Big Ideas, and Big Chaos from the Algorithm, in 'Big Data' at ACT
10 Ways to Fall in Love With Bay Area Theatre and Dance
ACT’s ‘The Headlands’ Maps SF Through Fog, Flashbacks and a Cold Case
The Geary Theater Has a New Name: The Toni Rembe Theater
With 'Fefu and Her Friends,' ACT Throws an Exhilarating, Challenging Affair
A Year Later, Bay Area Theater Companies Reckon With BIPOC Demands
Livestreaming Defined the Performing Arts in 2020. How Can it Be Sustained?
All’s Fair Game in 'Love and Warcraft'
Despite Early Closing, 'Toni Stone' Hits a Home Run at A.C.T., Moves Online
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No longer do archaic fossils of culture dominate society — think about the last time you needed to buy a concert or sports ticket in person, or when you last sat in a bookstore reading a novel or magazine with pages that required physical turning.\u003c/p>\n\u003cp>Today, phones, tablets or a trusty laptop provide every creature comfort known to humanity, and tech’s capabilities expand with each new update. But at what cost? Are we, in our yearning for more knowledge with blaring rapidity, simply feeding the beast? Frailty, thy name is algorithm!\u003c/p>\n\u003cfigure id=\"attachment_13952875\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg\" alt=\"\" width=\"1278\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1022x1536.jpg 1022w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In playwright Kate Attwell’s world premiere of \u003cem>Big Data\u003c/em>, commissioned and presented by American Conservatory Theater in San Francisco, modern society’s horrors take the form of the dastardly-yet-dashing “M” (B.D. Wong), an automated puppet master who readily loads his subjects with thoughts and ideas that veer from inspired to toxic. “M” is random as all get out – knocking on stranger’s doors to simply hang out, seducing a young man and offering pleasures of the flesh, and subtly convincing an older couple that their time on this Earth has surpassed its useful life.\u003c/p>\n\u003cp>Director Pam MacKinnon’s meticulous attention to detail provides effective, steady subtlety inside Attwell’s staccato-ish dialogue. Occasionally, the script has a propensity to drone into one-note, ineffective territory, especially within stretches of the first act. This is not a fault of the cast, which is universally terrific. Both Sam (Gabriel Brown) and Timmy (Michael Phillis) are handsome, married millennials whose polyamorous dealings veer outside of simple physicality. Those invited inside their velvet, lustful ropes didn’t plan for the baggage of loneliness that both carry.\u003c/p>\n\u003cfigure id=\"attachment_13952876\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Gabriel Brown (Sam), Rosie Hallett (Lucy), and Michael Phillis (Timmy) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, a sense of unease persists between medical professional Lucy (Rosie Hallett) and husband Max (Jomar Tagatac). While Lucy easily gives every ounce of herself to big tech, her cell phone notifications going off incessantly, Max is much more concerned with old school natural dangers like earthquakes and flooding. Together, the mix of infertility, home economics and large loans turn the couple into carbon and oxygen balls of mass agita.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The distinct nature of each act is intentional. Whereas the first act establishes five characters, all with their own issues, the second introduces two new characters entirely, revealing the ways in which the aforementioned folks connect. As the older parentals, Didi (Julia McNeal) and her husband Joe (Harold Surratt) don’t carry the same relationship to tech as their younger counterparts, but are nonetheless affected mightily by its constant presence.\u003c/p>\n\u003cp>Didi and Joe refuse to succumb to the new vanguard without a fight, thanks to Joe’s gargantuan cement truck that creates a physical barrier to the tech devices they’re actively shunning. (That smart thermometer is no match for concrete.)\u003c/p>\n\u003cfigure id=\"attachment_13952878\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While no one would advocate the play’s denouement, there is something poetic about Didi and Joe’s choices. Technology will always move forward, yet at a time when the human mind is challenged more than ever by the artificial world, human expendability is on the table in unforeseen ways. To those who make art their life’s work, putting random words into a machine and having poetry and music returned with soaring fidelity is horrifying.\u003c/p>\n\u003cp>[aside postID='arts_13951752']Each performer takes turns as the representation of societal strife. Tagatac, an ACT favorite, brings forth a skittish freneticism that parallels our divisive times. Hallett, whose listening skills are uncanny, engages sharply with Tagatac and advocates for her character’s neurosis with resonance. Brown and Phillis carry the responsibility of establishing the narrative’s style, handling many of the play’s funniest moments due to their honesty. And McNeal, along with Surratt and his dopey, everyman quality, delivers critical information with searing truth, magically making her case about the world’s artificiality and what it means to her generation.\u003c/p>\n\u003cp>As a primary strength, \u003cem>Big Data\u003c/em> advocates that the absurd really isn’t that absurd at all. Back in the day, we just knew how to breathe. Now, there’s an app for that. Even while Attwell’s dialogue is often sly, characters don’t speak with wonderment and discovery, and instead with mechanical precision. Each of the first act’s scene changes are soulless jaunts, moving from one reality to the next, within Tanya Orellana’s broad, barren scenic design. A completely different world appears in the second act — brought upon by the charming Wong as he gleefully pops and prances all over the place, sporting many fun costume changes borne of Lydia Tanji’s design.\u003c/p>\n\u003cfigure id=\"attachment_13952874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) and Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the day, what messages are we sending to certain generations? Your dollar bill is worthless, and so is that change in your pocket, because it’s all about cash-free zones and cryptocurrency now. How about some soulless poetry or music from Chat GPT? Is this where society is headed? Are we just birds programmed to eat, drink, even play piano on command? How does one even do that?\u003c/p>\n\u003cp>Let me guess – there’s an app for that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Big Data’ runs through Sunday, March 10, at ACT’s Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/big-data/\">Details and ticket info here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Playwright Kate Attwell explores modern society’s horrors in this world premiere starring BD Wong. ","status":"publish","parent":0,"modified":1708822449,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1053},"headData":{"title":"Big Ideas, and Big Chaos from the Algorithm, in 'Big Data' at ACT | KQED","description":"Playwright Kate Attwell explores modern society’s horrors in this world premiere starring BD Wong. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Big Ideas, and Big Chaos from the Algorithm, in 'Big Data' at ACT","datePublished":"2024-02-23T17:00:22.000Z","dateModified":"2024-02-25T00:54:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"David John Chávez","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13952873/big-ideas-and-big-chaos-from-the-algorithm-in-big-data-at-act","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a specific and toxic level of melancholia that comes with modern life.\u003c/p>\n\u003cp>Certainly, having the world at one’s literal fingertips makes for infinite possibilities. No longer do archaic fossils of culture dominate society — think about the last time you needed to buy a concert or sports ticket in person, or when you last sat in a bookstore reading a novel or magazine with pages that required physical turning.\u003c/p>\n\u003cp>Today, phones, tablets or a trusty laptop provide every creature comfort known to humanity, and tech’s capabilities expand with each new update. But at what cost? Are we, in our yearning for more knowledge with blaring rapidity, simply feeding the beast? Frailty, thy name is algorithm!\u003c/p>\n\u003cfigure id=\"attachment_13952875\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg\" alt=\"\" width=\"1278\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1022x1536.jpg 1022w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In playwright Kate Attwell’s world premiere of \u003cem>Big Data\u003c/em>, commissioned and presented by American Conservatory Theater in San Francisco, modern society’s horrors take the form of the dastardly-yet-dashing “M” (B.D. Wong), an automated puppet master who readily loads his subjects with thoughts and ideas that veer from inspired to toxic. “M” is random as all get out – knocking on stranger’s doors to simply hang out, seducing a young man and offering pleasures of the flesh, and subtly convincing an older couple that their time on this Earth has surpassed its useful life.\u003c/p>\n\u003cp>Director Pam MacKinnon’s meticulous attention to detail provides effective, steady subtlety inside Attwell’s staccato-ish dialogue. Occasionally, the script has a propensity to drone into one-note, ineffective territory, especially within stretches of the first act. This is not a fault of the cast, which is universally terrific. Both Sam (Gabriel Brown) and Timmy (Michael Phillis) are handsome, married millennials whose polyamorous dealings veer outside of simple physicality. Those invited inside their velvet, lustful ropes didn’t plan for the baggage of loneliness that both carry.\u003c/p>\n\u003cfigure id=\"attachment_13952876\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Gabriel Brown (Sam), Rosie Hallett (Lucy), and Michael Phillis (Timmy) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, a sense of unease persists between medical professional Lucy (Rosie Hallett) and husband Max (Jomar Tagatac). While Lucy easily gives every ounce of herself to big tech, her cell phone notifications going off incessantly, Max is much more concerned with old school natural dangers like earthquakes and flooding. Together, the mix of infertility, home economics and large loans turn the couple into carbon and oxygen balls of mass agita.\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 distinct nature of each act is intentional. Whereas the first act establishes five characters, all with their own issues, the second introduces two new characters entirely, revealing the ways in which the aforementioned folks connect. As the older parentals, Didi (Julia McNeal) and her husband Joe (Harold Surratt) don’t carry the same relationship to tech as their younger counterparts, but are nonetheless affected mightily by its constant presence.\u003c/p>\n\u003cp>Didi and Joe refuse to succumb to the new vanguard without a fight, thanks to Joe’s gargantuan cement truck that creates a physical barrier to the tech devices they’re actively shunning. (That smart thermometer is no match for concrete.)\u003c/p>\n\u003cfigure id=\"attachment_13952878\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While no one would advocate the play’s denouement, there is something poetic about Didi and Joe’s choices. Technology will always move forward, yet at a time when the human mind is challenged more than ever by the artificial world, human expendability is on the table in unforeseen ways. To those who make art their life’s work, putting random words into a machine and having poetry and music returned with soaring fidelity is horrifying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951752","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Each performer takes turns as the representation of societal strife. Tagatac, an ACT favorite, brings forth a skittish freneticism that parallels our divisive times. Hallett, whose listening skills are uncanny, engages sharply with Tagatac and advocates for her character’s neurosis with resonance. Brown and Phillis carry the responsibility of establishing the narrative’s style, handling many of the play’s funniest moments due to their honesty. And McNeal, along with Surratt and his dopey, everyman quality, delivers critical information with searing truth, magically making her case about the world’s artificiality and what it means to her generation.\u003c/p>\n\u003cp>As a primary strength, \u003cem>Big Data\u003c/em> advocates that the absurd really isn’t that absurd at all. Back in the day, we just knew how to breathe. Now, there’s an app for that. Even while Attwell’s dialogue is often sly, characters don’t speak with wonderment and discovery, and instead with mechanical precision. Each of the first act’s scene changes are soulless jaunts, moving from one reality to the next, within Tanya Orellana’s broad, barren scenic design. A completely different world appears in the second act — brought upon by the charming Wong as he gleefully pops and prances all over the place, sporting many fun costume changes borne of Lydia Tanji’s design.\u003c/p>\n\u003cfigure id=\"attachment_13952874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) and Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the day, what messages are we sending to certain generations? Your dollar bill is worthless, and so is that change in your pocket, because it’s all about cash-free zones and cryptocurrency now. How about some soulless poetry or music from Chat GPT? Is this where society is headed? Are we just birds programmed to eat, drink, even play piano on command? How does one even do that?\u003c/p>\n\u003cp>Let me guess – there’s an app for that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Big Data’ runs through Sunday, March 10, at ACT’s Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/big-data/\">Details and ticket info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952873/big-ideas-and-big-chaos-from-the-algorithm-in-big-data-at-act","authors":["byline_arts_13952873"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1238","arts_1175","arts_21969","arts_10278","arts_21970","arts_769","arts_1146"],"featImg":"arts_13952877","label":"arts_140"},"arts_13933150":{"type":"posts","id":"arts_13933150","meta":{"index":"posts_1591205157","site":"arts","id":"13933150","score":null,"sort":[1692724524000]},"guestAuthors":[],"slug":"bay-area-theatre-dance-fall-2023","title":"10 Ways to Fall in Love With Bay Area Theatre and Dance","publishDate":1692724524,"format":"standard","headTitle":"10 Ways to Fall in Love With Bay Area Theatre and Dance | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>\u003cem>Find more of KQED’s picks for the \u003ca href=\"https://www.kqed.org/fallguide2023\">best fall 2023 events here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>For Bay Area theatre, fall is when summer festivals wind down and new seasons of performing companies ramp up. As always, far more amazing shows open over the next few months than one roundup can contain. But here’s a sampling of the most exciting, innovative, and thought-provoking works hitting the boards this fall — from A.C.T. to Z Space.\u003c/p>\n\u003ch3>Theater\u003c/h3>\n\u003cfigure id=\"attachment_13933327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933327\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg\" alt=\"a group photo of three young Black women and a tall Black man, the musician Questlove, in glasses \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dominique Morisseau, Ahmir Questlove Thompson, Camille A. Brown and Kamilah Forbes. \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.act-sf.org/whats-on/2023-24-season/soul-train/\" target=\"_blank\" rel=\"noopener\">Hippest Trip — The Soul Train Musical\u003c/a>\u003cem>’\u003c/em>\u003c/h2>\n\u003cp>\u003cem>Aug. 25–Oct. 1, 2023\u003cbr>\nA.C.T.’s Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>All aboard — the Soul Train is about to leave the station! \u003cem>Hippest Trip — The Soul Train Musical\u003c/em> promises to turn A.C.T.’s Toni Rembe Theater into a celebratory dance party, as well as an homage to the talent that made \u003cem>Soul Train\u003c/em> a beloved household staple for 35 years. Spotlighting the Black music, dance and culture variety show founded by Don Cornelius in 1971, \u003cem>Hippest Trip\u003c/em> presents a powerhouse cast, playwriting by Tony Award-nominated Dominique Morisseau, direction by Kamilah Forbes and choreography by \u003cem>Toni Stone\u003c/em>’s Camille A. Brown.\u003c/p>\n\u003cfigure id=\"attachment_13933423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg\" alt=\"a Black woman with short hair wraps her hands in tape like she's about to box next to a young Asian American man in a jean jacket with his fists up\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabby Momah and Mikee Loria in ‘Wolf Play.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/online/article/wolf-play\" target=\"_blank\" rel=\"noopener\">Wolf Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 2–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Ashby Stage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tackling the morally dubious practice of adoptive parents “re-homing” their children online, Hansol Jung’s devastatingly astute \u003cem>Wolf Play\u003c/em> brings an unforgettable protagonist to life in this Elizabeth Carter-directed production. Jeenu, a 6-year old adoptee, finds refuge in the idea that he is a wolf seeking his pack. For new parents Robin and Ash, Jeenu is both a completion and a complication inside their own refuge of a chosen family. When external forces intrude in their circle, each character must learn to fight for their territory — and for each other.\u003c/p>\n\u003cfigure id=\"attachment_13933580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Gary-800x894.jpg\" alt=\"A man in purple top and spiked headpiece, with gold sash\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-800x894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1020x1140.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-768x859.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1374x1536.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary.jpg 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Gary: A Sequel to Titus Andronicus.’ \u003ccite>(Oakland Theater Project )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/gary\">Gary: A Sequel To Titus Andronicus\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 8–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Oakland Theater Project at FLAX\u003c/em>\u003c/p>\n\u003cp>One of Shakespeare’s most harrowing plays, \u003cem>Titus Andronicus\u003c/em> ends in buckets of blood and piles of bodies — a state of affairs gleefully exaggerated in Taylor Mac’s \u003cem>Gary\u003c/em>. With literal bodies stacked to the ceiling, and a pair of put-upon servants to mop up the mess the mighty have left behind, \u003cem>Gary\u003c/em> gives voice to the voiceless — albeit with fart jokes. But don’t think Mac’s foray into Theatre of the Ridiculous territory is all about the frailties of the human body. What Mac is after is examining the frailties of the systems that perpetrate cycles of violence and trauma, finding unexpected grace under unimaginable pressure.