10 Ways to Fall in Love With Bay Area Theatre and Dance
Ayodele Nzinga Opens Curtain at BAM House, a New Home for Black Arts
Tina Turner Musical Gains Extra Meaning in the Wake of the Rock Icon’s Death
Tony Awards 2023: Here's the List of Major Winners With Photos
This Summer, a Return of the Return to the Movie Theater
10 Hot Tickets to Bay Area Plays and Musicals This Summer
The Stages Keeping SF’s Indie Theatre Scene Alive
ACT’s ‘The Headlands’ Maps SF Through Fog, Flashbacks and a Cold Case
PianoFight’s Theatre Was Independent, Creative, Accessible — and Necessary
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FM","link":"/"}},"arts_13933150":{"type":"posts","id":"arts_13933150","meta":{"index":"posts_1591205157","site":"arts","id":"13933150","score":null,"sort":[1692724524000]},"guestAuthors":[],"slug":"bay-area-theatre-dance-fall-2023","title":"10 Ways to Fall in Love With Bay Area Theatre and Dance","publishDate":1692724524,"format":"standard","headTitle":"10 Ways to Fall in Love With Bay Area Theatre and Dance | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>\u003cem>Find more of KQED’s picks for the \u003ca href=\"https://www.kqed.org/fallguide2023\">best fall 2023 events here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>For Bay Area theatre, fall is when summer festivals wind down and new seasons of performing companies ramp up. As always, far more amazing shows open over the next few months than one roundup can contain. But here’s a sampling of the most exciting, innovative, and thought-provoking works hitting the boards this fall — from A.C.T. to Z Space.\u003c/p>\n\u003ch3>Theater\u003c/h3>\n\u003cfigure id=\"attachment_13933327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933327\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg\" alt=\"a group photo of three young Black women and a tall Black man, the musician Questlove, in glasses \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dominique Morisseau, Ahmir Questlove Thompson, Camille A. Brown and Kamilah Forbes. \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.act-sf.org/whats-on/2023-24-season/soul-train/\" target=\"_blank\" rel=\"noopener\">Hippest Trip — The Soul Train Musical\u003c/a>\u003cem>’\u003c/em>\u003c/h2>\n\u003cp>\u003cem>Aug. 25–Oct. 1, 2023\u003cbr>\nA.C.T.’s Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>All aboard — the Soul Train is about to leave the station! \u003cem>Hippest Trip — The Soul Train Musical\u003c/em> promises to turn A.C.T.’s Toni Rembe Theater into a celebratory dance party, as well as an homage to the talent that made \u003cem>Soul Train\u003c/em> a beloved household staple for 35 years. Spotlighting the Black music, dance and culture variety show founded by Don Cornelius in 1971, \u003cem>Hippest Trip\u003c/em> presents a powerhouse cast, playwriting by Tony Award-nominated Dominique Morisseau, direction by Kamilah Forbes and choreography by \u003cem>Toni Stone\u003c/em>’s Camille A. Brown.\u003c/p>\n\u003cfigure id=\"attachment_13933423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg\" alt=\"a Black woman with short hair wraps her hands in tape like she's about to box next to a young Asian American man in a jean jacket with his fists up\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabby Momah and Mikee Loria in ‘Wolf Play.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/online/article/wolf-play\" target=\"_blank\" rel=\"noopener\">Wolf Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 2–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Ashby Stage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tackling the morally dubious practice of adoptive parents “re-homing” their children online, Hansol Jung’s devastatingly astute \u003cem>Wolf Play\u003c/em> brings an unforgettable protagonist to life in this Elizabeth Carter-directed production. Jeenu, a 6-year old adoptee, finds refuge in the idea that he is a wolf seeking his pack. For new parents Robin and Ash, Jeenu is both a completion and a complication inside their own refuge of a chosen family. When external forces intrude in their circle, each character must learn to fight for their territory — and for each other.\u003c/p>\n\u003cfigure id=\"attachment_13933580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Gary-800x894.jpg\" alt=\"A man in purple top and spiked headpiece, with gold sash\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-800x894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1020x1140.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-768x859.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1374x1536.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary.jpg 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Gary: A Sequel to Titus Andronicus.’ \u003ccite>(Oakland Theater Project )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/gary\">Gary: A Sequel To Titus Andronicus\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 8–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Oakland Theater Project at FLAX\u003c/em>\u003c/p>\n\u003cp>One of Shakespeare’s most harrowing plays, \u003cem>Titus Andronicus\u003c/em> ends in buckets of blood and piles of bodies — a state of affairs gleefully exaggerated in Taylor Mac’s \u003cem>Gary\u003c/em>. With literal bodies stacked to the ceiling, and a pair of put-upon servants to mop up the mess the mighty have left behind, \u003cem>Gary\u003c/em> gives voice to the voiceless — albeit with fart jokes. But don’t think Mac’s foray into Theatre of the Ridiculous territory is all about the frailties of the human body. What Mac is after is examining the frailties of the systems that perpetrate cycles of violence and trauma, finding unexpected grace under unimaginable pressure.\u003c/p>\n\u003cfigure id=\"attachment_13933332\" class=\"wp-caption aligncenter\" style=\"max-width: 546px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\" alt=\"a white woman with curly hair and a green scarf looks at the camera outside\" width=\"546\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot-160x215.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Mary Glen Fredrick. \u003ccite>(Courtesy of Mary Glen Fredrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.crowdedfire.org/edit-annie/\" target=\"_blank\" rel=\"noopener\">Edit Annie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 21–Oct. 14, 2023\u003cbr>\nMagic Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s been two long years since Crowded Fire Theater presented Isaac Gómez’ terrific and terrifying \u003cem>The Displaced\u003c/em>. Their West Coast premiere of \u003cem>Edit Annie\u003c/em>, by rising New York-based playwright and video artist Mary Glen Fredrick, promises to be worth the wait. Unapologetically rooted in the technological tangles of our time, the play explores the implications and repercussions of our ability to continuously reinvent, redefine, and rewind our relationships in a heavily mediated reality. With a superlative cast, co-direction by Leigh Rondon-Davis and Nailah Unole Dida-nese’ah Harper-Malveaux, and video designed and edited by Fredrick with Lana Palmer, \u003cem>Edit Annie\u003c/em> gives the Extremely Online generation a chance to connect IRL without even having to swipe.\u003c/p>\n\u003cfigure id=\"attachment_13933398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg\" alt=\"a spooky costumed drag queen against a purple background\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm.jpg 1766w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peaches Christ at the Terror Vault inside the San Francisco Mint. \u003ccite>(Courtesy of Terror Vault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.tixr.com/groups/terrorvault\" target=\"_blank\" rel=\"noopener\">Terror Vault Presents: The Initiation\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 29-Oct. 31, 2023\u003cbr>\nSan Francisco Mint\u003c/em>\u003c/p>\n\u003cp>Borne from Peaches Christ’s taste for the macabre and San Francisco’s appetite for the immersive, Terror Vault is a haunted attraction that truly delivers. Appropriately ensconced in the magnificent Old Mint — a granite behemoth built in 1874 — Terror Vault makes use of its shadowy corners, vintage vaults, and disorienting floorplan to devious effect. This year’s theme —\u003cem>The Initiation \u003c/em>— delves into the Bay Area’s unsavory association with cults and their leaders, inviting audiences to attend a “seminar” for a mysterious organization called INsight. Far more involved than your typical haunted house, Terror Vault shows include fully realized world-building, humor, exhibitionists, the best horror makeup around, and consensual audience interactivity for a thrilling adventure you won’t soon forget.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://cuttingball.com/tickets\" target=\"_blank\" rel=\"noopener\">Rossum’s Universal Robots\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20–Nov. 12, 2023\u003c/em>\u003cbr>\n\u003cem>EXIT on Taylor, San Francisco\u003c/em>\u003c/p>\n\u003cp>From its inception, Cutting Ball Theater has been devoted to interrogating the present moment through revitalized classics that sidestep mundane realism in favor of fertile imagination. That makes this adaptation of proto-science fiction \u003cem>Rossum’s Universal Robots\u003c/em> completely on-brand, while still staking out some fantastical new territory for this experimental company. Written in 1920 by Czech playwright Karel Čapek, \u003cem>R.U.R.\u003c/em> examines the human condition through the eyes of its greatest imitators, and would-be inheritors. This production is helmed by Chris Steele — who recently stepped in as the company’s fourth Artistic leader operating within a newly-defined collective — and features a dynamic cast of robots who may have already taken over the world.\u003c/p>\n\u003ch2>‘\u003ca href=\"http://berkeleyrep.org/shows/bulrusher/\" target=\"_blank\" rel=\"noopener\">Bulrusher\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27–Dec. 3, 2023\u003cbr>\nBerkeley Rep’s Peet’s Theatre\u003c/em>\u003c/p>\n\u003cp>In a highly anticipated return to Berkeley, the 2007 Pulitzer-nominated \u003cem>Bulrusher\u003c/em> is a language-driven coming-of-age story. Questions of braided identities, personal liberation and birthright combine with poetry, clairvoyance and the regionally specific Northern California dialect known as “Boontling.” Written by Bay Area-raised Eisa Davis, the niece of activist-scholar Angela Davis and an artistic multi-hyphenate in her own right, \u003cem>Bulrusher\u003c/em> asks: How do we discover who we really are in a world that constantly seeks to define us — and confine us? Nicole A. Watson directs.\u003c/p>\n\u003ch3>Dance\u003c/h3>\n\u003cfigure id=\"attachment_13933581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg\" alt=\"A dancer in hospital patient garb leaps in the air with a nurse in the background.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1920x1348.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nursing These Wounds.’ \u003ccite>(KULARTS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.kularts-sf.org/nursing-these-wounds\" target=\"_blank\" rel=\"noopener\">Nursing These Wounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22–24, 2023\u003cbr>\nODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 21–30, 2023\u003cbr>\nBrava Cabaret, San Francisco\u003c/em>\u003c/p>\n\u003cp>The COVID-19 pandemic has revealed the cracks and fissures in so many of our structures and institutions — particularly in the American health care system. So choreographer Alleluia Panis’ embodied exploration of the many faces and pathways of Pilipinix-born nurses and caregivers is as timely as it is vital. Panis, the co-founder of KULARTS, frequently wrestles with themes of migration, labor, and colonization in her work, and looks to folk dance and indigenous tradition to inform her vibrant choreography. This reprise of 2022’s world premiere offers an unflinching, sometimes harrowing, and loving tribute to an entire demographic of under-recognized, overwhelmed public health protectors.\u003c/p>\n\u003cfigure id=\"attachment_13933427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg\" alt=\"a young Black man dancer poses while facing the camera as other dancers in blue dresses move behind him\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1020x751.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-160x118.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-768x566.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1536x1132.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-2048x1509.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1920x1414.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandon Graham in ‘The Lost Art of Dreaming’ from Sean Dorsey Dance. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Three at Z\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.zspace.org/orale\" target=\"_blank\" rel=\"noopener\">Òrale\u003c/a>, Sept. 7–9; \u003ca href=\"https://www.zspace.org/sdd-dreaming\">The Lost Art of Dreaming\u003c/a>, Sept. 29–Oct. 1; \u003ca href=\"https://www.queercatproductions.com/jesdeville\">Forgetting Tree\u003c/a>, Nov. 3–5\u003c/em>\u003cbr>\n\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dance-driven, genre-exploding work comes to Z Space with a trio of radical performances. First up is \u003cem>Òrale\u003c/em>, a mini-festival of pieces directed by David Herrera Performance Company with an exciting who’s-who of nationally recognized Latinx dance-makers, with live music provided by the excellent El Vez and the Memphis Mariachis. Next, Sean Dorsey Dance encores \u003cem>The Lost Art of Dreaming \u003c/em>— a visually stunning and emotionally ecstatic work, setting its sights on a future of love and collective liberation, expressed through a choreography of queer trans and non-binary bodies. Finally, Queer Cat Productions and Openhaus Athletics install a “consent-forward” interactive and ecologically-engaged experience called \u003cem>Forgetting Tree\u003c/em> in Z Space’s spacious lobby. Curated and created by Jes DeVille, this work promises to stimulate all of the senses — most especially that of the revolutionary within.\u003c/p>\n\u003cfigure id=\"attachment_13933417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg\" alt=\"a group of dancers in colorful clothes pose inside a trolley with green seats\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kim Epifano and dancers on a trolley during the annual San Francisco Trolley Dances. \u003ccite>(Amani Wade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://epiphanydance.org/san-francisco-trolley-dances/\" target=\"_blank\" rel=\"noopener\">San Francisco Trolley Dances: 20th Anniversary Edition\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 21–22, 2023\u003c/em>\u003cbr>\n\u003cem>One Bush Plaza, various locations in San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s simply nothing like the combination dance festival-urban exploration known as Trolley Dances. This year, the San Francisco treat returns to where it all began 20 years ago — on the iconic F-Market line. Starting at One Bush Plaza with Nava Dance Theatre, then hopping on and off the F-Market train en route to Fisherman’s Wharf, audience members will encounter such Bay Area dance luminaries as Blind Tiger Society, Jennifer Perfilio Movement Works, Kinetech Arts, Loco Bloco and artistic director Kim Epifano’s own company, Epiphany Dance. A highlight of the event will be a piece choreographed by San Diego dance legend Jean Isaacs — the originator of the Trolley Dance concept back in 1997.\u003c/p>\n\n","blocks":[],"excerpt":"From Shakespeare to 'Soul Train,' here are highlights of Bay Area theatre and dance this fall.","status":"publish","parent":0,"modified":1705005121,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1540},"headData":{"title":"10 Ways to Fall in Love With Bay Area Theatre and Dance | KQED","description":"From Shakespeare to 'Soul Train,' here are highlights of Bay Area theatre and dance this fall.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Fall Guide 2023","sourceUrl":"/fallguide2023","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13933150/bay-area-theatre-dance-fall-2023","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Find more of KQED’s picks for the \u003ca href=\"https://www.kqed.org/fallguide2023\">best fall 2023 events here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>For Bay Area theatre, fall is when summer festivals wind down and new seasons of performing companies ramp up. As always, far more amazing shows open over the next few months than one roundup can contain. But here’s a sampling of the most exciting, innovative, and thought-provoking works hitting the boards this fall — from A.C.T. to Z Space.\u003c/p>\n\u003ch3>Theater\u003c/h3>\n\u003cfigure id=\"attachment_13933327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933327\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg\" alt=\"a group photo of three young Black women and a tall Black man, the musician Questlove, in glasses \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dominique Morisseau, Ahmir Questlove Thompson, Camille A. Brown and Kamilah Forbes. \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.act-sf.org/whats-on/2023-24-season/soul-train/\" target=\"_blank\" rel=\"noopener\">Hippest Trip — The Soul Train Musical\u003c/a>\u003cem>’\u003c/em>\u003c/h2>\n\u003cp>\u003cem>Aug. 25–Oct. 1, 2023\u003cbr>\nA.C.T.’s Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>All aboard — the Soul Train is about to leave the station! \u003cem>Hippest Trip — The Soul Train Musical\u003c/em> promises to turn A.C.T.’s Toni Rembe Theater into a celebratory dance party, as well as an homage to the talent that made \u003cem>Soul Train\u003c/em> a beloved household staple for 35 years. Spotlighting the Black music, dance and culture variety show founded by Don Cornelius in 1971, \u003cem>Hippest Trip\u003c/em> presents a powerhouse cast, playwriting by Tony Award-nominated Dominique Morisseau, direction by Kamilah Forbes and choreography by \u003cem>Toni Stone\u003c/em>’s Camille A. Brown.\u003c/p>\n\u003cfigure id=\"attachment_13933423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg\" alt=\"a Black woman with short hair wraps her hands in tape like she's about to box next to a young Asian American man in a jean jacket with his fists up\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabby Momah and Mikee Loria in ‘Wolf Play.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/online/article/wolf-play\" target=\"_blank\" rel=\"noopener\">Wolf Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 2–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Ashby Stage, Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tackling the morally dubious practice of adoptive parents “re-homing” their children online, Hansol Jung’s devastatingly astute \u003cem>Wolf Play\u003c/em> brings an unforgettable protagonist to life in this Elizabeth Carter-directed production. Jeenu, a 6-year old adoptee, finds refuge in the idea that he is a wolf seeking his pack. For new parents Robin and Ash, Jeenu is both a completion and a complication inside their own refuge of a chosen family. When external forces intrude in their circle, each character must learn to fight for their territory — and for each other.\u003c/p>\n\u003cfigure id=\"attachment_13933580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Gary-800x894.jpg\" alt=\"A man in purple top and spiked headpiece, with gold sash\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-800x894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1020x1140.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-768x859.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1374x1536.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary.jpg 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Gary: A Sequel to Titus Andronicus.’ \u003ccite>(Oakland Theater Project )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/gary\">Gary: A Sequel To Titus Andronicus\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 8–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Oakland Theater Project at FLAX\u003c/em>\u003c/p>\n\u003cp>One of Shakespeare’s most harrowing plays, \u003cem>Titus Andronicus\u003c/em> ends in buckets of blood and piles of bodies — a state of affairs gleefully exaggerated in Taylor Mac’s \u003cem>Gary\u003c/em>. With literal bodies stacked to the ceiling, and a pair of put-upon servants to mop up the mess the mighty have left behind, \u003cem>Gary\u003c/em> gives voice to the voiceless — albeit with fart jokes. But don’t think Mac’s foray into Theatre of the Ridiculous territory is all about the frailties of the human body. What Mac is after is examining the frailties of the systems that perpetrate cycles of violence and trauma, finding unexpected grace under unimaginable pressure.\u003c/p>\n\u003cfigure id=\"attachment_13933332\" class=\"wp-caption aligncenter\" style=\"max-width: 546px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\" alt=\"a white woman with curly hair and a green scarf looks at the camera outside\" width=\"546\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot-160x215.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Mary Glen Fredrick. \u003ccite>(Courtesy of Mary Glen Fredrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.crowdedfire.org/edit-annie/\" target=\"_blank\" rel=\"noopener\">Edit Annie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 21–Oct. 14, 2023\u003cbr>\nMagic Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s been two long years since Crowded Fire Theater presented Isaac Gómez’ terrific and terrifying \u003cem>The Displaced\u003c/em>. Their West Coast premiere of \u003cem>Edit Annie\u003c/em>, by rising New York-based playwright and video artist Mary Glen Fredrick, promises to be worth the wait. Unapologetically rooted in the technological tangles of our time, the play explores the implications and repercussions of our ability to continuously reinvent, redefine, and rewind our relationships in a heavily mediated reality. With a superlative cast, co-direction by Leigh Rondon-Davis and Nailah Unole Dida-nese’ah Harper-Malveaux, and video designed and edited by Fredrick with Lana Palmer, \u003cem>Edit Annie\u003c/em> gives the Extremely Online generation a chance to connect IRL without even having to swipe.