at Flight Deck, earlier this year moved its office and rehearsal space to the Flax Building, where Ubuntu Theater Project also operates. Nzinga similarly foresees a roving future—anchored in Oakland, performing in surrounding cities—for Lower Bottom Playaz.\u003c/p>\n\u003cp>“Maybe we need to be nimble enough again to perform in homeless shelters and halfway houses like when we started out, or outdoors in Frank Ogawa Plaza,” Nzinga said.\u003c/p>\n\u003cfigure id=\"attachment_13870009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg\" alt=\"Props and posters rest in Flight Deck's office mezzanine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Props and posters rest in Flight Deck’s office mezzanine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month Shneiderman spoke at a “social impact” business conference in Berkeley about “endemic problems in the nonprofit arts sector,” describing the struggles of Flight Deck and Ragged Wing as systemic problems of an industry beholden to philanthropic largesse.\u003c/p>\n\u003cp>Institutional funders want to support projects with marquee visibility instead of humdrum operating costs, and wages for staff suffer, she explained. Organizations compete against each other for grants, yielding programming tailored to the vision of a few private foundations. Nonprofits with too little or too much money alienate funders, discouraging growth. And few audience members realize this constant hustle effectively subsidizes the price of their tickets.\u003c/p>\n\u003cp>Part of the problem is the city’s cost-of-living outpacing public and private arts funding. Another is development: Cranes and new luxury housing in downtown Oakland make the neighborhood’s art spaces look like placeholders. Highbridge Capital Management, a hedge fund subsidiary of JPMorgan Chase, bought the Flight Deck building two years ago as part of a rush on commercial real-estate in the area. It’s the only single-story structure on the block.\u003c/p>\n\u003cfigure id=\"attachment_13870010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg\" alt=\"Posters for past productions hang framed in the Flight Deck hallway.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters for past productions hang framed in the Flight Deck hallway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even an abundance of grants and a longer-term lease on friendly terms wouldn’t address the underlying issue, Shneiderman believes. Relying on wealthy individual donors bends programming to a narrow demographic. “It begs the question of who’s being served,” she said. The arts nonprofit system entrenches instead of disperses social and economic standing, and donors receive tax advantages and burnished names without “rebalancing wealth or power in any significant way,” Shneiderman said, calling the model a form of “extractive capitalism.”\u003c/p>\n\u003cp>For Shneiderman, this critique is the prelude to a pitch for what she’s calling the “Oakland Cultural Space Cooperative,” a network of extant spaces for rehearsal and performance with a centralized booking portal. She’s preparing to begin a year-long design process—supported by local and state philanthropies—in collaboration with several other organizations. “We want it to also have a pathway to ownership,” she added.\u003c/p>\n\u003cp>Before then, Ragged Wing Ensemble will present \u003cem>The Art of Leaving\u003c/em>, its final program at Flight Deck, on March 29, 2020. Shneiderman describes it as a “multi-layered, participatory project” to gather thoughts on leaving from attendees, celebrate resiliency and culminate with a raucous march along Broadway. Like Nzinga with Lower Bottom Playaz, Shneiderman anticipates Ragged Wing returning to presenting compact, tourable productions in nontraditional venues such as homes and outdoor spaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s sad,” she said. “But it’s precipitating something new.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In New Play 'Down Here Below,' the Audience Becomes One With a Homeless Camp",
"headTitle": "In New Play ‘Down Here Below,’ the Audience Becomes One With a Homeless Camp | KQED",
"content": "\u003cp>For a show that didn’t have a confirmed venue until a couple weeks before opening night, it’s somewhat appropriate that the world-premiere production of \u003cem>Down Here Below\u003c/em>, from Oakland’s Ubuntu Theater Project, is set in a homeless encampment.\u003c/p>\n\u003cp>In Ubuntu’s production, situated in the loading zone of the Oakland branch of FLAX artist supply store, the cast occupies an ephemeral camp called the “Village of Radical Acceptance.” It’s a bare-bones suggestion of a camp, really, created from a few tarps and chairs, scattered milk crates, a refrigerator box, and graffiti-covered walls.\u003c/p>\n\u003cp>By serendipitous coincidence, Ubuntu’s run of \u003cem>Down Here Below—\u003c/em>an adaptation of Maxim Gorky’s \u003cem>The Lower Depths\u003c/em> by Ubuntu associate artist, Lisa Ramirez—coincides with that of \u003cem>The Jungle\u003c/em>, across the Bay at the Curran Theatre in San Francisco. Though \u003cem>The Jungle\u003c/em> has a bigger budget, and therefore a more realized immersive experience, both productions put their audience in the same physical and psychological space as the characters.\u003c/p>\n\u003cp>Upon walking into FLAX, the audience must navigate a path through the waiting performers, who ask for spare change and sandwiches. Once seated, hunched around the playing area as if at a bonfire, the audience is pulled into the daily routines of the camp and its denizens without the artificial distance of a proscenium stage. We are all a part of the story.