\u003c/p>\n\u003cfigure id=\"attachment_13933332\" class=\"wp-caption aligncenter\" style=\"max-width: 546px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\" alt=\"a white woman with curly hair and a green scarf looks at the camera outside\" width=\"546\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot-160x215.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Mary Glen Fredrick. \u003ccite>(Courtesy of Mary Glen Fredrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.crowdedfire.org/edit-annie/\" target=\"_blank\" rel=\"noopener\">Edit Annie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 21–Oct. 14, 2023\u003cbr>\nMagic Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s been two long years since Crowded Fire Theater presented Isaac Gómez’ terrific and terrifying \u003cem>The Displaced\u003c/em>. Their West Coast premiere of \u003cem>Edit Annie\u003c/em>, by rising New York-based playwright and video artist Mary Glen Fredrick, promises to be worth the wait. Unapologetically rooted in the technological tangles of our time, the play explores the implications and repercussions of our ability to continuously reinvent, redefine, and rewind our relationships in a heavily mediated reality. With a superlative cast, co-direction by Leigh Rondon-Davis and Nailah Unole Dida-nese’ah Harper-Malveaux, and video designed and edited by Fredrick with Lana Palmer, \u003cem>Edit Annie\u003c/em> gives the Extremely Online generation a chance to connect IRL without even having to swipe.\u003c/p>\n\u003cfigure id=\"attachment_13933398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg\" alt=\"a spooky costumed drag queen against a purple background\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm.jpg 1766w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peaches Christ at the Terror Vault inside the San Francisco Mint. \u003ccite>(Courtesy of Terror Vault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.tixr.com/groups/terrorvault\" target=\"_blank\" rel=\"noopener\">Terror Vault Presents: The Initiation\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 29-Oct. 31, 2023\u003cbr>\nSan Francisco Mint\u003c/em>\u003c/p>\n\u003cp>Borne from Peaches Christ’s taste for the macabre and San Francisco’s appetite for the immersive, Terror Vault is a haunted attraction that truly delivers. Appropriately ensconced in the magnificent Old Mint — a granite behemoth built in 1874 — Terror Vault makes use of its shadowy corners, vintage vaults, and disorienting floorplan to devious effect. This year’s theme —\u003cem>The Initiation \u003c/em>— delves into the Bay Area’s unsavory association with cults and their leaders, inviting audiences to attend a “seminar” for a mysterious organization called INsight. Far more involved than your typical haunted house, Terror Vault shows include fully realized world-building, humor, exhibitionists, the best horror makeup around, and consensual audience interactivity for a thrilling adventure you won’t soon forget.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://cuttingball.com/tickets\" target=\"_blank\" rel=\"noopener\">Rossum’s Universal Robots\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20–Nov. 12, 2023\u003c/em>\u003cbr>\n\u003cem>EXIT on Taylor, San Francisco\u003c/em>\u003c/p>\n\u003cp>From its inception, Cutting Ball Theater has been devoted to interrogating the present moment through revitalized classics that sidestep mundane realism in favor of fertile imagination. That makes this adaptation of proto-science fiction \u003cem>Rossum’s Universal Robots\u003c/em> completely on-brand, while still staking out some fantastical new territory for this experimental company. Written in 1920 by Czech playwright Karel Čapek, \u003cem>R.U.R.\u003c/em> examines the human condition through the eyes of its greatest imitators, and would-be inheritors. This production is helmed by Chris Steele — who recently stepped in as the company’s fourth Artistic leader operating within a newly-defined collective — and features a dynamic cast of robots who may have already taken over the world.\u003c/p>\n\u003ch2>‘\u003ca href=\"http://berkeleyrep.org/shows/bulrusher/\" target=\"_blank\" rel=\"noopener\">Bulrusher\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27–Dec. 3, 2023\u003cbr>\nBerkeley Rep’s Peet’s Theatre\u003c/em>\u003c/p>\n\u003cp>In a highly anticipated return to Berkeley, the 2007 Pulitzer-nominated \u003cem>Bulrusher\u003c/em> is a language-driven coming-of-age story. Questions of braided identities, personal liberation and birthright combine with poetry, clairvoyance and the regionally specific Northern California dialect known as “Boontling.” Written by Bay Area-raised Eisa Davis, the niece of activist-scholar Angela Davis and an artistic multi-hyphenate in her own right, \u003cem>Bulrusher\u003c/em> asks: How do we discover who we really are in a world that constantly seeks to define us — and confine us? Nicole A. Watson directs.\u003c/p>\n\u003ch3>Dance\u003c/h3>\n\u003cfigure id=\"attachment_13933581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg\" alt=\"A dancer in hospital patient garb leaps in the air with a nurse in the background.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1920x1348.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nursing These Wounds.’ \u003ccite>(KULARTS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.kularts-sf.org/nursing-these-wounds\" target=\"_blank\" rel=\"noopener\">Nursing These Wounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22–24, 2023\u003cbr>\nODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 21–30, 2023\u003cbr>\nBrava Cabaret, San Francisco\u003c/em>\u003c/p>\n\u003cp>The COVID-19 pandemic has revealed the cracks and fissures in so many of our structures and institutions — particularly in the American health care system. So choreographer Alleluia Panis’ embodied exploration of the many faces and pathways of Pilipinix-born nurses and caregivers is as timely as it is vital. Panis, the co-founder of KULARTS, frequently wrestles with themes of migration, labor, and colonization in her work, and looks to folk dance and indigenous tradition to inform her vibrant choreography. This reprise of 2022’s world premiere offers an unflinching, sometimes harrowing, and loving tribute to an entire demographic of under-recognized, overwhelmed public health protectors.\u003c/p>\n\u003cfigure id=\"attachment_13933427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg\" alt=\"a young Black man dancer poses while facing the camera as other dancers in blue dresses move behind him\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1020x751.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-160x118.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-768x566.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1536x1132.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-2048x1509.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1920x1414.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandon Graham in ‘The Lost Art of Dreaming’ from Sean Dorsey Dance. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Three at Z\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.zspace.org/orale\" target=\"_blank\" rel=\"noopener\">Òrale\u003c/a>, Sept. 7–9; \u003ca href=\"https://www.zspace.org/sdd-dreaming\">The Lost Art of Dreaming\u003c/a>, Sept. 29–Oct. 1; \u003ca href=\"https://www.queercatproductions.com/jesdeville\">Forgetting Tree\u003c/a>, Nov. 3–5\u003c/em>\u003cbr>\n\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dance-driven, genre-exploding work comes to Z Space with a trio of radical performances. First up is \u003cem>Òrale\u003c/em>, a mini-festival of pieces directed by David Herrera Performance Company with an exciting who’s-who of nationally recognized Latinx dance-makers, with live music provided by the excellent El Vez and the Memphis Mariachis. Next, Sean Dorsey Dance encores \u003cem>The Lost Art of Dreaming \u003c/em>— a visually stunning and emotionally ecstatic work, setting its sights on a future of love and collective liberation, expressed through a choreography of queer trans and non-binary bodies. Finally, Queer Cat Productions and Openhaus Athletics install a “consent-forward” interactive and ecologically-engaged experience called \u003cem>Forgetting Tree\u003c/em> in Z Space’s spacious lobby. Curated and created by Jes DeVille, this work promises to stimulate all of the senses — most especially that of the revolutionary within.\u003c/p>\n\u003cfigure id=\"attachment_13933417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg\" alt=\"a group of dancers in colorful clothes pose inside a trolley with green seats\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kim Epifano and dancers on a trolley during the annual San Francisco Trolley Dances. \u003ccite>(Amani Wade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://epiphanydance.org/san-francisco-trolley-dances/\" target=\"_blank\" rel=\"noopener\">San Francisco Trolley Dances: 20th Anniversary Edition\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 21–22, 2023\u003c/em>\u003cbr>\n\u003cem>One Bush Plaza, various locations in San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s simply nothing like the combination dance festival-urban exploration known as Trolley Dances. This year, the San Francisco treat returns to where it all began 20 years ago — on the iconic F-Market line. Starting at One Bush Plaza with Nava Dance Theatre, then hopping on and off the F-Market train en route to Fisherman’s Wharf, audience members will encounter such Bay Area dance luminaries as Blind Tiger Society, Jennifer Perfilio Movement Works, Kinetech Arts, Loco Bloco and artistic director Kim Epifano’s own company, Epiphany Dance. A highlight of the event will be a piece choreographed by San Diego dance legend Jean Isaacs — the originator of the Trolley Dance concept back in 1997.\u003c/p>\n\n","blocks":[],"excerpt":"From Shakespeare to 'Soul Train,' here are highlights of Bay Area theatre and dance this fall.","status":"publish","parent":0,"modified":1705005121,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1540},"headData":{"title":"10 Ways to Fall in Love With Bay Area Theatre and Dance | KQED","description":"From Shakespeare to 'Soul Train,' here are highlights of Bay Area theatre and dance this fall.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Ways to Fall in Love With Bay Area Theatre and Dance","datePublished":"2023-08-22T17:15:24.000Z","dateModified":"2024-01-11T20:32:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Guide 2023","sourceUrl":"/fallguide2023","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13933150/bay-area-theatre-dance-fall-2023","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Find more of KQED’s picks for the \u003ca href=\"https://www.kqed.org/fallguide2023\">best fall 2023 events here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>For Bay Area theatre, fall is when summer festivals wind down and new seasons of performing companies ramp up. As always, far more amazing shows open over the next few months than one roundup can contain. But here’s a sampling of the most exciting, innovative, and thought-provoking works hitting the boards this fall — from A.C.T. to Z Space.\u003c/p>\n\u003ch3>Theater\u003c/h3>\n\u003cfigure id=\"attachment_13933327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933327\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg\" alt=\"a group photo of three young Black women and a tall Black man, the musician Questlove, in glasses \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dominique Morisseau, Ahmir Questlove Thompson, Camille A. Brown and Kamilah Forbes. \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.act-sf.org/whats-on/2023-24-season/soul-train/\" target=\"_blank\" rel=\"noopener\">Hippest Trip — The Soul Train Musical\u003c/a>\u003cem>’\u003c/em>\u003c/h2>\n\u003cp>\u003cem>Aug. 25–Oct. 1, 2023\u003cbr>\nA.C.T.’s Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>All aboard — the Soul Train is about to leave the station! \u003cem>Hippest Trip — The Soul Train Musical\u003c/em> promises to turn A.C.T.’s Toni Rembe Theater into a celebratory dance party, as well as an homage to the talent that made \u003cem>Soul Train\u003c/em> a beloved household staple for 35 years. Spotlighting the Black music, dance and culture variety show founded by Don Cornelius in 1971, \u003cem>Hippest Trip\u003c/em> presents a powerhouse cast, playwriting by Tony Award-nominated Dominique Morisseau, direction by Kamilah Forbes and choreography by \u003cem>Toni Stone\u003c/em>’s Camille A. Brown.\u003c/p>\n\u003cfigure id=\"attachment_13933423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg\" alt=\"a Black woman with short hair wraps her hands in tape like she's about to box next to a young Asian American man in a jean jacket with his fists up\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabby Momah and Mikee Loria in ‘Wolf Play.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/online/article/wolf-play\" target=\"_blank\" rel=\"noopener\">Wolf Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 2–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Ashby Stage, Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tackling the morally dubious practice of adoptive parents “re-homing” their children online, Hansol Jung’s devastatingly astute \u003cem>Wolf Play\u003c/em> brings an unforgettable protagonist to life in this Elizabeth Carter-directed production. Jeenu, a 6-year old adoptee, finds refuge in the idea that he is a wolf seeking his pack. For new parents Robin and Ash, Jeenu is both a completion and a complication inside their own refuge of a chosen family. When external forces intrude in their circle, each character must learn to fight for their territory — and for each other.\u003c/p>\n\u003cfigure id=\"attachment_13933580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Gary-800x894.jpg\" alt=\"A man in purple top and spiked headpiece, with gold sash\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-800x894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1020x1140.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-768x859.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1374x1536.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary.jpg 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Gary: A Sequel to Titus Andronicus.’ \u003ccite>(Oakland Theater Project )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/gary\">Gary: A Sequel To Titus Andronicus\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 8–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Oakland Theater Project at FLAX\u003c/em>\u003c/p>\n\u003cp>One of Shakespeare’s most harrowing plays, \u003cem>Titus Andronicus\u003c/em> ends in buckets of blood and piles of bodies — a state of affairs gleefully exaggerated in Taylor Mac’s \u003cem>Gary\u003c/em>. With literal bodies stacked to the ceiling, and a pair of put-upon servants to mop up the mess the mighty have left behind, \u003cem>Gary\u003c/em> gives voice to the voiceless — albeit with fart jokes. But don’t think Mac’s foray into Theatre of the Ridiculous territory is all about the frailties of the human body. What Mac is after is examining the frailties of the systems that perpetrate cycles of violence and trauma, finding unexpected grace under unimaginable pressure.\u003c/p>\n\u003cfigure id=\"attachment_13933332\" class=\"wp-caption aligncenter\" style=\"max-width: 546px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\" alt=\"a white woman with curly hair and a green scarf looks at the camera outside\" width=\"546\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot-160x215.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Mary Glen Fredrick. \u003ccite>(Courtesy of Mary Glen Fredrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.crowdedfire.org/edit-annie/\" target=\"_blank\" rel=\"noopener\">Edit Annie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 21–Oct. 14, 2023\u003cbr>\nMagic Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s been two long years since Crowded Fire Theater presented Isaac Gómez’ terrific and terrifying \u003cem>The Displaced\u003c/em>. Their West Coast premiere of \u003cem>Edit Annie\u003c/em>, by rising New York-based playwright and video artist Mary Glen Fredrick, promises to be worth the wait. Unapologetically rooted in the technological tangles of our time, the play explores the implications and repercussions of our ability to continuously reinvent, redefine, and rewind our relationships in a heavily mediated reality. With a superlative cast, co-direction by Leigh Rondon-Davis and Nailah Unole Dida-nese’ah Harper-Malveaux, and video designed and edited by Fredrick with Lana Palmer, \u003cem>Edit Annie\u003c/em> gives the Extremely Online generation a chance to connect IRL without even having to swipe.\u003c/p>\n\u003cfigure id=\"attachment_13933398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg\" alt=\"a spooky costumed drag queen against a purple background\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm.jpg 1766w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peaches Christ at the Terror Vault inside the San Francisco Mint. \u003ccite>(Courtesy of Terror Vault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.tixr.com/groups/terrorvault\" target=\"_blank\" rel=\"noopener\">Terror Vault Presents: The Initiation\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 29-Oct. 31, 2023\u003cbr>\nSan Francisco Mint\u003c/em>\u003c/p>\n\u003cp>Borne from Peaches Christ’s taste for the macabre and San Francisco’s appetite for the immersive, Terror Vault is a haunted attraction that truly delivers. Appropriately ensconced in the magnificent Old Mint — a granite behemoth built in 1874 — Terror Vault makes use of its shadowy corners, vintage vaults, and disorienting floorplan to devious effect. This year’s theme —\u003cem>The Initiation \u003c/em>— delves into the Bay Area’s unsavory association with cults and their leaders, inviting audiences to attend a “seminar” for a mysterious organization called INsight. Far more involved than your typical haunted house, Terror Vault shows include fully realized world-building, humor, exhibitionists, the best horror makeup around, and consensual audience interactivity for a thrilling adventure you won’t soon forget.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://cuttingball.com/tickets\" target=\"_blank\" rel=\"noopener\">Rossum’s Universal Robots\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20–Nov. 12, 2023\u003c/em>\u003cbr>\n\u003cem>EXIT on Taylor, San Francisco\u003c/em>\u003c/p>\n\u003cp>From its inception, Cutting Ball Theater has been devoted to interrogating the present moment through revitalized classics that sidestep mundane realism in favor of fertile imagination. That makes this adaptation of proto-science fiction \u003cem>Rossum’s Universal Robots\u003c/em> completely on-brand, while still staking out some fantastical new territory for this experimental company. Written in 1920 by Czech playwright Karel Čapek, \u003cem>R.U.R.\u003c/em> examines the human condition through the eyes of its greatest imitators, and would-be inheritors. This production is helmed by Chris Steele — who recently stepped in as the company’s fourth Artistic leader operating within a newly-defined collective — and features a dynamic cast of robots who may have already taken over the world.