\u003c/p>\n\u003cfigure id=\"attachment_13933398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg\" alt=\"a spooky costumed drag queen against a purple background\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm.jpg 1766w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peaches Christ at the Terror Vault inside the San Francisco Mint. \u003ccite>(Courtesy of Terror Vault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.tixr.com/groups/terrorvault\" target=\"_blank\" rel=\"noopener\">Terror Vault Presents: The Initiation\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 29-Oct. 31, 2023\u003cbr>\nSan Francisco Mint\u003c/em>\u003c/p>\n\u003cp>Borne from Peaches Christ’s taste for the macabre and San Francisco’s appetite for the immersive, Terror Vault is a haunted attraction that truly delivers. Appropriately ensconced in the magnificent Old Mint — a granite behemoth built in 1874 — Terror Vault makes use of its shadowy corners, vintage vaults, and disorienting floorplan to devious effect. This year’s theme —\u003cem>The Initiation \u003c/em>— delves into the Bay Area’s unsavory association with cults and their leaders, inviting audiences to attend a “seminar” for a mysterious organization called INsight. Far more involved than your typical haunted house, Terror Vault shows include fully realized world-building, humor, exhibitionists, the best horror makeup around, and consensual audience interactivity for a thrilling adventure you won’t soon forget.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://cuttingball.com/tickets\" target=\"_blank\" rel=\"noopener\">Rossum’s Universal Robots\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20–Nov. 12, 2023\u003c/em>\u003cbr>\n\u003cem>EXIT on Taylor, San Francisco\u003c/em>\u003c/p>\n\u003cp>From its inception, Cutting Ball Theater has been devoted to interrogating the present moment through revitalized classics that sidestep mundane realism in favor of fertile imagination. That makes this adaptation of proto-science fiction \u003cem>Rossum’s Universal Robots\u003c/em> completely on-brand, while still staking out some fantastical new territory for this experimental company. Written in 1920 by Czech playwright Karel Čapek, \u003cem>R.U.R.\u003c/em> examines the human condition through the eyes of its greatest imitators, and would-be inheritors. This production is helmed by Chris Steele — who recently stepped in as the company’s fourth Artistic leader operating within a newly-defined collective — and features a dynamic cast of robots who may have already taken over the world.\u003c/p>\n\u003ch2>‘\u003ca href=\"http://berkeleyrep.org/shows/bulrusher/\" target=\"_blank\" rel=\"noopener\">Bulrusher\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27–Dec. 3, 2023\u003cbr>\nBerkeley Rep’s Peet’s Theatre\u003c/em>\u003c/p>\n\u003cp>In a highly anticipated return to Berkeley, the 2007 Pulitzer-nominated \u003cem>Bulrusher\u003c/em> is a language-driven coming-of-age story. Questions of braided identities, personal liberation and birthright combine with poetry, clairvoyance and the regionally specific Northern California dialect known as “Boontling.” Written by Bay Area-raised Eisa Davis, the niece of activist-scholar Angela Davis and an artistic multi-hyphenate in her own right, \u003cem>Bulrusher\u003c/em> asks: How do we discover who we really are in a world that constantly seeks to define us — and confine us? Nicole A. Watson directs.\u003c/p>\n\u003ch3>Dance\u003c/h3>\n\u003cfigure id=\"attachment_13933581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg\" alt=\"A dancer in hospital patient garb leaps in the air with a nurse in the background.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1920x1348.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nursing These Wounds.’ \u003ccite>(KULARTS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.kularts-sf.org/nursing-these-wounds\" target=\"_blank\" rel=\"noopener\">Nursing These Wounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22–24, 2023\u003cbr>\nODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 21–30, 2023\u003cbr>\nBrava Cabaret, San Francisco\u003c/em>\u003c/p>\n\u003cp>The COVID-19 pandemic has revealed the cracks and fissures in so many of our structures and institutions — particularly in the American health care system. So choreographer Alleluia Panis’ embodied exploration of the many faces and pathways of Pilipinix-born nurses and caregivers is as timely as it is vital. Panis, the co-founder of KULARTS, frequently wrestles with themes of migration, labor, and colonization in her work, and looks to folk dance and indigenous tradition to inform her vibrant choreography. This reprise of 2022’s world premiere offers an unflinching, sometimes harrowing, and loving tribute to an entire demographic of under-recognized, overwhelmed public health protectors.\u003c/p>\n\u003cfigure id=\"attachment_13933427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg\" alt=\"a young Black man dancer poses while facing the camera as other dancers in blue dresses move behind him\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1020x751.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-160x118.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-768x566.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1536x1132.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-2048x1509.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1920x1414.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandon Graham in ‘The Lost Art of Dreaming’ from Sean Dorsey Dance. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Three at Z\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.zspace.org/orale\" target=\"_blank\" rel=\"noopener\">Òrale\u003c/a>, Sept. 7–9; \u003ca href=\"https://www.zspace.org/sdd-dreaming\">The Lost Art of Dreaming\u003c/a>, Sept. 29–Oct. 1; \u003ca href=\"https://www.queercatproductions.com/jesdeville\">Forgetting Tree\u003c/a>, Nov. 3–5\u003c/em>\u003cbr>\n\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dance-driven, genre-exploding work comes to Z Space with a trio of radical performances. First up is \u003cem>Òrale\u003c/em>, a mini-festival of pieces directed by David Herrera Performance Company with an exciting who’s-who of nationally recognized Latinx dance-makers, with live music provided by the excellent El Vez and the Memphis Mariachis. Next, Sean Dorsey Dance encores \u003cem>The Lost Art of Dreaming \u003c/em>— a visually stunning and emotionally ecstatic work, setting its sights on a future of love and collective liberation, expressed through a choreography of queer trans and non-binary bodies. Finally, Queer Cat Productions and Openhaus Athletics install a “consent-forward” interactive and ecologically-engaged experience called \u003cem>Forgetting Tree\u003c/em> in Z Space’s spacious lobby. Curated and created by Jes DeVille, this work promises to stimulate all of the senses — most especially that of the revolutionary within.\u003c/p>\n\u003cfigure id=\"attachment_13933417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg\" alt=\"a group of dancers in colorful clothes pose inside a trolley with green seats\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kim Epifano and dancers on a trolley during the annual San Francisco Trolley Dances. \u003ccite>(Amani Wade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://epiphanydance.org/san-francisco-trolley-dances/\" target=\"_blank\" rel=\"noopener\">San Francisco Trolley Dances: 20th Anniversary Edition\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 21–22, 2023\u003c/em>\u003cbr>\n\u003cem>One Bush Plaza, various locations in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s simply nothing like the combination dance festival-urban exploration known as Trolley Dances. This year, the San Francisco treat returns to where it all began 20 years ago — on the iconic F-Market line. Starting at One Bush Plaza with Nava Dance Theatre, then hopping on and off the F-Market train en route to Fisherman’s Wharf, audience members will encounter such Bay Area dance luminaries as Blind Tiger Society, Jennifer Perfilio Movement Works, Kinetech Arts, Loco Bloco and artistic director Kim Epifano’s own company, Epiphany Dance. A highlight of the event will be a piece choreographed by San Diego dance legend Jean Isaacs — the originator of the Trolley Dance concept back in 1997.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933150/bay-area-theatre-dance-fall-2023","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_967"],"tags":["arts_1238","arts_1237","arts_1414","arts_879","arts_21522","arts_10278","arts_1072","arts_585","arts_1240"],"featImg":"arts_13933415","label":"source_arts_13933150"},"arts_13933205":{"type":"posts","id":"arts_13933205","meta":{"index":"posts_1591205157","site":"arts","id":"13933205","score":null,"sort":[1692133614000]},"guestAuthors":[],"slug":"ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts","title":"Ayodele Nzinga Opens Curtain at BAM House, a New Home for Black Arts","publishDate":1692133614,"format":"standard","headTitle":"Ayodele Nzinga Opens Curtain at BAM House, a New Home for Black Arts | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When I visit Ayodele Nzinga, founder and director of the \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> theater troupe, in late July, she’s directing rehearsal for their latest production, August Wilson’s \u003cem>Radio Golf\u003c/em>. The play, which runs through Aug. 27, is the troupe’s first formal production since the start of the pandemic. And while the show closes the company’s 24th season, it also opens a new chapter.[aside postid='arts_13900077']\u003c/p>\n\u003cp>“It feels stupendous. I’m not even gonna front,” says Nzinga, who is also Oakland’s first poet laureate. “I’m having the time of my life. I feel like a lot of what it took to be right here isn’t glamorous or sexy work.”\u003c/p>\n\u003cp>“Right here” is in the newly named BAM (Black Arts Movement) House on 1540 Broadway in downtown Oakland — a 100-seat black-box theater space formerly known as PianoFight (and before that, known as The Flight Deck, before their closure in 2020). After years of renting out space from the previous tenants, Nzinga’s nonprofit, the \u003ca href=\"http://www.bambdcdc.com/\">Black Arts Movement and Business District Community Development Corporation\u003c/a>, now holds the lease.\u003c/p>\n\u003cfigure id=\"attachment_13933234\" class=\"wp-caption aligncenter\" style=\"max-width: 1679px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933234\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image1.jpg\" alt=\"a red and black and green painted building\" width=\"1679\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1.jpg 1679w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1536x1105.jpg 1536w\" sizes=\"(max-width: 1679px) 100vw, 1679px\">\u003cfigcaption class=\"wp-caption-text\">The newly painted exterior of BAM House at 1540 Broadway in downtown Oakland. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Nzinga and the Lower Bottom Playaz got word from PianoFight in February that \u003ca href=\"https://www.kqed.org/arts/13924185/pianofights-theatre-was-independent-creative-accessible-and-necessary\" target=\"_blank\" rel=\"noopener\">it would be closing down\u003c/a>, Nzinga’s first thought was how they might rent the space through the end of the year. “That blossomed into a conversation about, why not BAMBD CDC take over this space, and have its first official headquarters,” Nzinga says.\u003c/p>\n\u003cp>In 2016, the Oakland City Council\u003ca href=\"https://oaklandlibrary.org/wp-content/uploads/sites/100/2021/08/BAMBD-Resolution-85958-CMS-ATT-C.pdf\"> designated sections\u003c/a> (PDF) of downtown and West Oakland as the Black Arts Movement and Business District. In response, Nzinga founded her community development corporation, BAMBD CDC, to help sustain local artists and ensure they’re able to live and work in Oakland. But neither the district nor the nonprofit have had a formal space for artists or the public to visit. Now, they have BAM House — and Nzinga’s been making the house a home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was a bit ragged on the edges when we came in,” Nzinga says. “So [now], you’ll notice were just in the most pristine black box ever. And we thought that the outside of the building needed to make a statement.”\u003c/p>\n\u003cp>The exterior has been painted red, black and green with a shield on top that has the organization’s initials.\u003c/p>\n\u003cp>“The weapons that cross the shield are a paintbrush and a pen. We just made this sacred space right here on Broadway,” Nzinga says.\u003c/p>\n\u003cp>And right on time for the \u003ca href=\"http://www.bambdfest.com/\">BAMBDFEST Biennial\u003c/a>, a month-long festival which includes the production of \u003cem>Radio Golf\u003c/em>, and various other theater and literary events across various venues in Oakland. It all culminates in an official black carpet ribbon-cutting ceremony for BAM House on Sept. 1.\u003c/p>\n\u003cfigure id=\"attachment_13933236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image2-800x600.jpg\" alt=\"a stage with two desks and two Black men, actors, sitting behind them \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanley T. Hunt II (left) as Harmond Wilks alongside Koran Streets as Roosevelt Hicks in a scene from the Lower Bottom Playaz’s production of August Wilson’s play ‘Radio Golf.’ \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is the platform for so much more potential,” Nzinga says. “Now, being in the building, it’d be nice to buy it. We want to turn this into a cultural center as opposed to a building that we have to rent out in order to pay the rent.”\u003c/p>\n\u003cp>She cites \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Arts Alliance\u003c/a> in East Oakland as a model for what she hopes BAM House will represent for downtown and West Oakland.\u003c/p>\n\u003cp>“This is a space for dreamers,” Nzinga says. “Maybe this is a place to train replacements so that we make sure that there’s an after. After me, after the Lower Bottom Playaz. There’s an after in Oakland for people of color and artists.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The BAMBDFEST Biennial runs through Sept. 1. For details, \u003ca href=\"http://www.bambdfest.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>. The Lower Bottom Playaz production of ‘Radio Golf’ plays through Aug. 27. For ticket info, \u003ca href=\"http://www.lowerbottomplayaz.com/Box-Office.php\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Oakland's poet laureate envisions the theater as a community-oriented performance and cultural center.","status":"publish","parent":0,"modified":1705005146,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":703},"headData":{"title":"Ayodele Nzinga Opens Curtain at BAM House, a New Home for Black Arts | KQED","description":"Oakland's poet laureate envisions the theater as a community-oriented performance and cultural center.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/35d632b4-3f70-4d5d-8535-b05101021c3f/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I visit Ayodele Nzinga, founder and director of the \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> theater troupe, in late July, she’s directing rehearsal for their latest production, August Wilson’s \u003cem>Radio Golf\u003c/em>. The play, which runs through Aug. 27, is the troupe’s first formal production since the start of the pandemic. And while the show closes the company’s 24th season, it also opens a new chapter.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13900077","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It feels stupendous. I’m not even gonna front,” says Nzinga, who is also Oakland’s first poet laureate. “I’m having the time of my life. I feel like a lot of what it took to be right here isn’t glamorous or sexy work.”\u003c/p>\n\u003cp>“Right here” is in the newly named BAM (Black Arts Movement) House on 1540 Broadway in downtown Oakland — a 100-seat black-box theater space formerly known as PianoFight (and before that, known as The Flight Deck, before their closure in 2020). After years of renting out space from the previous tenants, Nzinga’s nonprofit, the \u003ca href=\"http://www.bambdcdc.com/\">Black Arts Movement and Business District Community Development Corporation\u003c/a>, now holds the lease.\u003c/p>\n\u003cfigure id=\"attachment_13933234\" class=\"wp-caption aligncenter\" style=\"max-width: 1679px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933234\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image1.jpg\" alt=\"a red and black and green painted building\" width=\"1679\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1.jpg 1679w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1536x1105.jpg 1536w\" sizes=\"(max-width: 1679px) 100vw, 1679px\">\u003cfigcaption class=\"wp-caption-text\">The newly painted exterior of BAM House at 1540 Broadway in downtown Oakland. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Nzinga and the Lower Bottom Playaz got word from PianoFight in February that \u003ca href=\"https://www.kqed.org/arts/13924185/pianofights-theatre-was-independent-creative-accessible-and-necessary\" target=\"_blank\" rel=\"noopener\">it would be closing down\u003c/a>, Nzinga’s first thought was how they might rent the space through the end of the year. “That blossomed into a conversation about, why not BAMBD CDC take over this space, and have its first official headquarters,” Nzinga says.\u003c/p>\n\u003cp>In 2016, the Oakland City Council\u003ca href=\"https://oaklandlibrary.org/wp-content/uploads/sites/100/2021/08/BAMBD-Resolution-85958-CMS-ATT-C.pdf\"> designated sections\u003c/a> (PDF) of downtown and West Oakland as the Black Arts Movement and Business District. In response, Nzinga founded her community development corporation, BAMBD CDC, to help sustain local artists and ensure they’re able to live and work in Oakland. But neither the district nor the nonprofit have had a formal space for artists or the public to visit. Now, they have BAM House — and Nzinga’s been making the house a home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was a bit ragged on the edges when we came in,” Nzinga says. “So [now], you’ll notice were just in the most pristine black box ever. And we thought that the outside of the building needed to make a statement.”\u003c/p>\n\u003cp>The exterior has been painted red, black and green with a shield on top that has the organization’s initials.\u003c/p>\n\u003cp>“The weapons that cross the shield are a paintbrush and a pen. We just made this sacred space right here on Broadway,” Nzinga says.\u003c/p>\n\u003cp>And right on time for the \u003ca href=\"http://www.bambdfest.com/\">BAMBDFEST Biennial\u003c/a>, a month-long festival which includes the production of \u003cem>Radio Golf\u003c/em>, and various other theater and literary events across various venues in Oakland. It all culminates in an official black carpet ribbon-cutting ceremony for BAM House on Sept. 1.\u003c/p>\n\u003cfigure id=\"attachment_13933236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image2-800x600.jpg\" alt=\"a stage with two desks and two Black men, actors, sitting behind them \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanley T. Hunt II (left) as Harmond Wilks alongside Koran Streets as Roosevelt Hicks in a scene from the Lower Bottom Playaz’s production of August Wilson’s play ‘Radio Golf.’ \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is the platform for so much more potential,” Nzinga says. “Now, being in the building, it’d be nice to buy it. We want to turn this into a cultural center as opposed to a building that we have to rent out in order to pay the rent.”\u003c/p>\n\u003cp>She cites \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Arts Alliance\u003c/a> in East Oakland as a model for what she hopes BAM House will represent for downtown and West Oakland.\u003c/p>\n\u003cp>“This is a space for dreamers,” Nzinga says. “Maybe this is a place to train replacements so that we make sure that there’s an after. After me, after the Lower Bottom Playaz. There’s an after in Oakland for people of color and artists.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The BAMBDFEST Biennial runs through Sept. 1. For details, \u003ca href=\"http://www.bambdfest.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>. The Lower Bottom Playaz production of ‘Radio Golf’ plays through Aug. 27. For ticket info, \u003ca href=\"http://www.lowerbottomplayaz.com/Box-Office.php\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts","authors":["11296"],"categories":["arts_1","arts_835","arts_967"],"tags":["arts_11374","arts_7624","arts_4876","arts_10278","arts_1143","arts_1072","arts_585"],"featImg":"arts_13900172","label":"arts"},"arts_13930439":{"type":"posts","id":"arts_13930439","meta":{"index":"posts_1591205157","site":"arts","id":"13930439","score":null,"sort":[1686681211000]},"guestAuthors":[],"slug":"tina-turner-musical-san-francisco-san-jose-golden-gate-theater-center-performing-arts","title":"Tina Turner Musical Gains Extra Meaning in the Wake of the Rock Icon’s Death","publishDate":1686681211,"format":"standard","headTitle":"Tina Turner Musical Gains Extra Meaning in the Wake of the Rock Icon’s Death | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The national tour of Broadway’s \u003cem>Tina — The Tina Turner Musical\u003c/em> makes its California debut this week, arriving as a poignant, \u003ca href=\"https://www.kqed.org/arts/13929587/tina-turner-rock-and-roll-icon-dies-at-83\">posthumous celebration\u003c/a> following the rock music icon’s death last month.\u003c/p>\n\u003cp>[aside postid='arts_13929587']\u003cem>Tina\u003c/em> opens in Los Angeles at the Hollywood Pantages Theatre on Wednesday, steps away from her Hollywood Walk of Fame star and where she recorded for Capitol Records. It plays there until July 9, followed by two weeks at Segerstrom Center the Arts in Costa Mesa and stops in San Diego, San Francisco and San Jose later this summer.\u003c/p>\n\u003cp>“We have always wanted to put audiences in the room with her and it’s obviously going to have even more of a special meaning now that she is gone from us physically,” says Katori Hall, co-writer of the musical.\u003c/p>\n\u003cp>“But her energy, her spirit, obviously has been interwoven into our creative processes. And I pray that we’ll always be able to give every audience member a little piece of Tina when they come to the show.”\u003c/p>\n\u003cfigure id=\"attachment_13930442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg\" alt=\"A Black woman, smiling broadly, dances wildly, arms raised in the air. She is wearing a gold tassled mini dress and has a line of gleeful backing dancers waving and clapping behind her.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1536x926.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Rodgers plays Tina Turner in ’Tina — The Tina Turner Musical.’ Here, she performs a number at Philadelphia’s Thanksgiving Day Parade, 2022. \u003ccite>(Gilbert Carrasquillo/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner, who survived a horrifying marriage to triumph in middle age with such hits as “What’s Love Got to Do With It” and “Better Be Good To Me,” died last month in Küsnacht near Zurich. She was 83.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After California, the tour continues its multi-year national journey, visiting 37 more cities across North America next season. It has been touring regularly since fall 2022. There are also productions running on London’s West End, as well as in Sydney, Australia, and Stuttgart, Germany.