Zendaya Donates $100,000 to Bay Area Theater Company
Marcus Gardley’s ‘LEAR’ is a Culturally Rich Re-Imagining of Shakespeare
Highlights of Bay Area Theatre and Dance to See This Fall
Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area
Hindered by Stereotypes, 'Quixote Nuevo' Comes at a Too-Serious Time
The Best Bay Area Theater of 2017
African-American History as a Homeric Odyssey
A Trump-Tinged ‘Julius Caesar’: What Now?
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Follow him on Twitter @johnrwilkins2","avatar":"https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]}],"headData":{"title":"John Wilkins | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/jwilkins"},"ralexandra":{"type":"authors","id":"11242","meta":{"index":"authors_1591205172","id":"11242","found":true},"name":"Rae Alexandra","firstName":"Rae","lastName":"Alexandra","slug":"ralexandra","email":"ralexandra@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Staff Writer","bio":"Rae Alexandra is Staff Writer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/ArticleArchives?author=2127078&excludeCategoryType=Blog\">\u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/tag/bayareahistory/\">a history nerd\u003c/a>. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"},"aproehl":{"type":"authors","id":"11296","meta":{"index":"authors_1591205172","id":"11296","found":true},"name":"Ariana 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KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ngluckstern"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal 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href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">\u003cem>Dune\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em> \u003c/a>facilitated a $100,000 grant to the theater’s \u003ca href=\"https://calshakes.org/support/\">North Star Fund\u003c/a> via the Women Donors Network (WDN).\u003c/p>\n\u003cp>“We hope that our funding supports your work and helps further your strategic vision, wherever funds are most needed,” said WDN’s President and CEO Leena Barakat in a statement.\u003c/p>\n\u003cp>The North Star Fund is dedicated toward launching a development program for young acting talent, improving sound and lighting at the Bruns Amphitheater in Orinda, and upgrading Cal Shakes’ cafe facilities. The fund will also finance the theater’s \u003ca href=\"https://calshakes.org/calshakes50_pr/\">50th anniversary production of \u003c/a>\u003cem>\u003ca href=\"https://calshakes.org/calshakes50_pr/\">As You Like It\u003c/a>,\u003c/em> set to be directed by Elizabeth Carter.\u003c/p>\n\u003cp>“To me, \u003cem>As You Like It\u003c/em> is ultimately about the freedom to uncover ourselves,” Carter said when the play was announced, “being loved for our true selves, and that the least of us is the most of us.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='pop_95643']Zendaya, 27, has been closely linked to Cal Shakes since her childhood. Her mother, elementary school teacher Claire Stoermer, worked as the house manager for 12 summers. Zendaya often accompanied her mom to the theater, helping out by selling raffle tickets and handing out programs.\u003c/p>\n\u003cp>The actress began taking classes at Cal Shakes at the age of 8, encouraged by her mom. Within six years, Zendaya began starring in the Disney Channel series, \u003cem>Shake it Up\u003c/em>. In 2020, she became the youngest actor to ever win an Emmy Award for her work on \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cp>The $100,000 donation follows a pattern of Zendaya representing her hometown of Oakland and supporting its community programs. Last year, with boyfriend Tom Holland, she \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/zendaya-and-boyfriend-tom-holland-made-a-secret-trip-to-her-oakland-school\">visited her alma mater Oakland School for the Arts\u003c/a> to talk with students. In 2018, she \u003ca href=\"https://www.essence.com/celebrity/zendaya-google-computer-science-roses-oakland/\">helped fund a grant supporting computer science curriculum\u003c/a> at Oakland’s Roses In Concerete Community School.\u003c/p>\n\u003cp>Zendaya remains a regular visitor to the Cal Shakes’ theater in Orinda, and was made aware of its post-pandemic challenges in conversations with Executive Director Clive Worsley and others at Cal Shakes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are deeply grateful to Zendaya and the WDN for their partnership,” Worsley said in a statement. “This gift helps keep Cal Shakes going strong.”\u003c/p>\n\n","blocks":[],"excerpt":"The Oakland-born star gives back to Cal Shakes, where she began acting lessons at the age of 8.","status":"publish","parent":0,"modified":1708727375,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":416},"headData":{"title":"Zendaya Donates $100,000 to Bay Area Theater Company | KQED","description":"The Oakland-born star gives back to Cal Shakes, where she began acting lessons at the age of 8.","ogTitle":"Zendaya Donates $100,000 to Bay Area Theater Company","ogDescription":"","ogImgId":"","twTitle":"Zendaya Donates $100,000 to Bay Area Theater Company","twDescription":"","twImgId":"","socialTitle":"Zendaya Donates $100,000 to Bay Area Theater Company %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Zendaya Donates $100,000 to Bay Area Theater Company","datePublished":"2024-02-23T22:24:55.000Z","dateModified":"2024-02-23T22:29:35.000Z","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/13952927/zendaya-cal-shakes-north-star-fund-donation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Star actress \u003ca href=\"https://www.kqed.org/arts/tag/zendaya\">Zendaya\u003c/a> has made a large donation to the California Shakespeare Theater (Cal Shakes) that’s expected to have a major impact on the company’s upcoming 50th anniversary season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13891785","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">The Oakland-born star\u003c/a> of \u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">\u003cem>Dune\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em> \u003c/a>facilitated a $100,000 grant to the theater’s \u003ca href=\"https://calshakes.org/support/\">North Star Fund\u003c/a> via the Women Donors Network (WDN).\u003c/p>\n\u003cp>“We hope that our funding supports your work and helps further your strategic vision, wherever funds are most needed,” said WDN’s President and CEO Leena Barakat in a statement.\u003c/p>\n\u003cp>The North Star Fund is dedicated toward launching a development program for young acting talent, improving sound and lighting at the Bruns Amphitheater in Orinda, and upgrading Cal Shakes’ cafe facilities. The fund will also finance the theater’s \u003ca href=\"https://calshakes.org/calshakes50_pr/\">50th anniversary production of \u003c/a>\u003cem>\u003ca href=\"https://calshakes.org/calshakes50_pr/\">As You Like It\u003c/a>,\u003c/em> set to be directed by Elizabeth Carter.\u003c/p>\n\u003cp>“To me, \u003cem>As You Like It\u003c/em> is ultimately about the freedom to uncover ourselves,” Carter said when the play was announced, “being loved for our true selves, and that the least of us is the most of us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_95643","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Zendaya, 27, has been closely linked to Cal Shakes since her childhood. Her mother, elementary school teacher Claire Stoermer, worked as the house manager for 12 summers. Zendaya often accompanied her mom to the theater, helping out by selling raffle tickets and handing out programs.\u003c/p>\n\u003cp>The actress began taking classes at Cal Shakes at the age of 8, encouraged by her mom. Within six years, Zendaya began starring in the Disney Channel series, \u003cem>Shake it Up\u003c/em>. In 2020, she became the youngest actor to ever win an Emmy Award for her work on \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cp>The $100,000 donation follows a pattern of Zendaya representing her hometown of Oakland and supporting its community programs. Last year, with boyfriend Tom Holland, she \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/zendaya-and-boyfriend-tom-holland-made-a-secret-trip-to-her-oakland-school\">visited her alma mater Oakland School for the Arts\u003c/a> to talk with students. In 2018, she \u003ca href=\"https://www.essence.com/celebrity/zendaya-google-computer-science-roses-oakland/\">helped fund a grant supporting computer science curriculum\u003c/a> at Oakland’s Roses In Concerete Community School.\u003c/p>\n\u003cp>Zendaya remains a regular visitor to the Cal Shakes’ theater in Orinda, and was made aware of its post-pandemic challenges in conversations with Executive Director Clive Worsley and others at Cal Shakes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are deeply grateful to Zendaya and the WDN for their partnership,” Worsley said in a statement. “This gift helps keep Cal Shakes going strong.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952927/zendaya-cal-shakes-north-star-fund-donation","authors":["11242"],"categories":["arts_1","arts_11615","arts_235","arts_75","arts_967"],"tags":["arts_1890","arts_10278","arts_3590","arts_21972","arts_21968"],"featImg":"arts_13952930","label":"arts"},"arts_13919522":{"type":"posts","id":"arts_13919522","meta":{"index":"posts_1591205157","site":"arts","id":"13919522","score":null,"sort":[1663968845000]},"guestAuthors":[],"slug":"lear-cal-shakes-marcus-gardley-bruns-ampitheater","title":"Marcus Gardley’s ‘LEAR’ is a Culturally Rich Re-Imagining of Shakespeare","publishDate":1663968845,"format":"audio","headTitle":"Marcus Gardley’s ‘LEAR’ is a Culturally Rich Re-Imagining of Shakespeare | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When King Lear, played by James A. Williams, first appears on stage, he wears a long fur coat. His crown: a black fedora with gold ribbon trim. It’s a distinctly Black regalness that makes you think Teddy Pendergrass, not Anthony Hopkins. The scene is San Francisco’s Fillmore District in 1969–a time of “urban renewal,” which led to gentrification and the upheaval of Black communities.\u003c/p>\n\u003cp>These are the makings of Marcus Gardley’s \u003cem>\u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">LEAR\u003c/a>\u003c/em>, a modern-verse adaptation of Shakespeare’s famous tragedy, about an aging king who mentally comes undone. Gardley, an Obie-winning playwright who was born in Oakland, stays true to the original story and plot line of \u003cem>King Lear\u003c/em> but gives it his signature stamp of poetic lyricism steeped in Black culture.\u003c/p>\n\u003cp>At the intimate yet towering Bruns Amphitheater, the soft sound of crickets is our silence and the starry night sky is our ceiling. The single set, by San Francisco scenic designer Tanya Orellana, is a cream-colored, open-faced two-story house that feels modern yet classic, walking the same line that Gardley does in his text.\u003c/p>\n\u003cfigure id=\"attachment_13919519\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_225.jpg\" alt=\"Dancers in foreground, actors on second story of modernist style home on stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marcus Gardley’s ‘LEAR.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley’s interpretation gives birth to empowered performances across the entire cast, which is co-directed by fellow Oakland-born Dawn Monique Williams, alongside departing CalShakes artistic director, Eric Ting. The Black Queen, played by Verlina Brown, is striking in all white when she narrates the opening of the play, letting the audience know to essentially freak what you heard about that \u003cem>other\u003c/em> King Lear. She then seamlessly slips into a beautiful singing voice that returns later in the play for the occasional jazzy interlude.\u003c/p>\n\u003cp>Acclaimed San Francisco-based jazz musician Marcus Shelby, who wrote the music for LEAR, plays his upright bass in an upper room of the house, alongside Scott Larson on trombone. This subtle but integral sonic backdrop aids the audience in moving from tender moments to funny exchanges to a few violent fight scenes. It also firmly plants the audience in late ’60s Fillmore, a.k.a. the “Harlem of the West.