\u003c/p>\n\u003ch2>‘\u003ca href=\"http://berkeleyrep.org/shows/bulrusher/\" target=\"_blank\" rel=\"noopener\">Bulrusher\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27–Dec. 3, 2023\u003cbr>\nBerkeley Rep’s Peet’s Theatre\u003c/em>\u003c/p>\n\u003cp>In a highly anticipated return to Berkeley, the 2007 Pulitzer-nominated \u003cem>Bulrusher\u003c/em> is a language-driven coming-of-age story. Questions of braided identities, personal liberation and birthright combine with poetry, clairvoyance and the regionally specific Northern California dialect known as “Boontling.” Written by Bay Area-raised Eisa Davis, the niece of activist-scholar Angela Davis and an artistic multi-hyphenate in her own right, \u003cem>Bulrusher\u003c/em> asks: How do we discover who we really are in a world that constantly seeks to define us — and confine us? Nicole A. Watson directs.\u003c/p>\n\u003ch3>Dance\u003c/h3>\n\u003cfigure id=\"attachment_13933581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg\" alt=\"A dancer in hospital patient garb leaps in the air with a nurse in the background.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1920x1348.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nursing These Wounds.’ \u003ccite>(KULARTS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.kularts-sf.org/nursing-these-wounds\" target=\"_blank\" rel=\"noopener\">Nursing These Wounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22–24, 2023\u003cbr>\nODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 21–30, 2023\u003cbr>\nBrava Cabaret, San Francisco\u003c/em>\u003c/p>\n\u003cp>The COVID-19 pandemic has revealed the cracks and fissures in so many of our structures and institutions — particularly in the American health care system. So choreographer Alleluia Panis’ embodied exploration of the many faces and pathways of Pilipinix-born nurses and caregivers is as timely as it is vital. Panis, the co-founder of KULARTS, frequently wrestles with themes of migration, labor, and colonization in her work, and looks to folk dance and indigenous tradition to inform her vibrant choreography. This reprise of 2022’s world premiere offers an unflinching, sometimes harrowing, and loving tribute to an entire demographic of under-recognized, overwhelmed public health protectors.\u003c/p>\n\u003cfigure id=\"attachment_13933427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg\" alt=\"a young Black man dancer poses while facing the camera as other dancers in blue dresses move behind him\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1020x751.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-160x118.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-768x566.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1536x1132.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-2048x1509.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1920x1414.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandon Graham in ‘The Lost Art of Dreaming’ from Sean Dorsey Dance. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Three at Z\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.zspace.org/orale\" target=\"_blank\" rel=\"noopener\">Òrale\u003c/a>, Sept. 7–9; \u003ca href=\"https://www.zspace.org/sdd-dreaming\">The Lost Art of Dreaming\u003c/a>, Sept. 29–Oct. 1; \u003ca href=\"https://www.queercatproductions.com/jesdeville\">Forgetting Tree\u003c/a>, Nov. 3–5\u003c/em>\u003cbr>\n\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dance-driven, genre-exploding work comes to Z Space with a trio of radical performances. First up is \u003cem>Òrale\u003c/em>, a mini-festival of pieces directed by David Herrera Performance Company with an exciting who’s-who of nationally recognized Latinx dance-makers, with live music provided by the excellent El Vez and the Memphis Mariachis. Next, Sean Dorsey Dance encores \u003cem>The Lost Art of Dreaming \u003c/em>— a visually stunning and emotionally ecstatic work, setting its sights on a future of love and collective liberation, expressed through a choreography of queer trans and non-binary bodies. Finally, Queer Cat Productions and Openhaus Athletics install a “consent-forward” interactive and ecologically-engaged experience called \u003cem>Forgetting Tree\u003c/em> in Z Space’s spacious lobby. Curated and created by Jes DeVille, this work promises to stimulate all of the senses — most especially that of the revolutionary within.\u003c/p>\n\u003cfigure id=\"attachment_13933417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg\" alt=\"a group of dancers in colorful clothes pose inside a trolley with green seats\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kim Epifano and dancers on a trolley during the annual San Francisco Trolley Dances. \u003ccite>(Amani Wade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://epiphanydance.org/san-francisco-trolley-dances/\" target=\"_blank\" rel=\"noopener\">San Francisco Trolley Dances: 20th Anniversary Edition\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 21–22, 2023\u003c/em>\u003cbr>\n\u003cem>One Bush Plaza, various locations in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s simply nothing like the combination dance festival-urban exploration known as Trolley Dances. This year, the San Francisco treat returns to where it all began 20 years ago — on the iconic F-Market line. Starting at One Bush Plaza with Nava Dance Theatre, then hopping on and off the F-Market train en route to Fisherman’s Wharf, audience members will encounter such Bay Area dance luminaries as Blind Tiger Society, Jennifer Perfilio Movement Works, Kinetech Arts, Loco Bloco and artistic director Kim Epifano’s own company, Epiphany Dance. A highlight of the event will be a piece choreographed by San Diego dance legend Jean Isaacs — the originator of the Trolley Dance concept back in 1997.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933150/bay-area-theatre-dance-fall-2023","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_967"],"tags":["arts_1238","arts_1237","arts_1414","arts_879","arts_21522","arts_10278","arts_1072","arts_585","arts_1240"],"featImg":"arts_13933415","label":"source_arts_13933150"},"arts_13925284":{"type":"posts","id":"arts_13925284","meta":{"index":"posts_1591205157","site":"arts","id":"13925284","score":null,"sort":[1676665655000]},"guestAuthors":[],"slug":"act-the-headlands-christopher-chen-review","title":"ACT’s ‘The Headlands’ Maps SF Through Fog, Flashbacks and a Cold Case","publishDate":1676665655,"format":"standard","headTitle":"ACT’s ‘The Headlands’ Maps SF Through Fog, Flashbacks and a Cold Case | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When Dashiell Hammett wrote his great San Francisco noir \u003cem>The Maltese Falcon\u003c/em>, he drew upon his deep knowledge of the City to imbue it with ruthless realism and site-specific detail. Even today you can walk in Hammett’s footsteps from the Tenderloin to downtown, and glimpse traces of the City as it was, a character as integral to the plot of the novel as Sam Spade.\u003c/p>\n\u003cp>In Christopher Chen’s new play \u003ca href=\"https://www.act-sf.org/whats-on/202223-season/the-headlands/\">\u003cem>The Headlands\u003c/em>\u003c/a> — a family drama with a murder mystery at its heart — San Francisco similarly plays a starring role. It is no mere backdrop to the narrative, but an active participant in it. [aside postid='arts_13923665']\u003c/p>\n\u003cp>A born-and-raised San Franciscan, Chen meticulously uncovers parts of the City little referenced in the guidebooks and travelogues. His protagonist Henry (Phil Wong), a self-described “amateur sleuth,” traverses a landscape hauntingly familiar to longtime residents: a childhood spent in a stucco-clad, single-family home in the Outer Sunset, followed by a tech job and condo on the Embarcadero (“I’m part of the problem,” Henry admits sheepishly). In flashbacks, his parents meet-cute on an overgrown overlook in Land’s End and canoodle at the base of Coit Tower. His father George (Johnny M. Wu) attempts to bond with a young Henry by taking him on hikes in the Marin Headlands, where they can look across the water and see the City basking in its own self-referential glow.\u003c/p>\n\u003cp>But just as San Francisco provides a picturesque container for Henry’s fonder memories, it also delivers the fog which obfuscates their uncomfortable truths. As an adult, Henry is only beginning to discover these truths, secrets contained within the low-voiced half conversations around the kitchen table: the quiet melancholy of his father looking out of the window at night. The abiding mystery of his death by gunshot, a violence that shocked their insular community. A mystery now decades-old — and no closer to being solved than it was on the first day his body was discovered. [aside postid='arts_13925249']\u003c/p>\n\u003cp>Tautly directed by A.C.T.’s artistic director Pam MacKinnon, \u003cem>The Headlands\u003c/em> reveals itself sedately, bit by tantalizing bit. Alexander V. Nichols’ set is deceptively simple, an almost aggressively blank wall that cleverly morphs into the interiors and exteriors of a series of iconic San Francisco homes, streetscapes and hilltops, thanks to a few choice furnishings and a series of well-executed projections. This is a quintessential Christopher Chen play: an homage to Noir — but with fewer fedoras and more earnest heartache. It’s a labyrinth of unexpected twists and contradictory perspectives that keep you guessing until the very end.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a satisfying demonstration of restraint, Chen’s characters say as much with their silences as most might with a loquacious monologue. In one scene, Henry and his girlfriend Jess (Sam Jackson) conduct a lengthy disagreement primarily through their nervous tics: a jiggling foot, an avoidance of eye contact, an anxious swallow of beer. In another, George stands silently at the aforementioned window, reduced to a shadow, trapped in what his wife, Leena, later describes as “despair.” He’s an unknowable cipher to his son, then and now.\u003c/p>\n\u003cfigure id=\"attachment_13925297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/HED_052.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/HED_052-800x532.jpg\" alt=\"three people on a stage, an Asian man, a Black woman and an older Asian woman, smiling at each other as they sit\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong (Henry), Sam Jackson (Jess) and Keiko Shimosato Carreiro (Older Leena) in the West\u003cbr>Coast premiere of Christopher Chen’s ‘The Headlands.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Leena — played younger by Erin Mei-Ling Stuart and older by Keiko Shimosato Carreiro — who provides the first essential clues for Henry’s quest to learn more about his father’s unexplained death. It may be his watchful, silent father at the window around which Henry builds his first vague hypotheses, but it’s the ellipses between his mother’s often quotidian conversations that conceal the most.\u003c/p>\n\u003cp>Watching Stuart and Carreiro trade this role back and forth throughout the play is especially enjoyable. They both so skillfully bring complementary facets of Leena to life that she becomes by far the most fully-realized character in the play. It’s a characterization that deepens with every revelation, surfaced behind the mischievous grin of a young woman falling in love, the wounded eyes of a grieving mother, the offhand remark of a widow at dinner. [aside postid='arts_13925067']\u003c/p>\n\u003cp>While Leena frequently wears her heart on her sleeve, Henry struggles to identify his own complicated emotions surrounding his family history and his place within it. As Henry, Wong vacillates between emulating the stillness of Wu’s father figure and Stuart’s ebullience — a delicate balance. As the mysterious Tom, A.C.T. regular Jomar Tagatac imbues his unpredictable role with the most menace. But no character is more menacing than the troubling void at the heart of this whodunit — a void that each character attempts to fill with their own particular spin, never quite landing on a unified version of the narrative.\u003c/p>\n\u003cp>Theater-goers looking for the full genre experience of a ham-fisted, hard-boiled pulp fiction replete with fast cars, faster romance and impenetrable lingo may find the chilly environs of \u003cem>The Headlands\u003c/em> not quite to their taste. But for those of us who revel in our own secret San Franciscos — internal terrains of beloved sandwich shops, local breweries and breathtaking vistas — spending time investigating Christopher Chen’s through his precise playwriting is a pleasure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">‘The Headlands’ plays at A.C.T.\u003c/a> through March 5. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In Christopher Chen's murder-mystery play, the City comes to life as a character in its own right.","status":"publish","parent":0,"modified":1705005829,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":936},"headData":{"title":"ACT’s ‘The Headlands’ Maps SF Through Fog, Flashbacks and a Cold Case | KQED","description":"In Christopher Chen's murder-mystery play, the City comes to life as a character in its own right.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"ACT’s ‘The Headlands’ Maps SF Through Fog, Flashbacks and a Cold Case","datePublished":"2023-02-17T20:27:35.000Z","dateModified":"2024-01-11T20:43:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13925284/act-the-headlands-christopher-chen-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Dashiell Hammett wrote his great San Francisco noir \u003cem>The Maltese Falcon\u003c/em>, he drew upon his deep knowledge of the City to imbue it with ruthless realism and site-specific detail. Even today you can walk in Hammett’s footsteps from the Tenderloin to downtown, and glimpse traces of the City as it was, a character as integral to the plot of the novel as Sam Spade.\u003c/p>\n\u003cp>In Christopher Chen’s new play \u003ca href=\"https://www.act-sf.org/whats-on/202223-season/the-headlands/\">\u003cem>The Headlands\u003c/em>\u003c/a> — a family drama with a murder mystery at its heart — San Francisco similarly plays a starring role. It is no mere backdrop to the narrative, but an active participant in it. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923665","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A born-and-raised San Franciscan, Chen meticulously uncovers parts of the City little referenced in the guidebooks and travelogues. His protagonist Henry (Phil Wong), a self-described “amateur sleuth,” traverses a landscape hauntingly familiar to longtime residents: a childhood spent in a stucco-clad, single-family home in the Outer Sunset, followed by a tech job and condo on the Embarcadero (“I’m part of the problem,” Henry admits sheepishly). In flashbacks, his parents meet-cute on an overgrown overlook in Land’s End and canoodle at the base of Coit Tower. His father George (Johnny M. Wu) attempts to bond with a young Henry by taking him on hikes in the Marin Headlands, where they can look across the water and see the City basking in its own self-referential glow.\u003c/p>\n\u003cp>But just as San Francisco provides a picturesque container for Henry’s fonder memories, it also delivers the fog which obfuscates their uncomfortable truths. As an adult, Henry is only beginning to discover these truths, secrets contained within the low-voiced half conversations around the kitchen table: the quiet melancholy of his father looking out of the window at night. The abiding mystery of his death by gunshot, a violence that shocked their insular community. A mystery now decades-old — and no closer to being solved than it was on the first day his body was discovered. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925249","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tautly directed by A.C.T.’s artistic director Pam MacKinnon, \u003cem>The Headlands\u003c/em> reveals itself sedately, bit by tantalizing bit. Alexander V. Nichols’ set is deceptively simple, an almost aggressively blank wall that cleverly morphs into the interiors and exteriors of a series of iconic San Francisco homes, streetscapes and hilltops, thanks to a few choice furnishings and a series of well-executed projections. This is a quintessential Christopher Chen play: an homage to Noir — but with fewer fedoras and more earnest heartache. It’s a labyrinth of unexpected twists and contradictory perspectives that keep you guessing until the very end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a satisfying demonstration of restraint, Chen’s characters say as much with their silences as most might with a loquacious monologue. In one scene, Henry and his girlfriend Jess (Sam Jackson) conduct a lengthy disagreement primarily through their nervous tics: a jiggling foot, an avoidance of eye contact, an anxious swallow of beer. In another, George stands silently at the aforementioned window, reduced to a shadow, trapped in what his wife, Leena, later describes as “despair.” He’s an unknowable cipher to his son, then and now.\u003c/p>\n\u003cfigure id=\"attachment_13925297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/HED_052.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/HED_052-800x532.jpg\" alt=\"three people on a stage, an Asian man, a Black woman and an older Asian woman, smiling at each other as they sit\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/HED_052-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong (Henry), Sam Jackson (Jess) and Keiko Shimosato Carreiro (Older Leena) in the West\u003cbr>Coast premiere of Christopher Chen’s ‘The Headlands.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Leena — played younger by Erin Mei-Ling Stuart and older by Keiko Shimosato Carreiro — who provides the first essential clues for Henry’s quest to learn more about his father’s unexplained death. It may be his watchful, silent father at the window around which Henry builds his first vague hypotheses, but it’s the ellipses between his mother’s often quotidian conversations that conceal the most.\u003c/p>\n\u003cp>Watching Stuart and Carreiro trade this role back and forth throughout the play is especially enjoyable. They both so skillfully bring complementary facets of Leena to life that she becomes by far the most fully-realized character in the play. It’s a characterization that deepens with every revelation, surfaced behind the mischievous grin of a young woman falling in love, the wounded eyes of a grieving mother, the offhand remark of a widow at dinner. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925067","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Leena frequently wears her heart on her sleeve, Henry struggles to identify his own complicated emotions surrounding his family history and his place within it. As Henry, Wong vacillates between emulating the stillness of Wu’s father figure and Stuart’s ebullience — a delicate balance. As the mysterious Tom, A.C.T. regular Jomar Tagatac imbues his unpredictable role with the most menace. But no character is more menacing than the troubling void at the heart of this whodunit — a void that each character attempts to fill with their own particular spin, never quite landing on a unified version of the narrative.