Naatak Marks 100 Productions of Indian American Theater in the Bay Area
Is the Bay Area Known for Its Theater Scene? Depends on Who You Ask
Preserving the Legacy of 'Beach Blanket Babylon' One Hat at a Time
Last Picture Show: Historic SF Theater Plays its Final Midnight Movie
NorCal's Sara Bareilles Serves Up 'Waitress' — Darkness, 'Mess' and All
Latino Movie Producer Opens Theaters in Rural, Poor Areas
SF Theater Which Birthed 'Angels in America' to Close After 45 Years
Director Peter Brook Talks Theater, Politics & Being 'Useful' at Age 92.
'Building the Wall' Imagines Post-Trump Dystopia
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He appeared in a few television shows, including \u003cem>The West Wing, Judging Amy\u003c/em> and \u003cem>The District.\u003c/em>\r\n\r\nEmail: bwatt@KQED.org Twitter: @RadioBWatt","avatar":"https://secure.gravatar.com/avatar/55393ff57ed34e2be773ba4789dd6a19?s=600&d=blank&r=g","twitter":"@RadioBWatt","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Brian Watt | KQED","description":"Morning News Anchor","ogImgSrc":"https://secure.gravatar.com/avatar/55393ff57ed34e2be773ba4789dd6a19?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/55393ff57ed34e2be773ba4789dd6a19?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/bwatt"},"amontecillo":{"type":"authors","id":"11649","meta":{"index":"authors_1591205172","id":"11649","found":true},"name":"Alan Montecillo","firstName":"Alan","lastName":"Montecillo","slug":"amontecillo","email":"amontecillo@kqed.org","display_author_email":false,"staff_mastheads":["news"],"title":"KQED Contributor","bio":"Alan Montecillo is editor of \u003cem>\u003ca href=\"http://kqed.org/thebay\">The Bay\u003c/a>, \u003c/em>a local news and storytelling podcast from KQED. 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He is a Filipino-American from Hong Kong and a graduate of Reed College in Portland, Oregon.","avatar":"https://secure.gravatar.com/avatar/d5e4e7a76481969ccba76f4e2b5ccabc?s=600&d=blank&r=g","twitter":"alanmontecillo","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Montecillo | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/d5e4e7a76481969ccba76f4e2b5ccabc?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5e4e7a76481969ccba76f4e2b5ccabc?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/amontecillo"},"blaberge":{"type":"authors","id":"11667","meta":{"index":"authors_1591205172","id":"11667","found":true},"name":"Beth LaBerge","firstName":"Beth","lastName":"LaBerge","slug":"blaberge","email":"blaberge@KQED.org","display_author_email":true,"staff_mastheads":["news"],"title":"Photographer, News","bio":"Beth LaBerge is a visual journalist for \u003ca href=\"https://www.kqed.org/news\">KQED News\u003c/a>.","avatar":"https://secure.gravatar.com/avatar/15e224cd55918d1876693b8280954875?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":"https://www.instagram.com/bethlaberge/","linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"science","roles":["editor","contributor","author"]},{"site":"liveblog","roles":["editor"]}],"headData":{"title":"Beth LaBerge | KQED","description":"Photographer, News","ogImgSrc":"https://secure.gravatar.com/avatar/15e224cd55918d1876693b8280954875?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/15e224cd55918d1876693b8280954875?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/blaberge"},"mesquinca":{"type":"authors","id":"11802","meta":{"index":"authors_1591205172","id":"11802","found":true},"name":"Maria Esquinca","firstName":"Maria","lastName":"Esquinca","slug":"mesquinca","email":"mesquinca@kqed.org","display_author_email":false,"staff_mastheads":[],"title":"Producer, The Bay","bio":"María Esquinca is a producer of The Bay. Before that, she was a New York Women’s Foundation IGNITE Fellow at Latino USA. She worked at Radio Bilingue where she covered the San Joaquin Valley. Maria has interned at WLRN, News 21, The New York Times Student Journalism Institute and at Crain’s Detroit Business as a Dow Jones News Fund Business Reporting Intern. She is an MFA graduate from the University of Miami. In 2017, she graduated from the Walter Cronkite School of Journalism and Mass Communication with a Master of Mass Communication. A fronteriza, she was born in Ciudad Juárez, Chihuahua, Mexico and grew up in El Paso, Texas.","avatar":"https://secure.gravatar.com/avatar/77cedba18aae91da775038ba06dcd8d0?s=600&d=blank&r=g","twitter":"@m_esquinca","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"news","roles":["editor"]}],"headData":{"title":"Maria Esquinca | KQED","description":"Producer, The Bay","ogImgSrc":"https://secure.gravatar.com/avatar/77cedba18aae91da775038ba06dcd8d0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/77cedba18aae91da775038ba06dcd8d0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/mesquinca"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"news","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"news_11925038":{"type":"posts","id":"news_11925038","meta":{"index":"posts_1591205157","site":"news","id":"11925038","score":null,"sort":[1662717656000]},"guestAuthors":[],"slug":"100-productions-of-indian-american-theater-in-silicon-valley","title":"Naatak Marks 100 Productions of Indian American Theater in the Bay Area","publishDate":1662717656,"format":"audio","headTitle":"Naatak Marks 100 Productions of Indian American Theater in the Bay Area | KQED","labelTerm":{},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Naatak is one of the largest Indian American theater companies in the country. Started in 1995 out of a dorm room at UC Berkeley, Naatak is staging its 100th production this month. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In that time, an estimated 1,000 people have participated in Naatak’s productions — all volunteers, many of whom have day jobs in the tech industry. It’s become an important part of the Indian American community in Silicon Valley, by and for people who do this in their free time.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/rachaelmyrow\">Rachael Myrow\u003c/a>, KQED Silicon Valley senior editor\u003c/span>\u003c/p>\n\u003cdiv class=\"card card--enclosed grey\">\n\u003cp>\u003ca href=\"https://drive.google.com/file/d/1LLxVpzPbZ2WJX26fEeOa7fzIy8XOgepv/view\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Read the Transcript \u003c/em>\u003c/a>\u003c/p>\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3337321635&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003c/div>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.naatak.org/2022-ramayan/\">\u003ci>Naatak performs \u003c/i>Ramayan\u003c/a>\u003c/strong>\u003ci>\u003cspan style=\"font-weight: 400\"> at Cubberley Theatre in Palo Alto from September 4-25, 2022.\u003c/span>\u003c/i>\u003c/li>\n\u003cli>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13918308/south-bays-naatak-debuts-its-100th-theater-production-the-epic-ramayan\">South Bay’s Naatak Debuts Its 100th Theater Production: The Epic ‘Ramayan,\u003c/a>\u003c/em>‘ \u003c/strong>by Rachael Myrow\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>Your support makes KQED podcasts possible. You can show your love by going to \u003ca class=\"c-link\" href=\"https://kqed.org/donate/podcasts\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://kqed.org/donate/podcasts\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">https://kqed.org/donate/podcasts.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1700690351,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":157},"headData":{"title":"Naatak Marks 100 Productions of Indian American Theater in the Bay Area | KQED","description":"Naatak is one of the largest Indian American theater companies in the country. Started in 1995 out of a dorm room at UC Berkeley, Naatak is staging its 100th production this month. In that time, an estimated 1,000 people have participated in Naatak’s productions — all volunteers, many of whom have day jobs in the tech","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Naatak Marks 100 Productions of Indian American Theater in the Bay Area","datePublished":"2022-09-09T10:00:56.000Z","dateModified":"2023-11-22T21:59:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"The Bay","sourceUrl":"https://www.kqed.org/podcasts/thebay","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC3337321635.mp3","excludeFromSiteSearch":"Include","path":"/news/11925038/100-productions-of-indian-american-theater-in-silicon-valley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Naatak is one of the largest Indian American theater companies in the country. Started in 1995 out of a dorm room at UC Berkeley, Naatak is staging its 100th production this month. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In that time, an estimated 1,000 people have participated in Naatak’s productions — all volunteers, many of whom have day jobs in the tech industry. It’s become an important part of the Indian American community in Silicon Valley, by and for people who do this in their free time.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/rachaelmyrow\">Rachael Myrow\u003c/a>, KQED Silicon Valley senior editor\u003c/span>\u003c/p>\n\u003cdiv class=\"card card--enclosed grey\">\n\u003cp>\u003ca href=\"https://drive.google.com/file/d/1LLxVpzPbZ2WJX26fEeOa7fzIy8XOgepv/view\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Read the Transcript \u003c/em>\u003c/a>\u003c/p>\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3337321635&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003c/div>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.naatak.org/2022-ramayan/\">\u003ci>Naatak performs \u003c/i>Ramayan\u003c/a>\u003c/strong>\u003ci>\u003cspan style=\"font-weight: 400\"> at Cubberley Theatre in Palo Alto from September 4-25, 2022.\u003c/span>\u003c/i>\u003c/li>\n\u003cli>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13918308/south-bays-naatak-debuts-its-100th-theater-production-the-epic-ramayan\">South Bay’s Naatak Debuts Its 100th Theater Production: The Epic ‘Ramayan,\u003c/a>\u003c/em>‘ \u003c/strong>by Rachael Myrow\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>Your support makes KQED podcasts possible. You can show your love by going to \u003ca class=\"c-link\" href=\"https://kqed.org/donate/podcasts\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://kqed.org/donate/podcasts\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">https://kqed.org/donate/podcasts.\u003c/a>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11925038/100-productions-of-indian-american-theater-in-silicon-valley","authors":["8654","251","11802","11649"],"programs":["news_28779"],"categories":["news_8","news_33520"],"tags":["news_19133","news_31380","news_353","news_22598","news_4731"],"featImg":"news_11925046","label":"source_news_11925038"},"news_11879038":{"type":"posts","id":"news_11879038","meta":{"index":"posts_1591205157","site":"news","id":"11879038","score":null,"sort":[1624529289000]},"guestAuthors":[],"slug":"is-the-bay-area-known-for-its-theater-scene-depends-on-who-you-ask","title":"Is the Bay Area Known for Its Theater Scene? Depends on Who You Ask","publishDate":1624529289,"format":"standard","headTitle":"Is the Bay Area Known for Its Theater Scene? Depends on Who You Ask | KQED","labelTerm":{},"content":"\u003cp>Bay Curious listener Alan Kline loves theater. He grew up in Richmond and would often go to shows at the Berkeley Repertory Theatre with his family. Kline was a theater major and now works as a national arts consultant.\u003c/p>\n\u003cp>Before the pandemic he’d go see a show about once a week, favoring smaller theater companies like \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>, \u003ca href=\"https://goldenthread.org/\">Golden Thread\u003c/a>, \u003ca href=\"http://www.crowdedfire.org/\">Crowded Fire\u003c/a> and \u003ca href=\"http://www.theatreofyugen.org/\">Theatre of Yugen\u003c/a>.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>“You start to see the same faces at everything,” he said. “So I think there definitely is some insularness to audiences in the Bay Area.”\u003c/p>\n\u003cp>He can’t understand why Bay Area residents and tourists aren’t more excited about live theater here. The Bay Area has four Tony Award-winning companies (\u003ca href=\"https://www.act-sf.org/\">The American Conservatory Theater\u003c/a> in 1979, \u003ca href=\"https://www.sfmt.org/\">the San Francisco Mime Troupe\u003c/a> in 1987, \u003ca href=\"https://www.berkeleyrep.org/\">Berkeley Repertory Theatre\u003c/a> in 1997 and \u003ca href=\"https://theatreworks.org/\">TheatreWorks\u003c/a> in Palo Alto \u003ca href=\"https://datebook.sfchronicle.com/theater/theatreworks-wins-regional-theatre-tony-award\">in 2019\u003c/a>), so he’s curious why more people don’t think of San Francisco, and the whole area, as a theater destination. It’s a question that has nagged him for years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Bay Area is getting notice, but you have to be in the industry. And I don’t understand why that hasn’t permeated more,” Kline said.\u003c/p>\n\u003cp>I ran the question — and its premise — by the San Francisco Chronicle’s theater critic, \u003ca href=\"https://twitter.com/LilyJaniak?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Lily Janiak\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11879132\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879132\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater.jpg\" alt=\"The Orpheum Theater in San Francisco at night\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Orpheum Theater on Market Street in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think there is some validity to that question,” Janiak said. “And I came up with a few hypotheses as to why that might be the case.”\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Competition for tourist interest.\u003c/strong> Janiak points out that San Francisco has beautiful scenery, some of the best food and wine in the world, tons of festivals and great natural areas to explore, not to mention interesting neighborhoods. It offers a lot to tourists, which means going to a show might not be at the top priority like in other cities. Janiak says as a Midwesterner, she knows the value of fun inside activities during the long, cold winter nights. San Francisco doesn’t really have that problem.\u003c/li>\n\u003cli>\u003cstrong>Competition for headlines. \u003c/strong>“We have Big Tech, so they kind of dominate how many headlines can be about the Bay Area in other media outlets around the country and around the world,” Janiak said. Companies like Facebook, Google and Salesforce are changing the ways we interact, work and do business, so they dominate the headlines. That means visitors aren’t necessarily aware of the theater scene here when they visit.\u003c/li>\n\u003cli>\u003cstrong>Redefining terms of success.\u003c/strong> “We as a local art scene need to redefine the terms of our success,” Janiak said. “If a show that originates here is only truly a big deal if it shifts to, and then succeeds financially, in New York, then New York will remain the center of theater.” Janiak recognizes the role her journalism plays in this dynamic. The musical “Ain’t Too Proud: The Life and Times of the Temptations” premiered at Berkeley Rep, got picked up by a New York theater company and was nominated for a Tony award in 2019. “You’d better believe that I’m going to report that news,” Janiak said. “But at the same time, I recognize that by doing so, I’m feeding into the same cycle I just described to you.”\u003c/li>\n\u003cli>\u003cstrong>The financial model.\u003c/strong> Janiak points out that most theater companies depend on loyal subscribers and donors who tend to be older and white. “They are reliable supports,” she said, and “we just don’t give the arts the kind of government support that could truly make theater of, by and for the entire population.Theater jobs also pay notoriously poorly and real estate costs are high. It’s hard for artists to afford the area, even with multiple acting gigs and side jobs. That can be a barrier to entry for new talent that might speak to the entire community, but it also means talent moves away. And theater companies often struggle to find performance spaces they can afford.\u003c/li>\n\u003cli>\u003cstrong>Funding for arts education.