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sam Jackson shines as Lear’s youngest daughter Cordelia and even more so as The Comic, whose styling is reminiscent of Morris Day as she delivers jokes as biting in social commentary as they are funny. That Gardley renames the character “The Comic” instead of Shakespeare’s “The Fool”–Lear’s comedic court jester-slash-adviser–is a small yet noteworthy update. It’s a nod to the role comics often play as truth-tellers in the Black community, and society as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13919518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_062.jpg\" alt=\"A Black man in a fedora with a cane sits and smiles\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James A. Williams as King Lear in Marcus Gardley’s ‘LEAR,’ at Cal Shakes. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rousing, closing monologue by Kent, played by Cathleen Riddley in another standout performance, feels like a sermon, offering critiques on the use of power and the treatment of Black women in society. It stirred me and quite a few other Black women in the audience to punctuate the on-stage monologue with a “say it!” when Kent, who’s asked to lead the kingdom following Lear’s death, points out how Black women always seem to be the ones tapped clean up the mess others have left behind (\u003cem>mmhmm!\u003c/em>).\u003c/p>\n\u003cp>As the lights go down and the standing ovation ensues, you don’t feel like you’ve been at a two and a half-hour play–yes, two and a half hours, it’s still Shakespeare after all. Rather, you feel the energy of the performance and the obvious pride and love Gardley and company have for Black culture and Black people, beating warm in your chest.\u003c/p>\n\u003cp>And it’s a feeling so good, like one audience member told me, you just might want to come back and experience it all over again.\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>\u003ci>‘LEAR’ plays at the Bruns Amphitheater in Orinda through Oct. 2, 2022. \u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The poetic and lyrical adaptation takes place in 1969 in the Fillmore District, steeped in a love for Black culture. ","status":"publish","parent":0,"modified":1705006341,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":687},"headData":{"title":"Cal Shakes’ ‘LEAR’: A Rich Re-Imagining of Shakespeare | KQED","description":"The poetic and lyrical adaptation takes place in 1969 in the Fillmore District, steeped in a love for Black culture. ","ogTitle":"Marcus Gardley’s ‘LEAR’ is a Culturally Rich Re-Imagining of Shakespeare","ogDescription":"","ogImgId":"","twTitle":"Marcus Gardley’s ‘LEAR’ is a Culturally Rich Re-Imagining of Shakespeare","twDescription":"","twImgId":"","socialTitle":"Cal Shakes’ ‘LEAR’: A Rich Re-Imagining of Shakespeare %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Marcus Gardley’s ‘LEAR’ is a Culturally Rich Re-Imagining of Shakespeare","datePublished":"2022-09-23T21:34:05.000Z","dateModified":"2024-01-11T20:52:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/eb695af1-7d0b-423e-88c2-af18011c558e/audio.mp3","sticky":false,"WpOldSlug":"marcus-gardleys-lear-is-a-culturally-rich-re-imagining-of-shakespeare","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13919522/lear-cal-shakes-marcus-gardley-bruns-ampitheater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When King Lear, played by James A. Williams, first appears on stage, he wears a long fur coat. His crown: a black fedora with gold ribbon trim. It’s a distinctly Black regalness that makes you think Teddy Pendergrass, not Anthony Hopkins. The scene is San Francisco’s Fillmore District in 1969–a time of “urban renewal,” which led to gentrification and the upheaval of Black communities.\u003c/p>\n\u003cp>These are the makings of Marcus Gardley’s \u003cem>\u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">LEAR\u003c/a>\u003c/em>, a modern-verse adaptation of Shakespeare’s famous tragedy, about an aging king who mentally comes undone. Gardley, an Obie-winning playwright who was born in Oakland, stays true to the original story and plot line of \u003cem>King Lear\u003c/em> but gives it his signature stamp of poetic lyricism steeped in Black culture.\u003c/p>\n\u003cp>At the intimate yet towering Bruns Amphitheater, the soft sound of crickets is our silence and the starry night sky is our ceiling. The single set, by San Francisco scenic designer Tanya Orellana, is a cream-colored, open-faced two-story house that feels modern yet classic, walking the same line that Gardley does in his text.\u003c/p>\n\u003cfigure id=\"attachment_13919519\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_225.jpg\" alt=\"Dancers in foreground, actors on second story of modernist style home on stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marcus Gardley’s ‘LEAR.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley’s interpretation gives birth to empowered performances across the entire cast, which is co-directed by fellow Oakland-born Dawn Monique Williams, alongside departing CalShakes artistic director, Eric Ting. The Black Queen, played by Verlina Brown, is striking in all white when she narrates the opening of the play, letting the audience know to essentially freak what you heard about that \u003cem>other\u003c/em> King Lear. She then seamlessly slips into a beautiful singing voice that returns later in the play for the occasional jazzy interlude.\u003c/p>\n\u003cp>Acclaimed San Francisco-based jazz musician Marcus Shelby, who wrote the music for LEAR, plays his upright bass in an upper room of the house, alongside Scott Larson on trombone. This subtle but integral sonic backdrop aids the audience in moving from tender moments to funny exchanges to a few violent fight scenes. It also firmly plants the audience in late ’60s Fillmore, a.k.a. the “Harlem of the West.”\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>Sam Jackson shines as Lear’s youngest daughter Cordelia and even more so as The Comic, whose styling is reminiscent of Morris Day as she delivers jokes as biting in social commentary as they are funny. That Gardley renames the character “The Comic” instead of Shakespeare’s “The Fool”–Lear’s comedic court jester-slash-adviser–is a small yet noteworthy update. It’s a nod to the role comics often play as truth-tellers in the Black community, and society as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13919518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_062.jpg\" alt=\"A Black man in a fedora with a cane sits and smiles\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James A. Williams as King Lear in Marcus Gardley’s ‘LEAR,’ at Cal Shakes. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rousing, closing monologue by Kent, played by Cathleen Riddley in another standout performance, feels like a sermon, offering critiques on the use of power and the treatment of Black women in society. It stirred me and quite a few other Black women in the audience to punctuate the on-stage monologue with a “say it!” when Kent, who’s asked to lead the kingdom following Lear’s death, points out how Black women always seem to be the ones tapped clean up the mess others have left behind (\u003cem>mmhmm!\u003c/em>).\u003c/p>\n\u003cp>As the lights go down and the standing ovation ensues, you don’t feel like you’ve been at a two and a half-hour play–yes, two and a half hours, it’s still Shakespeare after all. Rather, you feel the energy of the performance and the obvious pride and love Gardley and company have for Black culture and Black people, beating warm in your chest.\u003c/p>\n\u003cp>And it’s a feeling so good, like one audience member told me, you just might want to come back and experience it all over again.\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>\u003ci>‘LEAR’ plays at the Bruns Amphitheater in Orinda through Oct. 2, 2022. \u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919522/lear-cal-shakes-marcus-gardley-bruns-ampitheater","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1890","arts_10278","arts_2087","arts_1072","arts_585"],"featImg":"arts_13919583","label":"arts_140"},"arts_13901787":{"type":"posts","id":"arts_13901787","meta":{"index":"posts_1591205157","site":"arts","id":"13901787","score":null,"sort":[1630367650000]},"guestAuthors":[],"slug":"highlights-of-bay-area-theatre-and-dance-to-see-this-fall","title":"Highlights of Bay Area Theatre and Dance to See This Fall","publishDate":1630367650,"format":"standard","headTitle":"Highlights of Bay Area Theatre and Dance to See This Fall | KQED","labelTerm":{},"content":"\u003cp>When the first wave of COVID-19 closures hit in March 2020, nobody could predict exactly when (or indeed, if) arts spaces would be able to open their doors again to in-person performance. Initially it seemed as if reopening might happen within three weeks. Then another month. Then another. And here we are, seventeen months later, when a large number of venues are still dark or operating at limited capacity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>With the rise of the delta variant, performing arts spaces have had to navigate this year’s reopening with an abundance of caution and maximum flexibility. In practical terms, this has meant fluctuating performance dates, last-minute cancellations and postponements, and the understanding on both sides of the stage that things could change at any moment.\u003c/p>\n\u003cp>Despite this, the artistic imperative to create, communicate, and connect remains strong in the Bay Area. With the caveat that dates, locations, and COVID-19 protocols might change between now and showtime, here’s a roundup of essential fall performances to put on your calendar.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13901821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble from a 2019 production of ‘I Too Sing America.’ \u003ccite>(Natalia Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfbatco.org/new-roots-theatre-festival\" rel=\"noopener noreferrer\" target=\"_blank\">New Roots Theatre Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Brava Theater Center, San Francisco\u003cbr>\nOct. 16 and 17\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not content to welcome audiences back with a single play, San Francisco Bay Area Theatre Company (SFBATCO) has instead curated an entire festival. The inaugural New Roots Theatre Festival includes an Afrofuturist play in verse by Aidaa Peerzada, a musical centering the East Bay’s Betty Reid Soskin (the oldest living park ranger in the United States), a performance from SF’s Cuicacalli Ballet Folklórico, and short pieces produced by Black-led organizations including Lorraine Hansberry Theatre Company, African-American Shakespeare Company, AfroSolo, and PUSH Dance. (The companies are organized into “pods” that perform in tandem, with repeating shows, so audiences can see the whole program over the course of the weekend.)\u003c/p>\n\u003cp>Additionally, SFBATCO will revive their award-winning \u003cem>I, Too, Sing America\u003c/em>. First conceptualized in 2018 by music director Othello Jefferson, \u003cem>ITSA\u003c/em> sets works by notable artists of color such as Langston Hughes, Gwendolyn Brooks, Frances Chung and Beyoncé to music and movement. This timely revival includes new materials for 2021 while celebrating the long history of revolutionary poetry and prose as an American tradition. \u003c/p>\n\u003cfigure id=\"attachment_13901819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers for ‘Radius’ at the CounterPulse Festival. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/festival2021/\" rel=\"noopener noreferrer\" target=\"_blank\">The CounterPulse Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various venues; also online\u003cbr>\nSept. 9–18\u003c/em>\u003c/p>\n\u003cp>The rescheduled CounterPulse Festival—featuring performances, panels, poetry, film, and workshops—comes to both physical and virtual space in San Francisco, Oakland, and even the Santa Cruz Mountains. As an artistic home to many of the Bay Area’s most imaginative multidisciplinary performers, CounterPulse’s focus on embodied liberation and communal arts practice lends itself to festival mode. \u003c/p>\n\u003cp>Some standouts include new work from FACT/SF, a facilitated conversation between Bay Area-based “Queeratorial collectives” entitled “Fuck the System,” an embodied divination workshop with Amara Tabor Smith, and a film series inspired by the writings of Jean Genet and Sufi mystic Ibn Arabi, instigated by Zulfikar Ali Bhutto and partially narrated by his alter ego Faluda Islam. The weeklong festival culminates with \u003cem>Radius\u003c/em>, an improvisational outdoor performance exploring power dynamics and collaborative energies, featuring dance artists, experimental electronic musicians, and CounterPulse’s artistic and executive director Julie Phelps. Pre-registration is required, and proof of vaccination and masks are required for indoor events.