\u003c/p>\n\u003cp>Theater-goers looking for the full genre experience of a ham-fisted, hard-boiled pulp fiction replete with fast cars, faster romance and impenetrable lingo may find the chilly environs of \u003cem>The Headlands\u003c/em> not quite to their taste. But for those of us who revel in our own secret San Franciscos — internal terrains of beloved sandwich shops, local breweries and breathtaking vistas — spending time investigating Christopher Chen’s through his precise playwriting is a pleasure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">‘The Headlands’ plays at A.C.T.\u003c/a> through March 5. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925284/act-the-headlands-christopher-chen-review","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_967"],"tags":["arts_1238","arts_1175","arts_10278","arts_769","arts_1072","arts_585"],"featImg":"arts_13925289","label":"arts_140"},"arts_13919294":{"type":"posts","id":"arts_13919294","meta":{"index":"posts_1591205157","site":"arts","id":"13919294","score":null,"sort":[1663627485000]},"guestAuthors":[],"slug":"geary-theater-new-name-toni-rembe-act","title":"The Geary Theater Has a New Name: The Toni Rembe Theater","publishDate":1663627485,"format":"standard","headTitle":"The Geary Theater Has a New Name: The Toni Rembe Theater | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco’s Geary Theater is getting a new name.\u003c/p>\n\u003cp>The theater, built in 1910 as the Columbia Theater, will be renamed the Toni Rembe Theater, after the San Francisco philanthropist.\u003c/p>\n\u003cp>American Conservatory Theater (A.C.T.), which operates the building, made the announcement on Monday. The renaming is “in recognition of a $35 million gift from an anonymous donor,” the largest single gift in A.C.T.’s history.\u003c/p>\n\u003cp>“The funds provided are transformational for the future of American Conservatory Theater and the impact of our programming throughout the San Francisco Bay Area,” A.C.T. Executive Director Jennifer Bielstein said in a statement. “Toni is a role model, and we are honored to recognize her in such a deserving and significant way.”\u003c/p>\n\u003cp>A.C.T. has made the theater at 415 Geary Street its home since 1967. In 1989, the theater suffered major damage from the Loma Prieta earthquake, requiring a $28.5 million restoration.\u003c/p>\n\u003cfigure id=\"attachment_13919301\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919301\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/9e2af0cc-6f4a-0d8d-2869-55ff3e90f438.jpg\" alt=\"\" width=\"600\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Banners along the facade of the former Geary Theater announce the building’s new name. \u003ccite>(Kevin Berne / A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The renaming of the Geary Theater follows other high-profile venue name changes in San Francisco, such as the 2019 renaming of the Giants’ ballpark, previously known as AT&T Park, to Oracle Park. Other renamings are not so corporate, including a 2018 renaming of the Nourse Auditorium, home to City Arts & Lectures. That theater is now known as the Sydney Goldstein Theater, in honor of City Arts & Lectures’ late founder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pam MacKinnon, A.C.T.’s artistic director, said in a statement: “Toni Rembe has been central to the health and wellbeing of the Bay Area theater scene. Her wide-ranging artistic taste and appreciation of artists and the special act of audiences coming together for a story make her a true theater lover.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rembe, president of the van Lӧben Sels/Rembe Rock Foundation, has served on A.C.T.’s Board of Trustees for over 20 years. She is a past president and chair of A.C.T.’s board, a past president of the Commonwealth Club, and a a retired partner at Pillsbury Winthrop Shaw Pittman LLP.\u003c/p>\n\n","blocks":[],"excerpt":"The renaming of the 112-year-old theater comes after a $35 million gift to American Conservatory Theater.","status":"publish","parent":0,"modified":1705006366,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":380},"headData":{"title":"The Geary Theater Has a New Name: The Toni Rembe Theater | KQED","description":"The renaming of the 112-year-old theater comes after a $35 million gift to American Conservatory Theater.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Geary Theater Has a New Name: The Toni Rembe Theater","datePublished":"2022-09-19T22:44:45.000Z","dateModified":"2024-01-11T20:52:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13919294/geary-theater-new-name-toni-rembe-act","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s Geary Theater is getting a new name.\u003c/p>\n\u003cp>The theater, built in 1910 as the Columbia Theater, will be renamed the Toni Rembe Theater, after the San Francisco philanthropist.\u003c/p>\n\u003cp>American Conservatory Theater (A.C.T.), which operates the building, made the announcement on Monday. The renaming is “in recognition of a $35 million gift from an anonymous donor,” the largest single gift in A.C.T.’s history.\u003c/p>\n\u003cp>“The funds provided are transformational for the future of American Conservatory Theater and the impact of our programming throughout the San Francisco Bay Area,” A.C.T. Executive Director Jennifer Bielstein said in a statement. “Toni is a role model, and we are honored to recognize her in such a deserving and significant way.”\u003c/p>\n\u003cp>A.C.T. has made the theater at 415 Geary Street its home since 1967. In 1989, the theater suffered major damage from the Loma Prieta earthquake, requiring a $28.5 million restoration.\u003c/p>\n\u003cfigure id=\"attachment_13919301\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919301\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/9e2af0cc-6f4a-0d8d-2869-55ff3e90f438.jpg\" alt=\"\" width=\"600\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Banners along the facade of the former Geary Theater announce the building’s new name. \u003ccite>(Kevin Berne / A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The renaming of the Geary Theater follows other high-profile venue name changes in San Francisco, such as the 2019 renaming of the Giants’ ballpark, previously known as AT&T Park, to Oracle Park. Other renamings are not so corporate, including a 2018 renaming of the Nourse Auditorium, home to City Arts & Lectures. That theater is now known as the Sydney Goldstein Theater, in honor of City Arts & Lectures’ late founder.\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>Pam MacKinnon, A.C.T.’s artistic director, said in a statement: “Toni Rembe has been central to the health and wellbeing of the Bay Area theater scene. Her wide-ranging artistic taste and appreciation of artists and the special act of audiences coming together for a story make her a true theater lover.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rembe, president of the van Lӧben Sels/Rembe Rock Foundation, has served on A.C.T.’s Board of Trustees for over 20 years. She is a past president and chair of A.C.T.’s board, a past president of the Commonwealth Club, and a a retired partner at Pillsbury Winthrop Shaw Pittman LLP.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919294/geary-theater-new-name-toni-rembe-act","authors":["185"],"categories":["arts_1","arts_235","arts_967"],"tags":["arts_1238","arts_1175","arts_2883","arts_1072"],"featImg":"arts_13919298","label":"arts"},"arts_13911728":{"type":"posts","id":"arts_13911728","meta":{"index":"posts_1591205157","site":"arts","id":"13911728","score":null,"sort":[1649779218000]},"guestAuthors":[],"slug":"fefu-and-her-friends-act-strand-theater-review","title":"With 'Fefu and Her Friends,' ACT Throws an Exhilarating, Challenging Affair","publishDate":1649779218,"format":"standard","headTitle":"With ‘Fefu and Her Friends,’ ACT Throws an Exhilarating, Challenging Affair | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Parties can be quite challenging experiences depending on why you’re there and who else shows up. Some parties are emphatically casual affairs: loose assemblages of friends and acquaintances who gather periodically to reaffirm their connection over a few rounds. But some parties have higher stakes.\u003c/p>\n\u003cp>In \u003cem>Fefu and Her Friends\u003c/em>, written in 1977 by María Irene Fornés, part of the experience is determining what kind of party you’ve inadvertently stumbled into, and what, eventually, you’ll gain by being there.\u003c/p>\n\u003cfigure id=\"attachment_13911730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma (Cindy Goldfield) practices her fundraising speech for the ensemble as Fefu (Catherine Castellanos) looks on in ‘Fefu and Her Friends’ by María Irene Fornés. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In A.C.T.’s version, running through May 1 at the Strand Theater, and directed by Pam MacKinnon, the party is slow to build. Guests appear in staggered succession, wandering into Fefu’s lavishly appointed living room and helping themselves from her bar cart (scenic design by Tanya Orellana, props by Janice Garten). Fefu, played by Catherine Castellanos, busies herself with fidgety tasks, from arranging flowers to fixing her toilet.\u003c/p>\n\u003cp>Fefu is the kind of host who can make or break a party just by being herself. Her energy is at turns nervous and imperious. She keeps her guests on edge by acting unpredictably and dominating the conversation even as she confesses privately, in a moment of unexpected fragility, that she is in “constant pain.” Her outfit—a riot of clashing patterns designed by Sarita Fellow—underscores the unquiet machinery of her mind. She seems always two steps ahead of her guests, who scramble to keep up even as they might recoil from her methods.\u003c/p>\n\u003cp>It takes breaking the audience and the ensemble up into smaller groups who literally disperse themselves throughout the building to break free from the magnetic pull of Fefu’s dominance. From the intimate confines of the top floor Rueff performance space to the ground floor lobby, the action and the audience travel from room to room, eavesdropping on the conversations that occur between Fefu’s guests when she’s out of earshot and cannot judge their words.\u003c/p>\n\u003cfigure id=\"attachment_13911729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Ikeda and Sarita Ocón read quietly in the Rueff performance space during ‘Fefu and Her Friends’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading together in a quiet room, Cindy (Jennifer Ikeda) and Christina (Sarita Ocón) discuss the world’s dangers, of which Fefu is just one. In the kitchen, Paula (Stacy Ross) and Sue (Leontyne Mbele-Mbong) parse out an elaborate equation for failed love, a conversation unexpectedly disrupted by the entrance of Paula’s former lover Cecilia (Marga Gomez), all rakish charm and self-possession.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, alone in a dim bedroom, Julia (Lisa Anne Porter) converses alone with the violent hallucinations that threaten her sanity. Visibly traumatized by her visions, she speaks ominously of the heaviness of her own entrails, and the impossible standards of womanhood as determined by men.\u003c/p>\n\u003cp>Of all the guests, Julia is both the biggest threat to Fefu’s need to control her environment, as well as the most affected. When Julia declares her hallucinations to be “contagious” Fefu unexpectedly agrees with her, and even appears to suffer a hallucination involving Julia on her own. If Castellanos as Fefu embodies the crackling energy of a “live wire,” Porter as Julia represents an actual hazard—both as a sufferer and as a conduit. In her solo scene she lies on her bed surrounded by a circle of watchful audience, as if on display. Resembling, in effect, a precious work of art—or a corpse.\u003c/p>\n\u003cfigure id=\"attachment_13911731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911731 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches a scene from ‘Fefu and Her Friends.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Producing this little-staged classic of experimental theater gives A.C.T. a chance to stretch its artistic muscles in some exhilarating directions, interrogating the feminine experience directly through the entrails, the genitals, and all of the messy, complicated, “revolting” bits that would normally remain unnoticed or at least unremarked upon. At the same time, it’s a production that reveals the layers of artifice typical to the stage and lays them out in the open.\u003c/p>\n\u003cp>As an attempt at experiential theater goes, A.C.T.’s \u003cem>Fefu \u003c/em>is not without some stylistic missteps and dropped beats. But the overall ambience is very much that of a party full of big personalities impossible to tear your attention away from, even as you wait quietly in the corner to witness their inevitable meltdowns.\u003c/p>\n\u003cp>A.C.T.’s \u003cem>Fefu and Her Friends\u003c/em> invites its audience to consider the intricacies of how society is mirrored through even the most banal social interactions—a reminder of the ways in which we live within a complex Venn diagram of overlapping worlds and contradictory norms. This won’t be the kind of party you walk away from with a new best friend, or even a plate of leftovers for the road. But with its powerhouse cast (and a superlative playlist compiled by sound designer Jake Rodriguez) it’s a party you won’t soon forget. Despite—or perhaps because of—the discomfort it provokes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fefu and Her Friends’ plays through May 1 at the Strand Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/20202122-season/fefu-and-her-friends/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"María Irene Fornés' 1977 classic of experiential theater interrogates the feminine experience—and resonates 45 years later.","status":"publish","parent":0,"modified":1705006982,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":912},"headData":{"title":"Review: 'Fefu and Her Friends' at the Strand Theater is an Exhilarating, Challenging Affair | KQED","description":"María Irene Fornés' 1977 classic of experiential theater interrogates the feminine experience—and resonates 45 years later.","ogTitle":"Review: 'Fefu and Her Friends' is an Exhilarating, Challenging Affair at ACT's Strand Theater","ogDescription":"","ogImgId":"","twTitle":"Review: 'Fefu and Her Friends' is an Exhilarating, Challenging Affair at ACT's Strand Theater","twDescription":"","twImgId":"","socialTitle":"Review: 'Fefu and Her Friends' at the Strand Theater is an Exhilarating, Challenging Affair %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"With 'Fefu and Her Friends,' ACT Throws an Exhilarating, Challenging Affair","datePublished":"2022-04-12T16:00:18.000Z","dateModified":"2024-01-11T21:03:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"with-fefu-and-her-friends-a-c-t-throws-an-exhilarating-and-challenging-affair","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13911728/fefu-and-her-friends-act-strand-theater-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Parties can be quite challenging experiences depending on why you’re there and who else shows up. Some parties are emphatically casual affairs: loose assemblages of friends and acquaintances who gather periodically to reaffirm their connection over a few rounds. But some parties have higher stakes.\u003c/p>\n\u003cp>In \u003cem>Fefu and Her Friends\u003c/em>, written in 1977 by María Irene Fornés, part of the experience is determining what kind of party you’ve inadvertently stumbled into, and what, eventually, you’ll gain by being there.\u003c/p>\n\u003cfigure id=\"attachment_13911730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma (Cindy Goldfield) practices her fundraising speech for the ensemble as Fefu (Catherine Castellanos) looks on in ‘Fefu and Her Friends’ by María Irene Fornés. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In A.C.T.’s version, running through May 1 at the Strand Theater, and directed by Pam MacKinnon, the party is slow to build. Guests appear in staggered succession, wandering into Fefu’s lavishly appointed living room and helping themselves from her bar cart (scenic design by Tanya Orellana, props by Janice Garten). Fefu, played by Catherine Castellanos, busies herself with fidgety tasks, from arranging flowers to fixing her toilet.\u003c/p>\n\u003cp>Fefu is the kind of host who can make or break a party just by being herself. Her energy is at turns nervous and imperious. She keeps her guests on edge by acting unpredictably and dominating the conversation even as she confesses privately, in a moment of unexpected fragility, that she is in “constant pain.” Her outfit—a riot of clashing patterns designed by Sarita Fellow—underscores the unquiet machinery of her mind. She seems always two steps ahead of her guests, who scramble to keep up even as they might recoil from her methods.\u003c/p>\n\u003cp>It takes breaking the audience and the ensemble up into smaller groups who literally disperse themselves throughout the building to break free from the magnetic pull of Fefu’s dominance. From the intimate confines of the top floor Rueff performance space to the ground floor lobby, the action and the audience travel from room to room, eavesdropping on the conversations that occur between Fefu’s guests when she’s out of earshot and cannot judge their words.\u003c/p>\n\u003cfigure id=\"attachment_13911729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Ikeda and Sarita Ocón read quietly in the Rueff performance space during ‘Fefu and Her Friends’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading together in a quiet room, Cindy (Jennifer Ikeda) and Christina (Sarita Ocón) discuss the world’s dangers, of which Fefu is just one. In the kitchen, Paula (Stacy Ross) and Sue (Leontyne Mbele-Mbong) parse out an elaborate equation for failed love, a conversation unexpectedly disrupted by the entrance of Paula’s former lover Cecilia (Marga Gomez), all rakish charm and self-possession.\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>Meanwhile, alone in a dim bedroom, Julia (Lisa Anne Porter) converses alone with the violent hallucinations that threaten her sanity. Visibly traumatized by her visions, she speaks ominously of the heaviness of her own entrails, and the impossible standards of womanhood as determined by men.\u003c/p>\n\u003cp>Of all the guests, Julia is both the biggest threat to Fefu’s need to control her environment, as well as the most affected. When Julia declares her hallucinations to be “contagious” Fefu unexpectedly agrees with her, and even appears to suffer a hallucination involving Julia on her own. If Castellanos as Fefu embodies the crackling energy of a “live wire,” Porter as Julia represents an actual hazard—both as a sufferer and as a conduit. In her solo scene she lies on her bed surrounded by a circle of watchful audience, as if on display. Resembling, in effect, a precious work of art—or a corpse.\u003c/p>\n\u003cfigure id=\"attachment_13911731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911731 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches a scene from ‘Fefu and Her Friends.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Producing this little-staged classic of experimental theater gives A.C.T. a chance to stretch its artistic muscles in some exhilarating directions, interrogating the feminine experience directly through the entrails, the genitals, and all of the messy, complicated, “revolting” bits that would normally remain unnoticed or at least unremarked upon. At the same time, it’s a production that reveals the layers of artifice typical to the stage and lays them out in the open.