\u003c/strong> Janiak says when Proposition 13 passed and tax revenue fell, the state gutted funding for public education in California. “If we funded arts education in our public schools in proportion to how wealthy we are as a state, that would be training not only for future artists but future audiences,” she said. “You’re teaching a whole new generation of folks that theater is fun and thrilling and something for them.”\u003c/li>\n\u003c/ol>\n\u003ch3>Bay Area Artists Chart Their Own Course\u003c/h3>\n\u003cp>I turned to Sean San José, \u003ca href=\"https://www.kqed.org/arts/13898099/two-distinctly-san-francisco-theater-companies-announce-bold-leadership-changes\">the new creative director\u003c/a> for San Francisco’s \u003ca href=\"http://magictheatre.org/\">Magic Theatre\u003c/a> for his take on the question. San José grew up in San Francisco and co-founded Campo Santo in 1996. He’s spent his creative life as an actor, producer, director and playwright here in the Bay Area. He thinks answering Alan’s question depends on perspective and who’s defining “success.”\u003c/p>\n\u003cfigure id=\"attachment_11879135\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003ca href=\"https://www.kqed.org/arts/13898099/two-distinctly-san-francisco-theater-companies-announce-bold-leadership-changes\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879135\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJose%CC%81_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1.jpeg\" alt=\"Sean San José and Sabina Zuniga Varela in Luis Alfaro's Bruja at Magic Theatre. \" width=\"1536\" height=\"1024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-1020x680.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-160x107.jpeg 160w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sean San José and Sabina Zuniga Varela in Luis Alfaro’s Bruja at Magic Theatre. \u003ccite>((Courtesy of Magic Theatre))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s all elitist, classist, white supremacist-rooted thinking about what is classic, what is good, what is recognized,” San José said. “And clearly a place like the bay that is historically, culturally, aesthetically, so mixed, culturally, so rooted in ‘the other,’ we’re much more interested in plotting our own piece of land rather than sort of creating something so it fits into something to be accepted.”\u003c/p>\n\u003cp>San José says artists come to the Bay Area to push the limits. They’re interested in blurring the lines between types of performance to tell stories that speak to this particular community.\u003c/p>\n\u003cp>“Someone like me or our group, Campo Santo, we’re talking about a thing that responded to, hopefully neighbors and residents,” San José said.\u003c/p>\n\u003cp>He rejects the idea that “good theater” flows from New York or London to the Bay Area. He says that attitude is just more gatekeeping.\u003c/p>\n\u003cp>“The real thing that they’re saying is, ‘I don’t think we’re interested in your Chicano body. I don’t think we’re interested in your gay neighborhood. I don’t think we’re interested in your mixed population,’ ” San José said. “Well, that’s who we are; and those are the stories we’re going to tell.”\u003c/p>\n\u003cp>He says all artists want their work to be seen and appreciated. He’d love for audiences in other cities to see his plays, but that’s not the goal. He’s creating for his community and if the rest of the world doesn’t see the value, oh well. “I think we’re interested in something new and next and that should be celebrated, as opposed to crushed down into an old definition.”\u003c/p>\n\u003cp>And, he says, the creative freedom that happens here radiates out into the world, calling to artists everywhere. It’s impossible to know the impact that has on creators, the inspiration it brings, the haven it provides.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fxe60GVW034\u003c/p>\n\u003ch3>Where Can You Find Out About Bay Area Performances?\u003c/h3>\n\u003cp>One reason Bay Area residents may not express pride in the theater scene here is simply that they don’t know what’s happening any given night. Many local newspapers have cut their arts coverage, making it even more difficult to find out what’s on stage. The big Broadway shows often grab headlines, but there’s tons going on at smaller independent theaters all over the Bay Area.\u003c/p>\n\u003cp>Here are some resources to stay informed as theaters start opening up again.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/category/theater\">KQED’s theater coverage\u003c/a>\u003c/li>\n\u003cli>Follow Lily Janiak’s \u003ca href=\"https://www.sfchronicle.com/author/lily-janiak/\">coverage\u003c/a> and \u003ca href=\"https://twitter.com/LilyJaniak?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Twitter\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://sf.funcheap.com/\">FunCheapSF\u003c/a> has listings of events\u003c/li>\n\u003cli>\u003ca href=\"https://www.theatrebayarea.org/page/retakingthestage\">Theatre Bay Area\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfarts.org/\">SF/Arts\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfstation.com/theater-performance-arts/calendar/bay-area\">SF Station\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://dothebay.com/\">Do The Bay\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>If you want to support theater and actors as we emerge from the coronavirus pandemic into an uncertain world, Lily Janiak suggests that you pick one local theater company or actor or director that moves you and actively support their work. Go see their plays, donate money, maybe even write a fan letter.\u003c/p>\n\u003cp>“Those small acts of appreciation and devotion are what bolster our art scene,” Janiak said. “And they matter. Artists don’t get them as much as you might think. It will not only make their day, but help feed their next creation.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n","blocks":[],"excerpt":"Is the Bay Area recognized for its contribution to the performing arts? Depends on who you ask.","status":"publish","parent":0,"modified":1700588227,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":23,"wordCount":1494},"headData":{"title":"Is the Bay Area Known for Its Theater Scene? Depends on Who You Ask | KQED","description":"Is the Bay Area recognized for its contribution to the performing arts? Depends on who you ask.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Is the Bay Area Known for Its Theater Scene? Depends on Who You Ask","datePublished":"2021-06-24T10:08:09.000Z","dateModified":"2023-11-21T17:37:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"Bay Curious","sourceUrl":"https://www.kqed.org/podcasts/baycurious","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC7395407184.mp3?updated=1624467917","path":"/news/11879038/is-the-bay-area-known-for-its-theater-scene-depends-on-who-you-ask","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Curious listener Alan Kline loves theater. He grew up in Richmond and would often go to shows at the Berkeley Repertory Theatre with his family. Kline was a theater major and now works as a national arts consultant.\u003c/p>\n\u003cp>Before the pandemic he’d go see a show about once a week, favoring smaller theater companies like \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>, \u003ca href=\"https://goldenthread.org/\">Golden Thread\u003c/a>, \u003ca href=\"http://www.crowdedfire.org/\">Crowded Fire\u003c/a> and \u003ca href=\"http://www.theatreofyugen.org/\">Theatre of Yugen\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You start to see the same faces at everything,” he said. “So I think there definitely is some insularness to audiences in the Bay Area.”\u003c/p>\n\u003cp>He can’t understand why Bay Area residents and tourists aren’t more excited about live theater here. The Bay Area has four Tony Award-winning companies (\u003ca href=\"https://www.act-sf.org/\">The American Conservatory Theater\u003c/a> in 1979, \u003ca href=\"https://www.sfmt.org/\">the San Francisco Mime Troupe\u003c/a> in 1987, \u003ca href=\"https://www.berkeleyrep.org/\">Berkeley Repertory Theatre\u003c/a> in 1997 and \u003ca href=\"https://theatreworks.org/\">TheatreWorks\u003c/a> in Palo Alto \u003ca href=\"https://datebook.sfchronicle.com/theater/theatreworks-wins-regional-theatre-tony-award\">in 2019\u003c/a>), so he’s curious why more people don’t think of San Francisco, and the whole area, as a theater destination. It’s a question that has nagged him for years.\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>“The Bay Area is getting notice, but you have to be in the industry. And I don’t understand why that hasn’t permeated more,” Kline said.\u003c/p>\n\u003cp>I ran the question — and its premise — by the San Francisco Chronicle’s theater critic, \u003ca href=\"https://twitter.com/LilyJaniak?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Lily Janiak\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11879132\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879132\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater.jpg\" alt=\"The Orpheum Theater in San Francisco at night\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Bay-Area-Theater-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Orpheum Theater on Market Street in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think there is some validity to that question,” Janiak said. “And I came up with a few hypotheses as to why that might be the case.”\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Competition for tourist interest.\u003c/strong> Janiak points out that San Francisco has beautiful scenery, some of the best food and wine in the world, tons of festivals and great natural areas to explore, not to mention interesting neighborhoods. It offers a lot to tourists, which means going to a show might not be at the top priority like in other cities. Janiak says as a Midwesterner, she knows the value of fun inside activities during the long, cold winter nights. San Francisco doesn’t really have that problem.\u003c/li>\n\u003cli>\u003cstrong>Competition for headlines. \u003c/strong>“We have Big Tech, so they kind of dominate how many headlines can be about the Bay Area in other media outlets around the country and around the world,” Janiak said. Companies like Facebook, Google and Salesforce are changing the ways we interact, work and do business, so they dominate the headlines. That means visitors aren’t necessarily aware of the theater scene here when they visit.\u003c/li>\n\u003cli>\u003cstrong>Redefining terms of success.\u003c/strong> “We as a local art scene need to redefine the terms of our success,” Janiak said. “If a show that originates here is only truly a big deal if it shifts to, and then succeeds financially, in New York, then New York will remain the center of theater.” Janiak recognizes the role her journalism plays in this dynamic. The musical “Ain’t Too Proud: The Life and Times of the Temptations” premiered at Berkeley Rep, got picked up by a New York theater company and was nominated for a Tony award in 2019. “You’d better believe that I’m going to report that news,” Janiak said. “But at the same time, I recognize that by doing so, I’m feeding into the same cycle I just described to you.”\u003c/li>\n\u003cli>\u003cstrong>The financial model.\u003c/strong> Janiak points out that most theater companies depend on loyal subscribers and donors who tend to be older and white. “They are reliable supports,” she said, and “we just don’t give the arts the kind of government support that could truly make theater of, by and for the entire population.Theater jobs also pay notoriously poorly and real estate costs are high. It’s hard for artists to afford the area, even with multiple acting gigs and side jobs. That can be a barrier to entry for new talent that might speak to the entire community, but it also means talent moves away. And theater companies often struggle to find performance spaces they can afford.\u003c/li>\n\u003cli>\u003cstrong>Funding for arts education.\u003c/strong> Janiak says when Proposition 13 passed and tax revenue fell, the state gutted funding for public education in California. “If we funded arts education in our public schools in proportion to how wealthy we are as a state, that would be training not only for future artists but future audiences,” she said. “You’re teaching a whole new generation of folks that theater is fun and thrilling and something for them.”\u003c/li>\n\u003c/ol>\n\u003ch3>Bay Area Artists Chart Their Own Course\u003c/h3>\n\u003cp>I turned to Sean San José, \u003ca href=\"https://www.kqed.org/arts/13898099/two-distinctly-san-francisco-theater-companies-announce-bold-leadership-changes\">the new creative director\u003c/a> for San Francisco’s \u003ca href=\"http://magictheatre.org/\">Magic Theatre\u003c/a> for his take on the question. San José grew up in San Francisco and co-founded Campo Santo in 1996. He’s spent his creative life as an actor, producer, director and playwright here in the Bay Area. He thinks answering Alan’s question depends on perspective and who’s defining “success.”\u003c/p>\n\u003cfigure id=\"attachment_11879135\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003ca href=\"https://www.kqed.org/arts/13898099/two-distinctly-san-francisco-theater-companies-announce-bold-leadership-changes\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879135\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJose%CC%81_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1.jpeg\" alt=\"Sean San José and Sabina Zuniga Varela in Luis Alfaro's Bruja at Magic Theatre. \" width=\"1536\" height=\"1024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-1020x680.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024-1-160x107.jpeg 160w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sean San José and Sabina Zuniga Varela in Luis Alfaro’s Bruja at Magic Theatre. \u003ccite>((Courtesy of Magic Theatre))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s all elitist, classist, white supremacist-rooted thinking about what is classic, what is good, what is recognized,” San José said. “And clearly a place like the bay that is historically, culturally, aesthetically, so mixed, culturally, so rooted in ‘the other,’ we’re much more interested in plotting our own piece of land rather than sort of creating something so it fits into something to be accepted.”\u003c/p>\n\u003cp>San José says artists come to the Bay Area to push the limits. They’re interested in blurring the lines between types of performance to tell stories that speak to this particular community.\u003c/p>\n\u003cp>“Someone like me or our group, Campo Santo, we’re talking about a thing that responded to, hopefully neighbors and residents,” San José said.\u003c/p>\n\u003cp>He rejects the idea that “good theater” flows from New York or London to the Bay Area. He says that attitude is just more gatekeeping.\u003c/p>\n\u003cp>“The real thing that they’re saying is, ‘I don’t think we’re interested in your Chicano body. I don’t think we’re interested in your gay neighborhood. I don’t think we’re interested in your mixed population,’ ” San José said. “Well, that’s who we are; and those are the stories we’re going to tell.”\u003c/p>\n\u003cp>He says all artists want their work to be seen and appreciated. He’d love for audiences in other cities to see his plays, but that’s not the goal. He’s creating for his community and if the rest of the world doesn’t see the value, oh well. “I think we’re interested in something new and next and that should be celebrated, as opposed to crushed down into an old definition.”\u003c/p>\n\u003cp>And, he says, the creative freedom that happens here radiates out into the world, calling to artists everywhere. It’s impossible to know the impact that has on creators, the inspiration it brings, the haven it provides.\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/Fxe60GVW034'\n title='//www.youtube.com/embed/Fxe60GVW034'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Where Can You Find Out About Bay Area Performances?\u003c/h3>\n\u003cp>One reason Bay Area residents may not express pride in the theater scene here is simply that they don’t know what’s happening any given night. Many local newspapers have cut their arts coverage, making it even more difficult to find out what’s on stage. The big Broadway shows often grab headlines, but there’s tons going on at smaller independent theaters all over the Bay Area.\u003c/p>\n\u003cp>Here are some resources to stay informed as theaters start opening up again.