\u003c/p>\n\u003cfigure id=\"attachment_13901824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Displaced’ stars Troy Rockett and Jordan Don. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.crowdedfire.org/displaced/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Displaced’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Potrero Stage, San Francisco\u003cbr>\nSept. 9–Oct. 2\u003c/em>\u003c/p>\n\u003cp>Another play postponed by the pandemic, \u003cem>The Displaced\u003c/em> by Isaac Gómez is a two-hander horror story with a solid reputation for inspiring unease. When artistic couple Marísa and Lev move into their new apartment, their quotidian squabbling can’t distract from a series of unexplainable events unfolding around them. But are they being haunted by their own fragmented dysfunction, or by a tormented spirit with cause to linger? \u003c/p>\n\u003cp>Recently rewritten with a pair of alternate endings, Gómez’ nervy script gradually reveals itself to be about much more than a few flying tchotchkes; it also addresses gentrification, generational wealth, racial inequity, and displacement. Featuring Jordan Don and Troy Rockett as the troubled protagonists—with direction by Mina Morita and Karina Gutiérrez, and special effects design by Devon LaBelle—Crowded Fire’s production of \u003cem>The Displaced\u003c/em> offers both a savvy indictment of our time, and a seasonally appropriate scary story. Masks and proof of vaccination are required, while select shows allow a proof of negative COVID test instead (check website for dates).\u003c/p>\n\u003cfigure id=\"attachment_13901820\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg\" alt=\"\" width=\"640\" height=\"524\" class=\"size-large wp-image-13901820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Abbey Lee in ‘Galatea.’ \u003ccite>(Jennifer Griego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ci.rohnert-park.ca.us/city_hall/departments/spreckels_performing_arts_center\" rel=\"noopener noreferrer\" target=\"_blank\">‘Galatea’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Spreckels Performing Arts Center, Rohnert Park\u003cbr>\nSept. 3–19\u003c/em>\u003c/p>\n\u003cp>One of the many shows forced to postpone in March 2020 was \u003cem>Galatea\u003c/em>, a science fiction play by North Bay playwright David Templeton. Set in the year 2167, the play follows the revival and reintegration process of an android traveler known as Seventy-One. The only survivor from the Galatea, a long-destroyed space shuttle, Seventy-One is encouraged by a pair of amiable doctors to remember the events that led them to escaping the fate that befell the rest of their crewmates. Nothing is quite what it seems, and several key plot twists stretch the narrative in unexpected directions.\u003c/p>\n\u003cp>At the heart of the play is a thoughtful examination of what it means to be human in an era where synthetic lifeforms predominate. What are the characteristics that can be shared with our AI comrades, and what will always be the sole provenance of “organics?” Templeton’s smartly constructed fantasy won an honorable mention from the Will Glickman Award panel (of which I am a member) in 2020, and is finally receiving its well-deserved stage premiere. Proof of vaccination or recent negative COVID test, and masking, is required.\u003c/p>\n\u003cfigure id=\"attachment_13901825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Immortal Reckoning’ with Peaches Christ (center) and ensemble members. \u003ccite>(Jose A. Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.intothedarksf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Immortal Reckoning’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Old Mint, San Francisco\u003cbr>\nSept. 23–Oct. 31\u003c/em>\u003c/p>\n\u003cp>As fans of horror movies can attest, sometimes the best way to escape the stresses of real-life horror (such as, say, a raging pandemic and an overheated planet) is through a good old-fashioned haunting. When longtime horror aficionado Joshua Grannell a.k.a. Peaches Christ first debuted their collaborative brainchild \u003cem>The Terror Vault\u003c/em> in 2018, it ushered in a new standard of haunted attraction for the Bay Area. It’s a standard certain to be upheld in this year’s production: \u003cem>The Immortal Reckoning\u003c/em>.\u003c/p>\n\u003cp>Using the imposing architectural features of the old San Francisco Mint—stone walls, vaulted ceilings, dusty chandeliers, and a subterranean warren of interconnected rooms—costumed characters will guide audiences through a rare collection of supernatural artifacts, rumored to be conduits to an “immortal” realm. Levels of interactivity can be opted into (and out of, should you change your mind) and limits are thankfully respected. Still, expect to be menaced, mocked, questioned, sniffed and startled by all manner of homicidal creatures while jostling your way through a disorienting maze designed by the diabolically talented David Flower. Masks and proof of vaccination are required, with no exceptions or refunds.\u003c/p>\n\u003cfigure id=\"attachment_13901826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruns Ampitheater. \u003ccite>(Zhanara Baisalova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calshakes.org/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Winter’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Bruns Ampitheater, Orinda\u003cbr>\nSept. 1–26\u003c/em>\u003c/p>\n\u003cp>Nestled in the Orinda hills and open to the darkening sky and emerging stars, the Bruns Amphitheater provides a stellar setting for Shakespearean fare—and for audiences wary about returning to indoor theater. A romance wrapped in a tale of abandonment and loss, \u003cem>The Winter’s Tale\u003c/em> was last performed at the Bruns in 2013. Emphasizing renewal, redemption and hope, this fresh adaptation from artistic director Eric Ting and dramaturg Phillipa Kelly should provide a welcome escape and a pertinent reflection. Proof of vaccination is not required; masks are required for unvaccinated audience members and all other patrons when not “actively eating or drinking.”\u003c/p>\n\u003cfigure id=\"attachment_13901823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13901823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kirsten Millan and Vanessa Sanchez from La Mezcla. \u003ccite>(Amani Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dance it Out\u003c/h2>\n\u003cp>Accustomed to creating site-responsive works to suit a variety of (often) non-traditional spaces and occasions, Bay Area choreographers have demonstrated their innate resiliency time and time again. This ability to adapt and innovate has allowed many artists in the dance community to find ways to create together, even during the darkest days of the pandemic. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/event/mercy/\" rel=\"noopener noreferrer\" target=\"_blank\">‘Meet Us Quickly With Your Mercy’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 14–17\u003c/em>\u003c/p>\n\u003cp>In Flyaway Productions’ \u003cem>Meet Us Quickly With Your Mercy\u003c/em>, artistic director Jo Kreiter grapples with the historical throughline of slavery leading to the present-day mass incarceration of Black Americans, as well as with a new rise in trans-Atlantic anti-Jewish sentiment and white nationalism. Using aerial apparatus fashioned to resemble cages suspended above the ground, and music composed by the late Jewlia Eisenberg, Flyaway Productions performs this second part of their ongoing Decarceration Trilogy with the walls of CounterPulse’s Tenderloin building as their backdrop. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.hopemohr.org/bacchae\" rel=\"noopener noreferrer\" target=\"_blank\">‘Bacchae Before’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Joe Goode Annex, San Francisco; also online\u003cbr>\nLive performance Sept. 28–Oct. 2; online Oct. 2\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Bacchae Before\u003c/em>, Hope Mohr Dance ties together the tragedy of Euripides’ \u003cem>The Baccae\u003c/em> (via Anne Carson’s notable translation) with the modern-day violence of gender reveal parties. Performed by Belinda He, Wiley Naman Strasser, Karla Quintero, and Silk Worm—with puppetry by C. Michael Chin, and additional text and co-direction provided by Maxe Crandall—\u003cem>Bacchae Before\u003c/em> distills and refracts a classical text of frenzy and filicide through a trans-centered, gender-affirming perspective. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://epiphanydance.org/san-francisco-trolley-dances\" rel=\"noopener noreferrer\" target=\"_blank\">Trolley Dances\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Throughout San Francisco\u003cbr>\nOct. 16–17\u003c/em>\u003c/p>\n\u003cp>With the welcome return of Trolley Dances, curated by Kim Epifano’s Epiphany Dance Theater, audiences will ride the K and L lines from the Castro to the East Cut, encountering short vignettes from Babatunji & Charmaine, Epiphany Dance Theater, Joe Landini & Dancers, La Mezcla, Parangal Dance Company, and Rising Rhythm. More than a celebration of public transportation, Trolley Dances is a transformative interrogation of public space and the porous boundaries between performer and spectator. \u003c/p>\n\u003cfigure id=\"attachment_13901818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13901818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers from Circus Bella. \u003ccite>(Ron Scherl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Circus Freeks\u003c/h2>\n\u003cp>Need something to take the kids to? Maybe just in need of a little whimsy? Catch these circus performances—one outdoors, one indoors. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.circusbella.org/humorous\" rel=\"noopener noreferrer\" target=\"_blank\">Circus Bella\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Various locations\u003cbr>\nAug. 26-Oct. 3\u003c/em>\u003c/p>\n\u003cp>Having kicked off at Oakland’s DeFremery Park on Aug. 26, Circus Bella’s \u003cem>Humorous\u003c/em> will embark on a free, 12-performance tour of parks and public spaces through Oct. 3. A one-ring, people-powered circus, Circus Bella eschews circus animals in favor of mainstays such as aerialists, acrobats, and clowns. Directed by company founder Abigail Munn, \u003cem>Humorous\u003c/em> features some of the Bay Area’s most prolific circus performers: creative clowning duo Jamie Coventry and Natasha Kaluza, queer circus icon Toni Cannon, and aerialist Dwoira Galilia. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.clubfugazisf.com\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dear San Francisco’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Club Fugazi, San Francisco\u003cbr>\nOngoing starting Sept. 22\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For those ready to brave the great indoors, Club Fugazi in North Beach hosts the circus-y love-letter-to-the-city \u003cem>Dear San Francisco\u003c/em>. At the longtime home of the now-shuttered Beach Blanket Babylon, the circus collective 7 Fingers boasts SF-raised founders, an immensely talented international cast, and some of the Bay Area’s best designers—including Jake Rodriguez, Alexander V. Nichols, and Keiko Shimosato Carreiro. Masks and proof of vaccination with ID required for all patrons. Unvaccinated children 5-11 may attend with vaccinated adult(s). \u003c/p>\n\n","blocks":[],"excerpt":"Our fall preview of plays and performances features indoor, outdoor and virtual offerings to inspire and amaze.","status":"publish","parent":0,"modified":1705007854,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":1990},"headData":{"title":"Highlights of Bay Area Theatre and Dance to See This Fall | KQED","description":"Our fall preview of plays and performances features indoor, outdoor and virtual offerings to inspire and amaze.