\u003c/p>\n\u003cp>As an attempt at experiential theater goes, A.C.T.’s \u003cem>Fefu \u003c/em>is not without some stylistic missteps and dropped beats. But the overall ambience is very much that of a party full of big personalities impossible to tear your attention away from, even as you wait quietly in the corner to witness their inevitable meltdowns.\u003c/p>\n\u003cp>A.C.T.’s \u003cem>Fefu and Her Friends\u003c/em> invites its audience to consider the intricacies of how society is mirrored through even the most banal social interactions—a reminder of the ways in which we live within a complex Venn diagram of overlapping worlds and contradictory norms. This won’t be the kind of party you walk away from with a new best friend, or even a plate of leftovers for the road. But with its powerhouse cast (and a superlative playlist compiled by sound designer Jake Rodriguez) it’s a party you won’t soon forget. Despite—or perhaps because of—the discomfort it provokes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fefu and Her Friends’ plays through May 1 at the Strand Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/20202122-season/fefu-and-her-friends/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911728/fefu-and-her-friends-act-strand-theater-review","authors":["11497"],"categories":["arts_1","arts_967"],"tags":["arts_1238","arts_1175","arts_6580","arts_769","arts_1072","arts_585"],"featImg":"arts_13911733","label":"arts"},"arts_13898881":{"type":"posts","id":"arts_13898881","meta":{"index":"posts_1591205157","site":"arts","id":"13898881","score":null,"sort":[1624041829000]},"guestAuthors":[],"slug":"a-year-later-bay-area-theater-companies-reckon-with-bipoc-demands","title":"A Year Later, Bay Area Theater Companies Reckon With BIPOC Demands","publishDate":1624041829,"format":"standard","headTitle":"A Year Later, Bay Area Theater Companies Reckon With BIPOC Demands | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In June of 2020, the pandemic’s shutdown of live performance was nearly three months old. A wave of protests sparked by the murder of George Floyd were rocking the nation, bringing to the forefront demands for racial justice while challenging anti-blackness and structural inequities. And on June 8, 2020, an open letter from a nationwide coalition of BIPOC theater-makers, titled \u003ca href=\"https://www.weseeyouwat.com\">“We See You White American Theater,”\u003c/a> was published online.\u003c/p>\n\u003cp>The next day, an editable Google doc titled “Living Document of POC Experiences in Bay Area Theatre Co.”—\u003ca href=\"https://www.kqed.org/arts/13882276/for-bipoc-bay-area-theater-a-living-document-provides-catharsis-calls-to-action\">begun by Bay Area theater-maker and educator Ely Sonny Orquiza\u003c/a>—quickly amassed hundreds of anonymous testimonials, as well as at least one attempt to erase it altogether. But not only was it impossible to erase the Living Document from the internet, it’s remained a part of the discourse around reopening Bay Area theaters to live, in-person performance ever since.\u003c/p>\n\u003cp>[aside postID='arts_13882276']In the first weeks after the Living Document made its appearance, only a handful of companies released public statements addressing its contents. Undeterred, Orquiza and his collaborators published a comprehensive addendum in late July: \u003ca href=\"https://www.bipoclivdoc.com/action-plan\">the BIPOC Equity Action Plan\u003c/a>, a series of concrete demands directed at the Bay Area “Predominantly White Institutions” (or PWI). These included conducting staff-wide anti-racism/anti-bias trainings, implementing land acknowledgements and contributing regularly to the Shuumi Land Tax, programming seasons with minimum 60% of plays written by “BIPOC, queer, trans, womxn of color, non-binary and/or disabled playwrights,” prioritizing cultural competency, and shifting the racial demographics of staff and board.\u003c/p>\n\u003cp>Orquiza and his collaborators called for a response to the demands “within ten business days” of the document’s release. As of August 11, 2020, they estimated that only 15% of Bay Area theater companies had promised to take action. However, since the beginning of 2021, more companies have released their individual action plans, detailing in depth the anti-racist actions they have taken, are taking, and plan to take in the future.\u003c/p>\n\u003cp>As the largest theater company in the region, A.C.T. was mentioned extensively in the Living Document, including links and references to \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" rel=\"noopener noreferrer\" target=\"_blank\">a 2019 lawsuit\u003c/a> filed by former Conservatory instructor and movement choreographer, Stephen Buescher. While Buescher’s allegations of institutional racism, brought to A.C.T.’s board as early as 2018, eventually inspired the formation of a formal Equity, Diversity, and Inclusion committee, the demands delineated in the Living Document and We See You White American Theater forced the company to look more critically at every aspect of its operations.\u003c/p>\n\u003cfigure id=\"attachment_13898892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A.C.T. Executive Director, Jennifer Bielstein. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had a real intentional focus on developing an organizational culture that is welcoming and inclusive and transparent and accessible,” says Jennifer Bielstein, Executive Director of A.C.T., about the process. “Because diversity will not thrive if the organizational culture isn’t ready to embrace diversity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Referencing an internal spreadsheet that she estimates contains over 150 items, Bielstein describes hours of analyzing the demands from the Living Document and We See You WAT, “incorporating items from each of those documents into our work” throughout the organization. In November, the company published a \u003ca href=\"https://res.cloudinary.com/a-c-t/image/upload/v1617393816/Uploads/EDI/PDFs/EDI_Strategic_Plan.pdf\">31-page document of their own\u003c/a> detailing their updated Equity, Diversity and Inclusion strategic plan, a work they acknowledge is still in process.\u003c/p>\n\u003cp>Some actions mentioned by Bielstein include moving away from grueling “10 out of 12” tech rehearsals and six-day rehearsal weeks, paying artists for work done at fundraisers and other functions, and ensuring the availability of an on-site counselor or therapist for artists, particularly for shows engaged with racialized trauma, such as \u003cem>\u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\" rel=\"noopener noreferrer\" target=\"_blank\">Toni Stone\u003c/a>\u003c/em>. Artistically, Bielstein says, the company is prioritizing works written and directed by majority women and BIPOC creatives, and committing to hiring more Bay Area actors and designers (currently the percentage of local hires is around 73%).\u003c/p>\n\u003cp>For Bielstein, the emergence of the Living Document has been what she terms “a gift” to the organization and to the field, noting that “our community at large will hold us accountable for delivering on these commitments and actions.”\u003c/p>\n\u003cfigure id=\"attachment_13898891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowded Fire Artistic Director Mina Morita. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even BIPOC-led companies and theater artists have taken the demands of the Living Document to heart. For example, while San Francisco-based Crowded Fire had already been engaged in EDI work internally over the past five years, the publication of the Living Document highlighted to Artistic Director Mina Morita the need to further the work throughout the greater Bay Area theater ecosystem.\u003c/p>\n\u003cp>“What’s unique about the theater field is we all move through many different organizations to create,” she says. “So I was aware of some of the inequities and problems. But I don’t think I was as fully aware until the Living Document.” So, in addition to hiring on EDI trainer Lisa Walker to coach Crowded Fire through a multi-week training, Morita harnessed the energy of the moment to collaborate and share resources with other companies.\u003c/p>\n\u003cp>One such collaboration involves Crowded Fire, Magic Theatre, and Playwrights Foundation instigating a “train the trainer”-style workshop series they’ve dubbed “Making Good Trouble,” led by Beatrice Thomas of Authentic Arts & Media. Over the course of nine months, a cohort of 20+ persons will develop the tools to train other companies—including their own—in anti-racist and inclusionary practices. This will not only make it possible for more theater companies to access the training necessary to implement these practices in their own institutions, but will provide the new trainers with an extra income stream—a welcome and needed benefit after a 15-month shutdown.\u003c/p>\n\u003cp>“(I) didn’t think I would see it in my lifetime,” Morita comments about overall effects of the Living Document. “To have such a courageous disruption happen, where we could really open up the harms, and start to try to hopefully address and repair them.”\u003c/p>\n\u003cp>[aside postID='arts_13851339']That these effects have reverberated outside of theaters is exemplified by the announcement of a new grant administered by the Center for Cultural Innovation. Called \u003ca href=\"https://www.cciarts.org/cgi/page.cgi/cali_grants.htm\">CALI Catalyst\u003c/a>, the program funds individual artists and collectives active in what they term “moving the sector towards greater inclusion, access, diversity, and equity” by centering “Black, Indigenous, people of color, LGBTQIA+, and people with disabilities.”\u003c/p>\n\u003cp>CCI Program Director Laura Poppiti emphasizes how the Living Document—which she first heard about on Facebook—helped to inspire the creation of CALI Catalyst.\u003c/p>\n\u003cp>“For me it was a ‘Wow,’” she describes. “(That) one person like Ely can launch this document in a…guerrilla arts kind of way, and it’s really having tangible impacts…that was just so powerful.”\u003c/p>\n\u003cp>As a member of a funding organization that focuses on individuals, she and her colleagues began to design the guidelines for CALI Catalyst in the summer of 2020. She admits it’s been a slow process, but is confident that the program will help support “change-makers” whose demands of accountability from the arts sector have potentially put their own livelihoods and well-being at risk. In this spirit, the grants are unrestricted with no “measurable” outcome required, and the first round of applications are due by July 15.\u003c/p>\n\u003cfigure id=\"attachment_13882279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882279\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ely Sonny Orquiza, creator of the “Living Document.” \u003ccite>(Paciano Triunfo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As theaters and performance venues move towards reopening their physical doors, an overarching hope expressed by the proponents of the Living Document is that the work of confronting and dismantling oppression within the arts sectors not become an afterthought. Or, as Morita calls it, a “performative” one.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think the Living Document urged us as artists and as a community to be more sensitive and respectful and careful towards one another, especially in association with BIPOC artists,” reflects Orquiza. “Finding all the nuances within and affirming our identities and practices and policies—I think that sets us up for success.”\u003c/p>\n\n","blocks":[],"excerpt":"How the anonymously sourced 'Living Document' forced Bay Area theater to take stock of its practices.","status":"publish","parent":0,"modified":1705008191,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1393},"headData":{"title":"A Year Later, Bay Area Theater Companies Reckon With BIPOC Demands | KQED","description":"How the anonymously sourced 'Living Document' forced Bay Area theater to take stock of its practices.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Year Later, Bay Area Theater Companies Reckon With BIPOC Demands","datePublished":"2021-06-18T18:43:49.000Z","dateModified":"2024-01-11T21:23:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13898881/a-year-later-bay-area-theater-companies-reckon-with-bipoc-demands","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In June of 2020, the pandemic’s shutdown of live performance was nearly three months old. A wave of protests sparked by the murder of George Floyd were rocking the nation, bringing to the forefront demands for racial justice while challenging anti-blackness and structural inequities. And on June 8, 2020, an open letter from a nationwide coalition of BIPOC theater-makers, titled \u003ca href=\"https://www.weseeyouwat.com\">“We See You White American Theater,”\u003c/a> was published online.\u003c/p>\n\u003cp>The next day, an editable Google doc titled “Living Document of POC Experiences in Bay Area Theatre Co.”—\u003ca href=\"https://www.kqed.org/arts/13882276/for-bipoc-bay-area-theater-a-living-document-provides-catharsis-calls-to-action\">begun by Bay Area theater-maker and educator Ely Sonny Orquiza\u003c/a>—quickly amassed hundreds of anonymous testimonials, as well as at least one attempt to erase it altogether. But not only was it impossible to erase the Living Document from the internet, it’s remained a part of the discourse around reopening Bay Area theaters to live, in-person performance ever since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13882276","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In the first weeks after the Living Document made its appearance, only a handful of companies released public statements addressing its contents. Undeterred, Orquiza and his collaborators published a comprehensive addendum in late July: \u003ca href=\"https://www.bipoclivdoc.com/action-plan\">the BIPOC Equity Action Plan\u003c/a>, a series of concrete demands directed at the Bay Area “Predominantly White Institutions” (or PWI). These included conducting staff-wide anti-racism/anti-bias trainings, implementing land acknowledgements and contributing regularly to the Shuumi Land Tax, programming seasons with minimum 60% of plays written by “BIPOC, queer, trans, womxn of color, non-binary and/or disabled playwrights,” prioritizing cultural competency, and shifting the racial demographics of staff and board.\u003c/p>\n\u003cp>Orquiza and his collaborators called for a response to the demands “within ten business days” of the document’s release. As of August 11, 2020, they estimated that only 15% of Bay Area theater companies had promised to take action. However, since the beginning of 2021, more companies have released their individual action plans, detailing in depth the anti-racist actions they have taken, are taking, and plan to take in the future.\u003c/p>\n\u003cp>As the largest theater company in the region, A.C.T. was mentioned extensively in the Living Document, including links and references to \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" rel=\"noopener noreferrer\" target=\"_blank\">a 2019 lawsuit\u003c/a> filed by former Conservatory instructor and movement choreographer, Stephen Buescher. While Buescher’s allegations of institutional racism, brought to A.C.T.’s board as early as 2018, eventually inspired the formation of a formal Equity, Diversity, and Inclusion committee, the demands delineated in the Living Document and We See You White American Theater forced the company to look more critically at every aspect of its operations.\u003c/p>\n\u003cfigure id=\"attachment_13898892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A.C.T. Executive Director, Jennifer Bielstein. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had a real intentional focus on developing an organizational culture that is welcoming and inclusive and transparent and accessible,” says Jennifer Bielstein, Executive Director of A.C.T., about the process. “Because diversity will not thrive if the organizational culture isn’t ready to embrace diversity.”\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>Referencing an internal spreadsheet that she estimates contains over 150 items, Bielstein describes hours of analyzing the demands from the Living Document and We See You WAT, “incorporating items from each of those documents into our work” throughout the organization. In November, the company published a \u003ca href=\"https://res.cloudinary.com/a-c-t/image/upload/v1617393816/Uploads/EDI/PDFs/EDI_Strategic_Plan.pdf\">31-page document of their own\u003c/a> detailing their updated Equity, Diversity and Inclusion strategic plan, a work they acknowledge is still in process.\u003c/p>\n\u003cp>Some actions mentioned by Bielstein include moving away from grueling “10 out of 12” tech rehearsals and six-day rehearsal weeks, paying artists for work done at fundraisers and other functions, and ensuring the availability of an on-site counselor or therapist for artists, particularly for shows engaged with racialized trauma, such as \u003cem>\u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\" rel=\"noopener noreferrer\" target=\"_blank\">Toni Stone\u003c/a>\u003c/em>. Artistically, Bielstein says, the company is prioritizing works written and directed by majority women and BIPOC creatives, and committing to hiring more Bay Area actors and designers (currently the percentage of local hires is around 73%).\u003c/p>\n\u003cp>For Bielstein, the emergence of the Living Document has been what she terms “a gift” to the organization and to the field, noting that “our community at large will hold us accountable for delivering on these commitments and actions.”\u003c/p>\n\u003cfigure id=\"attachment_13898891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowded Fire Artistic Director Mina Morita. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even BIPOC-led companies and theater artists have taken the demands of the Living Document to heart. For example, while San Francisco-based Crowded Fire had already been engaged in EDI work internally over the past five years, the publication of the Living Document highlighted to Artistic Director Mina Morita the need to further the work throughout the greater Bay Area theater ecosystem.\u003c/p>\n\u003cp>“What’s unique about the theater field is we all move through many different organizations to create,” she says. “So I was aware of some of the inequities and problems. But I don’t think I was as fully aware until the Living Document.” So, in addition to hiring on EDI trainer Lisa Walker to coach Crowded Fire through a multi-week training, Morita harnessed the energy of the moment to collaborate and share resources with other companies.\u003c/p>\n\u003cp>One such collaboration involves Crowded Fire, Magic Theatre, and Playwrights Foundation instigating a “train the trainer”-style workshop series they’ve dubbed “Making Good Trouble,” led by Beatrice Thomas of Authentic Arts & Media. Over the course of nine months, a cohort of 20+ persons will develop the tools to train other companies—including their own—in anti-racist and inclusionary practices. This will not only make it possible for more theater companies to access the training necessary to implement these practices in their own institutions, but will provide the new trainers with an extra income stream—a welcome and needed benefit after a 15-month shutdown.