\u003c/p>\n\u003cfigure id=\"attachment_13855144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha as Zig Zag and Margherita Ventura as Chicken Little in the Village of Radical Acceptance. \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Down Here Below\u003c/em> is a story without a beginning or an end only adds to its immersive quality. The inhabitants of the Village are already familiar with each other, and therefore have no need to painstakingly lay out their backstories—at least not until their backstories come looking for them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s the passionate activist rapper Goldilox (Abdulrahim Harara), who’s desperately trying to scrape together enough coin to record what he knows will be a hit. There’s the emotionally wounded Zig Zag (J Jha), who can’t help but lash out at others, propelled by their own pain. There’s the spaced-out psychic Chicken Little (Margherita Ventura), whose tenuous grasp on reality could be mistaken for a higher spirituality—or vice versa. And then there’s Jones (Dorian Lockett), who imagines he is performing Eugene O’Neill and Shakespeare—stumbling in desperate drunken circles, and calling fruitlessly for a line. Altogether, 20 actors are involved, giving stage time to a broad swath of the lower strata: street kids, veterans, dealers, recyclers, artists and auto-didacts.\u003c/p>\n\u003cfigure id=\"attachment_13855143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">GI Joe (Matt Standley), and Mama Gwen (Kimberly Daniels) in Lisa Ramirez’ ‘Down Here Below.’ \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While each character gets a moment in the spotlight, it’s the tight-knit family of camp “mayor” Mama Gwen (Kimberly Daniels) and her two children Blue (Rolanda D. Bell) and Little Bit (William Oliver III) who hold the center of both the play and the stage. The comfortable ease with which they communicate—whether mediating camp disputes, discussing family chores, or facing down city workers trying to sweep them out—speaks to the strength and dignity they cultivate in each other and, through their actions, impart to the camp at large.\u003c/p>\n\u003cp>When a third child Abbey (Champagne Hughes) comes to visit, she has her middle-class assumptions challenged by Blue, who calls the camp—but not her blood sister—her “family.” And like any family, despite the squabbles, tensions and addictions that plague its members, the Village offers at its core a vision of true acceptance. A vision in which it’s understood that no one person will ever know the whole of another’s life, but that within the context of a certain place and time, they can be a part of each other’s stories.\u003c/p>\n\u003cfigure id=\"attachment_13855142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Champagne Hughes as Abbey visits her sister Blue in the Village of Radical Acceptance. \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by Michael French, \u003cem>Down Here Below\u003c/em> is a naturalistic doorway into an everyday milieu that’s disproportionately ignored by both our playwrights and politicians. As KQED \u003ca href=\"https://www.kqed.org/news/11739894/bay-area-has-3rd-largest-homeless-population-in-country-nearly-70-have-no-shelter\" rel=\"noopener\" target=\"_blank\">reported last week\u003c/a>, the Bay Area has the third-largest homeless population in the United States, with nearly 70% of the region’s homeless living unsheltered on the streets, in cars, in tents or elsewhere.\u003c/p>\n\u003cp>But the visibility of the homeless is a separate issue. With the action in \u003cem>Down Here Below\u003c/em> sprawled across the room in an almost haphazard manner, there’s no one seat in the house from which attendees can catch every moment of the play, mirroring our inability to absorb and understand every detail of our surroundings when out in the world.\u003c/p>\n\u003cp>Ultimately, we’re all limited by what we choose to see, and what chooses to be revealed to us. But as \u003cem>Down Here Below\u003c/em> suggests, the bigger picture of our shared humanity is well within our view.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Down Here Below’ runs through April 28 at the FLAX Building (1501 Martin Luther King Jr. Way) in Oakland. \u003ca href=\"http://www.ubuntutheaterproject.com/below\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a show that didn’t have a confirmed venue until a couple weeks before opening night, it’s somewhat appropriate that the world-premiere production of \u003cem>Down Here Below\u003c/em>, from Oakland’s Ubuntu Theater Project, is set in a homeless encampment.\u003c/p>\n\u003cp>In Ubuntu’s production, situated in the loading zone of the Oakland branch of FLAX artist supply store, the cast occupies an ephemeral camp called the “Village of Radical Acceptance.” It’s a bare-bones suggestion of a camp, really, created from a few tarps and chairs, scattered milk crates, a refrigerator box, and graffiti-covered walls.\u003c/p>\n\u003cp>By serendipitous coincidence, Ubuntu’s run of \u003cem>Down Here Below—\u003c/em>an adaptation of Maxim Gorky’s \u003cem>The Lower Depths\u003c/em> by Ubuntu associate artist, Lisa Ramirez—coincides with that of \u003cem>The Jungle\u003c/em>, across the Bay at the Curran Theatre in San Francisco. Though \u003cem>The Jungle\u003c/em> has a bigger budget, and therefore a more realized immersive experience, both productions put their audience in the same physical and psychological space as the characters.\u003c/p>\n\u003cp>Upon walking into FLAX, the audience must navigate a path through the waiting performers, who ask for spare change and sandwiches. Once seated, hunched around the playing area as if at a bonfire, the audience is pulled into the daily routines of the camp and its denizens without the artificial distance of a proscenium stage. We are all a part of the story.