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Highlights of Bay Area Theatre and Dance to See This Fall","datePublished":"2021-08-30T23:54:10.000Z","dateModified":"2024-01-11T21:17:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Arts Guide 2021","sourceUrl":"https://www.kqed.org/arts/tag/fallarts2021","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13901787/highlights-of-bay-area-theatre-and-dance-to-see-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the first wave of COVID-19 closures hit in March 2020, nobody could predict exactly when (or indeed, if) arts spaces would be able to open their doors again to in-person performance. Initially it seemed as if reopening might happen within three weeks. Then another month. Then another. And here we are, seventeen months later, when a large number of venues are still dark or operating at limited capacity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>With the rise of the delta variant, performing arts spaces have had to navigate this year’s reopening with an abundance of caution and maximum flexibility. In practical terms, this has meant fluctuating performance dates, last-minute cancellations and postponements, and the understanding on both sides of the stage that things could change at any moment.\u003c/p>\n\u003cp>Despite this, the artistic imperative to create, communicate, and connect remains strong in the Bay Area. With the caveat that dates, locations, and COVID-19 protocols might change between now and showtime, here’s a roundup of essential fall performances to put on your calendar.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13901821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_sfbatco_ITooSingAmerica_ensemble2019_photocredit_NataliaPerez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble from a 2019 production of ‘I Too Sing America.’ \u003ccite>(Natalia Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfbatco.org/new-roots-theatre-festival\" rel=\"noopener noreferrer\" target=\"_blank\">New Roots Theatre Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Brava Theater Center, San Francisco\u003cbr>\nOct. 16 and 17\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>Not content to welcome audiences back with a single play, San Francisco Bay Area Theatre Company (SFBATCO) has instead curated an entire festival. The inaugural New Roots Theatre Festival includes an Afrofuturist play in verse by Aidaa Peerzada, a musical centering the East Bay’s Betty Reid Soskin (the oldest living park ranger in the United States), a performance from SF’s Cuicacalli Ballet Folklórico, and short pieces produced by Black-led organizations including Lorraine Hansberry Theatre Company, African-American Shakespeare Company, AfroSolo, and PUSH Dance. (The companies are organized into “pods” that perform in tandem, with repeating shows, so audiences can see the whole program over the course of the weekend.)\u003c/p>\n\u003cp>Additionally, SFBATCO will revive their award-winning \u003cem>I, Too, Sing America\u003c/em>. First conceptualized in 2018 by music director Othello Jefferson, \u003cem>ITSA\u003c/em> sets works by notable artists of color such as Langston Hughes, Gwendolyn Brooks, Frances Chung and Beyoncé to music and movement. This timely revival includes new materials for 2021 while celebrating the long history of revolutionary poetry and prose as an American tradition. \u003c/p>\n\u003cfigure id=\"attachment_13901819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CounterPulseFestival_Radius_VariousPerformers_photocredit_RobbieSweeny.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers for ‘Radius’ at the CounterPulse Festival. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/festival2021/\" rel=\"noopener noreferrer\" target=\"_blank\">The CounterPulse Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various venues; also online\u003cbr>\nSept. 9–18\u003c/em>\u003c/p>\n\u003cp>The rescheduled CounterPulse Festival—featuring performances, panels, poetry, film, and workshops—comes to both physical and virtual space in San Francisco, Oakland, and even the Santa Cruz Mountains. As an artistic home to many of the Bay Area’s most imaginative multidisciplinary performers, CounterPulse’s focus on embodied liberation and communal arts practice lends itself to festival mode. \u003c/p>\n\u003cp>Some standouts include new work from FACT/SF, a facilitated conversation between Bay Area-based “Queeratorial collectives” entitled “Fuck the System,” an embodied divination workshop with Amara Tabor Smith, and a film series inspired by the writings of Jean Genet and Sufi mystic Ibn Arabi, instigated by Zulfikar Ali Bhutto and partially narrated by his alter ego Faluda Islam. The weeklong festival culminates with \u003cem>Radius\u003c/em>, an improvisational outdoor performance exploring power dynamics and collaborative energies, featuring dance artists, experimental electronic musicians, and CounterPulse’s artistic and executive director Julie Phelps. Pre-registration is required, and proof of vaccination and masks are required for indoor events.\u003c/p>\n\u003cfigure id=\"attachment_13901824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheDisplaced_TroyRockett_JordanDon_photocredit_CheshireIsaacs.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Displaced’ stars Troy Rockett and Jordan Don. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.crowdedfire.org/displaced/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Displaced’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Potrero Stage, San Francisco\u003cbr>\nSept. 9–Oct. 2\u003c/em>\u003c/p>\n\u003cp>Another play postponed by the pandemic, \u003cem>The Displaced\u003c/em> by Isaac Gómez is a two-hander horror story with a solid reputation for inspiring unease. When artistic couple Marísa and Lev move into their new apartment, their quotidian squabbling can’t distract from a series of unexplainable events unfolding around them. But are they being haunted by their own fragmented dysfunction, or by a tormented spirit with cause to linger? \u003c/p>\n\u003cp>Recently rewritten with a pair of alternate endings, Gómez’ nervy script gradually reveals itself to be about much more than a few flying tchotchkes; it also addresses gentrification, generational wealth, racial inequity, and displacement. Featuring Jordan Don and Troy Rockett as the troubled protagonists—with direction by Mina Morita and Karina Gutiérrez, and special effects design by Devon LaBelle—Crowded Fire’s production of \u003cem>The Displaced\u003c/em> offers both a savvy indictment of our time, and a seasonally appropriate scary story. Masks and proof of vaccination are required, while select shows allow a proof of negative COVID test instead (check website for dates).\u003c/p>\n\u003cfigure id=\"attachment_13901820\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg\" alt=\"\" width=\"640\" height=\"524\" class=\"size-large wp-image-13901820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_Galatea_AbbeyLee_photocedit_JenniferGriego.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Abbey Lee in ‘Galatea.’ \u003ccite>(Jennifer Griego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ci.rohnert-park.ca.us/city_hall/departments/spreckels_performing_arts_center\" rel=\"noopener noreferrer\" target=\"_blank\">‘Galatea’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Spreckels Performing Arts Center, Rohnert Park\u003cbr>\nSept. 3–19\u003c/em>\u003c/p>\n\u003cp>One of the many shows forced to postpone in March 2020 was \u003cem>Galatea\u003c/em>, a science fiction play by North Bay playwright David Templeton. Set in the year 2167, the play follows the revival and reintegration process of an android traveler known as Seventy-One. The only survivor from the Galatea, a long-destroyed space shuttle, Seventy-One is encouraged by a pair of amiable doctors to remember the events that led them to escaping the fate that befell the rest of their crewmates. Nothing is quite what it seems, and several key plot twists stretch the narrative in unexpected directions.\u003c/p>\n\u003cp>At the heart of the play is a thoughtful examination of what it means to be human in an era where synthetic lifeforms predominate. What are the characteristics that can be shared with our AI comrades, and what will always be the sole provenance of “organics?” Templeton’s smartly constructed fantasy won an honorable mention from the Will Glickman Award panel (of which I am a member) in 2020, and is finally receiving its well-deserved stage premiere. Proof of vaccination or recent negative COVID test, and masking, is required.\u003c/p>\n\u003cfigure id=\"attachment_13901825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13901825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_TheImmortalReckoning_PeachesChristcenterensemblemembers_photocredit_JoseAGuzman.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Immortal Reckoning’ with Peaches Christ (center) and ensemble members. \u003ccite>(Jose A. Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.intothedarksf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Immortal Reckoning’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Old Mint, San Francisco\u003cbr>\nSept. 23–Oct. 31\u003c/em>\u003c/p>\n\u003cp>As fans of horror movies can attest, sometimes the best way to escape the stresses of real-life horror (such as, say, a raging pandemic and an overheated planet) is through a good old-fashioned haunting. When longtime horror aficionado Joshua Grannell a.k.a. Peaches Christ first debuted their collaborative brainchild \u003cem>The Terror Vault\u003c/em> in 2018, it ushered in a new standard of haunted attraction for the Bay Area. It’s a standard certain to be upheld in this year’s production: \u003cem>The Immortal Reckoning\u003c/em>.\u003c/p>\n\u003cp>Using the imposing architectural features of the old San Francisco Mint—stone walls, vaulted ceilings, dusty chandeliers, and a subterranean warren of interconnected rooms—costumed characters will guide audiences through a rare collection of supernatural artifacts, rumored to be conduits to an “immortal” realm. Levels of interactivity can be opted into (and out of, should you change your mind) and limits are thankfully respected. Still, expect to be menaced, mocked, questioned, sniffed and startled by all manner of homicidal creatures while jostling your way through a disorienting maze designed by the diabolically talented David Flower. Masks and proof of vaccination are required, with no exceptions or refunds.\u003c/p>\n\u003cfigure id=\"attachment_13901826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13901826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_BrunsAmpitheater_photocredit_zbaislova.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruns Ampitheater. \u003ccite>(Zhanara Baisalova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calshakes.org/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Winter’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Bruns Ampitheater, Orinda\u003cbr>\nSept. 1–26\u003c/em>\u003c/p>\n\u003cp>Nestled in the Orinda hills and open to the darkening sky and emerging stars, the Bruns Amphitheater provides a stellar setting for Shakespearean fare—and for audiences wary about returning to indoor theater. A romance wrapped in a tale of abandonment and loss, \u003cem>The Winter’s Tale\u003c/em> was last performed at the Bruns in 2013. Emphasizing renewal, redemption and hope, this fresh adaptation from artistic director Eric Ting and dramaturg Phillipa Kelly should provide a welcome escape and a pertinent reflection. Proof of vaccination is not required; masks are required for unvaccinated audience members and all other patrons when not “actively eating or drinking.”\u003c/p>\n\u003cfigure id=\"attachment_13901823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13901823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_SFTrolleyDances_LaMezcla_KirstenMillan_VanessaSanchez_photocredit_AmaniPhotography.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kirsten Millan and Vanessa Sanchez from La Mezcla. \u003ccite>(Amani Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dance it Out\u003c/h2>\n\u003cp>Accustomed to creating site-responsive works to suit a variety of (often) non-traditional spaces and occasions, Bay Area choreographers have demonstrated their innate resiliency time and time again. This ability to adapt and innovate has allowed many artists in the dance community to find ways to create together, even during the darkest days of the pandemic. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/event/mercy/\" rel=\"noopener noreferrer\" target=\"_blank\">‘Meet Us Quickly With Your Mercy’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 14–17\u003c/em>\u003c/p>\n\u003cp>In Flyaway Productions’ \u003cem>Meet Us Quickly With Your Mercy\u003c/em>, artistic director Jo Kreiter grapples with the historical throughline of slavery leading to the present-day mass incarceration of Black Americans, as well as with a new rise in trans-Atlantic anti-Jewish sentiment and white nationalism. Using aerial apparatus fashioned to resemble cages suspended above the ground, and music composed by the late Jewlia Eisenberg, Flyaway Productions performs this second part of their ongoing Decarceration Trilogy with the walls of CounterPulse’s Tenderloin building as their backdrop. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.hopemohr.org/bacchae\" rel=\"noopener noreferrer\" target=\"_blank\">‘Bacchae Before’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Joe Goode Annex, San Francisco; also online\u003cbr>\nLive performance Sept. 28–Oct. 2; online Oct. 2\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Bacchae Before\u003c/em>, Hope Mohr Dance ties together the tragedy of Euripides’ \u003cem>The Baccae\u003c/em> (via Anne Carson’s notable translation) with the modern-day violence of gender reveal parties. Performed by Belinda He, Wiley Naman Strasser, Karla Quintero, and Silk Worm—with puppetry by C. Michael Chin, and additional text and co-direction provided by Maxe Crandall—\u003cem>Bacchae Before\u003c/em> distills and refracts a classical text of frenzy and filicide through a trans-centered, gender-affirming perspective. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://epiphanydance.org/san-francisco-trolley-dances\" rel=\"noopener noreferrer\" target=\"_blank\">Trolley Dances\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Throughout San Francisco\u003cbr>\nOct. 16–17\u003c/em>\u003c/p>\n\u003cp>With the welcome return of Trolley Dances, curated by Kim Epifano’s Epiphany Dance Theater, audiences will ride the K and L lines from the Castro to the East Cut, encountering short vignettes from Babatunji & Charmaine, Epiphany Dance Theater, Joe Landini & Dancers, La Mezcla, Parangal Dance Company, and Rising Rhythm. More than a celebration of public transportation, Trolley Dances is a transformative interrogation of public space and the porous boundaries between performer and spectator. \u003c/p>\n\u003cfigure id=\"attachment_13901818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13901818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsTheater_CircusBella_ensemble_photocredit_RonScherl.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers from Circus Bella. \u003ccite>(Ron Scherl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Circus Freeks\u003c/h2>\n\u003cp>Need something to take the kids to? Maybe just in need of a little whimsy? Catch these circus performances—one outdoors, one indoors. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.circusbella.org/humorous\" rel=\"noopener noreferrer\" target=\"_blank\">Circus Bella\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Various locations\u003cbr>\nAug. 26-Oct. 3\u003c/em>\u003c/p>\n\u003cp>Having kicked off at Oakland’s DeFremery Park on Aug. 26, Circus Bella’s \u003cem>Humorous\u003c/em> will embark on a free, 12-performance tour of parks and public spaces through Oct. 3. A one-ring, people-powered circus, Circus Bella eschews circus animals in favor of mainstays such as aerialists, acrobats, and clowns. Directed by company founder Abigail Munn, \u003cem>Humorous\u003c/em> features some of the Bay Area’s most prolific circus performers: creative clowning duo Jamie Coventry and Natasha Kaluza, queer circus icon Toni Cannon, and aerialist Dwoira Galilia. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.clubfugazisf.com\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dear San Francisco’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Club Fugazi, San Francisco\u003cbr>\nOngoing starting Sept. 22\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>For those ready to brave the great indoors, Club Fugazi in North Beach hosts the circus-y love-letter-to-the-city \u003cem>Dear San Francisco\u003c/em>. At the longtime home of the now-shuttered Beach Blanket Babylon, the circus collective 7 Fingers boasts SF-raised founders, an immensely talented international cast, and some of the Bay Area’s best designers—including Jake Rodriguez, Alexander V. Nichols, and Keiko Shimosato Carreiro. Masks and proof of vaccination with ID required for all patrons. Unvaccinated children 5-11 may attend with vaccinated adult(s). \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13901787/highlights-of-bay-area-theatre-and-dance-to-see-this-fall","authors":["11497"],"categories":["arts_1","arts_966","arts_967"],"tags":["arts_1252","arts_1890","arts_1018","arts_879","arts_1556","arts_15307","arts_10278","arts_585"],"featImg":"arts_13901822","label":"source_arts_13901787"},"arts_13857500":{"type":"posts","id":"arts_13857500","meta":{"index":"posts_1591205157","site":"arts","id":"13857500","score":null,"sort":[1559070032000]},"guestAuthors":[],"slug":"hot-summer-guide-2019-top-10-picks-for-theater-in-the-bay-area","title":"Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area","publishDate":1559070032,"format":"image","headTitle":"Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>By now, you’ve probably heard that \u003cem>\u003ca href=\"https://hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Hamilton\u003c/a>\u003c/em> is in town, running through January of next year. You may have also heard that \u003ca href=\"https://sfcurran.com/shows/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a> is coming in October, \u003ca href=\"https://www.kqed.org/arts/13845883/the-curran-at-a-crossroads\" target=\"_blank\" rel=\"noopener\">possibly running for three or more years\u003c/a>.\u003c/p>\n\u003cp>But what of all the other great theater in the shadow of the blockbusters? This summer, the Bay Area is home to an array of the stellar productions, from big musicals to small dramas. Below, we round up the best summertime theater to see on opera stages, black boxes and even on the sidewalk—which, in the Bay Area, is often a stage unto itself.\u003c/p>\n\u003cfigure id=\"attachment_13857960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg\" alt=\"David Breitbarth in Eugène Ionesco's Rhinoceros at A.C.T.'s Geary Theater.\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth in Eugène Ionesco’s ‘Rhinoceros’ at A.C.T.’s Geary Theater. \u003ccite>(Cliff Roles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rhinocerous’\u003c/h2>\n\u003cp>\u003ci>May 29–June 23, 2019\u003cbr>\nGeary Theater, San Francisco\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Eugène Ionesco’s absurdist masterpiece involves the inhabitants of a small French town transforming, one by one, into rhinos. But the play’s allegories to fascism—and the characterization of those who oppose it as paranoid—could not be any more relevant to the United States in 2019. Staged by ACT, which last year put \u003ca href=\"https://www.kqed.org/arts/13849904/a-day-at-the-beach-interrupted-by-two-giant-lizards\" target=\"_blank\" rel=\"noopener\">giant lizards on the stage in Edward Albee’s \u003cem>Seascape\u003c/em>\u003c/a>, \u003cem>Rhinocerous\u003c/em> is not only a marvelous study in conformity, but a consistently fun stampede through the possibilities of set and wardrobe.\u003c/p>\n\u003cfigure id=\"attachment_13858006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg\" alt=\"Deri'Andra Tucker in the touring production of 'Rent.'\" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1200x826.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deri’Andra Tucker in the touring production of ‘Rent.’ \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rent’\u003c/h2>\n\u003cp>\u003ci>June 14–23, 2019\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The retelling of \u003cem>La bohème\u003c/em> that swept the world in the 1990s gets the 20th anniversary tour it deserves, including this very quick stop in San Francisco. \u003cem>Rent\u003c/em> is particularly resonant in the expensive Bay Area, where living in warehouses and off-the-grid spaces is a necessity for many, and the turmoil of HIV/AIDS hits close to home. If you still get chills at the opening chords of “Seasons of Love,” don’t sleep on this one-week-only run.\u003c/p>\n\u003cfigure id=\"attachment_13857974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg\" alt=\"J'Nai Bridges plays the lead role in 'Carmen' at SF Opera this June.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J’Nai Bridges plays the lead role in ‘Carmen’ at SF Opera this June. \u003ccite>(S. Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Carmen’\u003c/h2>\n\u003cp>\u003ci>June 5–29, 2019\u003cbr>\nWar Memorial Opera House, San Francisco\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/carmen/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You already know more songs from \u003cem>Carmen\u003c/em> than you think you know (thanks, \u003ca href=\"https://www.youtube.com/watch?v=3Wsx22WxWOc\" target=\"_blank\" rel=\"noopener\">Saturday morning cartoons\u003c/a>), and if you’re daunted by the marathon of \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener\">longer operas\u003c/a>, Bizet’s eternal tale of a woman who dares to live freely clocks in at under three hours. Add to it Francesca Zambello’s modern production, James Gaffigan conducting the orchestra and \u003ca href=\"https://www.youtube.com/watch?v=m_MMKJaIHes\" target=\"_blank\" rel=\"noopener\">basketball player-turned-opera star J’Nai Bridges\u003c/a> (pictured above) in the title role, and you’ve got a summertime opera that even those who \u003cem>think\u003c/em> they hate opera can enjoy.\u003c/p>\n\u003cfigure id=\"attachment_13857965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857965\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg\" alt=\"The cast of 'Kiss My Aztec!' at Berkeley Rep, directed by Tony Taccone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Kiss My Aztec!’ at Berkeley Rep, directed by Tony Taccone. \u003ccite>(Cheshire Isaacs/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Kiss My Aztec!’\u003c/h2>\n\u003cp>\u003ci>May 28–July 21, 2019\u003cbr>\nRoda Theatre, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1819/13384.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Written by John Leguizamo and Tony Taccone, this world-premiere musical has more than a whiff of \u003cem>Hamilton\u003c/em> for Latin America: a history lesson of resistance in Spanish-occupied Mesoamerica told through salsa, hip-hop, merengue and funk, with a blend of 16th-century dialect and modern slang. Taccone and Leguizamo previously worked together on \u003cem>Latin History for Morons\u003c/em>, but this one’s special: it’s Taccone’s final production as artistic director \u003ca href=\"https://www.kqed.org/arts/12700435/berkeley-rep-artistic-director-tony-taccone-announces-departure\" target=\"_blank\" rel=\"noopener\">after 33 years at Berkeley Rep\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13858009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘A Midsummer Night’s Dream’\u003c/h2>\n\u003cp>\u003ci>May 22–June 16, 2019\u003cbr>\nBruns Amphitheater, Orinda\u003cbr>\n\u003ca href=\"https://calshakes.org/make/a-midsummer-nights-dream/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Cal Shakes, the region’s premier purveyors of the Bard, bring this Shakespeare favorite to life this summer with all the sprites, dukes, queens and faeries you’ve come to know and love. It’s easy to forget just how damn \u003cem>fun\u003c/em> the action is in \u003cem>A Midsummer Night’s Dream\u003c/em>, and with costume by Ásta Bennie Hostetter and set by Nina Ball, the visuals are sure to be dazzling. Tyne Rafaeli directs in the picturesque outdoor Bruns Amphitheater.\u003c/p>\n\u003cfigure id=\"attachment_13858316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg\" alt=\"Last year’s champions of ShortLived, The Geek Show, who won for their piece 'No Country for Old Henchmen.