\u003c/p>\n\u003cp>“(I) didn’t think I would see it in my lifetime,” Morita comments about overall effects of the Living Document. “To have such a courageous disruption happen, where we could really open up the harms, and start to try to hopefully address and repair them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13851339","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That these effects have reverberated outside of theaters is exemplified by the announcement of a new grant administered by the Center for Cultural Innovation. Called \u003ca href=\"https://www.cciarts.org/cgi/page.cgi/cali_grants.htm\">CALI Catalyst\u003c/a>, the program funds individual artists and collectives active in what they term “moving the sector towards greater inclusion, access, diversity, and equity” by centering “Black, Indigenous, people of color, LGBTQIA+, and people with disabilities.”\u003c/p>\n\u003cp>CCI Program Director Laura Poppiti emphasizes how the Living Document—which she first heard about on Facebook—helped to inspire the creation of CALI Catalyst.\u003c/p>\n\u003cp>“For me it was a ‘Wow,’” she describes. “(That) one person like Ely can launch this document in a…guerrilla arts kind of way, and it’s really having tangible impacts…that was just so powerful.”\u003c/p>\n\u003cp>As a member of a funding organization that focuses on individuals, she and her colleagues began to design the guidelines for CALI Catalyst in the summer of 2020. She admits it’s been a slow process, but is confident that the program will help support “change-makers” whose demands of accountability from the arts sector have potentially put their own livelihoods and well-being at risk. In this spirit, the grants are unrestricted with no “measurable” outcome required, and the first round of applications are due by July 15.\u003c/p>\n\u003cfigure id=\"attachment_13882279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882279\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ely Sonny Orquiza, creator of the “Living Document.” \u003ccite>(Paciano Triunfo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As theaters and performance venues move towards reopening their physical doors, an overarching hope expressed by the proponents of the Living Document is that the work of confronting and dismantling oppression within the arts sectors not become an afterthought. Or, as Morita calls it, a “performative” one.\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>“I think the Living Document urged us as artists and as a community to be more sensitive and respectful and careful towards one another, especially in association with BIPOC artists,” reflects Orquiza. “Finding all the nuances within and affirming our identities and practices and policies—I think that sets us up for success.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13898881/a-year-later-bay-area-theater-companies-reckon-with-bipoc-demands","authors":["11497"],"categories":["arts_1","arts_835","arts_235","arts_967"],"tags":["arts_1238","arts_1175","arts_4876","arts_1185","arts_10342","arts_10278","arts_3652","arts_1072"],"featImg":"arts_13899029","label":"arts"},"arts_13890054":{"type":"posts","id":"arts_13890054","meta":{"index":"posts_1591205157","site":"arts","id":"13890054","score":null,"sort":[1607976040000]},"guestAuthors":[],"slug":"livestreaming-defined-the-performing-arts-in-2020-how-can-it-be-sustained","title":"Livestreaming Defined the Performing Arts in 2020. How Can it Be Sustained?","publishDate":1607976040,"format":"standard","headTitle":"Livestreaming Defined the Performing Arts in 2020. How Can it Be Sustained? | KQED","labelTerm":{},"content":"\u003cp>The last in-person performance I saw in \u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">2020 was \u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a>—a show that opened and closed on the same night in early March, right before the city implemented its first, strict, stay-at-home orders of the COVID-19 pandemic.\u003c/p>\n\u003cp>Since it wasn’t clear in those early weeks just how long the shutdown would last, theaters continued to be optimistic about their fall and winter shows, and in the interim, many branched out into broadcasting previously filmed shows (\u003cem>Toni Stone\u003c/em> among them), as well as staging readings, discussions, and original content on Zoom—a web-conferencing software many had never used before.\u003c/p>\n\u003cp>While those first heady weeks of streaming \u003cem>everything\u003c/em> available were fun, a saturation point was quickly reached, and performers watched audience numbers dwindle as their own enthusiasm for the limited capabilities of streamed content waned. As drag performer Honey Mahogany mentioned recently on KQED Forum, discussing the Stud’s regular livestreams on Twitch, “The numbers have been going down week after week. It’s really unsustainable.”\u003c/p>\n\u003cp>Even so,\u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\"> just like local music venues\u003c/a>, it’s unclear when theater spaces will be able to open their doors again to live performance. So continuing to innovate new ways of creating and presenting their works in the interim is crucial to their continued survival.\u003c/p>\n\u003ch2>New Formats, New Platforms\u003c/h2>\n\u003cp>For many, July 4 means opening day of the San Francisco Mime Troupe’s annual show in Dolores Park. This year, while other theaters were still tentatively trying to figure out whether or not they could schedule any shows at all, the Mime Troupe had their decision made for them in April, when the City told them they couldn’t have a permit to present in the park.\u003c/p>\n\u003cfigure id=\"attachment_13890059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg\" alt=\"\" width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1020x513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1536x772.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1920x965.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe’s Velina Brown and Micheal Gene Sullivan recording ‘A Red Carol’ at home. \u003ccite>(Zachary Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lifelong love of radio plays offered an idea to the company’s chief playwright, Michael Gene Sullivan. He’d already toyed with the idea of a show in which four interconnected stories come together in a blockbuster ending. Why not write it for the radio? When he brought the idea to the rest of the company, they quickly approved, and the company’s 10-episode serial radio drama, \u003ca href=\"http://www.sfmt.org/talesoftheresistance\">\u003cem>Tales of the Resistance\u003c/em>\u003c/a>, was born.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As company member, Velina Brown had already been on deck to direct their live show this year, and she gamely took the lead on directing the radio series, working closely with sound engineer Taylor Gonzalez and music director Daniel Savio. After becoming frustrated with Zoom as a rehearsal platform due to its delays and bandwidth usage, they hit upon using Discord, a chatroom app popular with gamers. This made it possible, Brown says, to rehearse with fewer delays and glitches by using Discord’s audio-only features, all while developing their own radio play “vocabulary” as a group. That vocabulary was passed over to Sullivan, for directing their brand new holiday play, \u003ca href=\"http://www.sfmt.org/a-red-carol\">\u003cem>A Red Carol\u003c/em>\u003c/a> (which opened Dec. 11).\u003c/p>\n\u003cfigure id=\"attachment_13890057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-1020x561.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-768x423.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern.png 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drunk Theatre Company on the PianoFight Gather “mainstage.” \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Discord isn’t the only gaming interface being used by theater-makers. Companies such as PianoFight, Dragon Productions, and Mystic Ventures Collective have all built out virtual spaces in retro-cute, pixelated graphics on a program called \u003ca href=\"https://gather.town/\" target=\"_blank\" rel=\"noopener noreferrer\">Gather\u003c/a>. For myself, rolling up to \u003ca href=\"http://www.pianofight.com\">PianoFight’s pre-Halloween fundraising party\u003c/a> felt almost exactly the same as in person. I staked out a hiding place in the bar and watched the crowd trickle in, and once everyone had found someone else to socialize with, made a beeline for the main stage to watch some Drunk Theatre Company. That’s one of the big upsides of a Gather space: being able to move around and encounter fellow attendees spontaneously, without losing the ability to watch the entertainment.\u003c/p>\n\u003cfigure id=\"attachment_13890061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Cat Productions sending out packages of postcards to campaign participants. \u003ccite>(Queer Cat Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bringing it All Back Home\u003c/h2>\n\u003cp>Exploring tangibility as a theatrical imperative was the driving force behind \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>’ pre-election postcard campaign in October, Faultline Theater’s \u003ca href=\"https://www.faultlinetheater.com/merch/fck-2020-bingo-game\">F*CK 2020 Bingo Game\u003c/a>, and \u003ca href=\"http://www.playonkit.com\">\u003cem>Play On!\u003c/em>\u003c/a>, the latest project from Bay Area Children’s Theater. Recognizing a need to move “zoomed-out” children away from their screens, BACT’s narrative activity kits come with all of the materials kids need to develop and stage their own shows at home.\u003c/p>\n\u003cp>“As we created the kits, we really put the process through a traditional theatrical design lens,” BACT’s executive director, Nina Meehan, explained in an email. “So each element is created with the notion that the story will activate the imagination and the element will support that activation.” For example, in their holiday edition, \u003cem>The Gingerbread Family\u003c/em>, families embark on an interactive adventure to “Grandma’s” house, accompanied by a stuffed purple reindeer and a suite of physical activities, crafts, board games, and singalongs.\u003c/p>\n\u003cfigure id=\"attachment_13890062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg\" alt=\"\" width=\"800\" height=\"663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-768x637.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Children’s Theater debuted their Play On! kits, including this holiday-inspired one, ‘The Gingerbread Family.’ \u003ccite>(Nina Meehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Artist-Oriented Streaming Models\u003c/h2>\n\u003cp>For many performers—such as comedy artists \u003ca href=\"http://www.potatoesmashed.com\">Edna Mira Raia\u003c/a> and \u003ca href=\"http://www.margagomez.com\">Marga Gomez\u003c/a>—the pandemic has meant brushing up on tech skills and upgrading personal equipment in order to stream live from home (Raia on OBS, Gomez on ECAMM). But Raia, who performs most often as a pantheon of comedic characters and drag personae, has found filming and editing comedy videos for YouTube to be ultimately more satisfying, although not without its drawbacks.\u003c/p>\n\u003cp>“Recording allows me to make mistakes and correct them, which I can’t do onstage,” she admitted. “The advantages are that editing gives a soloist more room to play multiple characters or easily change costumes…the downside is that the audience feedback is so delayed because you have to wait for people to watch on their own time to leave a comment, if they say anything at all. I miss hearing laughter and applause.”\u003c/p>\n\u003cfigure id=\"attachment_13890060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edna Mira Raia and Jamin Jollo clown for the camera. \u003ccite>(Edna Mira Raia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That loss of interactivity with an audience, as well as with other performers, is one of artists’ biggest gripes about Zoom. But artist-led technology projects are in the works, being designed to specifically address those particular aspects of the user experience. One of these, \u003ca href=\"https://pineappl.studio\">Pineappl\u003c/a>, being developed by long-time improv artists Chris Griswold and Michael Parlato, is currently in its beta-testing stage. In a tour conducted by Griswold, he showed how easily performers could interact on the screen, as well as maintain (or swap) position. Backgrounds can be preset and easily switched around, and it’s easier for multiple people to speak at the same time.\u003c/p>\n\u003cp>“There are types of improv that I teach that were not translating well to Zoom,” Griswold said about the impetus behind his custom app. “So we built a tool that we could do all kinds of things on!”\u003c/p>\n\u003cfigure id=\"attachment_13890075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890075\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Griswold and Michael Parlato test-drive Pineappl with friends. \u003ccite>(Chris Griswold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Back on Stage\u003c/h2>\n\u003cp>Meanwhile, in a considerable leap back towards performer interaction, \u003ca href=\"http://www.sfplayhouse.org\">San Francisco Playhouse\u003c/a> was recently given a green light from Actor’s Equity to film shows on their physical stage with rigorous testing and social distancing protocols in place.\u003c/p>\n\u003cp>“Our space has a capacity of 700, so limiting it to ten people in the room at any given time feels really safe,” explained producing director Susi Damilano as she described the three-camera shoots of live-staged performances. To date they’ve presented Yasmina Reza’s \u003cem>Art\u003c/em>, and Brian Copeland’s \u003cem>The Jewelry Box\u003c/em>, and opened \u003cem>Songs for a New World\u003c/em>, by Jason Robert Brown, on December 12.\u003c/p>\n\u003cp>If there’s one thing that artists are uniquely suited for, its creative problem-solving in the face of adversity. And while it’s impossible at this point to make a solid prediction for what the face of theater will look like in 2021, what is certain is that there are still surprising discoveries to be made, as artists continue to build new methods and tools for themselves to create with.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This has been an incredible time for theater, keeping it alive while the ground keeps shifting,” reflected Damilano. “It really feels like we are all in this together and by holding each other up, we will come out of this stronger than ever.”\u003c/p>\n\n","blocks":[],"excerpt":"As audiences experienced screen fatigue, performers got innovative, laying the groundwork for an exciting 2021. ","status":"publish","parent":0,"modified":1705019742,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1456},"headData":{"title":"Livestreaming Defined the Performing Arts in 2020. How Can it Be Sustained? | KQED","description":"As audiences experienced screen fatigue, performers got innovative, laying the groundwork for an exciting 2021. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Livestreaming Defined the Performing Arts in 2020. How Can it Be Sustained?","datePublished":"2020-12-14T20:00:40.000Z","dateModified":"2024-01-12T00:35:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2020 in Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890054/livestreaming-defined-the-performing-arts-in-2020-how-can-it-be-sustained","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last in-person performance I saw in \u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">2020 was \u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a>—a show that opened and closed on the same night in early March, right before the city implemented its first, strict, stay-at-home orders of the COVID-19 pandemic.\u003c/p>\n\u003cp>Since it wasn’t clear in those early weeks just how long the shutdown would last, theaters continued to be optimistic about their fall and winter shows, and in the interim, many branched out into broadcasting previously filmed shows (\u003cem>Toni Stone\u003c/em> among them), as well as staging readings, discussions, and original content on Zoom—a web-conferencing software many had never used before.\u003c/p>\n\u003cp>While those first heady weeks of streaming \u003cem>everything\u003c/em> available were fun, a saturation point was quickly reached, and performers watched audience numbers dwindle as their own enthusiasm for the limited capabilities of streamed content waned. As drag performer Honey Mahogany mentioned recently on KQED Forum, discussing the Stud’s regular livestreams on Twitch, “The numbers have been going down week after week. It’s really unsustainable.”\u003c/p>\n\u003cp>Even so,\u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\"> just like local music venues\u003c/a>, it’s unclear when theater spaces will be able to open their doors again to live performance. So continuing to innovate new ways of creating and presenting their works in the interim is crucial to their continued survival.\u003c/p>\n\u003ch2>New Formats, New Platforms\u003c/h2>\n\u003cp>For many, July 4 means opening day of the San Francisco Mime Troupe’s annual show in Dolores Park. This year, while other theaters were still tentatively trying to figure out whether or not they could schedule any shows at all, the Mime Troupe had their decision made for them in April, when the City told them they couldn’t have a permit to present in the park.\u003c/p>\n\u003cfigure id=\"attachment_13890059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg\" alt=\"\" width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1020x513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1536x772.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1920x965.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe’s Velina Brown and Micheal Gene Sullivan recording ‘A Red Carol’ at home. \u003ccite>(Zachary Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lifelong love of radio plays offered an idea to the company’s chief playwright, Michael Gene Sullivan. He’d already toyed with the idea of a show in which four interconnected stories come together in a blockbuster ending. Why not write it for the radio? When he brought the idea to the rest of the company, they quickly approved, and the company’s 10-episode serial radio drama, \u003ca href=\"http://www.sfmt.org/talesoftheresistance\">\u003cem>Tales of the Resistance\u003c/em>\u003c/a>, was born.\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>As company member, Velina Brown had already been on deck to direct their live show this year, and she gamely took the lead on directing the radio series, working closely with sound engineer Taylor Gonzalez and music director Daniel Savio. After becoming frustrated with Zoom as a rehearsal platform due to its delays and bandwidth usage, they hit upon using Discord, a chatroom app popular with gamers. This made it possible, Brown says, to rehearse with fewer delays and glitches by using Discord’s audio-only features, all while developing their own radio play “vocabulary” as a group. That vocabulary was passed over to Sullivan, for directing their brand new holiday play, \u003ca href=\"http://www.sfmt.org/a-red-carol\">\u003cem>A Red Carol\u003c/em>\u003c/a> (which opened Dec. 11).