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/category/theater\">KQED’s theater coverage\u003c/a>\u003c/li>\n\u003cli>Follow Lily Janiak’s \u003ca href=\"https://www.sfchronicle.com/author/lily-janiak/\">coverage\u003c/a> and \u003ca href=\"https://twitter.com/LilyJaniak?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Twitter\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://sf.funcheap.com/\">FunCheapSF\u003c/a> has listings of events\u003c/li>\n\u003cli>\u003ca href=\"https://www.theatrebayarea.org/page/retakingthestage\">Theatre Bay Area\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfarts.org/\">SF/Arts\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfstation.com/theater-performance-arts/calendar/bay-area\">SF Station\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://dothebay.com/\">Do The Bay\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>If you want to support theater and actors as we emerge from the coronavirus pandemic into an uncertain world, Lily Janiak suggests that you pick one local theater company or actor or director that moves you and actively support their work. Go see their plays, donate money, maybe even write a fan letter.\u003c/p>\n\u003cp>“Those small acts of appreciation and devotion are what bolster our art scene,” Janiak said. “And they matter. Artists don’t get them as much as you might think. It will not only make their day, but help feed their next creation.”\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"baycuriousquestion","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11879038/is-the-bay-area-known-for-its-theater-scene-depends-on-who-you-ask","authors":["234"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_28250","news_8","news_33520"],"tags":["news_712","news_20522","news_29614","news_4731"],"featImg":"news_11879070","label":"source_news_11879038"},"news_11878995":{"type":"posts","id":"news_11878995","meta":{"index":"posts_1591205157","site":"news","id":"11878995","score":null,"sort":[1624528827000]},"guestAuthors":[],"slug":"preserving-the-legacy-of-beach-blanket-babylon-one-hat-at-a-time","title":"Preserving the Legacy of 'Beach Blanket Babylon' One Hat at a Time","publishDate":1624528827,"format":"standard","headTitle":"Preserving the Legacy of ‘Beach Blanket Babylon’ One Hat at a Time | KQED","labelTerm":{},"content":"\u003cp>San Francisco is a town that prides itself on its quirkiness, sense of humor and colorful characters. Nothing captures that spirit quite like “Beach Blanket Babylon.” Created by Steve Silver in 1974, the musical revue tour de force featured parodies of celebrities and current events, poking fun at political figures on both sides of the spectrum and sparing no one. Tourists and locals alike loved the campy show that seemed to encapsulate some of San Francisco’s zany energy. Over its 45-year run, it became synonymous with the city.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>“The locals would come and see it about 10 times and bring people, because it was never the same show twice,” said Jo Schuman Silver, owner and producer of “Beach Blanket Babylon.” Schuman Silver was married to the show’s creator, Steve Silver, who \u003ca href=\"https://www.nytimes.com/1995/06/14/obituaries/steve-silver-51-creator-of-revue-that-captivated-san-francisco.html\">died of AIDS in 1995\u003c/a>. Before he passed, Steve asked Jo to run the show and made her promise to keep it intact and true to his vision.\u003c/p>\n\u003cp>Schuman Silver said the audience was two-thirds local, one-third tourist, even though most people thought it was the other way around. When the British royal family visited San Francisco, they went to “Beach Blanket Babylon.” And numerous San Francisco figures, like former Mayors Willie Brown and Ed Lee, have made appearances in the show.\u003c/p>\n\u003cp>The musical revue’s first home was the \u003ca href=\"https://brokeassstuart.com/sf/2014/09/25/the-city-that-was-the-savoy-tivoli/\">Savoy Tivoli\u003c/a>, a North Beach club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was narrow, but very high,” said Schuman Silver. “And in order to fill the space [Steve] started building hats. Very small at first and they kept getting bigger and bigger and bigger.”\u003c/p>\n\u003cfigure id=\"attachment_11879015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879015\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-scaled.jpg\" alt=\"Sketch of Beach Blanket Babylon waitress hat next to the character on stage.\" width=\"2560\" height=\"1966\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-800x614.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-1020x783.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-160x123.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-1536x1180.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-2048x1573.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-1920x1475.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Steve Silver sketch of ‘Beach Blanket Babylon’ waitress costume next to the character on stage. \u003ccite>(Courtesy Beach Blanket Babylon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the show moved to \u003ca href=\"https://datebook.sfchronicle.com/theater/new-circus-show-to-take-the-stage-in-club-fugazi-former-venue-of-beach-blanket-babylon\">Club Fugazi\u003c/a>, its home for decades, it had already become known for the \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/Beach-Blanket-Babylon-Behind-the-scenes-14927676.php#photo-18765215\">fabulous costumes\u003c/a>, sense of humor and humongous hats. Steve Silver changed the musical numbers continuously, aided by a 6,000-foot San Francisco warehouse full of costumes that could be repurposed to create fresh-feeling content in record time.\u003c/p>\n\u003cp>“We were very, very current,” Schuman Silver said. “If something happened in the morning that we thought was relevant and our audience would care, we would get in the show by that night.”\u003c/p>\n\u003cp>When Jo Schuman Silver took over producing the show, she tried to run it the way Silver would have wanted. But she admits, the show became \u003ca href=\"https://www.kqed.org/arts/10137317/naughty-and-nice-forty-years-of-beach-blanket-babylon\">a bit more political during her time\u003c/a>. One of her most memorable skits was from 2003 when Arnold Schwarzenegger announced his run for governor of California. Schuman Silver happened to see him make the announcement on Jay Leno, “which was really unusual for me. I hardly ever saw that show,” she said.\u003c/p>\n\u003cp>She called a team member and told them to dig up the “Terminator” costume from the warehouse for a skit the next night. When Donald Trump got into politics, the “Beach Blanket Babylon” team already had the wigs and costumes to \u003ca href=\"https://www.kqed.org/news/11780183/from-schwarzenegger-to-trump-beach-blanket-babylon-has-stayed-on-top-of-headlines-for-45-years\">make him a central character of the show\u003c/a> almost every night, sometimes more than once.\u003c/p>\n\u003cfigure id=\"attachment_11879016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879016\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped.jpg\" alt=\"Steve Silver sketch of the Hollywood hat next to the on stage charcter.\" width=\"1920\" height=\"1485\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped-800x619.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped-1020x789.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped-1536x1188.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Steve Silver sketch of the Hollywood hat next to the on stage character. \u003ccite>(Courtesy of Beach Blanket Babylon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schuman Silver announced that “Beach Blanket Babylon” would \u003ca href=\"https://datebook.sfchronicle.com/theater/sf-treasure-beach-blanket-babylon-to-close-after-45-years\">close at the end of 2019\u003c/a>, not because it was in financial trouble, but because she felt it was time. Little did she know the coronavirus pandemic would hit just a few months later, completely changing the theater landscape for the next year and a half.\u003c/p>\n\u003cp>“How lucky were we that I closed the show a month before COVID came? I cannot believe how fortunate we were,” she said.\u003c/p>\n\u003cp>Since the show closed, Schuman Silver and her team have been organizing their warehouse and fielding requests to either preserve “Beach Blanket” memorabilia or lend it out. Much of that work stopped when San Francisco shut down to prevent the spread of coronavirus, but now she is picking it back up again.\u003c/p>\n\u003cp>Looking back at all the props, crazy wigs, 300-pound hats and other ridiculous costumes, she says it’s like looking at a history of the later part of the 20th century into the 21st century. Preserving it is her “labor of love.”\u003c/p>\n\u003cp>The Smithsonian in Washington, D.C., wants a few pieces. The last time Schuman Silver spoke with them it seemed like they’d get a dancing Christmas tree, a Mr. Peanut dressed as Santa Claus and probably some royals stuff from when the show went on tour to London. They’re still finalizing the list. Other treasures will go to local museums, including the de Young.\u003c/p>\n\u003cp>“The thing about ‘Beach Blanket’ that made it so visually beautiful is that Steve Silver is an artist, so everything was drawn so beautifully,” Schuman Silver said. “He sketched everything; how he saw his show; how he saw numbers going in the show; and then we would give it to our makeup or costume designer and they would create what Steve had in mind.”\u003c/p>\n\u003cp>The famous \u003ca href=\"https://illustrationchronicles.com/al-hirschfeld-broadway-s-king-of-caricature\">sketch artist Al Hirschfeld\u003c/a> made several drawings of “Beach Blanket” characters. Those, Schuman Silver said, will go to the de Young Museum among other things.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9mronRVvdmw\u003c/p>\n\u003cp>“We’re really careful where everything goes,” Schuman Silver said. She gets requests from all over the country, including local schools and theaters. She’s happy to help out by lending a hat or costume to a local group, but said when it comes to preserving the show’s legacy — and by extension Steve Silver’s legacy — she’s particular.\u003c/p>\n\u003cp>“It has to have a connection to the show, a connection to Steve Silver, a connection to the city. Everything in ‘Beach Blanket’ always had a reason why we did it. It looked like it didn’t have a reason, but everything has a meaning. So we have to decide where everything will go,” she said.\u003c/p>\n\u003cp>Young actors have approached her about reviving the show in some way, but she said no. She does, however, sometimes take requests for special performances at private events. Part of the reason “Beach Blanket Babylon” became so synonymous with the city was its inclusion of local celebrities and politicians. Steve Silver would often get requests for special musical numbers to commemorate an anniversary or wedding. Schuman Silver said if the cast who still live nearby want to do those types of events, she’s up for it.\u003c/p>\n\u003cp>“Steve always wanted the show intact. And that’s how we’re keeping it,” she said. “I don’t think the idea of ‘Beach Blanket’ will ever die. It will be in different incarnations. That’s how I figure it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n","blocks":[],"excerpt":"Beach Blanket Babylon fans have been wondering what will happen to the show's signature costumes and hats. Jo Schuman Silver says some will go to the Smithsonian and other local museums.","status":"publish","parent":0,"modified":1700588250,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":24,"wordCount":1184},"headData":{"title":"Preserving the Legacy of 'Beach Blanket Babylon' One Hat at a Time | KQED","description":"Beach Blanket Babylon fans have been wondering what will happen to the show's signature costumes and hats. Jo Schuman Silver says some will go to the Smithsonian and other local museums.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Preserving the Legacy of 'Beach Blanket Babylon' One Hat at a Time","datePublished":"2021-06-24T10:00:27.000Z","dateModified":"2023-11-21T17:37:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"Bay Curious","sourceUrl":"https://www.kqed.org/podcasts/baycurious","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC7395407184.mp3?updated=1624467917","subhead":"Pieces From Beach Blanket Babylon Will Be Preserved At The Smithsonian","path":"/news/11878995/preserving-the-legacy-of-beach-blanket-babylon-one-hat-at-a-time","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco is a town that prides itself on its quirkiness, sense of humor and colorful characters. Nothing captures that spirit quite like “Beach Blanket Babylon.” Created by Steve Silver in 1974, the musical revue tour de force featured parodies of celebrities and current events, poking fun at political figures on both sides of the spectrum and sparing no one. Tourists and locals alike loved the campy show that seemed to encapsulate some of San Francisco’s zany energy. Over its 45-year run, it became synonymous with the city.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“The locals would come and see it about 10 times and bring people, because it was never the same show twice,” said Jo Schuman Silver, owner and producer of “Beach Blanket Babylon.” Schuman Silver was married to the show’s creator, Steve Silver, who \u003ca href=\"https://www.nytimes.com/1995/06/14/obituaries/steve-silver-51-creator-of-revue-that-captivated-san-francisco.html\">died of AIDS in 1995\u003c/a>. Before he passed, Steve asked Jo to run the show and made her promise to keep it intact and true to his vision.\u003c/p>\n\u003cp>Schuman Silver said the audience was two-thirds local, one-third tourist, even though most people thought it was the other way around. When the British royal family visited San Francisco, they went to “Beach Blanket Babylon.” And numerous San Francisco figures, like former Mayors Willie Brown and Ed Lee, have made appearances in the show.\u003c/p>\n\u003cp>The musical revue’s first home was the \u003ca href=\"https://brokeassstuart.com/sf/2014/09/25/the-city-that-was-the-savoy-tivoli/\">Savoy Tivoli\u003c/a>, a North Beach club.\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 narrow, but very high,” said Schuman Silver. “And in order to fill the space [Steve] started building hats. Very small at first and they kept getting bigger and bigger and bigger.”\u003c/p>\n\u003cfigure id=\"attachment_11879015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879015\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-scaled.jpg\" alt=\"Sketch of Beach Blanket Babylon waitress hat next to the character on stage.\" width=\"2560\" height=\"1966\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-800x614.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-1020x783.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-160x123.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-1536x1180.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-2048x1573.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Waitress-Hat-1920x1475.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Steve Silver sketch of ‘Beach Blanket Babylon’ waitress costume next to the character on stage. \u003ccite>(Courtesy Beach Blanket Babylon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the show moved to \u003ca href=\"https://datebook.sfchronicle.com/theater/new-circus-show-to-take-the-stage-in-club-fugazi-former-venue-of-beach-blanket-babylon\">Club Fugazi\u003c/a>, its home for decades, it had already become known for the \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/Beach-Blanket-Babylon-Behind-the-scenes-14927676.php#photo-18765215\">fabulous costumes\u003c/a>, sense of humor and humongous hats. Steve Silver changed the musical numbers continuously, aided by a 6,000-foot San Francisco warehouse full of costumes that could be repurposed to create fresh-feeling content in record time.\u003c/p>\n\u003cp>“We were very, very current,” Schuman Silver said. “If something happened in the morning that we thought was relevant and our audience would care, we would get in the show by that night.”