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last year’s champions of ShortLived, The Geek Show, who won for their piece ‘No Country for Old Henchmen.’ \u003ccite>(Courtesy PIanoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘ShortLived VII’\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 7, 2019\u003cbr>\nPianoFight and The Strand, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-viii/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Pushing the limits of theatrical possibility, \u003cem>ShortLived\u003c/em> is a marathon \u003cem>American Idol\u003c/em>-esque race to a $5,000 check and eternal Bay Area glory. This year’s audience-judged competition features 48 short plays running over the course of 8 weeks, and then a winner-take-all finals on Sept. 6 and 7. If you want to take a dip into the rampant creativity of Bay Area theater—and see some fun, charming competition along the way—you can’t do much better than this.\u003c/p>\n\u003cfigure id=\"attachment_13858015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858015\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg\" alt=\"(L to R) Lady Malavendra, Red Velvet, and Dee O’s Mío in 'Dollhouse Monsters.'\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Lady Malavendra, Red Velvet and Dee O’s Mío in ‘Dollhouse Monsters.’ \u003ccite>(Ross Pearson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dollhouse Monsters’\u003c/h2>\n\u003cp>\u003ci>July 12–27, 2019\u003cbr>\nExit Stage Left, San Francisco\u003cbr>\n\u003ca href=\"http://www.theexit.org/dollhouse/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>These days, burlesque is everywhere, thanks to an ongoing vaudeville-circus-steampunk revival especially resonant here on the Barbary Coast. And while body positivity has long been a staple of modern burlesque, the ladies of DIVA Or Die Burlesque take that introspection further in \u003cem>Dollhouse Monsters\u003c/em>, a half-theater, half-burlesque show that examines our inner behaviors and secrets, why we have them, and why we keep them.\u003c/p>\n\u003cfigure id=\"attachment_13857967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Hayes, Brian Freeman, Marga Gomez, J. Miko Thomas a.k.a. Landa Lakes for OUT of Site SOMA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘OUT of Site: SOMA’\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nHoward Langton Community Garden, San Francisco\u003cbr>\n\u003ca href=\"https://www.eyezen.org/out-of-site-soma\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cem>OUT of Site\u003c/em> has already brought history to life in North Beach, and now, the theatrical walking tour series alights South of Market for a reevaluation of the neighborhood’s LGBTQ contributions. The Castro gets most of the attention, but as \u003cem>OUT of Site\u003c/em> points out, SOMA is home to hidden stories, “from Native American Two-Spirit culture to the Folsom Street Fair, Lesbian auto-mechanics to labor activists and dock workers to drag queens.” Marga Gomez heads up a cast that should be illuminating and entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13857973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857973\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg\" alt=\"'The Flick' won the 2014 Pulitzer Prize for Drama.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Flick’ won the 2014 Pulitzer Prize for Drama. \u003ccite>(Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Flick’\u003c/h2>\n\u003cp>\u003ci>Aug. 22–Sept. 22, 2019\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"http://bit.ly/2rgcffY\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>People who work at movie theaters are a specific kind of nerd: exceedingly knowledgable about the minutiae of fictional film, but open to letting real life take over with gale force when it wants to. The winner of the 2014 Pulitzer Prize for Drama, \u003cem>The Flick\u003c/em> is about three employees of a suburban movie theater in Massachusetts who still know how to run 35mm film projectors, with a script that follows their personal struggles which overlap in unexpected, humorous and heartbreaking fashion.\u003c/p>\n\u003cfigure id=\"attachment_13858334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg\" alt=\"The Dragon Theatre stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dragon Theatre stage. \u003ccite>(Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Redwood City Play Festival\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nDragon Theatre, Redwood City\u003cbr>\n\u003ca href=\"http://www.fusetheatre.org/projects/rwc-festival/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A joint effort by Dragon Productions Theatre Company and Fuse Theatre, this festival of three one-act plays centers on issues of gender: \u003cem>Because I Went There\u003c/em>, \u003cem>Never Swim Alone\u003c/em> and \u003cem>Legal-Tender Loving Care\u003c/em>. Held in the heart of Redwood City’s downtown (time it right, and you could fit in the town’s surreal light show a block away in Courthouse Square), the plays should bring a good dose of social justice to the Peninsula.\u003c/p>\n\n","blocks":[],"excerpt":"Tony winners! New musicals! Shakespeare! Opera! Burlesque! All of this and more hits Bay Area stages this summer.","status":"publish","parent":0,"modified":1705026129,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1284},"headData":{"title":"Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area | KQED","description":"Tony winners! New musicals! Shakespeare! Opera! Burlesque! All of this and more hits Bay Area stages this summer.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area","datePublished":"2019-05-28T19:00:32.000Z","dateModified":"2024-01-12T02:22:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13857500/hot-summer-guide-2019-top-10-picks-for-theater-in-the-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now, you’ve probably heard that \u003cem>\u003ca href=\"https://hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Hamilton\u003c/a>\u003c/em> is in town, running through January of next year. You may have also heard that \u003ca href=\"https://sfcurran.com/shows/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a> is coming in October, \u003ca href=\"https://www.kqed.org/arts/13845883/the-curran-at-a-crossroads\" target=\"_blank\" rel=\"noopener\">possibly running for three or more years\u003c/a>.\u003c/p>\n\u003cp>But what of all the other great theater in the shadow of the blockbusters? This summer, the Bay Area is home to an array of the stellar productions, from big musicals to small dramas. Below, we round up the best summertime theater to see on opera stages, black boxes and even on the sidewalk—which, in the Bay Area, is often a stage unto itself.\u003c/p>\n\u003cfigure id=\"attachment_13857960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg\" alt=\"David Breitbarth in Eugène Ionesco's Rhinoceros at A.C.T.'s Geary Theater.\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth in Eugène Ionesco’s ‘Rhinoceros’ at A.C.T.’s Geary Theater. \u003ccite>(Cliff Roles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rhinocerous’\u003c/h2>\n\u003cp>\u003ci>May 29–June 23, 2019\u003cbr>\nGeary Theater, San Francisco\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Eugène Ionesco’s absurdist masterpiece involves the inhabitants of a small French town transforming, one by one, into rhinos. But the play’s allegories to fascism—and the characterization of those who oppose it as paranoid—could not be any more relevant to the United States in 2019. Staged by ACT, which last year put \u003ca href=\"https://www.kqed.org/arts/13849904/a-day-at-the-beach-interrupted-by-two-giant-lizards\" target=\"_blank\" rel=\"noopener\">giant lizards on the stage in Edward Albee’s \u003cem>Seascape\u003c/em>\u003c/a>, \u003cem>Rhinocerous\u003c/em> is not only a marvelous study in conformity, but a consistently fun stampede through the possibilities of set and wardrobe.\u003c/p>\n\u003cfigure id=\"attachment_13858006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg\" alt=\"Deri'Andra Tucker in the touring production of 'Rent.'\" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1200x826.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deri’Andra Tucker in the touring production of ‘Rent.’ \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rent’\u003c/h2>\n\u003cp>\u003ci>June 14–23, 2019\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\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 retelling of \u003cem>La bohème\u003c/em> that swept the world in the 1990s gets the 20th anniversary tour it deserves, including this very quick stop in San Francisco. \u003cem>Rent\u003c/em> is particularly resonant in the expensive Bay Area, where living in warehouses and off-the-grid spaces is a necessity for many, and the turmoil of HIV/AIDS hits close to home. If you still get chills at the opening chords of “Seasons of Love,” don’t sleep on this one-week-only run.\u003c/p>\n\u003cfigure id=\"attachment_13857974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg\" alt=\"J'Nai Bridges plays the lead role in 'Carmen' at SF Opera this June.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J’Nai Bridges plays the lead role in ‘Carmen’ at SF Opera this June. \u003ccite>(S. Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Carmen’\u003c/h2>\n\u003cp>\u003ci>June 5–29, 2019\u003cbr>\nWar Memorial Opera House, San Francisco\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/carmen/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You already know more songs from \u003cem>Carmen\u003c/em> than you think you know (thanks, \u003ca href=\"https://www.youtube.com/watch?v=3Wsx22WxWOc\" target=\"_blank\" rel=\"noopener\">Saturday morning cartoons\u003c/a>), and if you’re daunted by the marathon of \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener\">longer operas\u003c/a>, Bizet’s eternal tale of a woman who dares to live freely clocks in at under three hours. Add to it Francesca Zambello’s modern production, James Gaffigan conducting the orchestra and \u003ca href=\"https://www.youtube.com/watch?v=m_MMKJaIHes\" target=\"_blank\" rel=\"noopener\">basketball player-turned-opera star J’Nai Bridges\u003c/a> (pictured above) in the title role, and you’ve got a summertime opera that even those who \u003cem>think\u003c/em> they hate opera can enjoy.\u003c/p>\n\u003cfigure id=\"attachment_13857965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857965\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg\" alt=\"The cast of 'Kiss My Aztec!' at Berkeley Rep, directed by Tony Taccone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Kiss My Aztec!’ at Berkeley Rep, directed by Tony Taccone. \u003ccite>(Cheshire Isaacs/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Kiss My Aztec!’\u003c/h2>\n\u003cp>\u003ci>May 28–July 21, 2019\u003cbr>\nRoda Theatre, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1819/13384.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Written by John Leguizamo and Tony Taccone, this world-premiere musical has more than a whiff of \u003cem>Hamilton\u003c/em> for Latin America: a history lesson of resistance in Spanish-occupied Mesoamerica told through salsa, hip-hop, merengue and funk, with a blend of 16th-century dialect and modern slang. Taccone and Leguizamo previously worked together on \u003cem>Latin History for Morons\u003c/em>, but this one’s special: it’s Taccone’s final production as artistic director \u003ca href=\"https://www.kqed.org/arts/12700435/berkeley-rep-artistic-director-tony-taccone-announces-departure\" target=\"_blank\" rel=\"noopener\">after 33 years at Berkeley Rep\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13858009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘A Midsummer Night’s Dream’\u003c/h2>\n\u003cp>\u003ci>May 22–June 16, 2019\u003cbr>\nBruns Amphitheater, Orinda\u003cbr>\n\u003ca href=\"https://calshakes.org/make/a-midsummer-nights-dream/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Cal Shakes, the region’s premier purveyors of the Bard, bring this Shakespeare favorite to life this summer with all the sprites, dukes, queens and faeries you’ve come to know and love. It’s easy to forget just how damn \u003cem>fun\u003c/em> the action is in \u003cem>A Midsummer Night’s Dream\u003c/em>, and with costume by Ásta Bennie Hostetter and set by Nina Ball, the visuals are sure to be dazzling. Tyne Rafaeli directs in the picturesque outdoor Bruns Amphitheater.