\u003c/p>\n\u003cfigure id=\"attachment_13890057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-1020x561.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-768x423.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern.png 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drunk Theatre Company on the PianoFight Gather “mainstage.” \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Discord isn’t the only gaming interface being used by theater-makers. Companies such as PianoFight, Dragon Productions, and Mystic Ventures Collective have all built out virtual spaces in retro-cute, pixelated graphics on a program called \u003ca href=\"https://gather.town/\" target=\"_blank\" rel=\"noopener noreferrer\">Gather\u003c/a>. For myself, rolling up to \u003ca href=\"http://www.pianofight.com\">PianoFight’s pre-Halloween fundraising party\u003c/a> felt almost exactly the same as in person. I staked out a hiding place in the bar and watched the crowd trickle in, and once everyone had found someone else to socialize with, made a beeline for the main stage to watch some Drunk Theatre Company. That’s one of the big upsides of a Gather space: being able to move around and encounter fellow attendees spontaneously, without losing the ability to watch the entertainment.\u003c/p>\n\u003cfigure id=\"attachment_13890061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Cat Productions sending out packages of postcards to campaign participants. \u003ccite>(Queer Cat Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bringing it All Back Home\u003c/h2>\n\u003cp>Exploring tangibility as a theatrical imperative was the driving force behind \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>’ pre-election postcard campaign in October, Faultline Theater’s \u003ca href=\"https://www.faultlinetheater.com/merch/fck-2020-bingo-game\">F*CK 2020 Bingo Game\u003c/a>, and \u003ca href=\"http://www.playonkit.com\">\u003cem>Play On!\u003c/em>\u003c/a>, the latest project from Bay Area Children’s Theater. Recognizing a need to move “zoomed-out” children away from their screens, BACT’s narrative activity kits come with all of the materials kids need to develop and stage their own shows at home.\u003c/p>\n\u003cp>“As we created the kits, we really put the process through a traditional theatrical design lens,” BACT’s executive director, Nina Meehan, explained in an email. “So each element is created with the notion that the story will activate the imagination and the element will support that activation.” For example, in their holiday edition, \u003cem>The Gingerbread Family\u003c/em>, families embark on an interactive adventure to “Grandma’s” house, accompanied by a stuffed purple reindeer and a suite of physical activities, crafts, board games, and singalongs.\u003c/p>\n\u003cfigure id=\"attachment_13890062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg\" alt=\"\" width=\"800\" height=\"663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-768x637.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Children’s Theater debuted their Play On! kits, including this holiday-inspired one, ‘The Gingerbread Family.’ \u003ccite>(Nina Meehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Artist-Oriented Streaming Models\u003c/h2>\n\u003cp>For many performers—such as comedy artists \u003ca href=\"http://www.potatoesmashed.com\">Edna Mira Raia\u003c/a> and \u003ca href=\"http://www.margagomez.com\">Marga Gomez\u003c/a>—the pandemic has meant brushing up on tech skills and upgrading personal equipment in order to stream live from home (Raia on OBS, Gomez on ECAMM). But Raia, who performs most often as a pantheon of comedic characters and drag personae, has found filming and editing comedy videos for YouTube to be ultimately more satisfying, although not without its drawbacks.\u003c/p>\n\u003cp>“Recording allows me to make mistakes and correct them, which I can’t do onstage,” she admitted. “The advantages are that editing gives a soloist more room to play multiple characters or easily change costumes…the downside is that the audience feedback is so delayed because you have to wait for people to watch on their own time to leave a comment, if they say anything at all. I miss hearing laughter and applause.”\u003c/p>\n\u003cfigure id=\"attachment_13890060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edna Mira Raia and Jamin Jollo clown for the camera. \u003ccite>(Edna Mira Raia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That loss of interactivity with an audience, as well as with other performers, is one of artists’ biggest gripes about Zoom. But artist-led technology projects are in the works, being designed to specifically address those particular aspects of the user experience. One of these, \u003ca href=\"https://pineappl.studio\">Pineappl\u003c/a>, being developed by long-time improv artists Chris Griswold and Michael Parlato, is currently in its beta-testing stage. In a tour conducted by Griswold, he showed how easily performers could interact on the screen, as well as maintain (or swap) position. Backgrounds can be preset and easily switched around, and it’s easier for multiple people to speak at the same time.\u003c/p>\n\u003cp>“There are types of improv that I teach that were not translating well to Zoom,” Griswold said about the impetus behind his custom app. “So we built a tool that we could do all kinds of things on!”\u003c/p>\n\u003cfigure id=\"attachment_13890075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890075\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Griswold and Michael Parlato test-drive Pineappl with friends. \u003ccite>(Chris Griswold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Back on Stage\u003c/h2>\n\u003cp>Meanwhile, in a considerable leap back towards performer interaction, \u003ca href=\"http://www.sfplayhouse.org\">San Francisco Playhouse\u003c/a> was recently given a green light from Actor’s Equity to film shows on their physical stage with rigorous testing and social distancing protocols in place.\u003c/p>\n\u003cp>“Our space has a capacity of 700, so limiting it to ten people in the room at any given time feels really safe,” explained producing director Susi Damilano as she described the three-camera shoots of live-staged performances. To date they’ve presented Yasmina Reza’s \u003cem>Art\u003c/em>, and Brian Copeland’s \u003cem>The Jewelry Box\u003c/em>, and opened \u003cem>Songs for a New World\u003c/em>, by Jason Robert Brown, on December 12.\u003c/p>\n\u003cp>If there’s one thing that artists are uniquely suited for, its creative problem-solving in the face of adversity. And while it’s impossible at this point to make a solid prediction for what the face of theater will look like in 2021, what is certain is that there are still surprising discoveries to be made, as artists continue to build new methods and tools for themselves to create with.\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>“This has been an incredible time for theater, keeping it alive while the ground keeps shifting,” reflected Damilano. “It really feels like we are all in this together and by holding each other up, we will come out of this stronger than ever.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890054/livestreaming-defined-the-performing-arts-in-2020-how-can-it-be-sustained","authors":["11497"],"categories":["arts_1","arts_967"],"tags":["arts_12958","arts_1238","arts_10278","arts_10318","arts_1321","arts_1072","arts_10478"],"featImg":"arts_13890058","label":"source_arts_13890054"},"arts_13885920":{"type":"posts","id":"arts_13885920","meta":{"index":"posts_1591205157","site":"arts","id":"13885920","score":null,"sort":[1599677605000]},"guestAuthors":[],"slug":"alls-fair-game-in-love-and-warcraft","title":"All’s Fair Game in 'Love and Warcraft'","publishDate":1599677605,"format":"standard","headTitle":"All’s Fair Game in ‘Love and Warcraft’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Although Madhuri Shekar’s \u003cem>In Love and Warcraft\u003c/em> debuted in 2013, it feels custom-written for this moment in time. As it delves into the nuances of living a significant part of one’s life online, \u003cem>In Love and Warcraft\u003c/em> gives its Generation Z characters a shot at love, while reveling in their individual goofy streaks and neuroses. Directed by Peter J. Kuo, and starring six American Conservatory Theater (ACT) Conservatory students, this candid ode to college romance wears a Zoom container comfortably—as if it were meant to be performed that way all along.\u003c/p>\n\u003cp>\u003cem>In Love and Warcraft\u003c/em> was originally slated to be performed in the Spring at ACT’s Costume Shop, so the actors \u003cem>did\u003c/em> have the luxury of having already rehearsed together in real life, helping them in transition to all-digital platforms with natural ease. There’s real chemistry between protagonist Evie (Cassandra Hunter) and the object of her tentative desire, Raul (Hernán Angulo)—and plenty of mutual fondness and easy camaraderie among the rest of the ensemble as well.\u003c/p>\n\u003cp>An avid player of a multi-player fantasy game that Shekar calls “Warcraft Universe,” Evie’s side hustle is writing love letters for her classmates. She’s a modern-day Cyrano, whose specialties include Facebook posts, text messages, and heartfelt emails. But Evie’s own love life is suspect. Her teammate Ryan (James Mercer)—an amiable nerd with an affinity for Red Vines—is supposedly her boyfriend, but all of their “dates” take place online. Meanwhile, her sex-positive roommate Kitty (Evangeline Edwards) urges her to break it off and explore the exciting possibilities of physical romance. The opportunity to do so presents itself almost immediately in the form of Raul, a former client of Evie’s, who’s fallen for the loving words she’d written to his now-ex.\u003c/p>\n\u003cp>If the scenario is a little contrived, what’s completely genuine is the relatable awkwardness of Evie’s inexpert foray into the unknown. With Kitty urging her on from the sidelines, Evie screws her courage to the sticking point—until she gets stuck. Uncertain of her own desires, she discovers that the reliable language of love that she’s deployed faithfully on behalf of others is not enough to express the complexities of her own feelings. Meanwhile, a smitten Raul soon discovers that he must also navigate aspects of their relationship that are new to him as well.\u003c/p>\n\u003cfigure id=\"attachment_13885921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra Hunter as Evie and Hernán Angulo as Raul in Madhuri Shekar’s ‘In Love and Warcraft.’ \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Evie, Hunter is a delight to watch. Her every gesture and nose wrinkle speaks volumes of dork-ish. Her excitement on the Warcraft battlefield is matched by her real expertise in the game. That she thinks of romance in game terms makes her valuable as a go-between. But, as she discovers for herself, keeping a scorecard in personal relationships is a recipe for misadventure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Raul, Angulo embodies a lovable ungainliness. Even when he stumbles (and stumble he does) he never crosses the line into the unforgivable. As a co-conspirator, and occasional co-transgressor, Evangeline Edwards brings a vibrant touch to her role, luminous eyes beaming out from her screen in every scene she’s in. If you’ve been wondering about the viability of digital platforms as stages for live performance, being mesmerized by all of the subtleties of expression in each character’s face makes a good case for it.\u003c/p>\n\u003cp>Over the past few years, the rich world of gamers has emerged as one ripe for exploring through the medium of theater, including the current affairs-parsing \u003ca href=\"https://www.kqed.org/arts/13825717/non-player-character-puts-gamergate-on-the-theater-stage\">\u003cem>Non-Player Character\u003c/em> at San Francisco Playhouse\u003c/a>, and the virtual reality romp \u003ca href=\"https://www.kqed.org/arts/13871091/5-plays-for-the-holidays-that-arent-a-christmas-carol\">\u003cem>An Invitation Out\u003c/em> with Quantum Dragon Theatre\u003c/a>. A major challenge for those plays was staging their game scenes \u003cem>without \u003c/em>screens, mostly relying on extravagant costumes and occasional video enhancement to give their game worlds a computerized feel. For \u003cem>In Love and Warcraft\u003c/em>, the challenge is inverted.\u003c/p>\n\u003cp>When the characters inhabit their game world, the audience experiences the computer graphic gameplay onscreen, as opposed to the cast dressed up as their avatars. The bigger challenge these actors face is how to stage their non-game action from their respective screens so it appears that they’re sharing the same space. By actively manipulating the angles and timing of their devices, they’re able to face each other and interact relatively naturally, their evident rapport helping to blur the borders of their Zoom rooms. Through allusion and some clever choreography, even first kisses and gynecological exams are made plausible.\u003c/p>\n\u003cfigure id=\"attachment_13885922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Madhuri Shekar’s ‘In Love and Warcraft,’ with James Mercer as Ryan, Cassandra Hunter as Evie, and Evangeline Edwards as Kitty. \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than relying overmuch on virtual backgrounds, which can make actors’ limbs disappear at random moments, these performers have instead decorated the walls of their homes with cafe signs and medical posters. And if occasionally their couch cushions don’t line up perfectly from screen to screen, suspending disbelief in order to fully embrace the world of the play is what theater audiences do best. It just so happens that this world is one that infiltrates our personal space instead of the other way around. In a sense, it creates a \u003cem>more\u003c/em> intimate experience for the audience than a conventionally staged performance.\u003c/p>\n\u003cp>Another way in which this digital production embraces its unique format is as a co-production with Juneau, Alaska’s Perseverance Theatre. Sharing costs and creative team, ACT and Perseverance demonstrate the potential of collaborating over a distance, opening up a whole realm of possibilities for future partnerships with almost any theater company from around the world.\u003c/p>\n\u003cp>All in all, this sweetly sincere investigation of analog human connection in a digital age is worth experiencing, whatever the platform.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘In Love and Warcraft’ runs live through Sept. 12, and on demand through Sept. 25. Tickets and \u003ca href=\"https://secure.act-sf.org/overview/loveandwarcraft\">more details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Video games and romance come together in this live-action Zoom experience from ACT and Perseverance Theater.","status":"publish","parent":0,"modified":1705020165,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1039},"headData":{"title":"All’s Fair Game in 'Love and Warcraft' | KQED","description":"Video games and romance come together in this live-action Zoom experience from ACT and Perseverance Theater.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"All’s Fair Game in 'Love and Warcraft'","datePublished":"2020-09-09T18:53:25.000Z","dateModified":"2024-01-12T00:42:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13885920/alls-fair-game-in-love-and-warcraft","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although Madhuri Shekar’s \u003cem>In Love and Warcraft\u003c/em> debuted in 2013, it feels custom-written for this moment in time. As it delves into the nuances of living a significant part of one’s life online, \u003cem>In Love and Warcraft\u003c/em> gives its Generation Z characters a shot at love, while reveling in their individual goofy streaks and neuroses. Directed by Peter J. Kuo, and starring six American Conservatory Theater (ACT) Conservatory students, this candid ode to college romance wears a Zoom container comfortably—as if it were meant to be performed that way all along.\u003c/p>\n\u003cp>\u003cem>In Love and Warcraft\u003c/em> was originally slated to be performed in the Spring at ACT’s Costume Shop, so the actors \u003cem>did\u003c/em> have the luxury of having already rehearsed together in real life, helping them in transition to all-digital platforms with natural ease. There’s real chemistry between protagonist Evie (Cassandra Hunter) and the object of her tentative desire, Raul (Hernán Angulo)—and plenty of mutual fondness and easy camaraderie among the rest of the ensemble as well.\u003c/p>\n\u003cp>An avid player of a multi-player fantasy game that Shekar calls “Warcraft Universe,” Evie’s side hustle is writing love letters for her classmates. She’s a modern-day Cyrano, whose specialties include Facebook posts, text messages, and heartfelt emails. But Evie’s own love life is suspect. Her teammate Ryan (James Mercer)—an amiable nerd with an affinity for Red Vines—is supposedly her boyfriend, but all of their “dates” take place online. Meanwhile, her sex-positive roommate Kitty (Evangeline Edwards) urges her to break it off and explore the exciting possibilities of physical romance. The opportunity to do so presents itself almost immediately in the form of Raul, a former client of Evie’s, who’s fallen for the loving words she’d written to his now-ex.\u003c/p>\n\u003cp>If the scenario is a little contrived, what’s completely genuine is the relatable awkwardness of Evie’s inexpert foray into the unknown. With Kitty urging her on from the sidelines, Evie screws her courage to the sticking point—until she gets stuck. Uncertain of her own desires, she discovers that the reliable language of love that she’s deployed faithfully on behalf of others is not enough to express the complexities of her own feelings. Meanwhile, a smitten Raul soon discovers that he must also navigate aspects of their relationship that are new to him as well.\u003c/p>\n\u003cfigure id=\"attachment_13885921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra Hunter as Evie and Hernán Angulo as Raul in Madhuri Shekar’s ‘In Love and Warcraft.’ \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Evie, Hunter is a delight to watch. Her every gesture and nose wrinkle speaks volumes of dork-ish. Her excitement on the Warcraft battlefield is matched by her real expertise in the game. That she thinks of romance in game terms makes her valuable as a go-between. But, as she discovers for herself, keeping a scorecard in personal relationships is a recipe for misadventure.\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>As Raul, Angulo embodies a lovable ungainliness. Even when he stumbles (and stumble he does) he never crosses the line into the unforgivable. As a co-conspirator, and occasional co-transgressor, Evangeline Edwards brings a vibrant touch to her role, luminous eyes beaming out from her screen in every scene she’s in. If you’ve been wondering about the viability of digital platforms as stages for live performance, being mesmerized by all of the subtleties of expression in each character’s face makes a good case for it.