\u003c/p>\n\u003cp>When Jo Schuman Silver took over producing the show, she tried to run it the way Silver would have wanted. But she admits, the show became \u003ca href=\"https://www.kqed.org/arts/10137317/naughty-and-nice-forty-years-of-beach-blanket-babylon\">a bit more political during her time\u003c/a>. One of her most memorable skits was from 2003 when Arnold Schwarzenegger announced his run for governor of California. Schuman Silver happened to see him make the announcement on Jay Leno, “which was really unusual for me. I hardly ever saw that show,” she said.\u003c/p>\n\u003cp>She called a team member and told them to dig up the “Terminator” costume from the warehouse for a skit the next night. When Donald Trump got into politics, the “Beach Blanket Babylon” team already had the wigs and costumes to \u003ca href=\"https://www.kqed.org/news/11780183/from-schwarzenegger-to-trump-beach-blanket-babylon-has-stayed-on-top-of-headlines-for-45-years\">make him a central character of the show\u003c/a> almost every night, sometimes more than once.\u003c/p>\n\u003cfigure id=\"attachment_11879016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879016\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped.jpg\" alt=\"Steve Silver sketch of the Hollywood hat next to the on stage charcter.\" width=\"1920\" height=\"1485\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped-800x619.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped-1020x789.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/Beach-Blanket-Babylon-Hollywood-Hat-cropped-1536x1188.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Steve Silver sketch of the Hollywood hat next to the on stage character. \u003ccite>(Courtesy of Beach Blanket Babylon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schuman Silver announced that “Beach Blanket Babylon” would \u003ca href=\"https://datebook.sfchronicle.com/theater/sf-treasure-beach-blanket-babylon-to-close-after-45-years\">close at the end of 2019\u003c/a>, not because it was in financial trouble, but because she felt it was time. Little did she know the coronavirus pandemic would hit just a few months later, completely changing the theater landscape for the next year and a half.\u003c/p>\n\u003cp>“How lucky were we that I closed the show a month before COVID came? I cannot believe how fortunate we were,” she said.\u003c/p>\n\u003cp>Since the show closed, Schuman Silver and her team have been organizing their warehouse and fielding requests to either preserve “Beach Blanket” memorabilia or lend it out. Much of that work stopped when San Francisco shut down to prevent the spread of coronavirus, but now she is picking it back up again.\u003c/p>\n\u003cp>Looking back at all the props, crazy wigs, 300-pound hats and other ridiculous costumes, she says it’s like looking at a history of the later part of the 20th century into the 21st century. Preserving it is her “labor of love.”\u003c/p>\n\u003cp>The Smithsonian in Washington, D.C., wants a few pieces. The last time Schuman Silver spoke with them it seemed like they’d get a dancing Christmas tree, a Mr. Peanut dressed as Santa Claus and probably some royals stuff from when the show went on tour to London. They’re still finalizing the list. Other treasures will go to local museums, including the de Young.\u003c/p>\n\u003cp>“The thing about ‘Beach Blanket’ that made it so visually beautiful is that Steve Silver is an artist, so everything was drawn so beautifully,” Schuman Silver said. “He sketched everything; how he saw his show; how he saw numbers going in the show; and then we would give it to our makeup or costume designer and they would create what Steve had in mind.”\u003c/p>\n\u003cp>The famous \u003ca href=\"https://illustrationchronicles.com/al-hirschfeld-broadway-s-king-of-caricature\">sketch artist Al Hirschfeld\u003c/a> made several drawings of “Beach Blanket” characters. Those, Schuman Silver said, will go to the de Young Museum among other things.\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/9mronRVvdmw'\n title='//www.youtube.com/embed/9mronRVvdmw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We’re really careful where everything goes,” Schuman Silver said. She gets requests from all over the country, including local schools and theaters. She’s happy to help out by lending a hat or costume to a local group, but said when it comes to preserving the show’s legacy — and by extension Steve Silver’s legacy — she’s particular.\u003c/p>\n\u003cp>“It has to have a connection to the show, a connection to Steve Silver, a connection to the city. Everything in ‘Beach Blanket’ always had a reason why we did it. It looked like it didn’t have a reason, but everything has a meaning. So we have to decide where everything will go,” she said.\u003c/p>\n\u003cp>Young actors have approached her about reviving the show in some way, but she said no. She does, however, sometimes take requests for special performances at private events. Part of the reason “Beach Blanket Babylon” became so synonymous with the city was its inclusion of local celebrities and politicians. Steve Silver would often get requests for special musical numbers to commemorate an anniversary or wedding. Schuman Silver said if the cast who still live nearby want to do those types of events, she’s up for it.\u003c/p>\n\u003cp>“Steve always wanted the show intact. And that’s how we’re keeping it,” she said. “I don’t think the idea of ‘Beach Blanket’ will ever die. It will be in different incarnations. That’s how I figure it.”\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"baycuriousquestion","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11878995/preserving-the-legacy-of-beach-blanket-babylon-one-hat-at-a-time","authors":["234"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_28250","news_8","news_33520"],"tags":["news_25560","news_20522","news_4731"],"featImg":"news_11879009","label":"source_news_11878995"},"news_11797562":{"type":"posts","id":"news_11797562","meta":{"index":"posts_1591205157","site":"news","id":"11797562","score":null,"sort":[1580085982000]},"guestAuthors":[],"slug":"last-picture-show-historic-sf-theater-plays-its-final-midnight-movie","title":"Last Picture Show: Historic SF Theater Plays its Final Midnight Movie","publishDate":1580085982,"format":"image","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>The Clay Theatre in San Francisco showed cult-classic \"The Rocky Horror Picture Show\" one last time this weekend before closing its doors for good.\u003c/p>\n\u003cp>On the last Saturday of the month for the past 13 years, \"Rocky Horror\" has been a midnight movie staple at the theater. The Clay took on the show when no other theater in San Francisco was hosting it, and the cast followed the \"Rocky Horror\" tradition of creating an inclusive space where everyone is made to feel like family.\u003c/p>\n\u003cp>Many are mourning the loss of the single-screen independent movie theater in Pacific Heights, including filmmaker \u003ca href=\"https://www.kqed.org/news/11797773/john-waters-on-clay-theatre-closure-a-real-era-for-me-is-shutting-down-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\"If you played at the Clay it gave your movie kind of a little honor of being a real art movie, and being difficult, and causing trouble, and it was just a good club to belong to,\" Waters told KQED. \"It really mattered very much of climbing up from the underground to play there.\"\u003c/p>\n\u003cp>While \"Rocky Horror\" — performed by the troupe \u003ca href=\"http://www.bawdycaste.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bawdy Caste\u003c/a> — will live on in San Francisco at a to-be-determined location, the Clay Theatre is set to close Sunday, Jan. 26, after 110 years in business.\u003c/p>\n\u003cfigure id=\"attachment_11798112\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798112\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg\" alt=\"The Rocky Horror Picture Show character Dr. Scott meets with the cast outside of the Clay Theater before their midnight movie performance on Saturday. The theater is closing its doors on Sunday January 26, 2020 after the last showing, after 110 years in business.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show character Dr. Scott laughs with the cast and crew outside of the Clay Theatre before their last midnight movie performance at the theater on Saturday. After 110 years in business, the theater will close its doors on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798130\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798130\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg\" alt=\"Carolyn Patten and Blake Griffin, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theater for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blake Griffin and Carolyn Patten, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theatre for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798118\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798118\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg\" alt=\"Clay Theater projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn't share the same news but remained optimistic about the theaters future.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Theatre projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn't share the same news but remained optimistic about the theater's future. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798156\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798156\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg\" alt=\"Crowds fill the Clay Theater in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water's film, Pink Flamingos, in 1972.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds fill the Clay Theatre in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water's film, Pink Flamingos, in 1972. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798123\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798123\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg\" alt=\"The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theater for its last midnight movie show Saturday night, before its doors will close on Sunday.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theatre for its last midnight movie show Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg\" alt=\"An emotional Julie Shepard took the stage to talk about the loss of the Clay Theater before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon's character Janet Weiss. She said that Rocky would find a new home but as far as the theater, "it's a real loss for the City, employees and the neighborhood."\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An emotional Julie Shepard took the stage to talk about the loss of the Clay Theatre before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon's character, Janet Weiss. She said that Rocky would find a new home but as far as the theater, \"it's a real loss for the City, employees and the neighborhood.\" \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798126\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798126\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg\" alt=\"Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold out performance at the Clay Theater on Saturday. Many theaters don't like to host Rocky Horror due to the mess of rice and toilet paper and the late night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold-out performance at the Clay Theatre on Saturday. Many theaters don't like to host Rocky Horror due to the mess of rice and toilet paper and the late-night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11798135\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798135\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg\" alt=\"The last midnight movie at the Clay Theater on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday January 26, 2020.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last midnight movie at the Clay Theatre on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"While \"Rocky Horror\" will live on in San Francisco at a to-be-determined location, the Clay Theatre is set to close after 110 years in business.","status":"publish","parent":0,"modified":1585174002,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":647},"headData":{"title":"Last Picture Show: Historic SF Theater Plays its Final Midnight Movie | KQED","description":"While "Rocky Horror" will live on in San Francisco at a to-be-determined location, the Clay Theatre is set to close after 110 years in business.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Last Picture Show: Historic SF Theater Plays its Final Midnight Movie","datePublished":"2020-01-27T00:46:22.000Z","dateModified":"2020-03-25T22:06:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11797562 https://ww2.kqed.org/news/?p=11797562","disqusUrl":"https://ww2.kqed.org/news/2020/01/26/last-picture-show-historic-sf-theater-plays-its-final-midnight-movie/","disqusTitle":"Last Picture Show: Historic SF Theater Plays its Final Midnight Movie","templateType":"standard","featuredImageType":"standard","path":"/news/11797562/last-picture-show-historic-sf-theater-plays-its-final-midnight-movie","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Clay Theatre in San Francisco showed cult-classic \"The Rocky Horror Picture Show\" one last time this weekend before closing its doors for good.\u003c/p>\n\u003cp>On the last Saturday of the month for the past 13 years, \"Rocky Horror\" has been a midnight movie staple at the theater. The Clay took on the show when no other theater in San Francisco was hosting it, and the cast followed the \"Rocky Horror\" tradition of creating an inclusive space where everyone is made to feel like family.\u003c/p>\n\u003cp>Many are mourning the loss of the single-screen independent movie theater in Pacific Heights, including filmmaker \u003ca href=\"https://www.kqed.org/news/11797773/john-waters-on-clay-theatre-closure-a-real-era-for-me-is-shutting-down-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\"If you played at the Clay it gave your movie kind of a little honor of being a real art movie, and being difficult, and causing trouble, and it was just a good club to belong to,\" Waters told KQED. \"It really mattered very much of climbing up from the underground to play there.\"\u003c/p>\n\u003cp>While \"Rocky Horror\" — performed by the troupe \u003ca href=\"http://www.bawdycaste.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bawdy Caste\u003c/a> — will live on in San Francisco at a to-be-determined location, the Clay Theatre is set to close Sunday, Jan. 26, after 110 years in business.\u003c/p>\n\u003cfigure id=\"attachment_11798112\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798112\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg\" alt=\"The Rocky Horror Picture Show character Dr. Scott meets with the cast outside of the Clay Theater before their midnight movie performance on Saturday. The theater is closing its doors on Sunday January 26, 2020 after the last showing, after 110 years in business.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show character Dr. Scott laughs with the cast and crew outside of the Clay Theatre before their last midnight movie performance at the theater on Saturday. After 110 years in business, the theater will close its doors on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798130\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798130\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg\" alt=\"Carolyn Patten and Blake Griffin, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theater for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blake Griffin and Carolyn Patten, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theatre for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798118\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798118\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg\" alt=\"Clay Theater projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn't share the same news but remained optimistic about the theaters future.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Theatre projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn't share the same news but remained optimistic about the theater's future. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798156\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798156\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg\" alt=\"Crowds fill the Clay Theater in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water's film, Pink Flamingos, in 1972.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds fill the Clay Theatre in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water's film, Pink Flamingos, in 1972. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798123\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798123\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg\" alt=\"The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theater for its last midnight movie show Saturday night, before its doors will close on Sunday.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theatre for its last midnight movie show Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg\" alt=\"An emotional Julie Shepard took the stage to talk about the loss of the Clay Theater before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon's character Janet Weiss. She said that Rocky would find a new home but as far as the theater, "it's a real loss for the City, employees and the neighborhood."\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An emotional Julie Shepard took the stage to talk about the loss of the Clay Theatre before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon's character, Janet Weiss. She said that Rocky would find a new home but as far as the theater, \"it's a real loss for the City, employees and the neighborhood.\" \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798126\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798126\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg\" alt=\"Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold out performance at the Clay Theater on Saturday. Many theaters don't like to host Rocky Horror due to the mess of rice and toilet paper and the late night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold-out performance at the Clay Theatre on Saturday. Many theaters don't like to host Rocky Horror due to the mess of rice and toilet paper and the late-night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11798135\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11798135\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg\" alt=\"The last midnight movie at the Clay Theater on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday January 26, 2020.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last midnight movie at the Clay Theatre on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11797562/last-picture-show-historic-sf-theater-plays-its-final-midnight-movie","authors":["11667"],"categories":["news_223","news_8"],"tags":["news_25754","news_4731"],"featImg":"news_11798111","label":"news"},"news_11697929":{"type":"posts","id":"news_11697929","meta":{"index":"posts_1591205157","site":"news","id":"11697929","score":null,"sort":[1539373117000]},"guestAuthors":[],"slug":"norcals-sara-bareilles-serves-up-waitress-darkness-mess-and-all","title":"NorCal's Sara Bareilles Serves Up 'Waitress' — Darkness, 'Mess' and All","publishDate":1539373117,"format":"audio","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>Most people know Sara Bareilles as the singer-songwriter force behind pop hits like “Love Song\" and \"Brave.\"\u003c/p>\n\u003cp>But the Northern California native has been getting a lot of attention lately for her work in musicals — notably “\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Waitress\u003c/a>.”\u003c/p>\n\u003cp>The Tony and Grammy Award-nominated composer’s Broadway musical is based on the 2007 film of the same title. It's about an unhappily married pregnant woman, Jenna Hunterson, who dreams of opening her own pie shop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JZccnrYn8dA\u003c/p>\n\u003cp>KQED’s Chloe Veltman sat down with Bareilles at San Francisco’s Golden Gate Theatre to talk about the show.\u003c/p>\n\u003cp>“Waitress” opens there Oct. 16 as part of a national tour.\u003c/p>\n\u003cp>Listen to an edited version of their conversation by clicking the play button above. And read on for a few additional highlights:\u003c/p>\n\u003cp>\u003cstrong>What draws you to musical theater?\u003c/strong>\u003c/p>\n\u003cp>I have always been very drawn to the storytelling of musical theater. I loved the character study of it. Just diving into the depths of the character and their inner thoughts and feelings.\u003c/p>\n\u003cfigure id=\"attachment_11697989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11697989\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/sarah-bareilles-800x533.jpg\" alt='Sara Bareilles at the piano during an event for \"Waitress\" presenter SHN.' width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Bareilles at the piano during an event for \"Waitress\" presenter SHN. \u003ccite>(Courtesy SHN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was it about the 2007 movie \"Waitress\" that inspired you to join the musical's creative team as a composer and lyricist?\u003c/strong>\u003c/p>\n\u003cp>Adrienne Shelly, who is the writer/director of that film, created such a little gem. It's funny. It's quirky. It's dark. The subject matter is uncomfortable at times, and somehow she still created this really quite musical world. The characters are all really eccentric. I felt like they were also human, because they weren't perfect. And so I liked the idea of getting to dive into their psychology, and try to tease that out a little bit with songs.\u003c/p>\n\u003cp>\u003cstrong>The movie is set in a small town in the Deep South, as is the musical. How much did your own upbringing in Eureka inform your work on the musical?\u003c/strong>\u003c/p>\n\u003cp>I can relate to the idea of coming from a community — the good and the bad of that. The people who really want the best for you, and also the people who think they know what's best for you, when they don't. So I sort of understand that it's delicate, the dance that you do when you're trying to sort of find yourself in a small town. Luckily Jenna, our lead character, she has an incredible community, wonderful friends and some new strangers that come through town that cause all sorts of mayhem.\u003c/p>\n\u003cfigure id=\"attachment_11697990\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg class=\"size-full wp-image-11697990\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised.jpg\" alt='\"Waitress\" flier.' width=\"600\" height=\"330\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/600x330_WAITRESSrevised.jpg 600w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/600x330_WAITRESSrevised-160x88.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/600x330_WAITRESSrevised-240x132.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/600x330_WAITRESSrevised-375x206.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/600x330_WAITRESSrevised-520x286.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">\"Waitress\" flier. \u003ccite>(Courtesy SHN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have a bunch of brilliant comic songs in the musical, like the number about pregnancy, \"Club Knocked Up.\" But below the levity of these songs, like this one, is some really dark stuff. Why is it important that the musical walks the line between humor and heaviness?\u003c/strong>\u003c/p>\n\u003cp>I think that's, for me, what it means to be alive. It's the darkness and light, you know, the yin and yang. We don't have all one thing or the other. And I think that's one of the things that actually allows people to process dark matter, is if they're given a little bit of buoyancy, you know, along the way.\u003c/p>\n\u003cp>\u003cstrong>I've read that you identify closely with the main character, Jenna.\u003c/strong>\u003c/p>\n\u003cp>I just fell head over heels in love with this woman. I love that she's so imperfect. You know she didn't want the child, and she's in a messed-up marriage, and that she doesn't have it all figured out. I really loved that we were given a chance to get to know a heroine who's not — no offense to Wonder Woman — but, like, who's not Wonder Woman. Who just lives amongst the rest of us a little bit more.\u003c/p>\n\u003cp>\u003cstrong>But how does that relate to your life and your sense of identification with her?\u003c/strong>\u003c/p>\n\u003cp>Oh, because I'm a total mess most of the time. That's really what it comes down to.\u003c/p>\n\u003cfigure id=\"attachment_11697995\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11697995\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-800x1200.jpg\" alt='A scene from \"Waitress\" featuring Desi Oakley as Jenna and Larry Marshall as Old Joe.' width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1920x2880.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from \"Waitress\" featuring Desi Oakley as Jenna and Larry Marshall as Old Joe. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In some ways, \"Waitress\" sends this strong feminist message. Jenna takes control of her career and her love life. But to what degree do you think the musical’s storyline ends up reinforcing traditional gender stereotypes? After all, the kindness of one wealthy male character, Old Joe, plays a big role in helping Jenna overcome some of her challenges.\u003c/strong>\u003c/p>\n\u003cp>We've talked about making him “Old Josephine.” You know, I don't think there's anything that's off the table in terms of re-imagining how these sort of patriarchal “stereotypes” run through. But I also think there are good men out there as well. And I don't think you need to jettison the male point of view to tell feminist stories.\u003c/p>\n\u003cp>\u003cem>Sara Bareilles’ Broadway musical “Waitress” plays on tour at San Francisco’s Golden Gate Theater Oct. 16 - Nov. 11, 2018. You can find out more about the show \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The famed singer-songwriter shares thoughts about her life and her Broadway musical opening on tour in San Francisco this month. ","status":"publish","parent":0,"modified":1539459013,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":865},"headData":{"title":"NorCal's Sara Bareilles Serves Up 'Waitress' — Darkness, 'Mess' and All | KQED","description":"The famed singer-songwriter shares thoughts about her life and her Broadway musical opening on tour in San Francisco this month. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"NorCal's Sara Bareilles Serves Up 'Waitress' — Darkness, 'Mess' and All","datePublished":"2018-10-12T19:38:37.000Z","dateModified":"2018-10-13T19:30:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11697929 https://ww2.kqed.org/news/?p=11697929","disqusUrl":"https://ww2.kqed.org/news/2018/10/12/norcals-sara-bareilles-serves-up-waitress-darkness-mess-and-all/","disqusTitle":"NorCal's Sara Bareilles Serves Up 'Waitress' — Darkness, 'Mess' and All","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/10/VeltmanWaitress.mp3","audioTrackLength":239,"path":"/news/11697929/norcals-sara-bareilles-serves-up-waitress-darkness-mess-and-all","audioDuration":246000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most people know Sara Bareilles as the singer-songwriter force behind pop hits like “Love Song\" and \"Brave.\"\u003c/p>\n\u003cp>But the Northern California native has been getting a lot of attention lately for her work in musicals — notably “\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Waitress\u003c/a>.”\u003c/p>\n\u003cp>The Tony and Grammy Award-nominated composer’s Broadway musical is based on the 2007 film of the same title. It's about an unhappily married pregnant woman, Jenna Hunterson, who dreams of opening her own pie shop.\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/JZccnrYn8dA'\n title='//www.youtube.com/embed/JZccnrYn8dA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>KQED’s Chloe Veltman sat down with Bareilles at San Francisco’s Golden Gate Theatre to talk about the show.\u003c/p>\n\u003cp>“Waitress” opens there Oct. 16 as part of a national tour.\u003c/p>\n\u003cp>Listen to an edited version of their conversation by clicking the play button above. And read on for a few additional highlights:\u003c/p>\n\u003cp>\u003cstrong>What draws you to musical theater?\u003c/strong>\u003c/p>\n\u003cp>I have always been very drawn to the storytelling of musical theater. I loved the character study of it. Just diving into the depths of the character and their inner thoughts and feelings.\u003c/p>\n\u003cfigure id=\"attachment_11697989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11697989\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/sarah-bareilles-800x533.jpg\" alt='Sara Bareilles at the piano during an event for \"Waitress\" presenter SHN.' width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/sarah-bareilles-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Bareilles at the piano during an event for \"Waitress\" presenter SHN. \u003ccite>(Courtesy SHN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was it about the 2007 movie \"Waitress\" that inspired you to join the musical's creative team as a composer and lyricist?\u003c/strong>\u003c/p>\n\u003cp>Adrienne Shelly, who is the writer/director of that film, created such a little gem. It's funny. It's quirky. It's dark. The subject matter is uncomfortable at times, and somehow she still created this really quite musical world. The characters are all really eccentric. I felt like they were also human, because they weren't perfect. And so I liked the idea of getting to dive into their psychology, and try to tease that out a little bit with songs.\u003c/p>\n\u003cp>\u003cstrong>The movie is set in a small town in the Deep South, as is the musical. How much did your own upbringing in Eureka inform your work on the musical?\u003c/strong>\u003c/p>\n\u003cp>I can relate to the idea of coming from a community — the good and the bad of that. The people who really want the best for you, and also the people who think they know what's best for you, when they don't. So I sort of understand that it's delicate, the dance that you do when you're trying to sort of find yourself in a small town. Luckily Jenna, our lead character, she has an incredible community, wonderful friends and some new strangers that come through town that cause all sorts of mayhem.\u003c/p>\n\u003cfigure id=\"attachment_11697990\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg class=\"size-full wp-image-11697990\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/600x330_WAITRESSrevised.jpg\" alt='\"Waitress\" flier.' width=\"600\" height=\"330\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/600x330_WAITRESSrevised.jpg 600w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/600x330_WAITRESSrevised-160x88.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/600x330_WAITRESSrevised-240x132.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/600x330_WAITRESSrevised-375x206.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/600x330_WAITRESSrevised-520x286.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">\"Waitress\" flier. \u003ccite>(Courtesy SHN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have a bunch of brilliant comic songs in the musical, like the number about pregnancy, \"Club Knocked Up.\" But below the levity of these songs, like this one, is some really dark stuff. Why is it important that the musical walks the line between humor and heaviness?\u003c/strong>\u003c/p>\n\u003cp>I think that's, for me, what it means to be alive. It's the darkness and light, you know, the yin and yang. We don't have all one thing or the other. And I think that's one of the things that actually allows people to process dark matter, is if they're given a little bit of buoyancy, you know, along the way.\u003c/p>\n\u003cp>\u003cstrong>I've read that you identify closely with the main character, Jenna.\u003c/strong>\u003c/p>\n\u003cp>I just fell head over heels in love with this woman. I love that she's so imperfect. You know she didn't want the child, and she's in a messed-up marriage, and that she doesn't have it all figured out. I really loved that we were given a chance to get to know a heroine who's not — no offense to Wonder Woman — but, like, who's not Wonder Woman. Who just lives amongst the rest of us a little bit more.\u003c/p>\n\u003cp>\u003cstrong>But how does that relate to your life and your sense of identification with her?\u003c/strong>\u003c/p>\n\u003cp>Oh, because I'm a total mess most of the time. That's really what it comes down to.\u003c/p>\n\u003cfigure id=\"attachment_11697995\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11697995\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-800x1200.jpg\" alt='A scene from \"Waitress\" featuring Desi Oakley as Jenna and Larry Marshall as Old Joe.' width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1920x2880.