\u003c/p>\n\u003cfigure id=\"attachment_13858316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg\" alt=\"Last year’s champions of ShortLived, The Geek Show, who won for their piece 'No Country for Old Henchmen.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last year’s champions of ShortLived, The Geek Show, who won for their piece ‘No Country for Old Henchmen.’ \u003ccite>(Courtesy PIanoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘ShortLived VII’\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 7, 2019\u003cbr>\nPianoFight and The Strand, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-viii/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Pushing the limits of theatrical possibility, \u003cem>ShortLived\u003c/em> is a marathon \u003cem>American Idol\u003c/em>-esque race to a $5,000 check and eternal Bay Area glory. This year’s audience-judged competition features 48 short plays running over the course of 8 weeks, and then a winner-take-all finals on Sept. 6 and 7. If you want to take a dip into the rampant creativity of Bay Area theater—and see some fun, charming competition along the way—you can’t do much better than this.\u003c/p>\n\u003cfigure id=\"attachment_13858015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858015\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg\" alt=\"(L to R) Lady Malavendra, Red Velvet, and Dee O’s Mío in 'Dollhouse Monsters.'\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Lady Malavendra, Red Velvet and Dee O’s Mío in ‘Dollhouse Monsters.’ \u003ccite>(Ross Pearson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dollhouse Monsters’\u003c/h2>\n\u003cp>\u003ci>July 12–27, 2019\u003cbr>\nExit Stage Left, San Francisco\u003cbr>\n\u003ca href=\"http://www.theexit.org/dollhouse/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>These days, burlesque is everywhere, thanks to an ongoing vaudeville-circus-steampunk revival especially resonant here on the Barbary Coast. And while body positivity has long been a staple of modern burlesque, the ladies of DIVA Or Die Burlesque take that introspection further in \u003cem>Dollhouse Monsters\u003c/em>, a half-theater, half-burlesque show that examines our inner behaviors and secrets, why we have them, and why we keep them.\u003c/p>\n\u003cfigure id=\"attachment_13857967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Hayes, Brian Freeman, Marga Gomez, J. Miko Thomas a.k.a. Landa Lakes for OUT of Site SOMA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘OUT of Site: SOMA’\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nHoward Langton Community Garden, San Francisco\u003cbr>\n\u003ca href=\"https://www.eyezen.org/out-of-site-soma\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cem>OUT of Site\u003c/em> has already brought history to life in North Beach, and now, the theatrical walking tour series alights South of Market for a reevaluation of the neighborhood’s LGBTQ contributions. The Castro gets most of the attention, but as \u003cem>OUT of Site\u003c/em> points out, SOMA is home to hidden stories, “from Native American Two-Spirit culture to the Folsom Street Fair, Lesbian auto-mechanics to labor activists and dock workers to drag queens.” Marga Gomez heads up a cast that should be illuminating and entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13857973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857973\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg\" alt=\"'The Flick' won the 2014 Pulitzer Prize for Drama.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Flick’ won the 2014 Pulitzer Prize for Drama. \u003ccite>(Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Flick’\u003c/h2>\n\u003cp>\u003ci>Aug. 22–Sept. 22, 2019\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"http://bit.ly/2rgcffY\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>People who work at movie theaters are a specific kind of nerd: exceedingly knowledgable about the minutiae of fictional film, but open to letting real life take over with gale force when it wants to. The winner of the 2014 Pulitzer Prize for Drama, \u003cem>The Flick\u003c/em> is about three employees of a suburban movie theater in Massachusetts who still know how to run 35mm film projectors, with a script that follows their personal struggles which overlap in unexpected, humorous and heartbreaking fashion.\u003c/p>\n\u003cfigure id=\"attachment_13858334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg\" alt=\"The Dragon Theatre stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dragon Theatre stage. \u003ccite>(Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Redwood City Play Festival\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nDragon Theatre, Redwood City\u003cbr>\n\u003ca href=\"http://www.fusetheatre.org/projects/rwc-festival/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\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>A joint effort by Dragon Productions Theatre Company and Fuse Theatre, this festival of three one-act plays centers on issues of gender: \u003cem>Because I Went There\u003c/em>, \u003cem>Never Swim Alone\u003c/em> and \u003cem>Legal-Tender Loving Care\u003c/em>. Held in the heart of Redwood City’s downtown (time it right, and you could fit in the town’s surreal light show a block away in Courthouse Square), the plays should bring a good dose of social justice to the Peninsula.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13857500/hot-summer-guide-2019-top-10-picks-for-theater-in-the-bay-area","authors":["185"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1238","arts_1237","arts_1890","arts_7455","arts_3316","arts_3129","arts_2360","arts_1072"],"featImg":"arts_13857966","label":"arts_140"},"arts_13835456":{"type":"posts","id":"arts_13835456","meta":{"index":"posts_1591205157","site":"arts","id":"13835456","score":null,"sort":[1529420427000]},"guestAuthors":[],"slug":"stereotype-addled-quixote-nuevo-comes-at-a-too-serious-time","title":"Hindered by Stereotypes, 'Quixote Nuevo' Comes at a Too-Serious Time","publishDate":1529420427,"format":"standard","headTitle":"Hindered by Stereotypes, ‘Quixote Nuevo’ Comes at a Too-Serious Time | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Don Quixote is literature’s great character of delusion, a man we know all too well. He’s the ultimate \u003cem>viejo pedorro\u003c/em>: the old man who loves to hear himself talk. In playwright Octavio Solis’s reimagining of Cervantes’s Don Quixote, \u003cem>Quixote Nuevo\u003c/em>—running at Cal Shakes through July 1—the protagonist is a former literary professor living in modern-day south Texas, suffering from dementia, who believes \u003cem>he\u003c/em> is Don Quixote.\u003c/p>\n\u003cp>The promise of \u003cem>Quixote Nuevo\u003c/em> is inspiring, and the play features an all Latinx cast, Latinx director, and an award-winning playwright hoping to breathe new life into a spent story. Yet the play stumbles on its reliance of tired tropes, and instead of shining a light on the complex stories of the people who live on the margins, our characters are more like sitcom renderings of Latinidad than Iñárritu-esque portraits of maligned people.\u003c/p>\n\u003cfigure id=\"attachment_13835445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN_041-800x534.jpg\" alt=\"(l to r) Gianna DiGregorio Rivera (Antonia), Emilio Delgado (Quijano/Quixote), Sol Castillo (Padre Perez), and Sarita Ocón (Dr. Campos) in Octavio Solis’ 'Quixote Nuevo.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l to r) Gianna DiGregorio Rivera (Antonia), Emilio Delgado (Quijano/Quixote), Sol Castillo (Padre Perez), and Sarita Ocón (Dr. Campos) in Octavio Solis’ ‘Quixote Nuevo.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we meet the older Quixote (Emilio Delgado, who was revered for his role as Luis on \u003cem>Sesame Street\u003c/em>), he is remembering a younger version of himself (played by Carlos Aguirre) falling in love with a migrant farmworker on his father’s ranch named Dulcinea (Sarita Ocón). As the play unfolds, we discover that as a young man, he gifted her the only remaining memento of his dead mother he had, a rosary made of bones.\u003c/p>\n\u003cp>Dulcinea returns to Las Cenizas, Mexico, and when she asks her love when they will meet again, Quixote is too afraid to upset his family and leave Texas to come for her. So he keeps an unsent love letter he wrote Dulcinea in his pocket: a talisman of the man he dreamed of being, and never could become. \u003c/p>\n\u003cp>Later, a group of migrant workers is found dead in the desert. One of the bodies is of a young woman, clutching a rosary made of bones. Is the dead woman Dulcinea, or one of the thousands of migrants whose bodies are scattered across the border? Our Quixote is never sure, but the ghost of Dulcinea haunts him, and he spends the rest of the play on a quest to find her.\u003c/p>\n\u003cfigure id=\"attachment_13835446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN_107-800x534.jpg\" alt=\"Emilio Delgado (Quixote) enlists Juan Amador (Sancho Panza) in Octavio Solis’ 'Quixote Nuevo.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emilio Delgado (Quixote) enlists Juan Amador (Sancho Panza) in Octavio Solis’ ‘Quixote Nuevo.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poetic moments like these are glimmers in \u003cem>Quixote Nuevo\u003c/em>. There are entire scenes and actors that delight and deliver, like the role of his “squire” Sancho Panza (Juan Amador). His role is re-envisioned as a street-wise paletero, a Mexican American ice cream man who cracks jokes alongside Quixote. The two get into disastrous trouble as they thwart and attack an immigration officer and take down a border patrol blimp in their quest to avenge injustice. Watching the delusional Quixote throw his sword in the air and destroy the symbol of migrant persecution, the audience can’t help but cheer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But while the play seems to comment on immigration, and abuses by border patrol, \u003cem>Quixote Nuevo\u003c/em> is also weighed down by stereotypes, and archetypal, traditional Latino roles. There’s Magdalena (Apriña Leavy), the mouthy mother of the house and sister of Quixote; there’s also Quixote’s loyal, long-sacrificing \u003cem>sobrina\u003c/em>, Antonia (Gianna DiGregorio Rivera). Is it too much to ask in 2018 that we see women’s roles outside of the nagging mother, “good” daughter, and virgin/whore? Another scene is your standard caricature of bad hombres and loose women in a cantina: men take shots of tequila, women offer up sex for the right price, and both speak in over-the-top, border town accents. The only thing missing is a couple of \u003cem>¡Orale, güeys!\u003c/em> to complete the Mexploitation fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13835420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-800x450.jpg\" alt=\"Amy Lizardo (foreground) and Carlos Aguirre (background right) as calacas in Octavio Solis’ 'Quixote Nuevo' at California Shakespeare Theater.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy Lizardo (foreground) and Carlos Aguirre (background right) as calacas in Octavio Solis’ ‘Quixote Nuevo’ at California Shakespeare Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what sinks parts of \u003cem>Quixote Nuevo\u003c/em> instead of elevating; the feeling that the play is gunning for laughs at the expense of people many Americans already laugh at. Admittedly, the character of Don Quixote is a fool; that is the point. But in a time when the U.S. government separates children from their parents at the Mexican border and places them in cages, depicting Mexican people as hotheaded\u003cbr>\nvigilantes or simple minded souls is reckless.\u003c/p>\n\u003cp>That said, \u003cem>Quixote Nuevo\u003c/em> does have considerable heart and creative bursts. The greatest moments of the play are when you feel that Solis and director KJ Sanchez have tapped into something greater than the story of Don Quixote, and reveal how difficult it is to navigate this modern world with the heart of a poet and the desire to live in the pursuit of a dream.\u003c/p>\n\u003cp>It is this spirit that saves and haunts the play: the idea of what it wants to be; and the reality of what it has become.