\u003c/p>\n\u003cp>[aside postid='arts_13897052']The musical traces the highs and lows of the two-time Rock & Roll Hall of Fame inductee, including her hellish marriage scarred by domestic violence and the rise as a beloved solo artist with songs like “Private Dancer,” ″River Deep, Mountain High,” “The Best” and “Proud Mary.”\u003c/p>\n\u003cp>\u003cem>Tina\u003c/em> captured 12 Tony nominations, including an eventual best actress winning trophy for Adrienne Warren in the title role. Hall wrote the book with Frank Ketelaar and Kees Prins.\u003c/p>\n\u003cfigure id=\"attachment_13930441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg\" alt=\"A senior Black woman wearing red blouse and black pants warmly embraces a younger, smiling Black woman wearing white top and black pants. They are standing on a stage with the word Tina lit up behind them.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1536x1098.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner and Adrienne Warren during the ‘TINA — The Tina Turner Musical’ photocall in London, October 2017. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two actors share the role of Turner on the road — Naomi Rodgers and Zurin Villanueva, each playing four of the eight performances a week. Also co-starring are Roderick Lawrence, Roz White, Carla R. Stewart and Lael Van Keuren.\u003c/p>\n\u003cp>Tour organizers realized by seeing Warren as Turner on Broadway that not just one actor could play the demanding role on the road, says Hall.\u003c/p>\n\u003cp>[aside postid='arts_13894392']“We saw how hard it is on the body. It’s the physicality, it’s the singing, but it’s also just the emotional heft every night one has to put upon their shoulders and go through, two hours plus of the life of Tina Turner.”\u003c/p>\n\u003cp>Hall recalls finding out that Turner had died when she woke up with messages flooding her phone. Her mind went back to the time when Turner attended \u003cem>Tina\u003c/em> on Broadway.\u003c/p>\n\u003cp>“When she walked through the door, to see people get on their feet and give her a standing ovation, I was so grateful that she was able to feel that energy and feel that love on the American side of the pond before she passed,” says Hall.\u003c/p>\n\u003cp>“I think it was just a beautiful gift that we were able to give her in that moment and to be in the room breathing with her and witnessing that love just showering down from the balcony.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tina — The Tina Turner Musical’ will be at San Francisco’s Golden Gate Theater, Aug. 1—27, 2023 (\u003ca href=\"https://www.goldengatetheatresf.com/tina-turner-musical-tickets/\">tickets here\u003c/a>) and San Jose’s Center for the Performing Arts, Aug. 29—Sept. 3, 2023 (\u003ca href=\"https://sanjosetheaters.org/calendar/#event=tina-the-tina-turner-musical-broadway-san-jose;instance=20230829000000?popup=1\">details here\u003c/a>).\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘Tina — The Tina Turner Musical’ is coming to San Francisco in August and San Jose in September.","status":"publish","parent":0,"modified":1705005385,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":701},"headData":{"title":"‘The Tina Turner Musical’ is Coming to San Francisco, San Jose | KQED","description":"‘Tina — The Tina Turner Musical’ is coming to San Francisco in August and San Jose in September.","ogTitle":"Tina Turner Musical Gains Extra Meaning in the Wake of the Rock Icon’s Death","ogDescription":"","ogImgId":"","twTitle":"Tina Turner Musical Gains Extra Meaning in the Wake of the Rock Icon’s Death","twDescription":"","twImgId":"","socialTitle":"‘The Tina Turner Musical’ is Coming to San Francisco, San Jose %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Mark Kennedy, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13930439/tina-turner-musical-san-francisco-san-jose-golden-gate-theater-center-performing-arts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The national tour of Broadway’s \u003cem>Tina — The Tina Turner Musical\u003c/em> makes its California debut this week, arriving as a poignant, \u003ca href=\"https://www.kqed.org/arts/13929587/tina-turner-rock-and-roll-icon-dies-at-83\">posthumous celebration\u003c/a> following the rock music icon’s death last month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13929587","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Tina\u003c/em> opens in Los Angeles at the Hollywood Pantages Theatre on Wednesday, steps away from her Hollywood Walk of Fame star and where she recorded for Capitol Records. It plays there until July 9, followed by two weeks at Segerstrom Center the Arts in Costa Mesa and stops in San Diego, San Francisco and San Jose later this summer.\u003c/p>\n\u003cp>“We have always wanted to put audiences in the room with her and it’s obviously going to have even more of a special meaning now that she is gone from us physically,” says Katori Hall, co-writer of the musical.\u003c/p>\n\u003cp>“But her energy, her spirit, obviously has been interwoven into our creative processes. And I pray that we’ll always be able to give every audience member a little piece of Tina when they come to the show.”\u003c/p>\n\u003cfigure id=\"attachment_13930442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg\" alt=\"A Black woman, smiling broadly, dances wildly, arms raised in the air. She is wearing a gold tassled mini dress and has a line of gleeful backing dancers waving and clapping behind her.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1536x926.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Rodgers plays Tina Turner in ’Tina — The Tina Turner Musical.’ Here, she performs a number at Philadelphia’s Thanksgiving Day Parade, 2022. \u003ccite>(Gilbert Carrasquillo/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner, who survived a horrifying marriage to triumph in middle age with such hits as “What’s Love Got to Do With It” and “Better Be Good To Me,” died last month in Küsnacht near Zurich. She was 83.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After California, the tour continues its multi-year national journey, visiting 37 more cities across North America next season. It has been touring regularly since fall 2022. There are also productions running on London’s West End, as well as in Sydney, Australia, and Stuttgart, Germany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13897052","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The musical traces the highs and lows of the two-time Rock & Roll Hall of Fame inductee, including her hellish marriage scarred by domestic violence and the rise as a beloved solo artist with songs like “Private Dancer,” ″River Deep, Mountain High,” “The Best” and “Proud Mary.”\u003c/p>\n\u003cp>\u003cem>Tina\u003c/em> captured 12 Tony nominations, including an eventual best actress winning trophy for Adrienne Warren in the title role. Hall wrote the book with Frank Ketelaar and Kees Prins.\u003c/p>\n\u003cfigure id=\"attachment_13930441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg\" alt=\"A senior Black woman wearing red blouse and black pants warmly embraces a younger, smiling Black woman wearing white top and black pants. They are standing on a stage with the word Tina lit up behind them.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1536x1098.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner and Adrienne Warren during the ‘TINA — The Tina Turner Musical’ photocall in London, October 2017. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two actors share the role of Turner on the road — Naomi Rodgers and Zurin Villanueva, each playing four of the eight performances a week. Also co-starring are Roderick Lawrence, Roz White, Carla R. Stewart and Lael Van Keuren.\u003c/p>\n\u003cp>Tour organizers realized by seeing Warren as Turner on Broadway that not just one actor could play the demanding role on the road, says Hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894392","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“We saw how hard it is on the body. It’s the physicality, it’s the singing, but it’s also just the emotional heft every night one has to put upon their shoulders and go through, two hours plus of the life of Tina Turner.”\u003c/p>\n\u003cp>Hall recalls finding out that Turner had died when she woke up with messages flooding her phone. Her mind went back to the time when Turner attended \u003cem>Tina\u003c/em> on Broadway.\u003c/p>\n\u003cp>“When she walked through the door, to see people get on their feet and give her a standing ovation, I was so grateful that she was able to feel that energy and feel that love on the American side of the pond before she passed,” says Hall.\u003c/p>\n\u003cp>“I think it was just a beautiful gift that we were able to give her in that moment and to be in the room breathing with her and witnessing that love just showering down from the balcony.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tina — The Tina Turner Musical’ will be at San Francisco’s Golden Gate Theater, Aug. 1—27, 2023 (\u003ca href=\"https://www.goldengatetheatresf.com/tina-turner-musical-tickets/\">tickets here\u003c/a>) and San Jose’s Center for the Performing Arts, Aug. 29—Sept. 3, 2023 (\u003ca href=\"https://sanjosetheaters.org/calendar/#event=tina-the-tina-turner-musical-broadway-san-jose;instance=20230829000000?popup=1\">details here\u003c/a>).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930439/tina-turner-musical-san-francisco-san-jose-golden-gate-theater-center-performing-arts","authors":["byline_arts_13930439"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_75","arts_967"],"tags":["arts_10278","arts_13825","arts_1072","arts_585","arts_13842","arts_12942"],"featImg":"arts_13930440","label":"arts_140"},"arts_13930391":{"type":"posts","id":"arts_13930391","meta":{"index":"posts_1591205157","site":"arts","id":"13930391","score":null,"sort":[1686547830000]},"guestAuthors":[],"slug":"tony-awards-2023-list-of-winners-photos","title":"Tony Awards 2023: Here's the List of Major Winners With Photos","publishDate":1686547830,"format":"standard","headTitle":"Tony Awards 2023: Here’s the List of Major Winners With Photos | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>The 76th Tony Awards wrapped up at the United Palace Sunday night. Below is the list of major 2023 Tony Award nominees with winners marked in bold. The complete list of winners is \u003ca href=\"https://www.tonyawards.com/winners/\">here\u003c/a>.\u003c/p>\n\u003ch3>Best Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>& Juliet\u003cbr>\nNew York, New York\u003cbr>\nShucked\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/06/09/1181406854/some-like-it-hot-on-broadway-remixes-the-original-1959-charm-for-a-modern-audien\">\u003cem>Some Like It Hot\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Ain’t No Mo’\u003cbr>\nBetween Riverside and Crazy\u003cbr>\nCost of Living\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003c/p>\n\u003ch3>Best Revival of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Camelot\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Revival of a Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Topdog/Underdog\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg\" alt=\"A Black woman in a pink dress gasps with joy while accepting a trophy at a podium. Behind her stand three Black men in suits and a woman wearing a gold gown.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzan-Lori Parks accepts the award for Best Revival of a Play for ‘Topdog/Underdog’ onstage during The 76th Annual Tony Awards at United Palace Theater on June 11, 2023 in New York City. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A Doll’s House\u003cbr>\nThe Piano Lesson\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actress of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Victoria Clark, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Annaleigh Ashford, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Sara Bareilles, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Lorna Courtney, \u003cem>& Juliet\u003cbr>\n\u003c/em>Micaela Diamond, \u003cem>Parade\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actress of a Play\u003c/h3>\n\u003cp>Winner: \u003cstrong>Jodie Comer, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/04/11/1169318356/prima-facie\">\u003cstrong>\u003cem>Prima Facie\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Jessica Chastain, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Jessica Hecht, \u003cem>Summer, 1976\u003cbr>\n\u003c/em>Audra McDonald, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/20/audra-mcdonald-ohio-state-murders\">\u003cem>Ohio State Murders\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actor of a Musical\u003c/h3>\n\u003cp>Winner: \u003cstrong>J. Harrison Ghee, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930397\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930397\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg\" alt=\"A nonbinary Black person in a powder blue gown and long gloves holds a trophy and leans forward towards a microphone.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Harrison Ghee accepts the award for Best Leading Actor in a Musical for ‘Some Like It Hot.’ They are the second nonbinary actor to win. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian Borle, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Josh Groban, \u003ca href=\"https://www.npr.org/2023/04/10/1168970326/josh-groban-never-gave-up-his-dream-of-playing-sweeney-todd\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Brian D’Arcy James, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ben Platt, \u003cem>Parade\u003cbr>\n\u003c/em>Colton Ryan, \u003cem>New York, New York\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actor of a Play\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Sean Hayes, \u003c/strong>\u003cstrong>\u003cem>Good Night, Oscar\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yahya Abdul-Mateen II, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Corey Hawkins, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Stephen McKinley Henderson, \u003cem>Between Riverside and Crazy\u003cbr>\n\u003c/em>Wendell Pierce, \u003ca href=\"https://www.npr.org/2022/10/11/1128092585/too-young-too-old-or-just-a-woman-wendell-pierce-stars-in-death-of-a-salesman\">\u003cem>Death of a Salesman\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Bonnie Milligan, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg\" alt=\"A curvy white blonde woman wearing a purple strapless gown stands in front of a wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie Milligan wins the Tony Award for best featured actress in a musical. \u003ccite>(Dimitrios Kambouris/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Julia Lester, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ruthie Ann Miles, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>NaTasha Yvette Williams, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Betsy Wolfe, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Play\u003c/strong>\u003c/h3>\n\u003cp>Winner: \u003cstrong>Miriam Silverman, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cstrong>\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Nikki Crawford, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Crystal Lucas-Perry, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Katy Sullivan, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Kara Young, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Alex Newell, \u003c/strong>\u003cstrong>\u003cem>Shucked\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg\" alt=\"A curvy Black woman in a gold gown smiles and strikes a pose in front of a green wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Newell wins Best Featured Actor in a musical at The 76th Annual Tony Awards. \u003ccite>(Dominik Bindl/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kevin Cahoon, \u003cem>Shucked\u003c/em>\u003c/p>\n\u003cp>Justin Cooley, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Kevin Del Aguila, \u003cem>Some Like It Hot\u003c/em>\u003c/p>\n\u003cp>Jordan Donica, \u003cem>Camelot\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Brandon Uranowitz, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg\" alt=\"A man with dark curly hair and beard stands on stage holding a trophy and a sheet of paper. He is smiling broadly.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Uranowitz accepts the award for Best Featured Actor in a Play for ‘Leopoldstadt’ onstage during The 76th Annual Tony Awards. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jordan E. Cooper, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Samuel L. Jackson, \u003cem>The Piano Lesson\u003cbr>\n\u003c/em>Arian Moayed, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>David Zayas, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Michael Arden, \u003c/strong>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Lear deBessonet, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Casey Nicholaw, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Jack O’Brien, \u003cem>Shucked\u003cbr>\n\u003c/em>Jessica Stone, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Patrick Marber,\u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem> Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Saheem Ali, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jo Bonney, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Jamie Lloyd, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Stevie Walker-Webb,\u003cem> Ain’t No Mo\u003cbr>\n\u003c/em>Max Webster, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/22/life-of-pi-theater\">\u003cem>Life of Pi\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Book of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>David Lindsay-Abaire, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>David West Read,\u003cem> & Juliet\u003cbr>\n\u003c/em>Robert Horn,\u003cem> Shucked\u003cbr>\n\u003c/em>Matthew López and Amber Ruffin,\u003cem> Some Like It Hot\u003cbr>\n\u003c/em>David Thompson and Sharon Washington,\u003cem> New York, New York\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Original Score\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo,\u003c/em>\u003c/strong> \u003c/a>\u003cstrong>music by Jeanine Tesori; lyrics by David Lindsay-Abaire\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Almost Famous, \u003c/em>music by Tom Kitt; lyrics by Cameron Crowe and Tom Kitt\u003cbr>\n\u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP, \u003c/em>\u003c/a>music and lyrics: Helen Park and Max Vernon\u003cbr>\n\u003cem>Shucked\u003c/em>, music and lyrics: Brandy Clark and Shane McAnally\u003cbr>\n\u003cem>Some Like It Hot\u003c/em>, music: Marc Shaiman; lyrics: Scott Wittman & Marc Shaiman\u003c/p>\n\u003ch3>\u003cstrong>Best Choreography\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Casey Nicholaw, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Steven Hoggett, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Susan Stroman, \u003cem>New York, New York\u003cbr>\n\u003c/em>Jennifer Weber, \u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jennifer Weber, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tony+Awards+2023%3A+Here%27s+the+list+of+major+winners+with+photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"History was made as Alex Newell became the first nonbinary actor to win a Tony and J. Harrison Ghee the second.","status":"publish","parent":0,"modified":1705005388,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":754},"headData":{"title":"Tony Awards 2023: Here's the List of Major Winners With Photos | KQED","description":"History was made as Alex Newell became the first nonbinary actor to win a Tony and J. Harrison Ghee the second.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"tony-awards-2023-heres-the-list-of-major-winners-with-photos","nprImageCredit":"Jemal Countess","nprImageAgency":"Getty Images for Tony Awards Pro","nprStoryId":"1180421487","nprApiLink":"http://api.npr.org/query?id=1180421487&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/06/11/1180421487/tony-award-winners-2023?ft=nprml&f=1180421487","nprRetrievedStory":"1","nprPubDate":"Sun, 11 Jun 2023 23:05:00 -0400","nprStoryDate":"Sun, 11 Jun 2023 19:09:16 -0400","nprLastModifiedDate":"Sun, 11 Jun 2023 23:05:01 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930391/tony-awards-2023-list-of-winners-photos","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 76th Tony Awards wrapped up at the United Palace Sunday night. Below is the list of major 2023 Tony Award nominees with winners marked in bold. The complete list of winners is \u003ca href=\"https://www.tonyawards.com/winners/\">here\u003c/a>.\u003c/p>\n\u003ch3>Best Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>& Juliet\u003cbr>\nNew York, New York\u003cbr>\nShucked\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/06/09/1181406854/some-like-it-hot-on-broadway-remixes-the-original-1959-charm-for-a-modern-audien\">\u003cem>Some Like It Hot\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Ain’t No Mo’\u003cbr>\nBetween Riverside and Crazy\u003cbr>\nCost of Living\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003c/p>\n\u003ch3>Best Revival of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Camelot\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Revival of a Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Topdog/Underdog\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg\" alt=\"A Black woman in a pink dress gasps with joy while accepting a trophy at a podium. Behind her stand three Black men in suits and a woman wearing a gold gown.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzan-Lori Parks accepts the award for Best Revival of a Play for ‘Topdog/Underdog’ onstage during The 76th Annual Tony Awards at United Palace Theater on June 11, 2023 in New York City. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A Doll’s House\u003cbr>\nThe Piano Lesson\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actress of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Victoria Clark, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Annaleigh Ashford, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Sara Bareilles, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Lorna Courtney, \u003cem>& Juliet\u003cbr>\n\u003c/em>Micaela Diamond, \u003cem>Parade\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actress of a Play\u003c/h3>\n\u003cp>Winner: \u003cstrong>Jodie Comer, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/04/11/1169318356/prima-facie\">\u003cstrong>\u003cem>Prima Facie\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Jessica Chastain, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Jessica Hecht, \u003cem>Summer, 1976\u003cbr>\n\u003c/em>Audra McDonald, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/20/audra-mcdonald-ohio-state-murders\">\u003cem>Ohio State Murders\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actor of a Musical\u003c/h3>\n\u003cp>Winner: \u003cstrong>J. Harrison Ghee, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930397\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930397\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg\" alt=\"A nonbinary Black person in a powder blue gown and long gloves holds a trophy and leans forward towards a microphone.