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/10/Desi-Oakley-and-Larry-Marshall-in-the-National-Tour-of-WAITRESS-Credit-Joan-Marcus-0595r-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from \"Waitress\" featuring Desi Oakley as Jenna and Larry Marshall as Old Joe. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In some ways, \"Waitress\" sends this strong feminist message. Jenna takes control of her career and her love life. But to what degree do you think the musical’s storyline ends up reinforcing traditional gender stereotypes? After all, the kindness of one wealthy male character, Old Joe, plays a big role in helping Jenna overcome some of her challenges.\u003c/strong>\u003c/p>\n\u003cp>We've talked about making him “Old Josephine.” You know, I don't think there's anything that's off the table in terms of re-imagining how these sort of patriarchal “stereotypes” run through. But I also think there are good men out there as well. And I don't think you need to jettison the male point of view to tell feminist stories.\u003c/p>\n\u003cp>\u003cem>Sara Bareilles’ Broadway musical “Waitress” plays on tour at San Francisco’s Golden Gate Theater Oct. 16 - Nov. 11, 2018. You can find out more about the show \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\n\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>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11697929/norcals-sara-bareilles-serves-up-waitress-darkness-mess-and-all","authors":["8608"],"categories":["news_223","news_8"],"tags":["news_20522","news_4731"],"featImg":"news_11697983","label":"news"},"news_11672268":{"type":"posts","id":"news_11672268","meta":{"index":"posts_1591205157","site":"news","id":"11672268","score":null,"sort":[1528047563000]},"guestAuthors":[],"slug":"latino-movie-producer-opens-theaters-in-rural-poor-areas","title":"Latino Movie Producer Opens Theaters in Rural, Poor Areas","publishDate":1528047563,"format":"image","headTitle":"The California Report | KQED News","labelTerm":{},"content":"\u003cp>For nearly 10 years, residents in a Central Valley farming community have had to drive nearly 40 miles to see the latest film, a rare trip for some in a place where a third of the population lives in poverty.\u003c/p>\n\u003cp>That all changed in May when Moctesuma Esparza, a Latino movie producer, opened his latest Maya Cinemas theater in Delano in his ongoing effort to open theaters in poor, rural areas in the U.S. that lack entertainment options. The $20 million project gives Delano's 53,000 residents access to recent movie releases in a high-end experience with luxury seating. In 1965, Delano helped spark Cesar Chavez's farm worker union movement.\u003c/p>\n\u003cp>Esparza, who produced the 1997 movie \"Selena\" and has opened up four identical theaters in poor areas in California, said poverty shouldn't sentence residents to \"movie deserts\" where inexpensive leisure is limited. He has vowed to do his part to change the landscape in rural America.\u003c/p>\n\u003cp>For years, rural communities in Appalachia, the American Southwest and the Mississippi Delta have seen small theaters close due to the high cost of technology updates and to economic downturns that discourage investors from taking over struggling movie houses.\u003c/p>\n\u003cp>Data from the National Association of Theater Owners, the trade organization that represents exhibitors, also found that the overall number of U.S. cinema sites fell 25 percent from 1995 to 2018. However, the number of screens spiked 45 percent, largely as a result of an increase in megaplex movie theaters opening in urban areas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The group estimates about 10,000 screens could go dark soon because small independent and rural theaters can't afford to make digital upgrades that modern movies require.\u003c/p>\n\u003cp>Being in a rural area that may lack broadband or have spotty cell service that makes streaming services like Netflix and Hulu difficult to access, combined with the absence of a movie theater, can be isolating or just boring.\u003c/p>\n\u003cp>\"We have nothing out here,\" said Chanika Green, 18, of Shelby, Mississippi, a town of around 3,000 residents two hours south of Memphis, Tennessee. \"No movie theater, nothing. It'd be nice to have something so we could do something.\"\u003c/p>\n\u003cp>The lack of a movie theater and basic leisure like skating rinks hurts struggling regions that have seen jobs leave, said Robby Moore, mayor of Lobelville, Tennessee. Residents in rural areas often have to travel more than an hour to watch a movie.\u003c/p>\n\u003cp>That's why Esparza began building theaters in underserved areas in 2000. The theaters also provide jobs.\u003c/p>\n\u003cp>\"I saw a business opportunity. But what I soon realized was that I have to become a developer, too,\" Esparza said. \"Few people were investing in these communities.\"\u003c/p>\n\u003cfigure id=\"attachment_11672271\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11672271\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/GettyImages-89996832-800x1025.jpg\" alt=\"Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in the Central California city of 53,000 people as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options.\" width=\"800\" height=\"1025\">\u003cfigcaption class=\"wp-caption-text\">Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in Delano, a Central California city of 53,000, as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options. \u003ccite>( Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esparza is erecting megaplex movie theaters in rural Latino areas in California. Besides Delano, theaters have opened in Salinas, Bakersfield, Pittsburg and Fresno.\u003c/p>\n\u003cp>His next theater is being planned for North Las Vegas. He says a developer could do the same for rural areas in Kentucky, West Virginia and the Deep South, if they research the need and build complexes that give moviegoers a special experience.\u003c/p>\n\u003cp>Some states are encouraging local communities to take active steps to bring movies to town.\u003c/p>\n\u003cp>New Mexico announced two years ago that it was joining other states in pushing an initiative to revitalize downtown districts in isolated small towns by rehabilitating aging, historic theaters.\u003c/p>\n\u003cp>An economic development program, similar to efforts in Iowa and Illinois, seeks to save often-forgotten facilities like the Shuler Theater in Raton, New Mexico — a poor and rural area. The program helps refurbish buildings and gives grants for new digital projection and sound equipment.\u003c/p>\n\u003cp>New Mexico officials believe that reviving theaters in ranching towns and small cities near American Indian reservations will help create jobs in struggling downtown districts and spark excitement in entertainment deserts.\u003c/p>\n\u003cp>The Gates Family Foundation also is awarding $10,000 to $30,000 grants to rural communities to purchase new digital equipment for movie theaters.\u003c/p>\n\u003cp>Esparza says that, like food and shelter, all people need the communal experience that movies provide.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Everyone should have a right to dream,\" Esparza said. \"Movies allow people to dream, to think of a world outside their experiences.\"\u003c/p>\n\n","blocks":[],"excerpt":"Moctesuma Esparza opened his latest theater in Delano as part of his ongoing effort to open movie theaters in poor U.S. rural areas that lack basic entertainment options. ","status":"publish","parent":0,"modified":1528155965,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":754},"headData":{"title":"Latino Movie Producer Opens Theaters in Rural, Poor Areas | KQED","description":"Moctesuma Esparza opened his latest theater in Delano as part of his ongoing effort to open movie theaters in poor U.S. rural areas that lack basic entertainment options. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Latino Movie Producer Opens Theaters in Rural, Poor Areas","datePublished":"2018-06-03T17:39:23.000Z","dateModified":"2018-06-04T23:46:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11672268 https://ww2.kqed.org/news/?p=11672268","disqusUrl":"https://ww2.kqed.org/news/2018/06/03/latino-movie-producer-opens-theaters-in-rural-poor-areas/","disqusTitle":"Latino Movie Producer Opens Theaters in Rural, Poor Areas","source":"Associated Press","nprByline":"\u003cstrong>Russell Contreras\u003c/strong> \u003c/br>Associated Press","path":"/news/11672268/latino-movie-producer-opens-theaters-in-rural-poor-areas","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For nearly 10 years, residents in a Central Valley farming community have had to drive nearly 40 miles to see the latest film, a rare trip for some in a place where a third of the population lives in poverty.\u003c/p>\n\u003cp>That all changed in May when Moctesuma Esparza, a Latino movie producer, opened his latest Maya Cinemas theater in Delano in his ongoing effort to open theaters in poor, rural areas in the U.S. that lack entertainment options. The $20 million project gives Delano's 53,000 residents access to recent movie releases in a high-end experience with luxury seating. In 1965, Delano helped spark Cesar Chavez's farm worker union movement.\u003c/p>\n\u003cp>Esparza, who produced the 1997 movie \"Selena\" and has opened up four identical theaters in poor areas in California, said poverty shouldn't sentence residents to \"movie deserts\" where inexpensive leisure is limited. He has vowed to do his part to change the landscape in rural America.\u003c/p>\n\u003cp>For years, rural communities in Appalachia, the American Southwest and the Mississippi Delta have seen small theaters close due to the high cost of technology updates and to economic downturns that discourage investors from taking over struggling movie houses.\u003c/p>\n\u003cp>Data from the National Association of Theater Owners, the trade organization that represents exhibitors, also found that the overall number of U.S. cinema sites fell 25 percent from 1995 to 2018. However, the number of screens spiked 45 percent, largely as a result of an increase in megaplex movie theaters opening in urban areas.\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>The group estimates about 10,000 screens could go dark soon because small independent and rural theaters can't afford to make digital upgrades that modern movies require.\u003c/p>\n\u003cp>Being in a rural area that may lack broadband or have spotty cell service that makes streaming services like Netflix and Hulu difficult to access, combined with the absence of a movie theater, can be isolating or just boring.\u003c/p>\n\u003cp>\"We have nothing out here,\" said Chanika Green, 18, of Shelby, Mississippi, a town of around 3,000 residents two hours south of Memphis, Tennessee. \"No movie theater, nothing. It'd be nice to have something so we could do something.\"\u003c/p>\n\u003cp>The lack of a movie theater and basic leisure like skating rinks hurts struggling regions that have seen jobs leave, said Robby Moore, mayor of Lobelville, Tennessee. Residents in rural areas often have to travel more than an hour to watch a movie.\u003c/p>\n\u003cp>That's why Esparza began building theaters in underserved areas in 2000. The theaters also provide jobs.\u003c/p>\n\u003cp>\"I saw a business opportunity. But what I soon realized was that I have to become a developer, too,\" Esparza said. \"Few people were investing in these communities.\"\u003c/p>\n\u003cfigure id=\"attachment_11672271\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11672271\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/GettyImages-89996832-800x1025.jpg\" alt=\"Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in the Central California city of 53,000 people as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options.\" width=\"800\" height=\"1025\">\u003cfigcaption class=\"wp-caption-text\">Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in Delano, a Central California city of 53,000, as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options. \u003ccite>( Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esparza is erecting megaplex movie theaters in rural Latino areas in California. Besides Delano, theaters have opened in Salinas, Bakersfield, Pittsburg and Fresno.\u003c/p>\n\u003cp>His next theater is being planned for North Las Vegas. He says a developer could do the same for rural areas in Kentucky, West Virginia and the Deep South, if they research the need and build complexes that give moviegoers a special experience.\u003c/p>\n\u003cp>Some states are encouraging local communities to take active steps to bring movies to town.\u003c/p>\n\u003cp>New Mexico announced two years ago that it was joining other states in pushing an initiative to revitalize downtown districts in isolated small towns by rehabilitating aging, historic theaters.\u003c/p>\n\u003cp>An economic development program, similar to efforts in Iowa and Illinois, seeks to save often-forgotten facilities like the Shuler Theater in Raton, New Mexico — a poor and rural area. The program helps refurbish buildings and gives grants for new digital projection and sound equipment.\u003c/p>\n\u003cp>New Mexico officials believe that reviving theaters in ranching towns and small cities near American Indian reservations will help create jobs in struggling downtown districts and spark excitement in entertainment deserts.\u003c/p>\n\u003cp>The Gates Family Foundation also is awarding $10,000 to $30,000 grants to rural communities to purchase new digital equipment for movie theaters.\u003c/p>\n\u003cp>Esparza says that, like food and shelter, all people need the communal experience that movies provide.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Everyone should have a right to dream,\" Esparza said. \"Movies allow people to dream, to think of a world outside their experiences.\"\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11672268/latino-movie-producer-opens-theaters-in-rural-poor-areas","authors":["byline_news_11672268"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_5968","news_22328","news_701","news_4889","news_4731"],"featImg":"news_11672269","label":"source_news_11672268"},"arts_13545153":{"type":"posts","id":"arts_13545153","meta":{"index":"posts_1591205157","site":"arts","id":"13545153","score":null,"sort":[1498779738000]},"guestAuthors":[],"slug":"sf-theater-which-birthed-angels-in-america-to-close-after-45-years","title":"SF Theater Which Birthed 'Angels in America' to Close After 45 Years","publishDate":1498779738,"format":"standard","headTitle":"SF Theater Which Birthed ‘Angels in America’ to Close After 45 Years | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>The scrappy San Francisco theater company that birthed \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Angels in America\u003c/em>\u003c/a>, one of the most iconic American plays of the late 20th century, is closing after 45 years.\u003c/p>\n\u003cp>Founded in 1972, the \u003ca href=\"http://www.theeurekatheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eureka Theatre\u003c/a> helped to launch the careers of well-known actors, directors and playwrights, like Danny Glover and Anna Deavere Smith.\u003c/p>\n\u003cp>But it’s best known for commissioning Tony Kushner to write \u003cem>Angels in America\u003c/em>. The searing political drama about the AIDS crisis had its world premiere at Eureka in 1991.\u003c/p>\n\u003cp>Kushner’s drama went on to acclaimed runs on Broadway and the UK’s National Theatre, and in 2003 became a \u003ca href=\"http://www.hbo.com/movies/angels-in-america\" target=\"_blank\" rel=\"noopener noreferrer\">hit TV miniseries\u003c/a> starring Al Pacino and Meryl Streep.\u003c/p>\n\u003cp>Laird Rodet, Eureka’s executive director, cites several reasons for the decision to shut down the company, including escalating maintenance costs on its venue, located on Jackson Street in the heart of San Francisco’s Financial District.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“After our 10-year lease expired, the landlord, Gateway Partners, wanted to have year-to-year leases for all of their tenants including Starbucks, Safeway, Togo’s and Eureka,” Rodet says. “For a non-profit venue to have a year-to-year lease, it’s almost impossible to raise funds from foundations and individuals for renovations.”