\u003c/p>\n\u003cfigure id=\"attachment_13855144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha as Zig Zag and Margherita Ventura as Chicken Little in the Village of Radical Acceptance. \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Down Here Below\u003c/em> is a story without a beginning or an end only adds to its immersive quality. The inhabitants of the Village are already familiar with each other, and therefore have no need to painstakingly lay out their backstories—at least not until their backstories come looking for them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s the passionate activist rapper Goldilox (Abdulrahim Harara), who’s desperately trying to scrape together enough coin to record what he knows will be a hit. There’s the emotionally wounded Zig Zag (J Jha), who can’t help but lash out at others, propelled by their own pain. There’s the spaced-out psychic Chicken Little (Margherita Ventura), whose tenuous grasp on reality could be mistaken for a higher spirituality—or vice versa. And then there’s Jones (Dorian Lockett), who imagines he is performing Eugene O’Neill and Shakespeare—stumbling in desperate drunken circles, and calling fruitlessly for a line. Altogether, 20 actors are involved, giving stage time to a broad swath of the lower strata: street kids, veterans, dealers, recyclers, artists and auto-didacts.\u003c/p>\n\u003cfigure id=\"attachment_13855143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">GI Joe (Matt Standley), and Mama Gwen (Kimberly Daniels) in Lisa Ramirez’ ‘Down Here Below.’ \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While each character gets a moment in the spotlight, it’s the tight-knit family of camp “mayor” Mama Gwen (Kimberly Daniels) and her two children Blue (Rolanda D. Bell) and Little Bit (William Oliver III) who hold the center of both the play and the stage. The comfortable ease with which they communicate—whether mediating camp disputes, discussing family chores, or facing down city workers trying to sweep them out—speaks to the strength and dignity they cultivate in each other and, through their actions, impart to the camp at large.\u003c/p>\n\u003cp>When a third child Abbey (Champagne Hughes) comes to visit, she has her middle-class assumptions challenged by Blue, who calls the camp—but not her blood sister—her “family.” And like any family, despite the squabbles, tensions and addictions that plague its members, the Village offers at its core a vision of true acceptance. A vision in which it’s understood that no one person will ever know the whole of another’s life, but that within the context of a certain place and time, they can be a part of each other’s stories.\u003c/p>\n\u003cfigure id=\"attachment_13855142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Champagne Hughes as Abbey visits her sister Blue in the Village of Radical Acceptance. \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by Michael French, \u003cem>Down Here Below\u003c/em> is a naturalistic doorway into an everyday milieu that’s disproportionately ignored by both our playwrights and politicians. As KQED \u003ca href=\"https://www.kqed.org/news/11739894/bay-area-has-3rd-largest-homeless-population-in-country-nearly-70-have-no-shelter\" rel=\"noopener\" target=\"_blank\">reported last week\u003c/a>, the Bay Area has the third-largest homeless population in the United States, with nearly 70% of the region’s homeless living unsheltered on the streets, in cars, in tents or elsewhere.\u003c/p>\n\u003cp>But the visibility of the homeless is a separate issue. With the action in \u003cem>Down Here Below\u003c/em> sprawled across the room in an almost haphazard manner, there’s no one seat in the house from which attendees can catch every moment of the play, mirroring our inability to absorb and understand every detail of our surroundings when out in the world.\u003c/p>\n\u003cp>Ultimately, we’re all limited by what we choose to see, and what chooses to be revealed to us. But as \u003cem>Down Here Below\u003c/em> suggests, the bigger picture of our shared humanity is well within our view.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Down Here Below’ runs through April 28 at the FLAX Building (1501 Martin Luther King Jr. Way) in Oakland. \u003ca href=\"http://www.ubuntutheaterproject.com/below\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Conference of the Birds' Fails to Soar in Oakland",
"headTitle": "‘The Conference of the Birds’ Fails to Soar in Oakland | KQED",
"content": "\u003cp>The literary kinship between poetry and plays has led to many significant works: the choruses of the ancient Greeks, Shakespeare’s iambic pentameter, T.S. Eliot’s verse drama and the numerous contemporary stagings of the poetry of Walt Whitman (including those performed locally by John O’Keefe and Ryan Hayes).\u003c/p>\n\u003cp>In \u003cem>The Conference of the Birds\u003c/em>, a co-production between Inferno Theatre and Ubuntu Theater Project, a 4,800+ line Sufi epic has been adapted for the stage by Sholeh Wolpé, whose well-regarded English translation of the poem was published last year by W.W. Norton & Co. First written circa 1187 A.D. by Persian pharmacist-poet Farid ud-Din Attar, \u003cem>The Conference of the Birds\u003c/em> is a dissertation on Sufi mysticism in rhymed couplets, using birds as metaphors for the fickle human spirit.\u003c/p>\n\u003cfigure id=\"attachment_13846240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846240 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ali-Moosa Mirza, Saira Kaur Mangat, Omar Osoria-Pena, and Jane Eisner are birds of a feather in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gathering of birds sets out to find the kingdom of the mysterious Simorgh, whom they have unanimously agreed should be their ruler. Led by the level-headed Hoopoe (Ashley Jaye), they begin their long journey, traveling across seven valleys and numerous other obstacles. Along the way, as the birds begin to doubt their quest, the Hoopoe encourages them along with a patter of parable. Like Scheherazade, she of the 1,000 stories, the Hoopoe doesn’t lack for tales to tell, which are simultaneously acted out by members of the ensemble. Purpose-driven moths, princesses and commoners, poets and prophets—all come to brief life in a flurry of costume-changes and satin scarves.