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Harrison Ghee accepts the award for Best Leading Actor in a Musical for ‘Some Like It Hot.’ They are the second nonbinary actor to win. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian Borle, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Josh Groban, \u003ca href=\"https://www.npr.org/2023/04/10/1168970326/josh-groban-never-gave-up-his-dream-of-playing-sweeney-todd\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Brian D’Arcy James, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ben Platt, \u003cem>Parade\u003cbr>\n\u003c/em>Colton Ryan, \u003cem>New York, New York\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actor of a Play\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Sean Hayes, \u003c/strong>\u003cstrong>\u003cem>Good Night, Oscar\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yahya Abdul-Mateen II, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Corey Hawkins, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Stephen McKinley Henderson, \u003cem>Between Riverside and Crazy\u003cbr>\n\u003c/em>Wendell Pierce, \u003ca href=\"https://www.npr.org/2022/10/11/1128092585/too-young-too-old-or-just-a-woman-wendell-pierce-stars-in-death-of-a-salesman\">\u003cem>Death of a Salesman\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Bonnie Milligan, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg\" alt=\"A curvy white blonde woman wearing a purple strapless gown stands in front of a wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie Milligan wins the Tony Award for best featured actress in a musical. \u003ccite>(Dimitrios Kambouris/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Julia Lester, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ruthie Ann Miles, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>NaTasha Yvette Williams, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Betsy Wolfe, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Play\u003c/strong>\u003c/h3>\n\u003cp>Winner: \u003cstrong>Miriam Silverman, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cstrong>\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Nikki Crawford, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Crystal Lucas-Perry, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Katy Sullivan, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Kara Young, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Alex Newell, \u003c/strong>\u003cstrong>\u003cem>Shucked\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg\" alt=\"A curvy Black woman in a gold gown smiles and strikes a pose in front of a green wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Newell wins Best Featured Actor in a musical at The 76th Annual Tony Awards. \u003ccite>(Dominik Bindl/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kevin Cahoon, \u003cem>Shucked\u003c/em>\u003c/p>\n\u003cp>Justin Cooley, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Kevin Del Aguila, \u003cem>Some Like It Hot\u003c/em>\u003c/p>\n\u003cp>Jordan Donica, \u003cem>Camelot\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Brandon Uranowitz, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg\" alt=\"A man with dark curly hair and beard stands on stage holding a trophy and a sheet of paper. He is smiling broadly.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Uranowitz accepts the award for Best Featured Actor in a Play for ‘Leopoldstadt’ onstage during The 76th Annual Tony Awards. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jordan E. Cooper, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Samuel L. Jackson, \u003cem>The Piano Lesson\u003cbr>\n\u003c/em>Arian Moayed, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>David Zayas, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Michael Arden, \u003c/strong>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Lear deBessonet, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Casey Nicholaw, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Jack O’Brien, \u003cem>Shucked\u003cbr>\n\u003c/em>Jessica Stone, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Patrick Marber,\u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem> Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Saheem Ali, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jo Bonney, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Jamie Lloyd, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Stevie Walker-Webb,\u003cem> Ain’t No Mo\u003cbr>\n\u003c/em>Max Webster, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/22/life-of-pi-theater\">\u003cem>Life of Pi\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Book of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>David Lindsay-Abaire, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>David West Read,\u003cem> & Juliet\u003cbr>\n\u003c/em>Robert Horn,\u003cem> Shucked\u003cbr>\n\u003c/em>Matthew López and Amber Ruffin,\u003cem> Some Like It Hot\u003cbr>\n\u003c/em>David Thompson and Sharon Washington,\u003cem> New York, New York\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Original Score\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo,\u003c/em>\u003c/strong> \u003c/a>\u003cstrong>music by Jeanine Tesori; lyrics by David Lindsay-Abaire\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Almost Famous, \u003c/em>music by Tom Kitt; lyrics by Cameron Crowe and Tom Kitt\u003cbr>\n\u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP, \u003c/em>\u003c/a>music and lyrics: Helen Park and Max Vernon\u003cbr>\n\u003cem>Shucked\u003c/em>, music and lyrics: Brandy Clark and Shane McAnally\u003cbr>\n\u003cem>Some Like It Hot\u003c/em>, music: Marc Shaiman; lyrics: Scott Wittman & Marc Shaiman\u003c/p>\n\u003ch3>\u003cstrong>Best Choreography\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Casey Nicholaw, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Steven Hoggett, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Susan Stroman, \u003cem>New York, New York\u003cbr>\n\u003c/em>Jennifer Weber, \u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jennifer Weber, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tony+Awards+2023%3A+Here%27s+the+list+of+major+winners+with+photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930391/tony-awards-2023-list-of-winners-photos","authors":["92"],"categories":["arts_1","arts_967"],"tags":["arts_8417","arts_2347","arts_2415","arts_13825","arts_1072","arts_5092"],"affiliates":["arts_137"],"featImg":"arts_13930395","label":"arts_137"},"arts_13929418":{"type":"posts","id":"arts_13929418","meta":{"index":"posts_1591205157","site":"arts","id":"13929418","score":null,"sort":[1685044841000]},"guestAuthors":[],"slug":"summer-movie-guide-2023","title":"This Summer, a Return of the Return to the Movie Theater","publishDate":1685044841,"format":"aside","headTitle":"This Summer, a Return of the Return to the Movie Theater | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Last year, vaccinated against the virus and reaching escape velocity from the Netflix/Prime Video force field, audiences thronged back to theaters. It wasn’t just teenagers, either: Lobbies and aisles were crammed with adults attracted by the drumbeat of Tom Toms (Cruise in \u003cem>Top Gun: Maverick\u003c/em>, Hanks in \u003cem>Elvis\u003c/em>). \u003c/p>\n\u003cp>Hollywood’s betting even bigger this year that moviegoers want to escape to familiar places with crash-bang sequels of the \u003cem>Spider-Verse\u003c/em>, \u003cem>Transformers\u003c/em>, \u003cem>Mission: Impossible\u003c/em>, \u003cem>Indiana Jones\u003c/em>, \u003cem>Teenage Mutant Ninja Turtles\u003c/em> and \u003cem>Insidious\u003c/em> variety. (Aren’t we lucky these flicks were finished before the writers went on strike!)\u003c/p>\n\u003cp>For escapism with a dash of familiarity, summer screens offer plenty of options.\u003c/p>\n\u003cfigure id=\"attachment_13929558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/invasion-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13929558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeff Goldblum and Leonard Nimoy in 1978’s ‘Invasion of the Body Snatchers.’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-invasion-of-the-body-snatchers/e486884\" rel=\"noopener\" target=\"_blank\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, San Francisco\u003cbr>\nJune 8–Oct. 20\u003c/em>\u003cbr>\nSan Francisco’s free annual outdoor series intriguingly matches seven movies you’ve seen (more than once, probably) to seven allusive settings. Get of your hood and head to the Presidio for the military macho of \u003cem>Top Gun: Maverick\u003c/em> (June 30) or to Dolores Park for the ABBA-infused \u003cem>Mamma Mia!\u003c/em> (Aug. 18). Philip Kaufman’s 1978 \u003cem>Invasion of the Body Snatchers\u003c/em> (June 8 at Alamo Square Park), the best film in the lineup and the only one set in San Francisco, reimagines Don Siegel’s 1956 parable of creeping small-town McCarthyism as a terrifying tale of New Age seduction and smug urban “individualism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1sgct9yCmHk\u003c/p>\n\u003ch2>\u003ca href=\"https://www.magpictures.com/bluejean/\">\u003cem>Blue Jean\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nGet in gear for Pride Month — if you haven’t already been galvanized by the latest right-wing attacks on LBGTQIA+ folks — with UK writer-director Georgia Oakley’s jangly drama set in the late 1980s. Rosy McEwen plays a lesbian high school P.E. teacher who’s profoundly afraid of being exposed in Thatcher’s England, yet also excited about the love, life and community within her reach. The arrival of a new student upsets Jean’s balancing act.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hXzcyx9V0xw\u003c/p>\n\u003ch2>Elemental\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nVeteran Pixar animator and voice actor Peter Sohn (\u003cem>The Good Dinosaur\u003c/em>) returns to the director’s chair with a fairy tale about diversity, equity and inclusiveness. Think I’m kidding? Fire, water, air and earth residents live together peaceably in the same city, explored by new pals and apparent opposites Ember and Wade. I can’t wait to see Disney’s Florida marketing campaign!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=moiRCJR4ToY\u003c/p>\n\u003ch2>The Blackening\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nThe stabs at humor in summer horror films are typically broader than in their autumn cousins, but that doesn’t mean they skimp on the chills. Tracy Oliver (\u003cem>Harlem\u003c/em>) and Dewayne Perkins’s screenplay, helmed by Tim Story, reunites seven Black college friends for a Juneteenth party at the requisite cabin in the woods with the requisite slasher in the wings. Sacred and not-so-sacred genre conventions are cheerfully skewered, along with a raft of stereotypes and (unhappily) a few cast members. Presumably there are breaks in the banter so the audience can scream, “Don’t open that door!” (For fantastical fun from a different Black perspective, check out East Bay multi-talent Boots Riley’s limited series about a 13-foot-tall Oakland native, \u003cem>I’m a Virgo\u003c/em>, premiering June 23 on Prime Video.)\u003c/p>\n\u003cfigure id=\"attachment_13929555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg\" alt=\"\" width=\"800\" height=\"490\" class=\"size-medium wp-image-13929555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1536x940.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-2048x1254.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1920x1175.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catherine Deneuve in a famous scene from Luis Buñuel’s 1967 film ‘Belle de Jour.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/luis-bunuels-magnificent-weapon\" rel=\"noopener\" target=\"_blank\">Luis Buñuel’s Magnificent Weapon\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 7–Nov. 23 at BAMPFA, Berkeley\u003c/em>\u003cbr>\nThe master of delicious perversity for half of the 20th century, Spanish-born filmmaker Luis Buñuel slid his stiletto into the fatty liver of upper-middle-class entitlement, religious hypocrisy and base sexual desire. Shocking for their time and savagely funny, Buñuel’s social satires used dream sequences and flashbacks to fracture narrative expectations. (A lifelong surrealist, his influence extends to David Lynch, Gaspar Noé and the aforementioned Mr. Riley.) BAMPFA’s retrospective begins with the brilliant ’60s and ’70s films — \u003cem>Viridiana\u003c/em>, \u003cem>Diary of a Chambermaid\u003c/em>, \u003cem>Belle de Jour\u003c/em> and \u003cem>The Discreet Charm of the Bourgeoisie\u003c/em> among them — that cemented Buñuel’s reputation and became rep house staples for a subsequent generation.\u003c/p>\n\u003cfigure id=\"attachment_13929550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg\" alt=\"A Japanese man and woman get close near a granite boulder.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13929550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1536x1068.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1920x1335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13.jpg 1940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sessue Hayakawa and Tsuru Aoki in ‘The Dragon Painter,’ directed by William Worthington and filmed in Yosemite National Park (standing in for Japan), 1919. A restoration of the film screens at this year’s San Francisco Silent Film Festival. \u003ccite>(Courtesy SFSFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 12–16 at the Castro Theatre\u003c/em>\u003cbr>\nThe uncertain future of the Castro Theatre provides additional incentive, as if it’s needed, to bask in the movie-palace ambience and movie-love sentiment embodied by the venerable SFSFF. I used to think it was a nostalgia-fest for eccentric movie buffs who yearned for the past — until I attended my first show. Innovative storytelling and cinematography (showcased in flawless 35mm prints) by cinema’s most gifted pioneers is always a revelation, and the live performances of witty scores by great musicians is irresistible. Pick any program and you’re bound to have a blast, but the hot tickets are the three premiering restorations: \u003cem>The Dragon Painter\u003c/em> (1919) starring Sessue Hayakawa with musical accompaniment by the Masaru Koga Ensemble, Joseph De Grasse’s 1924 Texas oil melodrama \u003cem>Flowing Gold\u003c/em> accompanied by Utsav Lal, and the prolific-yet-underrated Allan Dwan’s unknown \u003cem>Padlocked\u003c/em> (1926) accompanied by Stephen Horne.\u003c/p>\n\u003cfigure id=\"attachment_13929551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg\" alt=\"\" width=\"800\" height=\"641\" class=\"size-medium wp-image-13929551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1536x1231.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a still from ‘The Catskills,’ Jackie Horner (in blue dress, at left), dances with hotel staff at Grossinger’s Resort. Horner would serve as the real-life inspiration for “Baby” in the 1987 film ‘Dirty Dancing.’ \u003ccite>(Courtesy San Francisco Jewish Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jfi.org/film-festival\" rel=\"noopener\" target=\"_blank\">San Francisco Jewish Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–Aug. 6 at the Castro and Vogue Theaters; also at the Piedmont Theater in Oakland\u003c/em>\u003cbr>\nThe festival has to navigate a challenging tightrope this year, marking Israel’s 75th anniversary even as an extremist right-wing government continues its clampdown on the Palestinians and seeks to constrain Israeli artists. If controversy isn’t your cup of Sanka, the festival offers several nonfiction portraits of American Jewish culture: Lex Gillespie compiles an oral history of \u003cem>The Catskills\u003c/em>, octogenarian filmmaker Ralph Arlyck disarmingly confronts aging in \u003cem>I Like It Here\u003c/em> and Ruth Reichl embarks on a cross-country odyssey among local farmers, ranchers and chefs in Laura Gabbert’s \u003cem>Food and Country\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DmNDddKcA2s\u003c/p>\n\u003ch2>\u003ca href=\"https://www.barbie-themovie.com/\">Barbie\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out July 21 \u003c/em>\u003cbr>\nGreta Gerwig’s ambitious (and possibly misguided) satire of conformity and consumerism looks like no other movie this year. Barbie (Margot Robbie) and Ken (Ryan Gosling) live their plastic existence in a cloying candy-cane dollhouse world that will either set your teeth on edge or propel you on a pastel journey for the perfect summer outfit. Will Gerwig (and co-writer and \u003cem>White Noise\u003c/em> director Noah Baumbach) eviscerate gender roles and heterosexual anxieties with laugh-out-loud precision? Or will Mattel and Warner Bros. experience buyers’ remorse for this alt-world swan dive into product placement?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uYPbbksJxIg\u003c/p>\n\u003ch2>\u003ca href=\"https://www.oppenheimermovie.com/\">Oppenheimer\u003c/a>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Comes Out July 21 \u003c/em>\u003cbr>\nChristopher Nolan fancies himself a craftier Kubrick and a smarter Spielberg, an inventor of fantastic worlds (\u003cem>Inception\u003c/em>, \u003cem>Interstellar\u003c/em>, \u003cem>Tenet\u003c/em>) for adults that spin the turnstiles and spark conversations. This three-hour (!) recapitulation of the Manhattan Project, the nuclear-bomb program headed by theoretical physicist J. Robert Oppenheimer (Cillian Murphy) during World War II to defeat the Nazis, employs Nolan’s tried-and-tired formula of nonlinear story structure, gargantuan set pieces and melodramatic acting. \u003cem>A Compassionate Spy\u003c/em> (August 4) provides a nonfiction bookend: Steve James presents the perspective of young Manhattan Project physicist Ted Hall, whose concern about the U.S.’s exclusive ownership of nuclear weapons led him to pass information to the Soviet Union. Summer apocalypse, anyone?\u003c/p>\n\n","blocks":[],"excerpt":"Our Bay Area summer movie guide has festivals, outdoor screenings, big-budget blockbusters—and no sequels!","status":"publish","parent":0,"modified":1705005453,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1415},"headData":{"title":"Summer Movie Guide 2023: Return of the Return to the Theater | KQED","description":"Our Bay Area summer movie guide has festivals, outdoor screenings, big-budget blockbusters—and no sequels!","ogTitle":"Summer Film Guide 2023: Return of the Return to the Movie Theater","ogDescription":"Our Bay Area summer movie guide has festivals, outdoor screenings, big-budget blockbusters—and no sequels!","ogImgId":"arts_13929558","twTitle":"Summer Film Guide 2023: Return of the Return to the Movie Theater","twDescription":"Our Bay Area summer movie guide has festivals, outdoor screenings, big-budget blockbusters—and no sequels!","twImgId":"arts_13929558","socialTitle":"Summer Movie Guide 2023: Return of the Return to the Theater %%page%% %%sep%% KQED","socialDescription":"Our Bay Area summer movie guide has festivals, outdoor screenings, big-budget blockbusters—and no sequels!"},"source":"Hot Summer Guide 2023","sourceUrl":"/summerguide2023","sticky":false,"templateType":"standard","featuredImageType":"standard","subhead":"Dodge the deluge of sequels with a blockbuster with a brain, a festival or a retrospective.","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929418/summer-movie-guide-2023","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Last year, vaccinated against the virus and reaching escape velocity from the Netflix/Prime Video force field, audiences thronged back to theaters. It wasn’t just teenagers, either: Lobbies and aisles were crammed with adults attracted by the drumbeat of Tom Toms (Cruise in \u003cem>Top Gun: Maverick\u003c/em>, Hanks in \u003cem>Elvis\u003c/em>). \u003c/p>\n\u003cp>Hollywood’s betting even bigger this year that moviegoers want to escape to familiar places with crash-bang sequels of the \u003cem>Spider-Verse\u003c/em>, \u003cem>Transformers\u003c/em>, \u003cem>Mission: Impossible\u003c/em>, \u003cem>Indiana Jones\u003c/em>, \u003cem>Teenage Mutant Ninja Turtles\u003c/em> and \u003cem>Insidious\u003c/em> variety. (Aren’t we lucky these flicks were finished before the writers went on strike!)\u003c/p>\n\u003cp>For escapism with a dash of familiarity, summer screens offer plenty of options.\u003c/p>\n\u003cfigure id=\"attachment_13929558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/invasion-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13929558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeff Goldblum and Leonard Nimoy in 1978’s ‘Invasion of the Body Snatchers.’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-invasion-of-the-body-snatchers/e486884\" rel=\"noopener\" target=\"_blank\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, San Francisco\u003cbr>\nJune 8–Oct. 20\u003c/em>\u003cbr>\nSan Francisco’s free annual outdoor series intriguingly matches seven movies you’ve seen (more than once, probably) to seven allusive settings. Get of your hood and head to the Presidio for the military macho of \u003cem>Top Gun: Maverick\u003c/em> (June 30) or to Dolores Park for the ABBA-infused \u003cem>Mamma Mia!\u003c/em> (Aug. 18). Philip Kaufman’s 1978 \u003cem>Invasion of the Body Snatchers\u003c/em> (June 8 at Alamo Square Park), the best film in the lineup and the only one set in San Francisco, reimagines Don Siegel’s 1956 parable of creeping small-town McCarthyism as a terrifying tale of New Age seduction and smug urban “individualism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1sgct9yCmHk'\n title='//www.youtube.com/embed/1sgct9yCmHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.magpictures.com/bluejean/\">\u003cem>Blue Jean\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nGet in gear for Pride Month — if you haven’t already been galvanized by the latest right-wing attacks on LBGTQIA+ folks — with UK writer-director Georgia Oakley’s jangly drama set in the late 1980s. Rosy McEwen plays a lesbian high school P.E. teacher who’s profoundly afraid of being exposed in Thatcher’s England, yet also excited about the love, life and community within her reach. The arrival of a new student upsets Jean’s balancing act.