\u003c/span>\u003c/p>\n\u003cp>The Eureka Theatre Company has had two distinct identities over the past 45 years. It began as a producing organization. But following a four-year hiatus in the late 1990s, it reemerged principally as a venue, renting subsidized performance space to other small Bay Area-based arts producers like \u003ca href=\"http://42ndstmoon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">42nd Street Moon\u003c/a>, \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Sketchfest\u003c/a> and \u003ca href=\"http://therhino.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Rhinoceros\u003c/a> for their shows.\u003c/p>\n\u003cp>42nd Street Moon is taking over the venue’s lease, and will continue to sublet the space to other companies as well as produce its own shows there. The venue’s name will change to Gateway Theatre.\u003c/p>\n\u003cp>“It’s in our interest to keep that space as our long-term home,” says 42nd Street Moon executive director Daren Carollo. “We want that stability.”\u003c/p>\n\u003cp>Carollo says his organization is in the process of negotiating a longer lease with Gateway Partners. “The Partners are interested in keeping arts as a vital part of space,” Carollo says. “But they want a producing company in it.”\u003c/p>\n\u003cp>Eureka will officially cease operations on Wednesday, July 5, following the final performance of Theatre Rhinoceros’ musical production of \u003ca href=\"http://therhino.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Priscilla, Queen of the Desert\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The Eureka Theatre helped launch the careers of Danny Glover and Anna Deavere Smith, but it’s best known for commissioning Tony Kushner to write one of the most iconic dramas of the late 20th century.\r\n","status":"publish","parent":0,"modified":1705030190,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":433},"headData":{"title":"SF Theater Which Birthed 'Angels in America' to Close After 45 Years | KQED","description":"The Eureka Theatre helped launch the careers of Danny Glover and Anna Deavere Smith, but it’s best known for commissioning Tony Kushner to write one of the most iconic dramas of the late 20th century.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Theater Which Birthed 'Angels in America' to Close After 45 Years","datePublished":"2017-06-29T23:42:18.000Z","dateModified":"2024-01-12T03:29:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13545153/sf-theater-which-birthed-angels-in-america-to-close-after-45-years","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The scrappy San Francisco theater company that birthed \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Angels in America\u003c/em>\u003c/a>, one of the most iconic American plays of the late 20th century, is closing after 45 years.\u003c/p>\n\u003cp>Founded in 1972, the \u003ca href=\"http://www.theeurekatheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eureka Theatre\u003c/a> helped to launch the careers of well-known actors, directors and playwrights, like Danny Glover and Anna Deavere Smith.\u003c/p>\n\u003cp>But it’s best known for commissioning Tony Kushner to write \u003cem>Angels in America\u003c/em>. The searing political drama about the AIDS crisis had its world premiere at Eureka in 1991.\u003c/p>\n\u003cp>Kushner’s drama went on to acclaimed runs on Broadway and the UK’s National Theatre, and in 2003 became a \u003ca href=\"http://www.hbo.com/movies/angels-in-america\" target=\"_blank\" rel=\"noopener noreferrer\">hit TV miniseries\u003c/a> starring Al Pacino and Meryl Streep.\u003c/p>\n\u003cp>Laird Rodet, Eureka’s executive director, cites several reasons for the decision to shut down the company, including escalating maintenance costs on its venue, located on Jackson Street in the heart of San Francisco’s Financial District.\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>\u003cspan style=\"font-weight: 400\">“After our 10-year lease expired, the landlord, Gateway Partners, wanted to have year-to-year leases for all of their tenants including Starbucks, Safeway, Togo’s and Eureka,” Rodet says. “For a non-profit venue to have a year-to-year lease, it’s almost impossible to raise funds from foundations and individuals for renovations.”\u003c/span>\u003c/p>\n\u003cp>The Eureka Theatre Company has had two distinct identities over the past 45 years. It began as a producing organization. But following a four-year hiatus in the late 1990s, it reemerged principally as a venue, renting subsidized performance space to other small Bay Area-based arts producers like \u003ca href=\"http://42ndstmoon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">42nd Street Moon\u003c/a>, \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Sketchfest\u003c/a> and \u003ca href=\"http://therhino.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Rhinoceros\u003c/a> for their shows.\u003c/p>\n\u003cp>42nd Street Moon is taking over the venue’s lease, and will continue to sublet the space to other companies as well as produce its own shows there. The venue’s name will change to Gateway Theatre.\u003c/p>\n\u003cp>“It’s in our interest to keep that space as our long-term home,” says 42nd Street Moon executive director Daren Carollo. “We want that stability.”\u003c/p>\n\u003cp>Carollo says his organization is in the process of negotiating a longer lease with Gateway Partners. “The Partners are interested in keeping arts as a vital part of space,” Carollo says. “But they want a producing company in it.”\u003c/p>\n\u003cp>Eureka will officially cease operations on Wednesday, July 5, following the final performance of Theatre Rhinoceros’ musical production of \u003ca href=\"http://therhino.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Priscilla, Queen of the Desert\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13545153/sf-theater-which-birthed-angels-in-america-to-close-after-45-years","authors":["8608"],"programs":["arts_1272"],"categories":["arts_235","arts_967"],"tags":["arts_1118","arts_746","arts_596","arts_1928"],"featImg":"arts_13546364","label":"arts_1272"},"arts_13212975":{"type":"posts","id":"arts_13212975","meta":{"index":"posts_1591205157","site":"arts","id":"13212975","score":null,"sort":[1494613349000]},"guestAuthors":[],"slug":"director-peter-brook-talks-theater-politics-being-useful-at-age-92","title":"Director Peter Brook Talks Theater, Politics & Being 'Useful' at Age 92.","publishDate":1494613349,"format":"standard","headTitle":"Director Peter Brook Talks Theater, Politics & Being ‘Useful’ at Age 92. | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>A Midsummer Night’s Dream. Marat/Sade. The Mahabharata.\u003c/em>\u003c/p>\n\u003cp>The 92-year-old, British-born, Paris-based theater director Peter Brook didn’t write any of those works, but his stagings of them are often talked about as defining moments in 20th century theater.\u003c/p>\n\u003cp>\u003cem>The Mahabharata\u003c/em> was a nine-hour event, not including the rest breaks. It brought to life an ancient Sanskrit epic poem with nearly two dozen performers from 16 different countries. Once it opened at 1985 in a quarry outside Avignon, France, avant garde theater buffs across the world made it a point to experience it.\u003c/p>\n\u003cp>Brook’s latest creation is \u003cem>Battlefield\u003c/em>, a 70-minute return to one part of \u003cem>The Mahabharata\u003c/em>, currently showing at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a>‘s Geary Stage in San Francisco.\u003c/p>\n\u003cp>KQED News host Brian Watt interviewed Brook. Listen to the extended audio segment, here:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio//2017/05/PeterBrookwithBrianWattextendedforWEBWithIntro.mp3\" title=\"Peter Brook interview\" program=\"Morning Edition\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/with-Peter-Brook-e1494608647926.jpg\"]\u003c/p>\n\n","blocks":[],"excerpt":"KQED's Brian Watt speaks to the legendary director, who is still working at 92. ","status":"publish","parent":0,"modified":1705030668,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":187},"headData":{"title":"Director Peter Brook Talks Theater, Politics & Being 'Useful' at Age 92. | KQED","description":"KQED's Brian Watt speaks to the legendary director, who is still working at 92. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Director Peter Brook Talks Theater, Politics & Being 'Useful' at Age 92.","datePublished":"2017-05-12T18:22:29.000Z","dateModified":"2024-01-12T03:37:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13212975/director-peter-brook-talks-theater-politics-being-useful-at-age-92","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>A Midsummer Night’s Dream. Marat/Sade. The Mahabharata.\u003c/em>\u003c/p>\n\u003cp>The 92-year-old, British-born, Paris-based theater director Peter Brook didn’t write any of those works, but his stagings of them are often talked about as defining moments in 20th century theater.\u003c/p>\n\u003cp>\u003cem>The Mahabharata\u003c/em> was a nine-hour event, not including the rest breaks. It brought to life an ancient Sanskrit epic poem with nearly two dozen performers from 16 different countries. Once it opened at 1985 in a quarry outside Avignon, France, avant garde theater buffs across the world made it a point to experience it.\u003c/p>\n\u003cp>Brook’s latest creation is \u003cem>Battlefield\u003c/em>, a 70-minute return to one part of \u003cem>The Mahabharata\u003c/em>, currently showing at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a>‘s Geary Stage in San Francisco.\u003c/p>\n\u003cp>KQED News host Brian Watt interviewed Brook. Listen to the extended audio segment, here:\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>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"src":"http://www.kqed.org/.stream/anon/radio//2017/05/PeterBrookwithBrianWattextendedforWEBWithIntro.mp3","title":"Peter Brook interview","program":"Morning Edition","image":"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/with-Peter-Brook-e1494608647926.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13212975/director-peter-brook-talks-theater-politics-being-useful-at-age-92","authors":["11238"],"categories":["arts_235","arts_967"],"tags":["arts_1037","arts_1119","arts_596"],"featImg":"arts_13212977","label":"arts"},"news_11363906":{"type":"posts","id":"news_11363906","meta":{"index":"posts_1591205157","site":"news","id":"11363906","score":null,"sort":[1489822253000]},"guestAuthors":[],"slug":"building-the-wall-imagines-post-trump-dystopia","title":"'Building the Wall' Imagines Post-Trump Dystopia","publishDate":1489822253,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>It’s the year 2019. President Trump may or may not still be the president. His immigration policies, however, have been carried out -- to an extreme. And at least one person is paying the price.\u003c/p>\n\u003cp>That’s the backdrop of playwright Robert Schenkkan’s latest stage work, \"\u003ca href=\"https://www.youtube.com/watch?v=M0vV_aJ2xzA&feature=youtu.be\" target=\"_blank\">Building the Wall\u003c/a>.\"\u003c/p>\n\u003cp>We first meet Rick, played by Bo Foxworth, inside a federal lockup. He’s a military veteran who grew up in Texas. Now he’s a prisoner.\u003c/p>\n\u003cp>“I don’t have anybody to talk to in here,\" he says to the play's other main protagonist, Gloria, played by Judith Moreland.\u003c/p>\n\u003cp>\"You’re in solitary, yes?\" asks Gloria.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"For my own protection,” responds Rick.\u003c/p>\n\u003cfigure id=\"attachment_11363907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11363907\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of \"Building the Wall.\" \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rick used to work in a place just like this: a private prison on the Tex-Mex border housing scores of immigrants rounded up under the Trump administration. He was the warden, and some very bad things happened on his watch.\u003c/p>\n\u003cp>“There's nothing really extraordinary about him except the circumstances in which he finds himself and the choices he sadly makes,” says\u003ca href=\"http://www.robertschenkkan.com/\"> Schenkkan\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11363910\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11363910\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg\" alt=\"Playwright Robert Schenkkan \" width=\"800\" height=\"511\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-160x102.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1020x651.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1180x754.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-960x613.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-240x153.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-375x239.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-520x332.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016.jpg 1666w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Robert Schenkkan \u003ccite>(Robert Schenkkan )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the character of Rick, Schenkkan also grew up in Texas. He is probably best known for his \u003ca href=\"http://www.pulitzer.org/winners/robert-schenkkan\">Pulitzer Prize\u003c/a>-winning saga, \"The Kentucky Cycle,\" and for screenwriting credits that include films like \"The Quiet American\" and 2016’s Academy Award-nominated \"Hacksaw Ridge\" -- projects that typically have long gestation and production periods.\u003c/p>\n\u003cp>But Schenkkan says \"Building the Wall\" came on fast.\u003c/p>\n\u003cp>“I wrote this before the (November) election in what I describe as a white-hot fury in the space of a week,” says Schenkkan, speaking in the upstairs cafe at the \u003ca href=\"http://www.fountaintheatre.com/event/building-the-wall/\" target=\"_blank\">Fountain Theatre\u003c/a> in Hollywood where the 90-minute play is premiering.\u003c/p>\n\u003cp>Schenkkan says he was spurred on by the anti-immigrant rhetoric and policies of Donald Trump. But it was written more as a warning, a cautionary tale that imagines what could happen if a man like Donald Trump actually became president and successfully carried out his most extreme immigration policies. But like many people, Schenkkan didn't really think Trump would win.\u003c/p>\n\u003cp>Unlike previous works like \"The Kentucky Cycle\" that require large ensemble casts, \"Building the Wall\" is the epitome of theater minimalism: one room, two characters.\u003c/p>\n\u003cp>“It only needed these two people,” says Schenkkan.\u003c/p>\n\u003cfigure id=\"attachment_11363979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11363979\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of 'Building the Wall.' \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Out of that we feel an entire world of individuals caught up by events. But it is not necessary for us to see those events or to visit with those people.”\u003c/p>\n\u003cp>The drama revolves around Rick and a historian named Gloria, whom he’s agreed to speak with about the events that led to his conviction.\u003c/p>\n\u003cp>We learn more about both as they question each other's motives and beliefs. He’s white, she’s black. She didn’t support Donald Trump. He did.\u003c/p>\n\u003cp>In one scene, Rick rapturously describes attending his first Trump campaign rally.\u003c/p>\n\u003cp>“It was like being part of a wave or something. Bigger than yourself. You didn’t feel little anymore, put down anymore, shamed.”\u003c/p>\n\u003cp>But Gloria wants to know: What about the violence and threats of violence that often punctuated Trump rallies?\u003c/p>\n\u003cp>“Protesters getting beaten up?” she asks\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Those guys were there to provoke people and they succeeded,” snorts Rick. “The whole thing was like, I don’t know, a pro-wrestling kinda thing!”\u003c/p>\n\u003cp>“Some people got hurt,” says Gloria.\u003c/p>\n\u003cp>“Nobody died,” says Rick.\u003c/p>\n\u003cp>“No,” says Gloria. “That would come later.”\u003c/p>\n\u003cfigure id=\"attachment_11363983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11363983 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg\" alt=\"building wall actors 3\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of 'Building the Wall.'\u003c/figcaption>\u003c/figure>\n\u003cp>Later. Just what did happen \u003cem>later\u003c/em>?