\u003c/p>\n\u003cfigure id=\"attachment_13846243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846243\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Brazier, Danie Citlali Valdivieso, and Jane Eisner perform an allegory in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When not performing as a character in an allegory, each of the cast embodies a different bird, some more convincingly than others. Sarah Brazier’s Parrot walks with a humorously exaggerated pigeon-toe. Jane Eisner’s Goldfinch is quick on its feet and in the air. Omar Osaria-Pena’s Osprey is proud and reserved. Jaye’s Hoopoe cocks its head and bobs affirmations as it delivers another story to a recalcitrant comrade. Attar (Joshua-Morris Williams), the poet, intersperses the action with his own observations and platitudes, and musician/composer Amir Etemadzadeh scores the momentum with a variety of traditional instruments.\u003c/p>\n\u003cp>But what the production is missing is a strong central vision to guide the birds to their metaphorical destination. Not only are these birds capricious and unruly, but they also appear to lack a strong interior sense of self. Oftentimes the only true signal we have that an actor is in “bird” mode is when they are wearing their masks (beautifully designed by Annie Hallatt). Though the Hoopoe tries its best to impart wisdom though tangent, its stories begin to blur into each other, the message of each disappearing in a muddle of mugging almost as soon as it emerges. This lack of intentionality and rhythm leaves these birds traveling in circles without much solid ground to land on, rendering the purposefulness of their quest to a flight of fancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the program, Wolpé speaks of contemporizing the poem, and adding comic vignettes to the play’s humor which, under the direction of Giulio Cesare Perrone, frequently falls flat. Wolpé has also dispensed with the original structure of rhymed couplets, opting instead for less stylized prose, which, in play form, is less lyrical and more workaday than you might expect from an 800 year-old poem. Despite the possibilities hinted at by the soaring octagonal ceiling and rug-strewn hardwood floor of the performance space in the Brooklyn Preserve, much of the action is staged conventionally, rarely even facing the half of the audience sitting along the far stage left side of the room. This further turns what could be a profound experiment into something disappointingly superficial.\u003c/p>\n\u003cfigure id=\"attachment_13846241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A nightingale looks inside himself. Ali-Moosa Mirza in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not easy to stage—let alone describe—a spiritual quest, and much of the lush imagery of Attar’s original manuscript does shimmer throughout the production, despite its limitations. And when the birds are revealed at the end to be the embodiment of the purpose they seek, discovering the divine within themselves just as they’ve given up all hope of being granted an audience with it, there is a moment of genuine realization. It may come too late in the evening for it to salvage the entire experience—but at least it gives the poem, if not the play, a stronger sense of significance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Conference of the Birds’ runs through Dec. 16 at Brooklyn Preserve. \u003ca href=\"http://www.ubuntutheaterproject.com/birds/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "As metaphors, birds cover a lot of ground, but as individuals, these particular birds prove to be a flighty bunch.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The literary kinship between poetry and plays has led to many significant works: the choruses of the ancient Greeks, Shakespeare’s iambic pentameter, T.S. Eliot’s verse drama and the numerous contemporary stagings of the poetry of Walt Whitman (including those performed locally by John O’Keefe and Ryan Hayes).\u003c/p>\n\u003cp>In \u003cem>The Conference of the Birds\u003c/em>, a co-production between Inferno Theatre and Ubuntu Theater Project, a 4,800+ line Sufi epic has been adapted for the stage by Sholeh Wolpé, whose well-regarded English translation of the poem was published last year by W.W. Norton & Co. First written circa 1187 A.D. by Persian pharmacist-poet Farid ud-Din Attar, \u003cem>The Conference of the Birds\u003c/em> is a dissertation on Sufi mysticism in rhymed couplets, using birds as metaphors for the fickle human spirit.\u003c/p>\n\u003cfigure id=\"attachment_13846240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846240 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ali-Moosa Mirza, Saira Kaur Mangat, Omar Osoria-Pena, and Jane Eisner are birds of a feather in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gathering of birds sets out to find the kingdom of the mysterious Simorgh, whom they have unanimously agreed should be their ruler. Led by the level-headed Hoopoe (Ashley Jaye), they begin their long journey, traveling across seven valleys and numerous other obstacles. Along the way, as the birds begin to doubt their quest, the Hoopoe encourages them along with a patter of parable. Like Scheherazade, she of the 1,000 stories, the Hoopoe doesn’t lack for tales to tell, which are simultaneously acted out by members of the ensemble. Purpose-driven moths, princesses and commoners, poets and prophets—all come to brief life in a flurry of costume-changes and satin scarves.\u003c/p>\n\u003cfigure id=\"attachment_13846243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846243\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Brazier, Danie Citlali Valdivieso, and Jane Eisner perform an allegory in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When not performing as a character in an allegory, each of the cast embodies a different bird, some more convincingly than others. Sarah Brazier’s Parrot walks with a humorously exaggerated pigeon-toe. Jane Eisner’s Goldfinch is quick on its feet and in the air. Omar Osaria-Pena’s Osprey is proud and reserved. Jaye’s Hoopoe cocks its head and bobs affirmations as it delivers another story to a recalcitrant comrade. Attar (Joshua-Morris Williams), the poet, intersperses the action with his own observations and platitudes, and musician/composer Amir Etemadzadeh scores the momentum with a variety of traditional instruments.