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hXzcyx9V0xw'\n title='//www.youtube.com/embed/hXzcyx9V0xw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Elemental\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nVeteran Pixar animator and voice actor Peter Sohn (\u003cem>The Good Dinosaur\u003c/em>) returns to the director’s chair with a fairy tale about diversity, equity and inclusiveness. Think I’m kidding? Fire, water, air and earth residents live together peaceably in the same city, explored by new pals and apparent opposites Ember and Wade. I can’t wait to see Disney’s Florida marketing campaign!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/moiRCJR4ToY'\n title='//www.youtube.com/embed/moiRCJR4ToY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Blackening\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nThe stabs at humor in summer horror films are typically broader than in their autumn cousins, but that doesn’t mean they skimp on the chills. Tracy Oliver (\u003cem>Harlem\u003c/em>) and Dewayne Perkins’s screenplay, helmed by Tim Story, reunites seven Black college friends for a Juneteenth party at the requisite cabin in the woods with the requisite slasher in the wings. Sacred and not-so-sacred genre conventions are cheerfully skewered, along with a raft of stereotypes and (unhappily) a few cast members. Presumably there are breaks in the banter so the audience can scream, “Don’t open that door!” (For fantastical fun from a different Black perspective, check out East Bay multi-talent Boots Riley’s limited series about a 13-foot-tall Oakland native, \u003cem>I’m a Virgo\u003c/em>, premiering June 23 on Prime Video.)\u003c/p>\n\u003cfigure id=\"attachment_13929555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg\" alt=\"\" width=\"800\" height=\"490\" class=\"size-medium wp-image-13929555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1536x940.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-2048x1254.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1920x1175.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catherine Deneuve in a famous scene from Luis Buñuel’s 1967 film ‘Belle de Jour.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/luis-bunuels-magnificent-weapon\" rel=\"noopener\" target=\"_blank\">Luis Buñuel’s Magnificent Weapon\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 7–Nov. 23 at BAMPFA, Berkeley\u003c/em>\u003cbr>\nThe master of delicious perversity for half of the 20th century, Spanish-born filmmaker Luis Buñuel slid his stiletto into the fatty liver of upper-middle-class entitlement, religious hypocrisy and base sexual desire. Shocking for their time and savagely funny, Buñuel’s social satires used dream sequences and flashbacks to fracture narrative expectations. (A lifelong surrealist, his influence extends to David Lynch, Gaspar Noé and the aforementioned Mr. Riley.) BAMPFA’s retrospective begins with the brilliant ’60s and ’70s films — \u003cem>Viridiana\u003c/em>, \u003cem>Diary of a Chambermaid\u003c/em>, \u003cem>Belle de Jour\u003c/em> and \u003cem>The Discreet Charm of the Bourgeoisie\u003c/em> among them — that cemented Buñuel’s reputation and became rep house staples for a subsequent generation.\u003c/p>\n\u003cfigure id=\"attachment_13929550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg\" alt=\"A Japanese man and woman get close near a granite boulder.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13929550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1536x1068.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1920x1335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13.jpg 1940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sessue Hayakawa and Tsuru Aoki in ‘The Dragon Painter,’ directed by William Worthington and filmed in Yosemite National Park (standing in for Japan), 1919. A restoration of the film screens at this year’s San Francisco Silent Film Festival. \u003ccite>(Courtesy SFSFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 12–16 at the Castro Theatre\u003c/em>\u003cbr>\nThe uncertain future of the Castro Theatre provides additional incentive, as if it’s needed, to bask in the movie-palace ambience and movie-love sentiment embodied by the venerable SFSFF. I used to think it was a nostalgia-fest for eccentric movie buffs who yearned for the past — until I attended my first show. Innovative storytelling and cinematography (showcased in flawless 35mm prints) by cinema’s most gifted pioneers is always a revelation, and the live performances of witty scores by great musicians is irresistible. Pick any program and you’re bound to have a blast, but the hot tickets are the three premiering restorations: \u003cem>The Dragon Painter\u003c/em> (1919) starring Sessue Hayakawa with musical accompaniment by the Masaru Koga Ensemble, Joseph De Grasse’s 1924 Texas oil melodrama \u003cem>Flowing Gold\u003c/em> accompanied by Utsav Lal, and the prolific-yet-underrated Allan Dwan’s unknown \u003cem>Padlocked\u003c/em> (1926) accompanied by Stephen Horne.\u003c/p>\n\u003cfigure id=\"attachment_13929551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg\" alt=\"\" width=\"800\" height=\"641\" class=\"size-medium wp-image-13929551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1536x1231.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a still from ‘The Catskills,’ Jackie Horner (in blue dress, at left), dances with hotel staff at Grossinger’s Resort. Horner would serve as the real-life inspiration for “Baby” in the 1987 film ‘Dirty Dancing.’ \u003ccite>(Courtesy San Francisco Jewish Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jfi.org/film-festival\" rel=\"noopener\" target=\"_blank\">San Francisco Jewish Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–Aug. 6 at the Castro and Vogue Theaters; also at the Piedmont Theater in Oakland\u003c/em>\u003cbr>\nThe festival has to navigate a challenging tightrope this year, marking Israel’s 75th anniversary even as an extremist right-wing government continues its clampdown on the Palestinians and seeks to constrain Israeli artists. If controversy isn’t your cup of Sanka, the festival offers several nonfiction portraits of American Jewish culture: Lex Gillespie compiles an oral history of \u003cem>The Catskills\u003c/em>, octogenarian filmmaker Ralph Arlyck disarmingly confronts aging in \u003cem>I Like It Here\u003c/em> and Ruth Reichl embarks on a cross-country odyssey among local farmers, ranchers and chefs in Laura Gabbert’s \u003cem>Food and Country\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DmNDddKcA2s'\n title='//www.youtube.com/embed/DmNDddKcA2s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.barbie-themovie.com/\">Barbie\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out July 21 \u003c/em>\u003cbr>\nGreta Gerwig’s ambitious (and possibly misguided) satire of conformity and consumerism looks like no other movie this year. Barbie (Margot Robbie) and Ken (Ryan Gosling) live their plastic existence in a cloying candy-cane dollhouse world that will either set your teeth on edge or propel you on a pastel journey for the perfect summer outfit. Will Gerwig (and co-writer and \u003cem>White Noise\u003c/em> director Noah Baumbach) eviscerate gender roles and heterosexual anxieties with laugh-out-loud precision? Or will Mattel and Warner Bros. experience buyers’ remorse for this alt-world swan dive into product placement?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uYPbbksJxIg'\n title='//www.youtube.com/embed/uYPbbksJxIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.oppenheimermovie.com/\">Oppenheimer\u003c/a>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Comes Out July 21 \u003c/em>\u003cbr>\nChristopher Nolan fancies himself a craftier Kubrick and a smarter Spielberg, an inventor of fantastic worlds (\u003cem>Inception\u003c/em>, \u003cem>Interstellar\u003c/em>, \u003cem>Tenet\u003c/em>) for adults that spin the turnstiles and spark conversations. This three-hour (!) recapitulation of the Manhattan Project, the nuclear-bomb program headed by theoretical physicist J. Robert Oppenheimer (Cillian Murphy) during World War II to defeat the Nazis, employs Nolan’s tried-and-tired formula of nonlinear story structure, gargantuan set pieces and melodramatic acting. \u003cem>A Compassionate Spy\u003c/em> (August 4) provides a nonfiction bookend: Steve James presents the perspective of young Manhattan Project physicist Ted Hall, whose concern about the U.S.’s exclusive ownership of nuclear weapons led him to pass information to the Soviet Union. Summer apocalypse, anyone?\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929418/summer-movie-guide-2023","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_235"],"tags":["arts_977","arts_20565","arts_1072","arts_585"],"featImg":"arts_13929558","label":"source_arts_13929418"},"arts_13929225":{"type":"posts","id":"arts_13929225","meta":{"index":"posts_1591205157","site":"arts","id":"13929225","score":null,"sort":[1684785644000]},"guestAuthors":[],"slug":"bay-area-plays-musicals-summer","title":"10 Hot Tickets to Bay Area Plays and Musicals This Summer","publishDate":1684785644,"format":"aside","headTitle":"10 Hot Tickets to Bay Area Plays and Musicals This Summer | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Theater companies typically grind hard from September to June, and as a result, the summer months ease up a bit before the cycle starts again in the fall. This doesn’t mean the Bay Area theater scene is a barren wasteland over the summer; quite the opposite.\u003c/p>\n\u003cp>Bay Area stages this summer host a healthy mix of the classic and contemporary, along with world premieres and hearty musicals. Here are 10 shows from late May to early September that you don’t want to miss.\u003c/p>\n\u003cfigure id=\"attachment_13929271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg\" alt=\"a photo of three people posed in front of a wooden door, two youngish Latino-appearing men with a Latina woman in an orange standing between them, looking at the camera\" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1020x1043.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1502x1536.jpg 1502w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1920x1963.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caleb Cabrera and Regina Morones and Samuel Prince in ‘Yerma.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Yerma\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003cbr>\nMay 27–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Spanish poet Federico Garcia Lorca, whose passion explodes from the ink, has a special quality that knows no end. Lorca’s characters are not simply products of circumstance; they are wholly consumed by fate. His ideas and word combinations are incredibly thrilling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003cem>Yerma\u003c/em>, a play not as frequently produced as the two others in his Rural Trilogy, the title character is childless, desperately yearning to be a mother. Her desperation leads to her self-destruction, which parallels the tragedy of Lorca himself, killed in 1936 at the hands of a firing squad at age 38. \u003cem>Yerma\u003c/em> is the type of play that Shotgun Players does beautifully, with the immeasurable benefit of one of Spain’s greatest voices.\u003c/p>\n\u003cfigure id=\"attachment_13929279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929279\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg\" alt=\"three people, a white woman, a Black man and a Japanese-American man in colorful outfits, perform on a stage with a fake animal skeleton of some kind\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aymee Garcia, Cole Thompson and Kennedy Kanagawa in ‘Into the Woods’ \u003ccite>(Matthew Murphy and Evan Zimmerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfcurran.com/\">Into the Woods\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Curran, San Francisco\u003cbr>\nJune 20–25, 2023\u003c/em>\u003c/p>\n\u003cp>The Bay Area is a regular stop for national tours, but \u003cem>Into the Woods\u003c/em> offers an added bonus: multiple original cast members from the critically acclaimed Broadway production. The show opened in May of 2022 as a two-week run at the New York City Center before a Broadway transfer led to multiple extensions and six Tony Award nominations.\u003c/p>\n\u003cp>The masterpiece from James Lapine and Stephen Sondheim joins together multiple plots of various fairy tales of the Brothers Grimm — often with much darker consequences than their Disney counterparts. Making its way out West as well is the melancholy cow puppet Milky White, an aspect of the show that was all the rage in New York.\u003c/p>\n\u003cfigure id=\"attachment_13929281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg\" alt=\"a young Black woman with curly hair poses for a portrait in a red dress\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Longtime Bay Area performer Elizabeth Carter makes her TheatreWorks directorial debut with ‘Steel Magnolias.’ \u003ccite>(Jenny Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/\">Steel Magnolias\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Mountain View Center for the Performing Arts\u003cbr>\nJune 7–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>TheatreWorks Silicon Valley has been crafting great, innovative artistry for its recent productions, rethinking what a classic can be and infusing the work with components that expand a show’s inclusivity. (Exhibit A: their \u003cem>Little Shop of Horrors\u003c/em>, placed in San Francisco’s Chinatown, this past December.) This year, a play set in the South, which featured an all-white cast in the popular 1989 film, adapts the action into a Black-owned salon. Longtime Bay Area performer Elizabeth Carter directs.\u003c/p>\n\u003cfigure id=\"attachment_13929283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg\" alt=\"a large group of people in top hats and shiny outfits perform a dance in a chorus line on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘A Chorus Line’ at the London Palladium. San Francisco Playhouse closes its 20th anniversary season with the musical starting June 22. \u003ccite>(Alamy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/2022-2023-season/a-chorus-line/\">A Chorus Line\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Francisco Playhouse\u003cbr>\nJune 22–Sept. 9, 2023\u003c/em>\u003c/p>\n\u003cp>San Francisco Playhouse is going all in with its collection of musicals, offering up three in a 12-month span. One of the most decorated musicals in history, winning nine Tony awards and the Pulitzer Prize for drama in 1976, \u003cem>A Chorus Line\u003c/em> follows a colorful group of dancers vying for a coveted spot on a Broadway chorus line. Each dancer brings deep, personal stories with lots of humor and heartbreak. Despite their variety of backgrounds, each of the dancers ultimately asks the same question — if the dream were to end instantly after so much sacrifice, \u003ca href=\"https://www.youtube.com/watch?v=dwk0Sh3id4w\">are there any regrets\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13929284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929284\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-800x450.png\" alt=\"a group of four people, three Black women and one Black man, Questlove, smile for the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0.png 970w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hippest Trip’: Dominique Morrisseau (book), Ahmir ‘Questlove’ Thompson (executive producer), Camille A. Brown (choreography), Kamilah Forbes (director). \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Hippest Trip — The Soul Train Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Toni Rembe Theater, San Francisco\u003cbr>\nAug. 25–Oct. 1, 2023\u003c/em>\u003c/p>\n\u003cp>When Chicago disc jockey Joe Cobb pierced the television speaker with his dulcet falsetto screaming, “The soooooouuulllll train,” followed by Sid McCoy smoothly introducing “the hippest trip in America” while a colorful train \u003ca href=\"https://www.youtube.com/watch?v=f8osiVlz6Ws\">bounced along outer space\u003c/a>, you knew that Saturday morning was ready to commence with unbridled Black joy. Every ounce of \u003cem>Soul Train\u003c/em> is iconic — dapper host Don Cornelius, the \u003ca href=\"https://www.youtube.com/watch?v=lODBVM802H8\">Soul Train line\u003c/a>, prime fashion, and the show’s indelible role in popular culture.\u003c/p>\n\u003cp>This new musical, which finally premieres at A.C.T. after plenty of delays, is led by a dream team, including playwright Dominique Morrisseau and musician/Soul Train savant Ahmir “Questlove” Thompson. A long-anticipated world premiere, it’s poised to become the theatre event of the summer with high ambitions beyond the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13929285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg\" alt=\"a glass of water on a table in front of a woman's face, lit darkly; she has brown skin and black hair and is wearing dark lipstick\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez in ‘Who’s Afraid of Virginia Woolf.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/virginia\">Who’s Afraid of Virginia Woolf\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Flax Art & Design, Oakland\u003cbr>\nMay 26–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Long considered a masterpiece of the American theater, this unflinchingly comedic and profound work from Edward Albee follows middle-aged couple George and Martha, who invite a young professor and his wife over to their place for a nightcap; a dangerous round of fun and games ensues.\u003c/p>\n\u003cp>Oakland Theater Project is on a roll of late, producing gritty narratives from fresh playwrights while continuing to build upon a healthy repertory company of terrific artists. Popular company members Lisa Ramirez and Michael Socrates Moran perform and direct, respectively.\u003c/p>\n\u003cfigure id=\"attachment_13929286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929286\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg\" alt=\"a portrait of a man with light brown skin and a very short beard wearing a black t-shirt\" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ari’el Stachel in ‘Out of Character’ \u003ccite>(Sergio Pasquariello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/out-of-character/\">Out of Character\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre\u003cbr>\nJune 23–July 20, 2023\u003c/em>\u003c/p>\n\u003cp>Seeing the beautiful musical \u003cem>The Band’s Visit\u003c/em> in 2017 was to witness an incredible set of performances from an all-star cast. One of those performers, the handsome Berkeley-raised talent Ari’el Stachel, \u003ca href=\"https://www.youtube.com/watch?v=GUW-yM2y53s\">made audiences swoon\u003c/a> as the confident musician Haled. That swooning was no accident; his performance landed him the 2018 Tony Award for best featured actor in a musical.\u003c/p>\n\u003cp>Stachel returns home for this solo debut, telling his story of the difficulties he faced as an Israeli American of Yemeni Jewish descent shortly after the 9/11 attacks. In keeping with the homegrown nature of the piece, the show was developed at the Rep’s Ground Floor and is directed by former artistic director Tony Taccone, who led the Rep for 33 years before retiring in 2019.\u003c/p>\n\u003cfigure id=\"attachment_13929288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929288\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg\" alt=\"three people, a Black man in a suit, a Black woman in a white top and black pants and a Black woman in a peach dress, laugh while performing a reading in front of an applauding crowd\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1536x962.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited.jpg 1599w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Rotimi Agbabiaka, playwright Traci Tolmaire and actor Ryan Nicole Austin perform a staged reading of ‘In the Evening by the Moonlight’ at the Museum of African Diaspora. \u003ccite>(Courtesy Lorraine Hansberry Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.lhtsf.org/\">In the Evening by the Moonlight\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Young Performer’s Theatre at Fort Mason, San Francisco\u003cbr>\nJune 15–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>The Lorraine Hansberry Theatre is the home for this new play that imagines a conversation between three major figures: the theatre’s namesake, Lorraine Hansberry, Nina Simone and James Baldwin. The piece is set in Hansberry’s Waverly Place flat in New York, as the three icons confront a fearful future while expressing hopes for a revolution.\u003c/p>\n\u003cp>The play, which received a successful reading in April, is written by Traci Tolmaire, and co-created and directed by artistic director Margo Hall.\u003c/p>\n\u003cfigure id=\"attachment_13929291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png\" alt=\"three white people, two men and one woman, smile for the camera while sitting in an empty theater\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1536x1152.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1.png 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hamlet’ from the Marin Shakespeare Company, left to right: Jon Tracy (director), Bridgette Loriaux (‘Gertrude’) and Nick Musleh (‘Hamlet’). \u003ccite>(Jon Tracy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/\">Hamlet\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Forest Meadows Amphitheatre, San Rafael\u003cbr>\nJune 16–July 16, 2023\u003c/em>\u003c/p>\n\u003cp>Nothing screams summer like Shakespeare in an outdoor setting, and the Marin Shakespeare Company has presented the Bard outside since 1989. Well-known Bay Area director Jon Tracy is taking over the reins as summer season artistic producer, and while he has directed for the company plenty, this is his debut in the new role.\u003c/p>\n\u003cp>The story of Hamlet has everything one can ask for in a drama — iconic characters, lust, betrayal, greed, humor and deception. To be or not to be in the house? Grabbing some Shakespeare on a beautiful North Bay night under the stars is a definite “to be.”\u003c/p>\n\u003cfigure id=\"attachment_13929293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg\" alt=\"\" width=\"800\" height=\"1105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1020x1408.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-160x221.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-768x1060.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1112x1536.jpeg 1112w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1483x2048.jpeg 1483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg 1854w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Timothy Near, director of ‘The Road to Mecca.