\u003c/p>\n\u003cp>We learn details of Rick’s crimes as the drama unfolds. His attorney told him not to testify at trial. Now he wants to set the record straight, wants to tell people he’s not some kind of monster. And apparently that he did not act alone.\u003c/p>\n\u003cp>“I saw things,” says Rick gravely. “I know stuff that’ll make a lot of people look bad.”\u003c/p>\n\u003cp>Rick chooses the historian Gloria as his confessor. The atrocities are of historic proportion.\u003c/p>\n\u003cp>“Before this play is over we may still have some judgments, but we understand him in a very different way,” says director \u003ca href=\"http://www.bostoncourt.com/staff\" target=\"_blank\">Michael Michetti. \u003c/a>\u003c/p>\n\u003cp>Michetti jumped at the chance to work with a Robert Schenkkan script that he believes is so timely. He also says it's not a partisan diatribe against Trump. It takes on themes of race, class and reconciliation.\u003c/p>\n\u003cp>“Robert gives a real voice to the people who we now know felt very underrepresented, and therefore they supported Trump's candidacy and presidency,” says Michetti.\u003c/p>\n\u003cp>“The character of Rick has to answer a very important question and that is: When is it time to say no?” says producer and Fountain Theatre artistic director \u003ca href=\"http://www.stephensachs.com/\" target=\"_blank\">Stephen Sachs\u003c/a>. “When is it time to stand up and say, 'I will not do this. I will not follow orders.' \"\u003c/p>\n\u003cp>To make room for the play's three-month run, the Fountain Theatre preempted another previously scheduled performance. The cast and staging, like the script, were assembled fast -- in a matter of weeks.\u003c/p>\n\u003cp>“Oh, it’s extraordinary,” says Sachs. “This does not happen.”\u003c/p>\n\u003cp>On the afternoon I visit the Fountain, the set is still being painted, actors deep in rehearsal. Schenkkan says it typically takes months, if not years, to take a work from the page to the stage.\u003c/p>\n\u003cp>“It will be too late by then! American theater today has to decide: Are we curating history or we going to make history? Are we going to be involved in what is happening right now?\" asks Schenkkan.\u003c/p>\n\u003cp>“This play has been designed to be the first of what I hope will be many such new paradigms for the production and creation of responsive American theater.”\u003c/p>\n\u003cp>\"Building the Wall\" premieres this weekend at the Fountain Theatre in Hollywood. Theaters in five other U.S. cities will stage performances of their own as part of a \"rolling premiere\" in collaboration with the \u003ca href=\"http://nnpn.org/\" target=\"_blank\">National New Play Network\u003c/a>. \u003cem> \u003c/em>\u003c/p>\n\u003cp>\"Building the Wall\" is also due to be published in book form in April.\u003c/p>\n\u003cp>“We are now aggressively licensing the play to anyone who wants to do it. Whether they want to do a production or they want to do a reading, it doesn’t matter,” says Schenkkan.\u003c/p>\n\u003cp>“You want to do this play for 20 people in your living room? God bless, go out there and do it. Let’s respond now.”\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">The National New Play Network’s \"rolling world premiere\" of Robert Schenkkan’s \"Building the Wall\":\u003c/span>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">Los Angeles - \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://www.fountaintheatre.com/\">The Fountain Theat\u003c/a>re\u003c/u> - March 18, 2017. \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"color: #000000\">Denver - \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://curioustheatre.org/\">The Curious Theat\u003c/a>re Co.\u003c/u> - April 4. Washington, D.C. – \u003ca style=\"color: #000000\" href=\"https://forum-theatre.org/\">\u003cu>Forum Theatre/at Arena Stage\u003c/u>\u003c/a> - April 30. Santa Fe - \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://adoberosetheatre.org/\">Adobe Rose Theat\u003c/a>re\u003c/u> - June 15. Tucson – \u003ca style=\"color: #000000\" href=\"http://www.robertschenkkan.com/www.borderlandstheater.org/\">\u003cu>Borderlands Theater\u003c/u>\u003c/a> - Sept. 1. Miami - \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"https://www.citytheatre.com/\">City Theat\u003c/a>re\u003c/u> - Sept. 29\u003c/span>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘American theater today has to decide: Are we curating history or we going to make history?’ says playwright Robert Schenkkan.","status":"publish","parent":0,"modified":1490034071,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":46,"wordCount":1245},"headData":{"title":"'Building the Wall' Imagines Post-Trump Dystopia | KQED","description":"‘American theater today has to decide: Are we curating history or we going to make history?’ says playwright Robert Schenkkan.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'Building the Wall' Imagines Post-Trump Dystopia","datePublished":"2017-03-18T07:30:53.000Z","dateModified":"2017-03-20T18:21:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11363906 https://ww2.kqed.org/news/?p=11363906","disqusUrl":"https://ww2.kqed.org/news/2017/03/18/building-the-wall-imagines-post-trump-dystopia/","disqusTitle":"'Building the Wall' Imagines Post-Trump Dystopia","audioUrl":"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/03/2017-03-17c-tcrmag.mp3","guestFields":"0","path":"/news/11363906/building-the-wall-imagines-post-trump-dystopia","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the year 2019. President Trump may or may not still be the president. His immigration policies, however, have been carried out -- to an extreme. And at least one person is paying the price.\u003c/p>\n\u003cp>That’s the backdrop of playwright Robert Schenkkan’s latest stage work, \"\u003ca href=\"https://www.youtube.com/watch?v=M0vV_aJ2xzA&feature=youtu.be\" target=\"_blank\">Building the Wall\u003c/a>.\"\u003c/p>\n\u003cp>We first meet Rick, played by Bo Foxworth, inside a federal lockup. He’s a military veteran who grew up in Texas. Now he’s a prisoner.\u003c/p>\n\u003cp>“I don’t have anybody to talk to in here,\" he says to the play's other main protagonist, Gloria, played by Judith Moreland.\u003c/p>\n\u003cp>\"You’re in solitary, yes?\" asks Gloria.\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>\"For my own protection,” responds Rick.\u003c/p>\n\u003cfigure id=\"attachment_11363907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11363907\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of \"Building the Wall.\" \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rick used to work in a place just like this: a private prison on the Tex-Mex border housing scores of immigrants rounded up under the Trump administration. He was the warden, and some very bad things happened on his watch.\u003c/p>\n\u003cp>“There's nothing really extraordinary about him except the circumstances in which he finds himself and the choices he sadly makes,” says\u003ca href=\"http://www.robertschenkkan.com/\"> Schenkkan\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11363910\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11363910\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg\" alt=\"Playwright Robert Schenkkan \" width=\"800\" height=\"511\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-160x102.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1020x651.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1180x754.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-960x613.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-240x153.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-375x239.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-520x332.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016.jpg 1666w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Robert Schenkkan \u003ccite>(Robert Schenkkan )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the character of Rick, Schenkkan also grew up in Texas. He is probably best known for his \u003ca href=\"http://www.pulitzer.org/winners/robert-schenkkan\">Pulitzer Prize\u003c/a>-winning saga, \"The Kentucky Cycle,\" and for screenwriting credits that include films like \"The Quiet American\" and 2016’s Academy Award-nominated \"Hacksaw Ridge\" -- projects that typically have long gestation and production periods.\u003c/p>\n\u003cp>But Schenkkan says \"Building the Wall\" came on fast.\u003c/p>\n\u003cp>“I wrote this before the (November) election in what I describe as a white-hot fury in the space of a week,” says Schenkkan, speaking in the upstairs cafe at the \u003ca href=\"http://www.fountaintheatre.com/event/building-the-wall/\" target=\"_blank\">Fountain Theatre\u003c/a> in Hollywood where the 90-minute play is premiering.\u003c/p>\n\u003cp>Schenkkan says he was spurred on by the anti-immigrant rhetoric and policies of Donald Trump. But it was written more as a warning, a cautionary tale that imagines what could happen if a man like Donald Trump actually became president and successfully carried out his most extreme immigration policies. But like many people, Schenkkan didn't really think Trump would win.\u003c/p>\n\u003cp>Unlike previous works like \"The Kentucky Cycle\" that require large ensemble casts, \"Building the Wall\" is the epitome of theater minimalism: one room, two characters.\u003c/p>\n\u003cp>“It only needed these two people,” says Schenkkan.\u003c/p>\n\u003cfigure id=\"attachment_11363979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11363979\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of 'Building the Wall.' \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Out of that we feel an entire world of individuals caught up by events. But it is not necessary for us to see those events or to visit with those people.”\u003c/p>\n\u003cp>The drama revolves around Rick and a historian named Gloria, whom he’s agreed to speak with about the events that led to his conviction.\u003c/p>\n\u003cp>We learn more about both as they question each other's motives and beliefs. He’s white, she’s black. She didn’t support Donald Trump. He did.\u003c/p>\n\u003cp>In one scene, Rick rapturously describes attending his first Trump campaign rally.\u003c/p>\n\u003cp>“It was like being part of a wave or something. Bigger than yourself. You didn’t feel little anymore, put down anymore, shamed.”\u003c/p>\n\u003cp>But Gloria wants to know: What about the violence and threats of violence that often punctuated Trump rallies?\u003c/p>\n\u003cp>“Protesters getting beaten up?” she asks\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Those guys were there to provoke people and they succeeded,” snorts Rick. “The whole thing was like, I don’t know, a pro-wrestling kinda thing!”\u003c/p>\n\u003cp>“Some people got hurt,” says Gloria.\u003c/p>\n\u003cp>“Nobody died,” says Rick.\u003c/p>\n\u003cp>“No,” says Gloria. “That would come later.”\u003c/p>\n\u003cfigure id=\"attachment_11363983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11363983 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg\" alt=\"building wall actors 3\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/building-wall-actors-3.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of 'Building the Wall.'\u003c/figcaption>\u003c/figure>\n\u003cp>Later. Just what did happen \u003cem>later\u003c/em>?\u003c/p>\n\u003cp>We learn details of Rick’s crimes as the drama unfolds. His attorney told him not to testify at trial. Now he wants to set the record straight, wants to tell people he’s not some kind of monster. And apparently that he did not act alone.\u003c/p>\n\u003cp>“I saw things,” says Rick gravely. “I know stuff that’ll make a lot of people look bad.”\u003c/p>\n\u003cp>Rick chooses the historian Gloria as his confessor. The atrocities are of historic proportion.\u003c/p>\n\u003cp>“Before this play is over we may still have some judgments, but we understand him in a very different way,” says director \u003ca href=\"http://www.bostoncourt.com/staff\" target=\"_blank\">Michael Michetti. \u003c/a>\u003c/p>\n\u003cp>Michetti jumped at the chance to work with a Robert Schenkkan script that he believes is so timely. He also says it's not a partisan diatribe against Trump. It takes on themes of race, class and reconciliation.\u003c/p>\n\u003cp>“Robert gives a real voice to the people who we now know felt very underrepresented, and therefore they supported Trump's candidacy and presidency,” says Michetti.\u003c/p>\n\u003cp>“The character of Rick has to answer a very important question and that is: When is it time to say no?” says producer and Fountain Theatre artistic director \u003ca href=\"http://www.stephensachs.com/\" target=\"_blank\">Stephen Sachs\u003c/a>. “When is it time to stand up and say, 'I will not do this. I will not follow orders.' \"\u003c/p>\n\u003cp>To make room for the play's three-month run, the Fountain Theatre preempted another previously scheduled performance. The cast and staging, like the script, were assembled fast -- in a matter of weeks.\u003c/p>\n\u003cp>“Oh, it’s extraordinary,” says Sachs. “This does not happen.”\u003c/p>\n\u003cp>On the afternoon I visit the Fountain, the set is still being painted, actors deep in rehearsal. Schenkkan says it typically takes months, if not years, to take a work from the page to the stage.\u003c/p>\n\u003cp>“It will be too late by then! American theater today has to decide: Are we curating history or we going to make history? Are we going to be involved in what is happening right now?\" asks Schenkkan.\u003c/p>\n\u003cp>“This play has been designed to be the first of what I hope will be many such new paradigms for the production and creation of responsive American theater.”\u003c/p>\n\u003cp>\"Building the Wall\" premieres this weekend at the Fountain Theatre in Hollywood. Theaters in five other U.S. cities will stage performances of their own as part of a \"rolling premiere\" in collaboration with the \u003ca href=\"http://nnpn.org/\" target=\"_blank\">National New Play Network\u003c/a>. \u003cem> \u003c/em>\u003c/p>\n\u003cp>\"Building the Wall\" is also due to be published in book form in April.\u003c/p>\n\u003cp>“We are now aggressively licensing the play to anyone who wants to do it. Whether they want to do a production or they want to do a reading, it doesn’t matter,” says Schenkkan.\u003c/p>\n\u003cp>“You want to do this play for 20 people in your living room? God bless, go out there and do it. Let’s respond now.”\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">The National New Play Network’s \"rolling world premiere\" of Robert Schenkkan’s \"Building the Wall\":\u003c/span>\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>\u003cem>\u003cspan style=\"color: #000000\">Los Angeles - \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://www.fountaintheatre.com/\">The Fountain Theat\u003c/a>re\u003c/u> - March 18, 2017. \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"color: #000000\">Denver - \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://curioustheatre.org/\">The Curious Theat\u003c/a>re Co.\u003c/u> - April 4. Washington, D.C. – \u003ca style=\"color: #000000\" href=\"https://forum-theatre.org/\">\u003cu>Forum Theatre/at Arena Stage\u003c/u>\u003c/a> - April 30. Santa Fe - \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://adoberosetheatre.org/\">Adobe Rose Theat\u003c/a>re\u003c/u> - June 15. Tucson – \u003ca style=\"color: #000000\" href=\"http://www.robertschenkkan.com/www.borderlandstheater.org/\">\u003cu>Borderlands Theater\u003c/u>\u003c/a> - Sept. 1. Miami - \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"https://www.citytheatre.com/\">City Theat\u003c/a>re\u003c/u> - Sept. 29\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11363906/building-the-wall-imagines-post-trump-dystopia","authors":["2600"],"programs":["news_72"],"categories":["news_223","news_8","news_13"],"tags":["news_20446","news_1323","news_4","news_17286","news_17041","news_4731"],"featImg":"news_11363981","label":"news_72"}},"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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You ask the questions. You decide what Bay Curious investigates. 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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/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","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. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","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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