\u003c/p>\n\u003cp>But what the production is missing is a strong central vision to guide the birds to their metaphorical destination. Not only are these birds capricious and unruly, but they also appear to lack a strong interior sense of self. Oftentimes the only true signal we have that an actor is in “bird” mode is when they are wearing their masks (beautifully designed by Annie Hallatt). Though the Hoopoe tries its best to impart wisdom though tangent, its stories begin to blur into each other, the message of each disappearing in a muddle of mugging almost as soon as it emerges. This lack of intentionality and rhythm leaves these birds traveling in circles without much solid ground to land on, rendering the purposefulness of their quest to a flight of fancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the program, Wolpé speaks of contemporizing the poem, and adding comic vignettes to the play’s humor which, under the direction of Giulio Cesare Perrone, frequently falls flat. Wolpé has also dispensed with the original structure of rhymed couplets, opting instead for less stylized prose, which, in play form, is less lyrical and more workaday than you might expect from an 800 year-old poem. Despite the possibilities hinted at by the soaring octagonal ceiling and rug-strewn hardwood floor of the performance space in the Brooklyn Preserve, much of the action is staged conventionally, rarely even facing the half of the audience sitting along the far stage left side of the room. This further turns what could be a profound experiment into something disappointingly superficial.\u003c/p>\n\u003cfigure id=\"attachment_13846241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A nightingale looks inside himself. Ali-Moosa Mirza in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not easy to stage—let alone describe—a spiritual quest, and much of the lush imagery of Attar’s original manuscript does shimmer throughout the production, despite its limitations. And when the birds are revealed at the end to be the embodiment of the purpose they seek, discovering the divine within themselves just as they’ve given up all hope of being granted an audience with it, there is a moment of genuine realization. It may come too late in the evening for it to salvage the entire experience—but at least it gives the poem, if not the play, a stronger sense of significance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Conference of the Birds’ runs through Dec. 16 at Brooklyn Preserve. \u003ca href=\"http://www.ubuntutheaterproject.com/birds/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Oakland Church Holds Family Memories in 'Dance of the Holy Ghosts'",
"headTitle": "An Oakland Church Holds Family Memories in ‘Dance of the Holy Ghosts’ | KQED",
"content": "\u003cp>Oakland’s Ubuntu Theater Project last presented Marcus Gardley’s \u003cem>Dance of the Holy Ghosts\u003c/em> in 2015, when it expanded, with assistance from Gardley, from a six-person cast to an ensemble of 15 complete with a gospel chorus. Staged in the aisles of Oakland City Church, Ubuntu brought to life the story of three generations of family history, from the Deep South to the California Coast. \u003c/p>\n\u003cp>Now in a third iteration, with a 17-member ensemble and directed again by Michael Socrates Moran, Ubuntu strikes a mostly effective balance between the ghosts that haunt this sprawling family saga and the earthy humanity that grounds it.\u003c/p>\n\u003cfigure id=\"attachment_13827618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg\" alt=\"Michael Curry (Marcus) in 'Dance of the Holy Ghosts.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Curry (Marcus) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley, who grew up in West Oakland, has an artistically fruitful history of collaborating with Bay Area theatre companies, including Shotgun Players, Cutting Ball Theater, Berkeley Rep, and California Shakespeare Company. But no other West Coast company has tackled \u003cem>Dance of the Holy Ghosts\u003c/em>, Gardley’s homage to his own Oakland roots and complex family history, let alone staged it three times.\u003c/p>\n\u003cp>Additions to the script in 2015 (such as a narrator character, Woman Old As Wisdom) have been removed, though the gospel chorus, who comment on the action and take on various bit parts throughout, remains. Set in the sanctuary of another church (Oakland Peace Center, originally First Christian Church of Oakland) the audience files into the pews while the ensemble sings gospel hymns from the choir loft as the preshow, effectively setting the mood somewhere between reverence and nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13827617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg\" alt=\"Halili Knox (Viola) in 'Dance of the Holy Ghosts.' \" width=\"640\" height=\"960\" class=\"size-large wp-image-13827617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Marcus (Michael Curry), young, suited, somber, alone. He leafs through a leather-bound notebook and begins to sing a Yoruban folk tune, his voice sweet and mournful. Eventually the entire gospel ensemble joins in, arranging themselves on the various levels of the stage as tableaux. In contrast, the only character singing Oscar’s song when he enters from the back of the room is Oscar himself (Berwick Haynes), performing an out-of- character spiritual in a rich baritone, as he progresses slowly down the aisle to take his rightful place centerstage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part-time patriarch and full-time player, it’s Oscar’s memories that dominate much of the play, interspersed and intertwined with Marcus’, whose attempts to come to terms with his grandfather’s shortcomings as a family man drive his own strolls down memory lane. But before we get to the past, Marcus must find the Oscar of the present to invite him to the funeral of his only child, Marcus’ mother, Darlene (Elizabeth Jones).