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.zspace.org/\">The Road to Mecca\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Z Below, San Francisco\u003cbr>\nJune 4–30, 2023\u003c/em>\u003c/p>\n\u003cp>This work from Athol Fugard, long considered the greatest of South African playwrights, centers an aging Miss Helen, who fills her home and garden with sculptures made from junk after the death of her husband. As her mental health continues to deteriorate, two people — a local pastor and a young teacher — fight to determine the ultimate path of her perilous future.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The piece brings together a group of artists who last worked together on another Fugard piece at Z Below, \u003cem>A Lesson from Aloes\u003c/em>, in 2018. Timothy Near leads the three-hander, reuniting the longtime director with top acting talents Victor Talmadge and Wendy vanden Heuvel.\u003c/p>\n\n","blocks":[],"excerpt":"This summer, local theatre stages host a mix of the classic and contemporary, alongside world premieres and hearty musicals.","status":"publish","parent":0,"modified":1705005471,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1559},"headData":{"title":"10 Hot Tickets to Bay Area Plays and Musicals This Summer | KQED","description":"This summer, local theatre stages host a mix of the classic and contemporary, alongside world premieres and hearty musicals.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Hot Summer Guide 2023","sourceUrl":"/summerguide2023","sticky":false,"nprByline":"David John Chávez","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13929225/bay-area-plays-musicals-summer","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Theater companies typically grind hard from September to June, and as a result, the summer months ease up a bit before the cycle starts again in the fall. This doesn’t mean the Bay Area theater scene is a barren wasteland over the summer; quite the opposite.\u003c/p>\n\u003cp>Bay Area stages this summer host a healthy mix of the classic and contemporary, along with world premieres and hearty musicals. Here are 10 shows from late May to early September that you don’t want to miss.\u003c/p>\n\u003cfigure id=\"attachment_13929271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg\" alt=\"a photo of three people posed in front of a wooden door, two youngish Latino-appearing men with a Latina woman in an orange standing between them, looking at the camera\" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1020x1043.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1502x1536.jpg 1502w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1920x1963.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caleb Cabrera and Regina Morones and Samuel Prince in ‘Yerma.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Yerma\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003cbr>\nMay 27–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Spanish poet Federico Garcia Lorca, whose passion explodes from the ink, has a special quality that knows no end. Lorca’s characters are not simply products of circumstance; they are wholly consumed by fate. His ideas and word combinations are incredibly thrilling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Yerma\u003c/em>, a play not as frequently produced as the two others in his Rural Trilogy, the title character is childless, desperately yearning to be a mother. Her desperation leads to her self-destruction, which parallels the tragedy of Lorca himself, killed in 1936 at the hands of a firing squad at age 38. \u003cem>Yerma\u003c/em> is the type of play that Shotgun Players does beautifully, with the immeasurable benefit of one of Spain’s greatest voices.\u003c/p>\n\u003cfigure id=\"attachment_13929279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929279\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg\" alt=\"three people, a white woman, a Black man and a Japanese-American man in colorful outfits, perform on a stage with a fake animal skeleton of some kind\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aymee Garcia, Cole Thompson and Kennedy Kanagawa in ‘Into the Woods’ \u003ccite>(Matthew Murphy and Evan Zimmerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfcurran.com/\">Into the Woods\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Curran, San Francisco\u003cbr>\nJune 20–25, 2023\u003c/em>\u003c/p>\n\u003cp>The Bay Area is a regular stop for national tours, but \u003cem>Into the Woods\u003c/em> offers an added bonus: multiple original cast members from the critically acclaimed Broadway production. The show opened in May of 2022 as a two-week run at the New York City Center before a Broadway transfer led to multiple extensions and six Tony Award nominations.\u003c/p>\n\u003cp>The masterpiece from James Lapine and Stephen Sondheim joins together multiple plots of various fairy tales of the Brothers Grimm — often with much darker consequences than their Disney counterparts. Making its way out West as well is the melancholy cow puppet Milky White, an aspect of the show that was all the rage in New York.\u003c/p>\n\u003cfigure id=\"attachment_13929281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg\" alt=\"a young Black woman with curly hair poses for a portrait in a red dress\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Longtime Bay Area performer Elizabeth Carter makes her TheatreWorks directorial debut with ‘Steel Magnolias.’ \u003ccite>(Jenny Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/\">Steel Magnolias\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Mountain View Center for the Performing Arts\u003cbr>\nJune 7–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>TheatreWorks Silicon Valley has been crafting great, innovative artistry for its recent productions, rethinking what a classic can be and infusing the work with components that expand a show’s inclusivity. (Exhibit A: their \u003cem>Little Shop of Horrors\u003c/em>, placed in San Francisco’s Chinatown, this past December.) This year, a play set in the South, which featured an all-white cast in the popular 1989 film, adapts the action into a Black-owned salon. Longtime Bay Area performer Elizabeth Carter directs.\u003c/p>\n\u003cfigure id=\"attachment_13929283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg\" alt=\"a large group of people in top hats and shiny outfits perform a dance in a chorus line on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘A Chorus Line’ at the London Palladium. San Francisco Playhouse closes its 20th anniversary season with the musical starting June 22. \u003ccite>(Alamy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/2022-2023-season/a-chorus-line/\">A Chorus Line\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Francisco Playhouse\u003cbr>\nJune 22–Sept. 9, 2023\u003c/em>\u003c/p>\n\u003cp>San Francisco Playhouse is going all in with its collection of musicals, offering up three in a 12-month span. One of the most decorated musicals in history, winning nine Tony awards and the Pulitzer Prize for drama in 1976, \u003cem>A Chorus Line\u003c/em> follows a colorful group of dancers vying for a coveted spot on a Broadway chorus line. Each dancer brings deep, personal stories with lots of humor and heartbreak. Despite their variety of backgrounds, each of the dancers ultimately asks the same question — if the dream were to end instantly after so much sacrifice, \u003ca href=\"https://www.youtube.com/watch?v=dwk0Sh3id4w\">are there any regrets\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13929284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929284\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-800x450.png\" alt=\"a group of four people, three Black women and one Black man, Questlove, smile for the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0.png 970w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hippest Trip’: Dominique Morrisseau (book), Ahmir ‘Questlove’ Thompson (executive producer), Camille A. Brown (choreography), Kamilah Forbes (director). \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Hippest Trip — The Soul Train Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Toni Rembe Theater, San Francisco\u003cbr>\nAug. 25–Oct. 1, 2023\u003c/em>\u003c/p>\n\u003cp>When Chicago disc jockey Joe Cobb pierced the television speaker with his dulcet falsetto screaming, “The soooooouuulllll train,” followed by Sid McCoy smoothly introducing “the hippest trip in America” while a colorful train \u003ca href=\"https://www.youtube.com/watch?v=f8osiVlz6Ws\">bounced along outer space\u003c/a>, you knew that Saturday morning was ready to commence with unbridled Black joy. Every ounce of \u003cem>Soul Train\u003c/em> is iconic — dapper host Don Cornelius, the \u003ca href=\"https://www.youtube.com/watch?v=lODBVM802H8\">Soul Train line\u003c/a>, prime fashion, and the show’s indelible role in popular culture.\u003c/p>\n\u003cp>This new musical, which finally premieres at A.C.T. after plenty of delays, is led by a dream team, including playwright Dominique Morrisseau and musician/Soul Train savant Ahmir “Questlove” Thompson. A long-anticipated world premiere, it’s poised to become the theatre event of the summer with high ambitions beyond the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13929285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg\" alt=\"a glass of water on a table in front of a woman's face, lit darkly; she has brown skin and black hair and is wearing dark lipstick\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez in ‘Who’s Afraid of Virginia Woolf.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/virginia\">Who’s Afraid of Virginia Woolf\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Flax Art & Design, Oakland\u003cbr>\nMay 26–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Long considered a masterpiece of the American theater, this unflinchingly comedic and profound work from Edward Albee follows middle-aged couple George and Martha, who invite a young professor and his wife over to their place for a nightcap; a dangerous round of fun and games ensues.\u003c/p>\n\u003cp>Oakland Theater Project is on a roll of late, producing gritty narratives from fresh playwrights while continuing to build upon a healthy repertory company of terrific artists. Popular company members Lisa Ramirez and Michael Socrates Moran perform and direct, respectively.\u003c/p>\n\u003cfigure id=\"attachment_13929286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929286\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg\" alt=\"a portrait of a man with light brown skin and a very short beard wearing a black t-shirt\" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ari’el Stachel in ‘Out of Character’ \u003ccite>(Sergio Pasquariello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/out-of-character/\">Out of Character\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre\u003cbr>\nJune 23–July 20, 2023\u003c/em>\u003c/p>\n\u003cp>Seeing the beautiful musical \u003cem>The Band’s Visit\u003c/em> in 2017 was to witness an incredible set of performances from an all-star cast. One of those performers, the handsome Berkeley-raised talent Ari’el Stachel, \u003ca href=\"https://www.youtube.com/watch?v=GUW-yM2y53s\">made audiences swoon\u003c/a> as the confident musician Haled. That swooning was no accident; his performance landed him the 2018 Tony Award for best featured actor in a musical.\u003c/p>\n\u003cp>Stachel returns home for this solo debut, telling his story of the difficulties he faced as an Israeli American of Yemeni Jewish descent shortly after the 9/11 attacks. In keeping with the homegrown nature of the piece, the show was developed at the Rep’s Ground Floor and is directed by former artistic director Tony Taccone, who led the Rep for 33 years before retiring in 2019.\u003c/p>\n\u003cfigure id=\"attachment_13929288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929288\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg\" alt=\"three people, a Black man in a suit, a Black woman in a white top and black pants and a Black woman in a peach dress, laugh while performing a reading in front of an applauding crowd\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1536x962.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited.jpg 1599w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Rotimi Agbabiaka, playwright Traci Tolmaire and actor Ryan Nicole Austin perform a staged reading of ‘In the Evening by the Moonlight’ at the Museum of African Diaspora. \u003ccite>(Courtesy Lorraine Hansberry Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.lhtsf.org/\">In the Evening by the Moonlight\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Young Performer’s Theatre at Fort Mason, San Francisco\u003cbr>\nJune 15–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>The Lorraine Hansberry Theatre is the home for this new play that imagines a conversation between three major figures: the theatre’s namesake, Lorraine Hansberry, Nina Simone and James Baldwin. The piece is set in Hansberry’s Waverly Place flat in New York, as the three icons confront a fearful future while expressing hopes for a revolution.\u003c/p>\n\u003cp>The play, which received a successful reading in April, is written by Traci Tolmaire, and co-created and directed by artistic director Margo Hall.\u003c/p>\n\u003cfigure id=\"attachment_13929291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png\" alt=\"three white people, two men and one woman, smile for the camera while sitting in an empty theater\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1536x1152.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1.png 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hamlet’ from the Marin Shakespeare Company, left to right: Jon Tracy (director), Bridgette Loriaux (‘Gertrude’) and Nick Musleh (‘Hamlet’). \u003ccite>(Jon Tracy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/\">Hamlet\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Forest Meadows Amphitheatre, San Rafael\u003cbr>\nJune 16–July 16, 2023\u003c/em>\u003c/p>\n\u003cp>Nothing screams summer like Shakespeare in an outdoor setting, and the Marin Shakespeare Company has presented the Bard outside since 1989. Well-known Bay Area director Jon Tracy is taking over the reins as summer season artistic producer, and while he has directed for the company plenty, this is his debut in the new role.\u003c/p>\n\u003cp>The story of Hamlet has everything one can ask for in a drama — iconic characters, lust, betrayal, greed, humor and deception. To be or not to be in the house? Grabbing some Shakespeare on a beautiful North Bay night under the stars is a definite “to be.”\u003c/p>\n\u003cfigure id=\"attachment_13929293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg\" alt=\"\" width=\"800\" height=\"1105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1020x1408.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-160x221.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-768x1060.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1112x1536.jpeg 1112w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1483x2048.jpeg 1483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg 1854w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Timothy Near, director of ‘The Road to Mecca.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.zspace.org/\">The Road to Mecca\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Z Below, San Francisco\u003cbr>\nJune 4–30, 2023\u003c/em>\u003c/p>\n\u003cp>This work from Athol Fugard, long considered the greatest of South African playwrights, centers an aging Miss Helen, who fills her home and garden with sculptures made from junk after the death of her husband. As her mental health continues to deteriorate, two people — a local pastor and a young teacher — fight to determine the ultimate path of her perilous future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The piece brings together a group of artists who last worked together on another Fugard piece at Z Below, \u003cem>A Lesson from Aloes\u003c/em>, in 2018. Timothy Near leads the three-hander, reuniting the longtime director with top acting talents Victor Talmadge and Wendy vanden Heuvel.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929225/bay-area-plays-musicals-summer","authors":["byline_arts_13929225"],"categories":["arts_1","arts_235","arts_967"],"tags":["arts_1237","arts_10278","arts_1321","arts_2360","arts_20565","arts_1072","arts_1815","arts_585"],"featImg":"arts_13929279","label":"source_arts_13929225"},"arts_13928279":{"type":"posts","id":"arts_13928279","meta":{"index":"posts_1591205157","site":"arts","id":"13928279","score":null,"sort":[1682607658000]},"guestAuthors":[],"slug":"the-stages-keeping-sfs-indie-theatre-scene-alive","title":"The Stages Keeping SF’s Indie Theatre Scene Alive","publishDate":1682607658,"format":"standard","headTitle":"The Stages Keeping SF’s Indie Theatre Scene Alive | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco’s independent theatre community was dealt two successive blows in the last six months: In December,\u003ca href=\"https://www.kqed.org/arts/13919459/exit-theatre-closed-tenderloin-san-francisco\"> EXIT Theatre’s complex on Eddy Street closed\u003c/a>, and just three months later \u003ca href=\"https://www.kqed.org/arts/13924185/pianofights-theatre-was-independent-creative-accessible-and-necessary\">Pianofight shuttered its multi-space venue\u003c/a> around the corner on Taylor. [aside label=\"Related Stories\" postID=\"arts_13924185,arts_13919459\"] This loss of seven distinctive Tenderloin stages will have profound repercussions on independent and emerging performers’ ability to produce and perform original, non-mainstream works for years to come.\u003c/p>\n\u003cp>But even in the face of this devastation, all is not lost for the future of independent performance in San Francisco. Multi-space, multi-purpose venues still exist all over the City, perhaps most prominently in the Mission District. Three of these — with a total of nine stages between them — offer both artistic freedom and unparalleled variety: Brava Theater Center, Project Artaud and Stage Werx. Here’s a primer on their history, values and offerings.\u003c/p>\n\u003cfigure id=\"attachment_13928288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/A9_06843-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928288\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/A9_06843-800x480.jpg\" alt=\"a young Black man wearing shorts and a long-sleeve shirt moves with his arms in the air on a pink-lit stage during a performance\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-1536x921.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-2048x1229.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-1920x1152.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka performing in ‘MANIFESTO’ at Brava Theater Center in the Mission. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.brava.org/\">Brava Theater Center\u003c/a>: A mission for the Mission\u003c/h2>\n\u003cp>Founded in 1986 with a goal of supporting women and other marginalized voices in the arts, Mission-born organization Brava! for Women in the Arts moved into the former York Theatre at 2781 24th Street in 1996. The organization has successfully safeguarded the space against the forces of gentrification ever since. Brava currently manages three distinct spaces under this historic roof, and also supports a roster of resident artists and companies.\u003c/p>\n\u003cp>The venerable 360-seat Main Theater is where you can still see homegrown movies on occasion (such as 2009’s \u003cem>La Mission\u003c/em>, starring Benjamin Bratt, and 2015’s \u003cem>The Other Barrio\u003c/em>, scripted from a short story by former S.F. Poet Laureate Alejandro Murguia). Here, too, audiences can take in large-scale multidisciplinary works such as the acclaimed\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\"> \u003cem>Pachuquísmo\u003c/em> by Vanessa Sanchez and La Mezcla\u003c/a>. The 60-seat studio frequently hosts solo and small ensemble performances that range tonally from the hilarious to the sublime. And the catch-all 60-seat cabaret stage is where Mission District legends such as \u003ca href=\"https://www.kqed.org/arts/13883619/in-the-mission-performers-marga-gomez-and-campo-santo-stay-resilient\">Marga Gomez\u003c/a> and Monica Palacios, among others, currently hold court.\u003c/p>\n\u003cp>For resident artist \u003ca href=\"https://www.kqed.org/arts/13874641/man-vs-manifesto-rotimi-agbabiaka-explains-it-all-at-brava-theater-center\">Rotimi Agbabiaka\u003c/a>, Brava provides a level of artistic support unmatched by other spaces. Living in the nearby Castro District means that he can always pop in, and take in a show by a fellow resident, rehearse at odd hours in a space that allows him to “play and be loud,” and even use the office as a resource. Even during the height of the pandemic, Brava looked out for its resident artists, providing them a way to get out of the house and maintain their practice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rotimi speaks appreciatively of the relaxed nature of his relationship with the organization — of how inspired he is by his fellow resident artists, and especially of the flexibility it provides to create work at his own pace rather than on an organizationally-imposed deadline, or under a directive to produce commercially viable work.\u003c/p>\n\u003cp>“It’s a (kind of) freedom,” he remarks, “to not feel pressure to conform to a certain standard.”\u003c/p>\n\u003cfigure id=\"attachment_13928337\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928337\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-800x600.jpg\" alt=\"a large room or performance space with folding chairs, high ceilings, and a wall full of windows with light streaming in\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SPACE 124 at Project Artaud. \u003ccite>(Courtesy SPACE 124)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://projectartaud.org/\">Project Artaud\u003c/a>: Collective power writ large\u003c/h2>\n\u003cp>Founded in 1971, Project Artaud (499 Alabama St.) is one of the oldest artist-run live-work spaces in the country. It serves as home to almost 100 members who run the project collectively while also maintaining their individual artistic and creative practice.\u003c/p>\n\u003cp>As might be expected from an organization named for the influential French theatre-maker Antonin Artaud, building performance spaces was an important part of the project founders’ vision. Today the impressive industrial edifice (once home to the American Can Company) houses several public performance venues which are renter-managed, and one — SPACE 124 — managed by the project.\u003c/p>\n\u003cp>As each space and theatre company operate independently of each other, Project Artaud is a place of infinite possibility. On any given week audiences might discover the highly specialized work of Theatre of Yugen, a touring powerhouse or a new musical at the 244-seat Z Space, gripping new work by local playwrights at Z Below, a feast of dance works at the Joe Goode annex, or the exhilarating heights of an aerial-driven performance at SPACE 124.