\u003c/p>\n\u003cp>Over the past few years, the rich world of gamers has emerged as one ripe for exploring through the medium of theater, including the current affairs-parsing \u003ca href=\"https://www.kqed.org/arts/13825717/non-player-character-puts-gamergate-on-the-theater-stage\">\u003cem>Non-Player Character\u003c/em> at San Francisco Playhouse\u003c/a>, and the virtual reality romp \u003ca href=\"https://www.kqed.org/arts/13871091/5-plays-for-the-holidays-that-arent-a-christmas-carol\">\u003cem>An Invitation Out\u003c/em> with Quantum Dragon Theatre\u003c/a>. A major challenge for those plays was staging their game scenes \u003cem>without \u003c/em>screens, mostly relying on extravagant costumes and occasional video enhancement to give their game worlds a computerized feel. For \u003cem>In Love and Warcraft\u003c/em>, the challenge is inverted.\u003c/p>\n\u003cp>When the characters inhabit their game world, the audience experiences the computer graphic gameplay onscreen, as opposed to the cast dressed up as their avatars. The bigger challenge these actors face is how to stage their non-game action from their respective screens so it appears that they’re sharing the same space. By actively manipulating the angles and timing of their devices, they’re able to face each other and interact relatively naturally, their evident rapport helping to blur the borders of their Zoom rooms. Through allusion and some clever choreography, even first kisses and gynecological exams are made plausible.\u003c/p>\n\u003cfigure id=\"attachment_13885922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Madhuri Shekar’s ‘In Love and Warcraft,’ with James Mercer as Ryan, Cassandra Hunter as Evie, and Evangeline Edwards as Kitty. \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than relying overmuch on virtual backgrounds, which can make actors’ limbs disappear at random moments, these performers have instead decorated the walls of their homes with cafe signs and medical posters. And if occasionally their couch cushions don’t line up perfectly from screen to screen, suspending disbelief in order to fully embrace the world of the play is what theater audiences do best. It just so happens that this world is one that infiltrates our personal space instead of the other way around. In a sense, it creates a \u003cem>more\u003c/em> intimate experience for the audience than a conventionally staged performance.\u003c/p>\n\u003cp>Another way in which this digital production embraces its unique format is as a co-production with Juneau, Alaska’s Perseverance Theatre. Sharing costs and creative team, ACT and Perseverance demonstrate the potential of collaborating over a distance, opening up a whole realm of possibilities for future partnerships with almost any theater company from around the world.\u003c/p>\n\u003cp>All in all, this sweetly sincere investigation of analog human connection in a digital age is worth experiencing, whatever the platform.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘In Love and Warcraft’ runs live through Sept. 12, and on demand through Sept. 25. Tickets and \u003ca href=\"https://secure.act-sf.org/overview/loveandwarcraft\">more details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13885920/alls-fair-game-in-love-and-warcraft","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1238","arts_1175","arts_769","arts_585","arts_4149","arts_10478"],"featImg":"arts_13885923","label":"arts_140"},"arts_13876835":{"type":"posts","id":"arts_13876835","meta":{"index":"posts_1591205157","site":"arts","id":"13876835","score":null,"sort":[1584555799000]},"guestAuthors":[],"slug":"despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t","title":"Despite Early Closing, 'Toni Stone' Hits a Home Run at A.C.T., Moves Online","publishDate":1584555799,"format":"standard","headTitle":"Despite Early Closing, ‘Toni Stone’ Hits a Home Run at A.C.T., Moves Online | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Attending opening night of A.C.T.’s production of \u003cem>Toni Stone\u003c/em> on March 11 was a singular experience. Following an announcement from Mayor London Breed limiting gatherings to under 1,000 people, the theater was far from capacity, and, like a half-empty sports arena, the atmosphere was subdued, though expectant.\u003c/p>\n\u003cp>Written by Lydia R. Diamond and directed by A.C.T.’s Artistic Director Pam MacKinnon, \u003cem>Toni Stone\u003c/em> was meant to be a crowning jewel in a season themed the “rules of play.” But through no fault of its own, its opening night was overshadowed by an unfolding public health crisis—which eventually resulted in a shelter-in-place order with firm restrictions on public gatherings, including at theaters.\u003c/p>\n\u003cp>Under these unenviable circumstances, the show did go on. And the next morning, it closed.\u003c/p>\n\u003cp>\u003cem>Toni Stone\u003c/em> is now being made \u003ca href=\"http://www.act-sf.org\" target=\"_blank\" rel=\"noopener noreferrer\">available to watch online\u003c/a>, filmed on stage at the Geary Theater, in a unique arrangement \u003ca href=\"http://<a%20href=\" target=\"_blank\" rel=\"noopener noreferrer\">also undertaken\u003c/a> by a handful of other theaters during the coronavirus shutdown. Tickets for the recorded performance are on a pay-what-you-will system. If you’re stuck at home, I recommend giving it a shot.\u003c/p>\n\u003cp>That’s because despite the external pressures on opening night, the cast and artistic team of \u003cem>Toni Stone\u003c/em> knocked it out of the park. Chronicling the high point of the career of the first professional woman baseball player in the Negro Leagues, \u003cem>Toni Stone\u003c/em> inhabits an episodic realm halfway between biopic and dramatic monologue, told through the perspective of its charismatic titular character, and supported by a strong team of eight additional players. Although a player for a short time with the San Francisco Sea Lions, \u003cem>Toni Stone\u003c/em> is set during her later stint with the Indianapolis Clowns, the team with which she commanded the most attention.\u003c/p>\n\u003cfigure id=\"attachment_13876840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula as Toni Stone at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without preamble, Dawn Ursula as Toni Stone walks onstage to address the audience directly. Confident, solid, the embodiment of a consummate athlete, describing the weight of the ball as feeling like “what your hand, my hand, wanted all along.” As she describes herself and her preoccupation with the logistics of the game, her teammates enter the stage one by one, posing seriously with their bats. She introduces them with warm camaraderie—a litany of mostly forgotten, real-life players such as Spec (Daniel J. Bryant), King Tut (JaBen Early), and Elzie (Rodney Earl Jackson Jr.)—and the game begins in earnest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As they “play,” the team’s exemplary choreography (Camille A. Brown with movement coach Danyon Davis) fills the stage with something akin to the energy of a live game while the character of Toni delves into the specifics of it. Balls are tossed, bats swung, bases rounded, banter flies. With all of the measurements of the game divisible by three, they reference the holy trinity, declaring the playing field a church. Like angels, the players glide across the floorboards, slightly above the gritty fray.\u003c/p>\n\u003cfigure id=\"attachment_13876838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula and JaBen Early on the off-season in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the idealized world of the theatrical, the raw sharp edges of life on the road are somewhat smoothed, addressing the many hardships faced by the team without forcing the actors to reenact each in too-excruciating detail. Forced to run from a crowd of racists during an exhibition game, the audience can feel reasonably certain that they’ll make it back to their van unscathed. Forced to ride through the night in search of a place to lay their heads, we know the bus will make it in one piece. Forced to sleep in a brothel in lieu of a hotel, Toni even makes a friend, the enigmatic Millie (Kenn E. Head), who offers some welcome comfort and sage advice.\u003c/p>\n\u003cp>But smoothed out certainly doesn’t mean edge-free, and the harsher realities of barnstorming in the League never stray far from the spotlight. A particularly agonizing sequence shows the players participating in the humiliating tradition of fifth-inning “clowning” during which their consummate athleticism becomes a framework for a minstrel-style show of synchronized soft-shoe and barely suppressed rage; pointedly implicating the watching audience. Toni must face and push back on the rampant sexism she encounters on and off the field, from threats of sexual violence to “helpful” suggestions that she wear a skirt as her uniform. Her teammates chafe and strain at their straightened circumstances, as over in New York, Jackie Robinson is breaking the color line in the majors, but not wide enough for them to join him.\u003c/p>\n\u003cfigure id=\"attachment_13876841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marquis D. Gibson and Dawn Ursula in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worldly yet guileless, self-sufficient but doggedly literal, Toni remains true to her own ambitions, no matter how many well-meaning voices try to talk her into desiring something else. A life of the creature comforts those voices promise is not the life she craves. It’s the dirt under her fingernails and the extra stretch in her arm as she reaches for an approaching ball, eager to feel the weight of it. Dawn Ursula deftly captures each shifting mood of her expressive character, while her talented teammates field the many bit roles: worried parents, overbearing bosses, bored bartenders, tender couples dancing in the dim half-light of memory. It feels a little strange that the play omits the overlap between Toni’s short tenure with the Indianapolis Clowns with those of their subsequent hires—Mamie “Peanut” Johnson and Connie Morgan—but as it already clocks in at close to two-and-a-half hours, it’s hard to say where they would fit in.\u003c/p>\n\u003cp>In what feels almost like an outrageously improbable doomsday scenario, both theater productions \u003cem>and\u003c/em> major sporting events are effectively canceled for now, making the truncated run of this particular sports-themed show feel like a double whammy. But at least the show’s online stream ensures that the many years of work that went into this one production won’t be completely lost to posterity.\u003c/p>\n\u003cp>It took this many years for the Bay Area to give Toni Stone her due. And it’s good to see she’s not going down without a fight.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Toni Stone \u003c/em>live performances have been canceled in San Francisco due to COVID-19 concerns. Find more details about watching the play online \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"This remarkable play about a pioneering female baseball player deserves to be seen—even if only online.","status":"publish","parent":0,"modified":1705021062,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1105},"headData":{"title":"Despite Early Closing, 'Toni Stone' Hits a Home Run at A.C.T., Moves Online | KQED","description":"This remarkable play about a pioneering female baseball player deserves to be seen—even if only online.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Despite Early Closing, 'Toni Stone' Hits a Home Run at A.C.T., Moves Online","datePublished":"2020-03-18T18:23:19.000Z","dateModified":"2024-01-12T00:57:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attending opening night of A.C.T.’s production of \u003cem>Toni Stone\u003c/em> on March 11 was a singular experience. Following an announcement from Mayor London Breed limiting gatherings to under 1,000 people, the theater was far from capacity, and, like a half-empty sports arena, the atmosphere was subdued, though expectant.\u003c/p>\n\u003cp>Written by Lydia R. Diamond and directed by A.C.T.’s Artistic Director Pam MacKinnon, \u003cem>Toni Stone\u003c/em> was meant to be a crowning jewel in a season themed the “rules of play.” But through no fault of its own, its opening night was overshadowed by an unfolding public health crisis—which eventually resulted in a shelter-in-place order with firm restrictions on public gatherings, including at theaters.\u003c/p>\n\u003cp>Under these unenviable circumstances, the show did go on. And the next morning, it closed.\u003c/p>\n\u003cp>\u003cem>Toni Stone\u003c/em> is now being made \u003ca href=\"http://www.act-sf.org\" target=\"_blank\" rel=\"noopener noreferrer\">available to watch online\u003c/a>, filmed on stage at the Geary Theater, in a unique arrangement \u003ca href=\"http://<a%20href=\" target=\"_blank\" rel=\"noopener noreferrer\">also undertaken\u003c/a> by a handful of other theaters during the coronavirus shutdown. Tickets for the recorded performance are on a pay-what-you-will system. If you’re stuck at home, I recommend giving it a shot.\u003c/p>\n\u003cp>That’s because despite the external pressures on opening night, the cast and artistic team of \u003cem>Toni Stone\u003c/em> knocked it out of the park. Chronicling the high point of the career of the first professional woman baseball player in the Negro Leagues, \u003cem>Toni Stone\u003c/em> inhabits an episodic realm halfway between biopic and dramatic monologue, told through the perspective of its charismatic titular character, and supported by a strong team of eight additional players. Although a player for a short time with the San Francisco Sea Lions, \u003cem>Toni Stone\u003c/em> is set during her later stint with the Indianapolis Clowns, the team with which she commanded the most attention.\u003c/p>\n\u003cfigure id=\"attachment_13876840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula as Toni Stone at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without preamble, Dawn Ursula as Toni Stone walks onstage to address the audience directly. Confident, solid, the embodiment of a consummate athlete, describing the weight of the ball as feeling like “what your hand, my hand, wanted all along.” As she describes herself and her preoccupation with the logistics of the game, her teammates enter the stage one by one, posing seriously with their bats. She introduces them with warm camaraderie—a litany of mostly forgotten, real-life players such as Spec (Daniel J. Bryant), King Tut (JaBen Early), and Elzie (Rodney Earl Jackson Jr.)—and the game begins in earnest.\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>As they “play,” the team’s exemplary choreography (Camille A. Brown with movement coach Danyon Davis) fills the stage with something akin to the energy of a live game while the character of Toni delves into the specifics of it. Balls are tossed, bats swung, bases rounded, banter flies. With all of the measurements of the game divisible by three, they reference the holy trinity, declaring the playing field a church. Like angels, the players glide across the floorboards, slightly above the gritty fray.\u003c/p>\n\u003cfigure id=\"attachment_13876838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula and JaBen Early on the off-season in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the idealized world of the theatrical, the raw sharp edges of life on the road are somewhat smoothed, addressing the many hardships faced by the team without forcing the actors to reenact each in too-excruciating detail. Forced to run from a crowd of racists during an exhibition game, the audience can feel reasonably certain that they’ll make it back to their van unscathed. Forced to ride through the night in search of a place to lay their heads, we know the bus will make it in one piece. Forced to sleep in a brothel in lieu of a hotel, Toni even makes a friend, the enigmatic Millie (Kenn E. Head), who offers some welcome comfort and sage advice.\u003c/p>\n\u003cp>But smoothed out certainly doesn’t mean edge-free, and the harsher realities of barnstorming in the League never stray far from the spotlight. A particularly agonizing sequence shows the players participating in the humiliating tradition of fifth-inning “clowning” during which their consummate athleticism becomes a framework for a minstrel-style show of synchronized soft-shoe and barely suppressed rage; pointedly implicating the watching audience. Toni must face and push back on the rampant sexism she encounters on and off the field, from threats of sexual violence to “helpful” suggestions that she wear a skirt as her uniform. Her teammates chafe and strain at their straightened circumstances, as over in New York, Jackie Robinson is breaking the color line in the majors, but not wide enough for them to join him.\u003c/p>\n\u003cfigure id=\"attachment_13876841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marquis D. Gibson and Dawn Ursula in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worldly yet guileless, self-sufficient but doggedly literal, Toni remains true to her own ambitions, no matter how many well-meaning voices try to talk her into desiring something else. A life of the creature comforts those voices promise is not the life she craves. It’s the dirt under her fingernails and the extra stretch in her arm as she reaches for an approaching ball, eager to feel the weight of it. Dawn Ursula deftly captures each shifting mood of her expressive character, while her talented teammates field the many bit roles: worried parents, overbearing bosses, bored bartenders, tender couples dancing in the dim half-light of memory. It feels a little strange that the play omits the overlap between Toni’s short tenure with the Indianapolis Clowns with those of their subsequent hires—Mamie “Peanut” Johnson and Connie Morgan—but as it already clocks in at close to two-and-a-half hours, it’s hard to say where they would fit in.\u003c/p>\n\u003cp>In what feels almost like an outrageously improbable doomsday scenario, both theater productions \u003cem>and\u003c/em> major sporting events are effectively canceled for now, making the truncated run of this particular sports-themed show feel like a double whammy. But at least the show’s online stream ensures that the many years of work that went into this one production won’t be completely lost to posterity.\u003c/p>\n\u003cp>It took this many years for the Bay Area to give Toni Stone her due. And it’s good to see she’s not going down without a fight.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>Toni Stone \u003c/em>live performances have been canceled in San Francisco due to COVID-19 concerns. Find more details about watching the play online \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t","authors":["11497"],"categories":["arts_967"],"tags":["arts_1238","arts_10092","arts_10278","arts_10318","arts_1146","arts_4506","arts_1072","arts_585"],"featImg":"arts_13876839","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","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. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.","airtime":"MON-THU 11am-12pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"http://www.wbur.org/hereandnow","meta":{"site":"news","source":"npr"},"link":"/radio/program/here-and-now","subsdcribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661","tuneIn":"https://tunein.com/radio/Here--Now-p211/","rss":"https://feeds.npr.org/510051/podcast.xml"}},"how-i-built-this":{"id":"how-i-built-this","title":"How I Built This with Guy Raz","info":"Guy Raz dives into the stories behind some of the world's best known companies. 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