\u003c/p>\n\u003cp>Their first encounter is not auspicious. Oscar querulously refuses to admit his identity and acknowledge their family connection, but as soon as he runs Marcus off, he falls into a memory of him as a small boy and their then-relationship, full of boisterous posturing on his end and nerd-awkward hero-worship on Marcus’. It’s during these forays into rhythmic reminiscence that Gardley’s roots as a poet are especially evident. He’s not afraid to use ten words where another playwright might use two, flights of lyrical fancy that shoot for the rafters. This innate musicality is a hallmark of Gardley’s work, as is his fascination with stories of epic scope without tidy conclusions: raw, messy, with a touch of magical realism.\u003c/p>\n\u003cp>Gardley’s poetic turn-of-phrase is especially rich in the mouth of Haynes, who joined the cast late in the rehearsal process, but nonetheless embodies his flawed but frequently charming protagonist with empathetic sincerity. With it he woos the headstrong Viola, played with feline grace by Halili Knox (who played Woman Old As Wisdom in 2015), and lulls his daughter to sleep during a rare moment together. In Curry’s mouth the poetry is more tentative, as the character Marcus spends much of the play feeling his way towards adulthood. However, he’s given what may be the most poignant speech of the play at its end, and it’s satisfying to witness his completed transformation into the man he was perhaps always destined to become.\u003c/p>\n\u003cfigure id=\"attachment_13827616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg\" alt=\"Halili Knox (Viola) and Berwick Haynes (Oscar) in 'Dance of the Holy Ghosts.' \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) and Berwick Haynes (Oscar) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the play fails to satisfy are in some of the more superfluous storylines, particularly those set in young Marcus’ fourth-grade Catholic school classroom, despite Halili Knox’ dual-role as the gamin-cute “new girl,” Marcus’ first crush, and the humorously ineffectual Father Michael (Anthone Jackson). As droll as many of these vignettes are, they distract from the already expansive, non-linear retelling of a history long on detail and short on pith. In all, the play runs close to the three-hour mark, with all the same discomforts and rewards as a church service of the same length might offer: hard pews, inadequate heating, a shot at transcendence.\u003c/p>\n\u003cp>For congregants who take pleasure in the rewards of opening themselves to a shared experience with fellow truth-seekers, this show offers a real opportunity to abandon oneself to the singular melody of Marcus Gardley’s ode to his childhood home. But for those who like their theater with more creature comforts and fewer tests of endurance, \u003cem>Ghosts\u003c/em> might feel less like a revelation and more like a chore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance of the Holy Ghosts’ runs through Saturday, March 31, at Oakland Peace Center in Oakland. \u003ca href=\"http://www.ubuntutheaterproject.com\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s Ubuntu Theater Project last presented Marcus Gardley’s \u003cem>Dance of the Holy Ghosts\u003c/em> in 2015, when it expanded, with assistance from Gardley, from a six-person cast to an ensemble of 15 complete with a gospel chorus. Staged in the aisles of Oakland City Church, Ubuntu brought to life the story of three generations of family history, from the Deep South to the California Coast. \u003c/p>\n\u003cp>Now in a third iteration, with a 17-member ensemble and directed again by Michael Socrates Moran, Ubuntu strikes a mostly effective balance between the ghosts that haunt this sprawling family saga and the earthy humanity that grounds it.\u003c/p>\n\u003cfigure id=\"attachment_13827618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg\" alt=\"Michael Curry (Marcus) in 'Dance of the Holy Ghosts.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Curry (Marcus) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley, who grew up in West Oakland, has an artistically fruitful history of collaborating with Bay Area theatre companies, including Shotgun Players, Cutting Ball Theater, Berkeley Rep, and California Shakespeare Company. But no other West Coast company has tackled \u003cem>Dance of the Holy Ghosts\u003c/em>, Gardley’s homage to his own Oakland roots and complex family history, let alone staged it three times.\u003c/p>\n\u003cp>Additions to the script in 2015 (such as a narrator character, Woman Old As Wisdom) have been removed, though the gospel chorus, who comment on the action and take on various bit parts throughout, remains. Set in the sanctuary of another church (Oakland Peace Center, originally First Christian Church of Oakland) the audience files into the pews while the ensemble sings gospel hymns from the choir loft as the preshow, effectively setting the mood somewhere between reverence and nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13827617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg\" alt=\"Halili Knox (Viola) in 'Dance of the Holy Ghosts.' \" width=\"640\" height=\"960\" class=\"size-large wp-image-13827617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Marcus (Michael Curry), young, suited, somber, alone. He leafs through a leather-bound notebook and begins to sing a Yoruban folk tune, his voice sweet and mournful. Eventually the entire gospel ensemble joins in, arranging themselves on the various levels of the stage as tableaux. In contrast, the only character singing Oscar’s song when he enters from the back of the room is Oscar himself (Berwick Haynes), performing an out-of- character spiritual in a rich baritone, as he progresses slowly down the aisle to take his rightful place centerstage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part-time patriarch and full-time player, it’s Oscar’s memories that dominate much of the play, interspersed and intertwined with Marcus’, whose attempts to come to terms with his grandfather’s shortcomings as a family man drive his own strolls down memory lane. But before we get to the past, Marcus must find the Oscar of the present to invite him to the funeral of his only child, Marcus’ mother, Darlene (Elizabeth Jones).