\u003c/p>\n\u003cp>While each space has its own vibe and its own audience base, cross-pollination is a part of the general ecosystem. \u003ca href=\"https://www.foolsfury.org/fury-factory-festival\">Fury Factory\u003c/a> — a biennial festival of ensemble performance curated by foolsFURY before they disbanded in 2021 — cleverly made use of their proximity, presenting multiple touring and local artists, workshops and conversations simultaneously and within extremely close walking distance of each other. But even without a festival on the premises, the venues are tied together by a shared history and Project Artaud’s focus on collectively creating and preserving artistic space.\u003c/p>\n\u003cp>“I’m so glad I was a part of that time,” reflects Lizzy Spicuzza, a member of Project Artaud since the early 80s, and the current program manager of SPACE 124. “It’s part of my history too.”\u003c/p>\n\u003cfigure id=\"attachment_13928338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/SW-Audiene-accessible-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928338\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/SW-Audiene-accessible-800x600.jpg\" alt=\"an empty theater with about 70 seats is seen from the stage\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stage Werx Theatre offers a 70-seat room in the heart of the Mission. \u003ccite>(Ty Mckenzie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.stagewerx.org/\">Stage Werx Theatre\u003c/a>: The house of ‘yes, and’\u003c/h2>\n\u003cp>Stage Werx Theatre, located at 446 Valencia Street, is not a multi-stage venue. But from a glance at its offerings, you’d be forgiven for thinking it must be — it plays host to such a vast array of performers and performance styles.\u003c/p>\n\u003cp>Want to put on a musical centering an allergy to cats? Explore the surrealistic medium of the Exquisite Corpse as an ensemble production? Read the works of H.P. Lovecraft while naked onstage? Stage Werx proprietor \u003ca href=\"https://www.kqed.org/arts/10827367/backstage-heroes-ty-mckenzie\">Ty Mckenzie\u003c/a>, a staple of San Francisco’s underground, will not tell you “no.”\u003c/p>\n\u003cp>As the seemingly tireless engine working behind the scenes to create this supportive microcosm, Mckenzie has had to learn to do it all in order to (literally) keep the lights (literally) on.\u003c/p>\n\u003cp>“The only thing I don’t do is plumbing,” she says of her workload. “I can plumb but I have drawn a line. I do everything else — from accounting to producing, electrical to roof repair.”\u003c/p>\n\u003cp>One longtime staple of the Stage Werx calendar is improv, including (until this year) \u003ca href=\"https://endgamesimprov.com/\">Endgames Improv\u003c/a>, and currently the delightfully madcap \u003ca href=\"http://picklewater.com/cirque-oui-et/\">Cirque Oui-Et\u003c/a>! (or Circus Yes-And), who blend their longform improv shows with burlesque, puppetry, drag and clown. And much like an improv show all its own, the guiding principle of Stage Werx could be similarly described as a “yes, and.”\u003c/p>\n\u003cp>The human embodiment of this principle, Mckenzie still does not pay herself for her work at Werx, choosing instead to focus on the ephemeral rewards of a job well done — and the satisfaction of supporting local artists.\u003c/p>\n\u003cp>“I love the work they do here, and it infuses me with boundless energy to provide a clean, well-run, state-of-the-art performance space so they can focus on their craft. It’s a love-love situation,” she says. “And who doesn’t want to spend their days surrounded by love?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Despite great losses, the city's performance community supports its surviving artists with a handful of important spaces.","status":"publish","parent":0,"modified":1705005574,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1232},"headData":{"title":"The Stages Keeping SF’s Indie Theatre Scene Alive | KQED","description":"Despite great losses, the city's performance community supports its surviving artists with a handful of important spaces.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928279/the-stages-keeping-sfs-indie-theatre-scene-alive","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s independent theatre community was dealt two successive blows in the last six months: In December,\u003ca href=\"https://www.kqed.org/arts/13919459/exit-theatre-closed-tenderloin-san-francisco\"> EXIT Theatre’s complex on Eddy Street closed\u003c/a>, and just three months later \u003ca href=\"https://www.kqed.org/arts/13924185/pianofights-theatre-was-independent-creative-accessible-and-necessary\">Pianofight shuttered its multi-space venue\u003c/a> around the corner on Taylor. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"arts_13924185,arts_13919459"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> This loss of seven distinctive Tenderloin stages will have profound repercussions on independent and emerging performers’ ability to produce and perform original, non-mainstream works for years to come.\u003c/p>\n\u003cp>But even in the face of this devastation, all is not lost for the future of independent performance in San Francisco. Multi-space, multi-purpose venues still exist all over the City, perhaps most prominently in the Mission District. Three of these — with a total of nine stages between them — offer both artistic freedom and unparalleled variety: Brava Theater Center, Project Artaud and Stage Werx. Here’s a primer on their history, values and offerings.\u003c/p>\n\u003cfigure id=\"attachment_13928288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/A9_06843-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928288\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/A9_06843-800x480.jpg\" alt=\"a young Black man wearing shorts and a long-sleeve shirt moves with his arms in the air on a pink-lit stage during a performance\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-1536x921.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-2048x1229.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/A9_06843-1920x1152.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka performing in ‘MANIFESTO’ at Brava Theater Center in the Mission. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.brava.org/\">Brava Theater Center\u003c/a>: A mission for the Mission\u003c/h2>\n\u003cp>Founded in 1986 with a goal of supporting women and other marginalized voices in the arts, Mission-born organization Brava! for Women in the Arts moved into the former York Theatre at 2781 24th Street in 1996. The organization has successfully safeguarded the space against the forces of gentrification ever since. Brava currently manages three distinct spaces under this historic roof, and also supports a roster of resident artists and companies.\u003c/p>\n\u003cp>The venerable 360-seat Main Theater is where you can still see homegrown movies on occasion (such as 2009’s \u003cem>La Mission\u003c/em>, starring Benjamin Bratt, and 2015’s \u003cem>The Other Barrio\u003c/em>, scripted from a short story by former S.F. Poet Laureate Alejandro Murguia). Here, too, audiences can take in large-scale multidisciplinary works such as the acclaimed\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\"> \u003cem>Pachuquísmo\u003c/em> by Vanessa Sanchez and La Mezcla\u003c/a>. The 60-seat studio frequently hosts solo and small ensemble performances that range tonally from the hilarious to the sublime. And the catch-all 60-seat cabaret stage is where Mission District legends such as \u003ca href=\"https://www.kqed.org/arts/13883619/in-the-mission-performers-marga-gomez-and-campo-santo-stay-resilient\">Marga Gomez\u003c/a> and Monica Palacios, among others, currently hold court.\u003c/p>\n\u003cp>For resident artist \u003ca href=\"https://www.kqed.org/arts/13874641/man-vs-manifesto-rotimi-agbabiaka-explains-it-all-at-brava-theater-center\">Rotimi Agbabiaka\u003c/a>, Brava provides a level of artistic support unmatched by other spaces. Living in the nearby Castro District means that he can always pop in, and take in a show by a fellow resident, rehearse at odd hours in a space that allows him to “play and be loud,” and even use the office as a resource. Even during the height of the pandemic, Brava looked out for its resident artists, providing them a way to get out of the house and maintain their practice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rotimi speaks appreciatively of the relaxed nature of his relationship with the organization — of how inspired he is by his fellow resident artists, and especially of the flexibility it provides to create work at his own pace rather than on an organizationally-imposed deadline, or under a directive to produce commercially viable work.\u003c/p>\n\u003cp>“It’s a (kind of) freedom,” he remarks, “to not feel pressure to conform to a certain standard.”\u003c/p>\n\u003cfigure id=\"attachment_13928337\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928337\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-800x600.jpg\" alt=\"a large room or performance space with folding chairs, high ceilings, and a wall full of windows with light streaming in\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/124-Movie-screen-5_18-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SPACE 124 at Project Artaud. \u003ccite>(Courtesy SPACE 124)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://projectartaud.org/\">Project Artaud\u003c/a>: Collective power writ large\u003c/h2>\n\u003cp>Founded in 1971, Project Artaud (499 Alabama St.) is one of the oldest artist-run live-work spaces in the country. It serves as home to almost 100 members who run the project collectively while also maintaining their individual artistic and creative practice.\u003c/p>\n\u003cp>As might be expected from an organization named for the influential French theatre-maker Antonin Artaud, building performance spaces was an important part of the project founders’ vision. Today the impressive industrial edifice (once home to the American Can Company) houses several public performance venues which are renter-managed, and one — SPACE 124 — managed by the project.\u003c/p>\n\u003cp>As each space and theatre company operate independently of each other, Project Artaud is a place of infinite possibility. On any given week audiences might discover the highly specialized work of Theatre of Yugen, a touring powerhouse or a new musical at the 244-seat Z Space, gripping new work by local playwrights at Z Below, a feast of dance works at the Joe Goode annex, or the exhilarating heights of an aerial-driven performance at SPACE 124.\u003c/p>\n\u003cp>While each space has its own vibe and its own audience base, cross-pollination is a part of the general ecosystem. \u003ca href=\"https://www.foolsfury.org/fury-factory-festival\">Fury Factory\u003c/a> — a biennial festival of ensemble performance curated by foolsFURY before they disbanded in 2021 — cleverly made use of their proximity, presenting multiple touring and local artists, workshops and conversations simultaneously and within extremely close walking distance of each other. But even without a festival on the premises, the venues are tied together by a shared history and Project Artaud’s focus on collectively creating and preserving artistic space.\u003c/p>\n\u003cp>“I’m so glad I was a part of that time,” reflects Lizzy Spicuzza, a member of Project Artaud since the early 80s, and the current program manager of SPACE 124. “It’s part of my history too.”\u003c/p>\n\u003cfigure id=\"attachment_13928338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/SW-Audiene-accessible-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928338\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/SW-Audiene-accessible-800x600.jpg\" alt=\"an empty theater with about 70 seats is seen from the stage\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SW-Audiene-accessible-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stage Werx Theatre offers a 70-seat room in the heart of the Mission. \u003ccite>(Ty Mckenzie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.stagewerx.org/\">Stage Werx Theatre\u003c/a>: The house of ‘yes, and’\u003c/h2>\n\u003cp>Stage Werx Theatre, located at 446 Valencia Street, is not a multi-stage venue. But from a glance at its offerings, you’d be forgiven for thinking it must be — it plays host to such a vast array of performers and performance styles.\u003c/p>\n\u003cp>Want to put on a musical centering an allergy to cats? Explore the surrealistic medium of the Exquisite Corpse as an ensemble production? Read the works of H.P. Lovecraft while naked onstage? Stage Werx proprietor \u003ca href=\"https://www.kqed.org/arts/10827367/backstage-heroes-ty-mckenzie\">Ty Mckenzie\u003c/a>, a staple of San Francisco’s underground, will not tell you “no.”\u003c/p>\n\u003cp>As the seemingly tireless engine working behind the scenes to create this supportive microcosm, Mckenzie has had to learn to do it all in order to (literally) keep the lights (literally) on.\u003c/p>\n\u003cp>“The only thing I don’t do is plumbing,” she says of her workload. “I can plumb but I have drawn a line. I do everything else — from accounting to producing, electrical to roof repair.”\u003c/p>\n\u003cp>One longtime staple of the Stage Werx calendar is improv, including (until this year) \u003ca href=\"https://endgamesimprov.com/\">Endgames Improv\u003c/a>, and currently the delightfully madcap \u003ca href=\"http://picklewater.com/cirque-oui-et/\">Cirque Oui-Et\u003c/a>! (or Circus Yes-And), who blend their longform improv shows with burlesque, puppetry, drag and clown. And much like an improv show all its own, the guiding principle of Stage Werx could be similarly described as a “yes, and.”\u003c/p>\n\u003cp>The human embodiment of this principle, Mckenzie still does not pay herself for her work at Werx, choosing instead to focus on the ephemeral rewards of a job well done — and the satisfaction of supporting local artists.\u003c/p>\n\u003cp>“I love the work they do here, and it infuses me with boundless energy to provide a clean, well-run, state-of-the-art performance space so they can focus on their craft. It’s a love-love situation,” she says. “And who doesn’t want to spend their days surrounded by love?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928279/the-stages-keeping-sfs-indie-theatre-scene-alive","authors":["11497"],"categories":["arts_1","arts_835","arts_967"],"tags":["arts_1072"],"featImg":"arts_13928287","label":"arts"},"arts_13925284":{"type":"posts","id":"arts_13925284","meta":{"index":"posts_1591205157","site":"arts","id":"13925284","score":null,"sort":[1676665655000]},"guestAuthors":[],"slug":"act-the-headlands-christopher-chen-review","title":"ACT’s ‘The Headlands’ Maps SF Through Fog, Flashbacks and a Cold Case","publishDate":1676665655,"format":"standard","headTitle":"ACT’s ‘The Headlands’ Maps SF Through Fog, Flashbacks and a Cold Case | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When Dashiell Hammett wrote his great San Francisco noir \u003cem>The Maltese Falcon\u003c/em>, he drew upon his deep knowledge of the City to imbue it with ruthless realism and site-specific detail. Even today you can walk in Hammett’s footsteps from the Tenderloin to downtown, and glimpse traces of the City as it was, a character as integral to the plot of the novel as Sam Spade.\u003c/p>\n\u003cp>In Christopher Chen’s new play \u003ca href=\"https://www.act-sf.org/whats-on/202223-season/the-headlands/\">\u003cem>The Headlands\u003c/em>\u003c/a> — a family drama with a murder mystery at its heart — San Francisco similarly plays a starring role. It is no mere backdrop to the narrative, but an active participant in it. [aside postid='arts_13923665']\u003c/p>\n\u003cp>A born-and-raised San Franciscan, Chen meticulously uncovers parts of the City little referenced in the guidebooks and travelogues. His protagonist Henry (Phil Wong), a self-described “amateur sleuth,” traverses a landscape hauntingly familiar to longtime residents: a childhood spent in a stucco-clad, single-family home in the Outer Sunset, followed by a tech job and condo on the Embarcadero (“I’m part of the problem,” Henry admits sheepishly). In flashbacks, his parents meet-cute on an overgrown overlook in Land’s End and canoodle at the base of Coit Tower. His father George (Johnny M. Wu) attempts to bond with a young Henry by taking him on hikes in the Marin Headlands, where they can look across the water and see the City basking in its own self-referential glow.\u003c/p>\n\u003cp>But just as San Francisco provides a picturesque container for Henry’s fonder memories, it also delivers the fog which obfuscates their uncomfortable truths. As an adult, Henry is only beginning to discover these truths, secrets contained within the low-voiced half conversations around the kitchen table: the quiet melancholy of his father looking out of the window at night. The abiding mystery of his death by gunshot, a violence that shocked their insular community. A mystery now decades-old — and no closer to being solved than it was on the first day his body was discovered. [aside postid='arts_13925249']\u003c/p>\n\u003cp>Tautly directed by A.C.T.’s artistic director Pam MacKinnon, \u003cem>The Headlands\u003c/em> reveals itself sedately, bit by tantalizing bit. Alexander V. Nichols’ set is deceptively simple, an almost aggressively blank wall that cleverly morphs into the interiors and exteriors of a series of iconic San Francisco homes, streetscapes and hilltops, thanks to a few choice furnishings and a series of well-executed projections. This is a quintessential Christopher Chen play: an homage to Noir — but with fewer fedoras and more earnest heartache. It’s a labyrinth of unexpected twists and contradictory perspectives that keep you guessing until the very end.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a satisfying demonstration of restraint, Chen’s characters say as much with their silences as most might with a loquacious monologue. In one scene, Henry and his girlfriend Jess (Sam Jackson) conduct a lengthy disagreement primarily through their nervous tics: a jiggling foot, an avoidance of eye contact, an anxious swallow of beer. In another, George stands silently at the aforementioned window, reduced to a shadow, trapped in what his wife, Leena, later describes as “despair.” He’s an unknowable cipher to his son, then and now.\u003c/p>\n\u003cfigure id=\"attachment_13925297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/HED_052.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/HED_052-800x532.jpg\" alt=\"three people on a stage, an Asian man, a Black woman and an older Asian woman, smiling at each other as they sit\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong (Henry), Sam Jackson (Jess) and Keiko Shimosato Carreiro (Older Leena) in the West\u003cbr>Coast premiere of Christopher Chen’s ‘The Headlands.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Leena — played younger by Erin Mei-Ling Stuart and older by Keiko Shimosato Carreiro — who provides the first essential clues for Henry’s quest to learn more about his father’s unexplained death. It may be his watchful, silent father at the window around which Henry builds his first vague hypotheses, but it’s the ellipses between his mother’s often quotidian conversations that conceal the most.\u003c/p>\n\u003cp>Watching Stuart and Carreiro trade this role back and forth throughout the play is especially enjoyable. They both so skillfully bring complementary facets of Leena to life that she becomes by far the most fully-realized character in the play. It’s a characterization that deepens with every revelation, surfaced behind the mischievous grin of a young woman falling in love, the wounded eyes of a grieving mother, the offhand remark of a widow at dinner. [aside postid='arts_13925067']\u003c/p>\n\u003cp>While Leena frequently wears her heart on her sleeve, Henry struggles to identify his own complicated emotions surrounding his family history and his place within it. As Henry, Wong vacillates between emulating the stillness of Wu’s father figure and Stuart’s ebullience — a delicate balance. As the mysterious Tom, A.C.T. regular Jomar Tagatac imbues his unpredictable role with the most menace. But no character is more menacing than the troubling void at the heart of this whodunit — a void that each character attempts to fill with their own particular spin, never quite landing on a unified version of the narrative.\u003c/p>\n\u003cp>Theater-goers looking for the full genre experience of a ham-fisted, hard-boiled pulp fiction replete with fast cars, faster romance and impenetrable lingo may find the chilly environs of \u003cem>The Headlands\u003c/em> not quite to their taste. But for those of us who revel in our own secret San Franciscos — internal terrains of beloved sandwich shops, local breweries and breathtaking vistas — spending time investigating Christopher Chen’s through his precise playwriting is a pleasure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">‘The Headlands’ plays at A.C.T.\u003c/a> through March 5. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In Christopher Chen's murder-mystery play, the City comes to life as a character in its own right.","status":"publish","parent":0,"modified":1705005829,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":936},"headData":{"title":"ACT’s ‘The Headlands’ Maps SF Through Fog, Flashbacks and a Cold Case | KQED","description":"In Christopher Chen's murder-mystery play, the City comes to life as a character in its own right.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13925284/act-the-headlands-christopher-chen-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Dashiell Hammett wrote his great San Francisco noir \u003cem>The Maltese Falcon\u003c/em>, he drew upon his deep knowledge of the City to imbue it with ruthless realism and site-specific detail. Even today you can walk in Hammett’s footsteps from the Tenderloin to downtown, and glimpse traces of the City as it was, a character as integral to the plot of the novel as Sam Spade.\u003c/p>\n\u003cp>In Christopher Chen’s new play \u003ca href=\"https://www.act-sf.org/whats-on/202223-season/the-headlands/\">\u003cem>The Headlands\u003c/em>\u003c/a> — a family drama with a murder mystery at its heart — San Francisco similarly plays a starring role. It is no mere backdrop to the narrative, but an active participant in it. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923665","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A born-and-raised San Franciscan, Chen meticulously uncovers parts of the City little referenced in the guidebooks and travelogues. His protagonist Henry (Phil Wong), a self-described “amateur sleuth,” traverses a landscape hauntingly familiar to longtime residents: a childhood spent in a stucco-clad, single-family home in the Outer Sunset, followed by a tech job and condo on the Embarcadero (“I’m part of the problem,” Henry admits sheepishly). In flashbacks, his parents meet-cute on an overgrown overlook in Land’s End and canoodle at the base of Coit Tower. His father George (Johnny M. Wu) attempts to bond with a young Henry by taking him on hikes in the Marin Headlands, where they can look across the water and see the City basking in its own self-referential glow.\u003c/p>\n\u003cp>But just as San Francisco provides a picturesque container for Henry’s fonder memories, it also delivers the fog which obfuscates their uncomfortable truths. As an adult, Henry is only beginning to discover these truths, secrets contained within the low-voiced half conversations around the kitchen table: the quiet melancholy of his father looking out of the window at night. The abiding mystery of his death by gunshot, a violence that shocked their insular community. A mystery now decades-old — and no closer to being solved than it was on the first day his body was discovered. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925249","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tautly directed by A.C.T.’s artistic director Pam MacKinnon, \u003cem>The Headlands\u003c/em> reveals itself sedately, bit by tantalizing bit. Alexander V. Nichols’ set is deceptively simple, an almost aggressively blank wall that cleverly morphs into the interiors and exteriors of a series of iconic San Francisco homes, streetscapes and hilltops, thanks to a few choice furnishings and a series of well-executed projections. This is a quintessential Christopher Chen play: an homage to Noir — but with fewer fedoras and more earnest heartache. It’s a labyrinth of unexpected twists and contradictory perspectives that keep you guessing until the very end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a satisfying demonstration of restraint, Chen’s characters say as much with their silences as most might with a loquacious monologue. In one scene, Henry and his girlfriend Jess (Sam Jackson) conduct a lengthy disagreement primarily through their nervous tics: a jiggling foot, an avoidance of eye contact, an anxious swallow of beer. In another, George stands silently at the aforementioned window, reduced to a shadow, trapped in what his wife, Leena, later describes as “despair.” He’s an unknowable cipher to his son, then and now.\u003c/p>\n\u003cfigure id=\"attachment_13925297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/HED_052.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/HED_052-800x532.jpg\" alt=\"three people on a stage, an Asian man, a Black woman and an older Asian woman, smiling at each other as they sit\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong (Henry), Sam Jackson (Jess) and Keiko Shimosato Carreiro (Older Leena) in the West\u003cbr>Coast premiere of Christopher Chen’s ‘The Headlands.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Leena — played younger by Erin Mei-Ling Stuart and older by Keiko Shimosato Carreiro — who provides the first essential clues for Henry’s quest to learn more about his father’s unexplained death. It may be his watchful, silent father at the window around which Henry builds his first vague hypotheses, but it’s the ellipses between his mother’s often quotidian conversations that conceal the most.\u003c/p>\n\u003cp>Watching Stuart and Carreiro trade this role back and forth throughout the play is especially enjoyable. They both so skillfully bring complementary facets of Leena to life that she becomes by far the most fully-realized character in the play. It’s a characterization that deepens with every revelation, surfaced behind the mischievous grin of a young woman falling in love, the wounded eyes of a grieving mother, the offhand remark of a widow at dinner. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925067","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Leena frequently wears her heart on her sleeve, Henry struggles to identify his own complicated emotions surrounding his family history and his place within it. As Henry, Wong vacillates between emulating the stillness of Wu’s father figure and Stuart’s ebullience — a delicate balance. As the mysterious Tom, A.C.T. regular Jomar Tagatac imbues his unpredictable role with the most menace. But no character is more menacing than the troubling void at the heart of this whodunit — a void that each character attempts to fill with their own particular spin, never quite landing on a unified version of the narrative.\u003c/p>\n\u003cp>Theater-goers looking for the full genre experience of a ham-fisted, hard-boiled pulp fiction replete with fast cars, faster romance and impenetrable lingo may find the chilly environs of \u003cem>The Headlands\u003c/em> not quite to their taste. But for those of us who revel in our own secret San Franciscos — internal terrains of beloved sandwich shops, local breweries and breathtaking vistas — spending time investigating Christopher Chen’s through his precise playwriting is a pleasure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">‘The Headlands’ plays at A.C.T.\u003c/a> through March 5. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925284/act-the-headlands-christopher-chen-review","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_967"],"tags":["arts_1238","arts_1175","arts_10278","arts_769","arts_1072","arts_585"],"featImg":"arts_13925289","label":"arts_140"},"arts_13924185":{"type":"posts","id":"arts_13924185","meta":{"index":"posts_1591205157","site":"arts","id":"13924185","score":null,"sort":[1674686323000]},"guestAuthors":[],"slug":"pianofights-theatre-was-independent-creative-accessible-and-necessary","title":"PianoFight’s Theatre Was Independent, Creative, Accessible — and Necessary","publishDate":1674686323,"format":"standard","headTitle":"PianoFight’s Theatre Was Independent, Creative, Accessible — and Necessary | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Reading \u003ca href=\"https://www.pianofight.com/closing-up-shop/\">the announcement\u003c/a> that PianoFight is closing its SF and Oakland venues was akin to watching a family heirloom fall in slow motion: You think if you move fast enough you can catch it, but by the time you reach out your hands, it’s already shattered on the ground.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13919459\"]Perhaps I should have seen it coming. After all, I’ve been writing about the troupe-turned-multi-venue company for \u003ca href=\"https://thethinkingmansidiot.wordpress.com/2015/01/26/theater-around-the-bay-talk-is-sheep/\">nearly a decade\u003c/a>. I wrote about PianoFight’s battle to open a new theatre space in SF, about that venue’s evolution into a community hub — and, always, about how much fun it was to attend and perform in shows in that building. Now, I have to write about it shutting down, the story I never wanted to do.\u003c/p>\n\u003cp>Before PianoFight even had one venue, I knew founders Rob Ready and Dan Williams, along with Financial Director Kevin Fink, from when we all regularly performed in the Off-Market Theatre in the mid-2000s. They were the raucous guys across the hall who had the sketch comedy troupe ShitShow (later MissionCTRL), the choose-your-own-adventure play \u003ci>Forking\u003c/i>, and did the short play competition ShortLived, where the winner had their entry made into a full production the following year.\u003c/p>\n\u003cp>I finally worked with them in 2010 as part of their group-collab comedy \u003ci>Ménage-À-Plot: A Surf-N-Turf Adventure\u003c/i> (in which three writers linked with three directors to make three different short plays that all mashed together in the same location). The show was crass, goofy, and featured an inexplicable dance number set to “Total Eclipse of the Heart.” It was one of the most fun times I’ve ever had.\u003c/p>\n\u003cfigure id=\"attachment_13924210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1409024520.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1409024520-800x535.jpg\" alt=\"a bar is packed with people laughing and drinking drinks\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1409024520-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1409024520-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1409024520-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1409024520-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1409024520.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Guests enjoy food and drinks at PianoFight’s bar in the Tenderloin in 2015. \u003ccite>(Carlos Avila Gonzalez/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t long before the guys began pitching the idea of having their own venue, complete with a full restaurant. See, one of the things people often overlook about going to the theatre is what to do after the show. Sure, several venues allow drinks, but you’re still crowding the lobby, and indie companies are likely just renting. Mingling is even tougher in SoMa and the Tenderloin, where your companions may complain about a great bar being a dive (The Tempest), being too far away (The White Horse) or too expensive (Parc 55).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was PianoFight’s advantage: for one, the company allowed — nay, encouraged — patrons (and performers) to get soused up before, during and after a show. And two, the space was always open to the public. Strangers passing by would pop in to buy drinks and sandwiches as they sat for free music they saw on the cabaret stage through the window (leave your tips in the funny hat). Actors and audience members could chat after a show over a shared bowl of curly fries. Anyone and everyone could feel comfortable sharing the gender-neutral restrooms. It was an annual venue for SF Sketchfest, a photo-op for mayors Lee and Breed and an invaluable resource for the unhoused community via a partnership with \u003ca href=\"https://www.codetenderloin.org/\">Code Tenderloin\u003c/a>.\u003c/p>\n\u003cp>The often-insular nature of the theatre industry frequently leaves creators — especially avant-garde and indie creators — at a loss for how to get “regular” people to discover their work. PianoFight did that by merely existing. If you think that sounds easy, then you’ve never worked in theatre before.\u003c/p>\n\u003cfigure id=\"attachment_13832495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832495\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg\" alt=\"two actors perform in 'viking' costumes on stage\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Chung and Marissa Skudlarek, 2017’s Shortlived winners, perform ‘All the Worlds Are Stages,’ written by Ruben Gijalva & directed by Alejandro Torres, at PianoFight. \u003ccite>(Daniel Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My PianoFight memories are so varied because I was often there in a variety of roles: actor, director, writer, tech and even box office rep.\u003c/p>\n\u003cp>I was in the now-defunct troupe that created “Pint Sized Plays.” I’ve watched drag queens and \u003ci>Game of Thrones\u003c/i> premieres; I watched \u003ci>ShortLived\u003c/i> with my then-girlfriend on the main stage and sweated it out as Captain Hook on the poorly-ventilated smaller stage. I had countless drinks beneath the bar’s gorgeous “Californicorn” mural (PF’s logo is the California bear with wings and a unicorn horn), created by the amazing Molly Benson.\u003c/p>\n\u003cp>Of course, the pandemic changed everything for theatre, \u003ca href=\"https://www.sfexaminer.com/culture/the-fight-isn-t-over-for-this-san-francisco-venue/article_9bc5e4eb-92e8-5668-94f2-78579c2695de.html\">PianoFight included\u003c/a>. The vaccine rollout of 2021 seemed to suggest a return to normalcy — until the Delta variant canceled those plans. When the company expanded by purchasing The Flight Deck in Oakland, it was a reason to be optimistic. But as it turns out, that just means losing two vital venues instead of one.\u003c/p>\n\u003cfigure id=\"attachment_13900296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900296\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-800x533.jpg\" alt=\"a party with neon lights and foam fingers\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Space Prom’ at PianoFight SF. \u003ccite>(Courtesy of PianoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, it isn’t lost on me that PianoFight’s closure announcement came the same day as that of Harvey’s in The Castro (and the day state Democrats proposed a wealth tax). In a city with more billionaire residents than any other on Earth, independent, non-franchise businesses are being left to fend for themselves. And they’re losing.\u003c/p>\n\u003cp>It’s been almost a decade since I crashed on Rob Ready’s sofa and saw the 144 Taylor Street blueprints on his wall. That blueprint would bring me in touch with strangers who remain great friends and an untold number of performers and techs who entertained the hell out of me.\u003c/p>\n\u003cp>Even at my most optimistic, I’m hard-pressed to find a silver lining in the closure of PianoFight. It’s not just that it was a performance venue — sadly, we’ve gotten used to those vanishing — but the fact that it was, for lack of a better term, “everything else”: an after-work bar; a pre-show place for a drink; a welcome stage for burgeoning stand-ups, musicians, whomever. It was a community. And the back-to-back loss of both EXIT Theatre and PianoFight leaves a void.\u003c/p>\n\u003cp>These places were warm. Voids are very, very cold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>PianoFight’s venues will officially shutter March 18, according to the founders’ announcement. \u003ca href=\"https://www.pianofight.com/show-calendar/\">Find the current show calendar here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The scrappy Bay Area company delivered something special: a performance space that really was for everyone. ","status":"publish","parent":0,"modified":1705005937,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1065},"headData":{"title":"PianoFight’s Theatre Was Independent, Creative, Accessible — and Necessary | KQED","description":"The scrappy Bay Area company delivered something special: a performance space that really was for everyone. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Charles Lewis III","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13924185/pianofights-theatre-was-independent-creative-accessible-and-necessary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reading \u003ca href=\"https://www.pianofight.com/closing-up-shop/\">the announcement\u003c/a> that PianoFight is closing its SF and Oakland venues was akin to watching a family heirloom fall in slow motion: You think if you move fast enough you can catch it, but by the time you reach out your hands, it’s already shattered on the ground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"arts_13919459"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Perhaps I should have seen it coming. After all, I’ve been writing about the troupe-turned-multi-venue company for \u003ca href=\"https://thethinkingmansidiot.wordpress.com/2015/01/26/theater-around-the-bay-talk-is-sheep/\">nearly a decade\u003c/a>. I wrote about PianoFight’s battle to open a new theatre space in SF, about that venue’s evolution into a community hub — and, always, about how much fun it was to attend and perform in shows in that building. Now, I have to write about it shutting down, the story I never wanted to do.\u003c/p>\n\u003cp>Before PianoFight even had one venue, I knew founders Rob Ready and Dan Williams, along with Financial Director Kevin Fink, from when we all regularly performed in the Off-Market Theatre in the mid-2000s. They were the raucous guys across the hall who had the sketch comedy troupe ShitShow (later MissionCTRL), the choose-your-own-adventure play \u003ci>Forking\u003c/i>, and did the short play competition ShortLived, where the winner had their entry made into a full production the following year.\u003c/p>\n\u003cp>I finally worked with them in 2010 as part of their group-collab comedy \u003ci>Ménage-À-Plot: A Surf-N-Turf Adventure\u003c/i> (in which three writers linked with three directors to make three different short plays that all mashed together in the same location). The show was crass, goofy, and featured an inexplicable dance number set to “Total Eclipse of the Heart.” It was one of the most fun times I’ve ever had.\u003c/p>\n\u003cfigure id=\"attachment_13924210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1409024520.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1409024520-800x535.jpg\" alt=\"a bar is packed with people laughing and drinking drinks\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1409024520-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1409024520-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1409024520-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1409024520-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1409024520.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Guests enjoy food and drinks at PianoFight’s bar in the Tenderloin in 2015. \u003ccite>(Carlos Avila Gonzalez/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t long before the guys began pitching the idea of having their own venue, complete with a full restaurant. See, one of the things people often overlook about going to the theatre is what to do after the show. Sure, several venues allow drinks, but you’re still crowding the lobby, and indie companies are likely just renting. Mingling is even tougher in SoMa and the Tenderloin, where your companions may complain about a great bar being a dive (The Tempest), being too far away (The White Horse) or too expensive (Parc 55).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was PianoFight’s advantage: for one, the company allowed — nay, encouraged — patrons (and performers) to get soused up before, during and after a show. And two, the space was always open to the public. Strangers passing by would pop in to buy drinks and sandwiches as they sat for free music they saw on the cabaret stage through the window (leave your tips in the funny hat). Actors and audience members could chat after a show over a shared bowl of curly fries. Anyone and everyone could feel comfortable sharing the gender-neutral restrooms. It was an annual venue for SF Sketchfest, a photo-op for mayors Lee and Breed and an invaluable resource for the unhoused community via a partnership with \u003ca href=\"https://www.codetenderloin.org/\">Code Tenderloin\u003c/a>.\u003c/p>\n\u003cp>The often-insular nature of the theatre industry frequently leaves creators — especially avant-garde and indie creators — at a loss for how to get “regular” people to discover their work. PianoFight did that by merely existing. If you think that sounds easy, then you’ve never worked in theatre before.\u003c/p>\n\u003cfigure id=\"attachment_13832495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832495\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg\" alt=\"two actors perform in 'viking' costumes on stage\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Chung and Marissa Skudlarek, 2017’s Shortlived winners, perform ‘All the Worlds Are Stages,’ written by Ruben Gijalva & directed by Alejandro Torres, at PianoFight. \u003ccite>(Daniel Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My PianoFight memories are so varied because I was often there in a variety of roles: actor, director, writer, tech and even box office rep.\u003c/p>\n\u003cp>I was in the now-defunct troupe that created “Pint Sized Plays.” I’ve watched drag queens and \u003ci>Game of Thrones\u003c/i> premieres; I watched \u003ci>ShortLived\u003c/i> with my then-girlfriend on the main stage and sweated it out as Captain Hook on the poorly-ventilated smaller stage. I had countless drinks beneath the bar’s gorgeous “Californicorn” mural (PF’s logo is the California bear with wings and a unicorn horn), created by the amazing Molly Benson.\u003c/p>\n\u003cp>Of course, the pandemic changed everything for theatre, \u003ca href=\"https://www.sfexaminer.com/culture/the-fight-isn-t-over-for-this-san-francisco-venue/article_9bc5e4eb-92e8-5668-94f2-78579c2695de.html\">PianoFight included\u003c/a>. The vaccine rollout of 2021 seemed to suggest a return to normalcy — until the Delta variant canceled those plans. When the company expanded by purchasing The Flight Deck in Oakland, it was a reason to be optimistic. But as it turns out, that just means losing two vital venues instead of one.\u003c/p>\n\u003cfigure id=\"attachment_13900296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900296\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-800x533.jpg\" alt=\"a party with neon lights and foam fingers\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Space Prom’ at PianoFight SF. \u003ccite>(Courtesy of PianoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, it isn’t lost on me that PianoFight’s closure announcement came the same day as that of Harvey’s in The Castro (and the day state Democrats proposed a wealth tax). In a city with more billionaire residents than any other on Earth, independent, non-franchise businesses are being left to fend for themselves. And they’re losing.\u003c/p>\n\u003cp>It’s been almost a decade since I crashed on Rob Ready’s sofa and saw the 144 Taylor Street blueprints on his wall. That blueprint would bring me in touch with strangers who remain great friends and an untold number of performers and techs who entertained the hell out of me.\u003c/p>\n\u003cp>Even at my most optimistic, I’m hard-pressed to find a silver lining in the closure of PianoFight. It’s not just that it was a performance venue — sadly, we’ve gotten used to those vanishing — but the fact that it was, for lack of a better term, “everything else”: an after-work bar; a pre-show place for a drink; a welcome stage for burgeoning stand-ups, musicians, whomever. It was a community. And the back-to-back loss of both EXIT Theatre and PianoFight leaves a void.\u003c/p>\n\u003cp>These places were warm. Voids are very, very cold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>PianoFight’s venues will officially shutter March 18, according to the founders’ announcement. \u003ca href=\"https://www.pianofight.com/show-calendar/\">Find the current show calendar here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13924185/pianofights-theatre-was-independent-creative-accessible-and-necessary","authors":["byline_arts_13924185"],"categories":["arts_1","arts_835","arts_967"],"tags":["arts_4876","arts_10331","arts_11080","arts_10426","arts_1072"],"featImg":"arts_13900299","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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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 />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"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. 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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/2022/02/mindshift2021-tile-3000x3000-1-scaled-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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