\u003c/p>\n\u003cp>Their first encounter is not auspicious. Oscar querulously refuses to admit his identity and acknowledge their family connection, but as soon as he runs Marcus off, he falls into a memory of him as a small boy and their then-relationship, full of boisterous posturing on his end and nerd-awkward hero-worship on Marcus’. It’s during these forays into rhythmic reminiscence that Gardley’s roots as a poet are especially evident. He’s not afraid to use ten words where another playwright might use two, flights of lyrical fancy that shoot for the rafters. This innate musicality is a hallmark of Gardley’s work, as is his fascination with stories of epic scope without tidy conclusions: raw, messy, with a touch of magical realism.\u003c/p>\n\u003cp>Gardley’s poetic turn-of-phrase is especially rich in the mouth of Haynes, who joined the cast late in the rehearsal process, but nonetheless embodies his flawed but frequently charming protagonist with empathetic sincerity. With it he woos the headstrong Viola, played with feline grace by Halili Knox (who played Woman Old As Wisdom in 2015), and lulls his daughter to sleep during a rare moment together. In Curry’s mouth the poetry is more tentative, as the character Marcus spends much of the play feeling his way towards adulthood. However, he’s given what may be the most poignant speech of the play at its end, and it’s satisfying to witness his completed transformation into the man he was perhaps always destined to become.\u003c/p>\n\u003cfigure id=\"attachment_13827616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg\" alt=\"Halili Knox (Viola) and Berwick Haynes (Oscar) in 'Dance of the Holy Ghosts.' \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) and Berwick Haynes (Oscar) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the play fails to satisfy are in some of the more superfluous storylines, particularly those set in young Marcus’ fourth-grade Catholic school classroom, despite Halili Knox’ dual-role as the gamin-cute “new girl,” Marcus’ first crush, and the humorously ineffectual Father Michael (Anthone Jackson). As droll as many of these vignettes are, they distract from the already expansive, non-linear retelling of a history long on detail and short on pith. In all, the play runs close to the three-hour mark, with all the same discomforts and rewards as a church service of the same length might offer: hard pews, inadequate heating, a shot at transcendence.\u003c/p>\n\u003cp>For congregants who take pleasure in the rewards of opening themselves to a shared experience with fellow truth-seekers, this show offers a real opportunity to abandon oneself to the singular melody of Marcus Gardley’s ode to his childhood home. But for those who like their theater with more creature comforts and fewer tests of endurance, \u003cem>Ghosts\u003c/em> might feel less like a revelation and more like a chore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance of the Holy Ghosts’ runs through Saturday, March 31, at Oakland Peace Center in Oakland. \u003ca href=\"http://www.ubuntutheaterproject.com\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My co-host this week is A-lan Holt, a playwright and co-director for the Center for Diversity in the Arts at Stanford. To no one’s surprise, we talked about the plays we’re most excited about at Bay Area theaters. But there’s lots of music on the show too, including a new violin concerto by film score master Danny Elfman and tropical rocker Hollie Cook. Check it out.\u003c/p>\n\u003cp>\u003cstrong>March 10: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826532/the-whip-smart-folk-music-of-henry-jamison\" target=\"_blank\" rel=\"noopener\">Vermont folkie Henry Jamison’s tells eloquent love stories in song.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 16-April 7: \u003c/strong>\u003ca href=\"https://www.kqed.org/news/11650964/bay-area-artist-retrieves-missing-young-black-women\" target=\"_blank\" rel=\"noopener\">Kenyatta A. C. Hinkle’s smokey portraits work to rescue the victims of sex trafficking. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 1-24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826571/tearing-down-the-patriarchy-in-crowded-fires-revolt-she-said-revolt-again\" target=\"_blank\" rel=\"noopener\">The women in Crowded Fire Theater’s production \u003cstrong>of \u003c/strong>\u003cem>Revolt. She Said. Revolt Again.\u003c/em> tear down the patriarchy\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 9-11: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826595/the-marsh-offers-a-theater-alternative-to-march-madness\" target=\"_blank\" rel=\"noopener\">Theater with brackets in ‘Marsh Madness ‘at The Marsh Theater.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 16-31:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/dance/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project offers the West Coast premiere of Oakland native Marcus Gardley’s memory play \u003cem>Dance of the Holy Ghosts.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 10 and 11\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13826509/danny-elfmans-genre-defying-music-at-stanford\" target=\"_blank\" rel=\"noopener\">The Stanford Symphony features the genre hopping music of Danny Elfman.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826399/luscious-tropical-pop-from-hollie-cook\" target=\"_blank\" rel=\"noopener\">The luscious “tropical pop” of singer Hollie Cook.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>March 16\u003c/strong>: \u003ca href=\"https://www.ncco.org/concert-tickets/2017-2018-season/zurichchamberorchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra teams up with the Zurich Chamber Orchestra under Daniel Hope, music director for both ensembles. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 15: \u003c/strong>\u003ca href=\"https://www.brava.org/all-events/2017/11/20/so-soul-san-francisco-black-art-salon-f3gh9-b8t68\" target=\"_blank\" rel=\"noopener\">Brava in the Mission continues its salon series with a discussion by choreographer Amara Tabor Smith, director Ellen Sebastian Chang, multi-media artist Alexa C. Burell (aka LEXAGON), and somatic scholar Amber McZeal \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is A-lan Holt, a playwright and co-director for the Center for Diversity in the Arts at Stanford. To no one’s surprise, we talked about the plays we’re most excited about at Bay Area theaters. But there’s lots of music on the show too, including a new violin concerto by film score master Danny Elfman and tropical rocker Hollie Cook. Check it out.\u003c/p>\n\u003cp>\u003cstrong>March 10: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826532/the-whip-smart-folk-music-of-henry-jamison\" target=\"_blank\" rel=\"noopener\">Vermont folkie Henry Jamison’s tells eloquent love stories in song.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 16-April 7: \u003c/strong>\u003ca href=\"https://www.kqed.org/news/11650964/bay-area-artist-retrieves-missing-young-black-women\" target=\"_blank\" rel=\"noopener\">Kenyatta A. C. Hinkle’s smokey portraits work to rescue the victims of sex trafficking. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 1-24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826571/tearing-down-the-patriarchy-in-crowded-fires-revolt-she-said-revolt-again\" target=\"_blank\" rel=\"noopener\">The women in Crowded Fire Theater’s production \u003cstrong>of \u003c/strong>\u003cem>Revolt. She Said. Revolt Again.\u003c/em> tear down the patriarchy\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 9-11: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826595/the-marsh-offers-a-theater-alternative-to-march-madness\" target=\"_blank\" rel=\"noopener\">Theater with brackets in ‘Marsh Madness ‘at The Marsh Theater.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 16-31:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/dance/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project offers the West Coast premiere of Oakland native Marcus Gardley’s memory play \u003cem>Dance of the Holy Ghosts.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 10 and 11\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13826509/danny-elfmans-genre-defying-music-at-stanford\" target=\"_blank\" rel=\"noopener\">The Stanford Symphony features the genre hopping music of Danny Elfman.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826399/luscious-tropical-pop-from-hollie-cook\" target=\"_blank\" rel=\"noopener\">The luscious “tropical pop” of singer Hollie Cook.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>March 16\u003c/strong>: \u003ca href=\"https://www.ncco.org/concert-tickets/2017-2018-season/zurichchamberorchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra teams up with the Zurich Chamber Orchestra under Daniel Hope, music director for both ensembles. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 15: \u003c/strong>\u003ca href=\"https://www.brava.org/all-events/2017/11/20/so-soul-san-francisco-black-art-salon-f3gh9-b8t68\" target=\"_blank\" rel=\"noopener\">Brava in the Mission continues its salon series with a discussion by choreographer Amara Tabor Smith, director Ellen Sebastian Chang, multi-media artist Alexa C. Burell (aka LEXAGON), and somatic scholar Amber McZeal \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/tony-kushner-and-sarah-vowell-the-lincoln-legacy-the-man-and-his-presidency.php\" target=\"_blank\" rel=\"noopener\">Tony Kushner and Sarah Vowell talk about American and Hollywood history, Lincoln, and assassinations at Cal Performances\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13823952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg\" alt=\"Marc Bamuthi Joseph and Cy Musiker in the studio at KQED\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-768x365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1020x484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1920x911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1180x560.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-960x456.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-375x178.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-520x247.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph and Cy Musiker in the studio at KQED. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My co-host, YBCA’s Marc Bamuthi Joseph, notes he doesn’t believe in art that doesn’t bleed, sweat or cry. It’s one reason we both love the work of Oakland’s Ubuntu Theater Project, which always aspires to reach such intensity. Ubuntu Theater is currently staging Tennessee Williams’s classic drama \u003cem>A Streetcar Named Desire,\u003c/em> which is all about gender and class war. Blanche DuBois wages against the macho Stanley Kowalski, and the alternating resistance and complicity of Stella, Blanche’s sister and Stanley’s wife. The stakes are high — a quality that Marc notes makes the difference between the entertaining and the transformative. Details for Ubuntu’s \u003cem>A Streetcar Named Desire \u003c/em>at the Alice Collective in Oakland Feb. 2-25 are\u003ca href=\"http://www.ubuntutheaterproject.com/2018-shows/\" target=\"_blank\" rel=\"noopener\"> here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"link": "/radio/program/freakonomics-radio",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
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