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Quixote Nuevo’ runs through July 1 at Cal Shakes in Orinda. \u003ca href=\"http://calshakes.org/v4/ourplays/2018/2018_quixote.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"At a time when the U.S. separates families at the border, in trots Cal Shakes' caricature-filled adaptation of 'Don Quixote.' ","status":"publish","parent":0,"modified":1705027612,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":874},"headData":{"title":"Hindered by Stereotypes, 'Quixote Nuevo' Comes at a Too-Serious Time | KQED","description":"At a time when the U.S. separates families at the border, in trots Cal Shakes' caricature-filled adaptation of 'Don Quixote.' ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hindered by Stereotypes, 'Quixote Nuevo' Comes at a Too-Serious Time","datePublished":"2018-06-19T15:00:27.000Z","dateModified":"2024-01-12T02:46:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Michelle Threadgould","path":"/arts/13835456/stereotype-addled-quixote-nuevo-comes-at-a-too-serious-time","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Quixote is literature’s great character of delusion, a man we know all too well. He’s the ultimate \u003cem>viejo pedorro\u003c/em>: the old man who loves to hear himself talk. In playwright Octavio Solis’s reimagining of Cervantes’s Don Quixote, \u003cem>Quixote Nuevo\u003c/em>—running at Cal Shakes through July 1—the protagonist is a former literary professor living in modern-day south Texas, suffering from dementia, who believes \u003cem>he\u003c/em> is Don Quixote.\u003c/p>\n\u003cp>The promise of \u003cem>Quixote Nuevo\u003c/em> is inspiring, and the play features an all Latinx cast, Latinx director, and an award-winning playwright hoping to breathe new life into a spent story. Yet the play stumbles on its reliance of tired tropes, and instead of shining a light on the complex stories of the people who live on the margins, our characters are more like sitcom renderings of Latinidad than Iñárritu-esque portraits of maligned people.\u003c/p>\n\u003cfigure id=\"attachment_13835445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN_041-800x534.jpg\" alt=\"(l to r) Gianna DiGregorio Rivera (Antonia), Emilio Delgado (Quijano/Quixote), Sol Castillo (Padre Perez), and Sarita Ocón (Dr. Campos) in Octavio Solis’ 'Quixote Nuevo.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l to r) Gianna DiGregorio Rivera (Antonia), Emilio Delgado (Quijano/Quixote), Sol Castillo (Padre Perez), and Sarita Ocón (Dr. Campos) in Octavio Solis’ ‘Quixote Nuevo.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we meet the older Quixote (Emilio Delgado, who was revered for his role as Luis on \u003cem>Sesame Street\u003c/em>), he is remembering a younger version of himself (played by Carlos Aguirre) falling in love with a migrant farmworker on his father’s ranch named Dulcinea (Sarita Ocón). As the play unfolds, we discover that as a young man, he gifted her the only remaining memento of his dead mother he had, a rosary made of bones.\u003c/p>\n\u003cp>Dulcinea returns to Las Cenizas, Mexico, and when she asks her love when they will meet again, Quixote is too afraid to upset his family and leave Texas to come for her. So he keeps an unsent love letter he wrote Dulcinea in his pocket: a talisman of the man he dreamed of being, and never could become. \u003c/p>\n\u003cp>Later, a group of migrant workers is found dead in the desert. One of the bodies is of a young woman, clutching a rosary made of bones. Is the dead woman Dulcinea, or one of the thousands of migrants whose bodies are scattered across the border? Our Quixote is never sure, but the ghost of Dulcinea haunts him, and he spends the rest of the play on a quest to find her.\u003c/p>\n\u003cfigure id=\"attachment_13835446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN_107-800x534.jpg\" alt=\"Emilio Delgado (Quixote) enlists Juan Amador (Sancho Panza) in Octavio Solis’ 'Quixote Nuevo.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emilio Delgado (Quixote) enlists Juan Amador (Sancho Panza) in Octavio Solis’ ‘Quixote Nuevo.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poetic moments like these are glimmers in \u003cem>Quixote Nuevo\u003c/em>. There are entire scenes and actors that delight and deliver, like the role of his “squire” Sancho Panza (Juan Amador). His role is re-envisioned as a street-wise paletero, a Mexican American ice cream man who cracks jokes alongside Quixote. The two get into disastrous trouble as they thwart and attack an immigration officer and take down a border patrol blimp in their quest to avenge injustice. Watching the delusional Quixote throw his sword in the air and destroy the symbol of migrant persecution, the audience can’t help but cheer.\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>But while the play seems to comment on immigration, and abuses by border patrol, \u003cem>Quixote Nuevo\u003c/em> is also weighed down by stereotypes, and archetypal, traditional Latino roles. There’s Magdalena (Apriña Leavy), the mouthy mother of the house and sister of Quixote; there’s also Quixote’s loyal, long-sacrificing \u003cem>sobrina\u003c/em>, Antonia (Gianna DiGregorio Rivera). Is it too much to ask in 2018 that we see women’s roles outside of the nagging mother, “good” daughter, and virgin/whore? Another scene is your standard caricature of bad hombres and loose women in a cantina: men take shots of tequila, women offer up sex for the right price, and both speak in over-the-top, border town accents. The only thing missing is a couple of \u003cem>¡Orale, güeys!\u003c/em> to complete the Mexploitation fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13835420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-800x450.jpg\" alt=\"Amy Lizardo (foreground) and Carlos Aguirre (background right) as calacas in Octavio Solis’ 'Quixote Nuevo' at California Shakespeare Theater.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy Lizardo (foreground) and Carlos Aguirre (background right) as calacas in Octavio Solis’ ‘Quixote Nuevo’ at California Shakespeare Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what sinks parts of \u003cem>Quixote Nuevo\u003c/em> instead of elevating; the feeling that the play is gunning for laughs at the expense of people many Americans already laugh at. Admittedly, the character of Don Quixote is a fool; that is the point. But in a time when the U.S. government separates children from their parents at the Mexican border and places them in cages, depicting Mexican people as hotheaded\u003cbr>\nvigilantes or simple minded souls is reckless.\u003c/p>\n\u003cp>That said, \u003cem>Quixote Nuevo\u003c/em> does have considerable heart and creative bursts. The greatest moments of the play are when you feel that Solis and director KJ Sanchez have tapped into something greater than the story of Don Quixote, and reveal how difficult it is to navigate this modern world with the heart of a poet and the desire to live in the pursuit of a dream.\u003c/p>\n\u003cp>It is this spirit that saves and haunts the play: the idea of what it wants to be; and the reality of what it has become.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Quixote Nuevo’ runs through July 1 at Cal Shakes in Orinda. \u003ca href=\"http://calshakes.org/v4/ourplays/2018/2018_quixote.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13835456/stereotype-addled-quixote-nuevo-comes-at-a-too-serious-time","authors":["byline_arts_13835456"],"categories":["arts_967"],"tags":["arts_1890","arts_1118","arts_596","arts_769"],"featImg":"arts_13835421","label":"arts"},"arts_13817662":{"type":"posts","id":"arts_13817662","meta":{"index":"posts_1591205157","site":"arts","id":"13817662","score":null,"sort":[1513638039000]},"guestAuthors":[],"slug":"the-best-bay-area-theater-of-2017","title":"The Best Bay Area Theater of 2017","publishDate":1513638039,"format":"standard","headTitle":"The Best Bay Area Theater of 2017 | KQED","labelTerm":{"term":3461,"site":"arts"},"content":"\u003cp>In these end days of the year and perhaps the country, we might ask, just to while away the time, what we want from our American plays.\u003c/p>\n\u003cp>It’s a child’s experiment, really, as there’s no theater imaginable that might save us from the disasters looming before us. Still, we might ask of our American playwrights that they perhaps point out a way, a path to follow that might have escaped our sight, or to paint a sign in the woods that might lead us to a new and secret city on a hill.\u003c/p>\n\u003cp>Here’s a rare group of American plays that did just that in the Bay Area of 2017, giving us a few gentle hints of where others have gone and where we might run.\u003c/p>\n\u003cp>\u003cstrong>6. The Curran Theater, Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817664 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg\" alt=\"Taylor Mac lights up American song in 'A 24-Decade History of Popular Music' at the Curran.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac lights up American song in ‘A 24-Decade History of Popular Music’ at the Curran. \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If America were a 24-hour queer slumber party, then it would be something like \u003ca href=\"https://ww2.kqed.org/arts/2016/10/12/how-i-survived-taylor-macs-24-hour-long-musical-history-lesson/\" rel=\"noopener\" target=\"_blank\">Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/a> — the country’s history at its most unguarded, wacky, and tragic. Mac is an extravagant realist, daring us to experience in full the songs that have marked the history of the nation for over 240 years. It’s an audacious examination and surrender to all the delights and discontents of the simple pleasures of song. Mac knows what we’ve felt and what we’re feeling, and he yanks it all out onto the open stage for everyone to see — with a razor wit and hard-fought joy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>5. The Shotgun Players, William Burroughs and Tom Waits’ \u003cem>The Black Rider: The Casting of the Magic Bullets\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in 'The Black Rider' by William Burroughs and Tom Waits.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-520x312.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in ‘The Black Rider’ by William Burroughs and Tom Waits. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Wilson’s production of \u003ca href=\"https://ww2.kqed.org/arts/2017/11/23/shotguns-daring-black-rider-aims-shoots-and-pierces-americas-heart/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Black Rider\u003c/em>\u003c/a> was an international sensation, a lavish valentine to German expressionism, and a lovely artifact of what the lush, extravagant subsidies of European Art House Theater can accomplish. Yet lurking beneath all those Euros was a nasty American attack dog of a play. Director Mark Jackson strips William Burroughs and Tom Waits’ fairy tale of magic bullets down to dime store essentials and subjects us to the logic of a brutal equation — if you love to shoot, you’re aiming to kill. A beautiful and entrancing nightmare for which, unfortunately, there is no antidote. (You can still see the bullets fly in the \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>’ production running through Sunday, Jan. 21.)\u003c/p>\n\u003cp>\u003cstrong>4. Ubuntu Theater Project, Lisa Ramirez’s \u003cem>To The Bone\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg\" alt=\"(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project’s production of ‘To the Bone’ by Lisa Ramirez. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Ramirez’s play about a community of immigrant women working in a poultry preparation facility is an off-key bit of terror. Most of the screams are silent, and the victims more likely to simply vanish than to suffer the fate of the slaughterhouse — though that’s a constant threat, too. The play’s politics might be ripped from the headlines, but Ramirez’s characters are startling for their everyday dreams and concerns. This is what happens in America to all those the law refuses to recognize. And \u003ca href=\"https://ww2.kqed.org/arts/2017/04/05/to-the-bone-explores-workers-lives-outside-the-law/\" rel=\"noopener\" target=\"_blank\">the Ubuntu production\u003c/a>, under Michael Maron’s direction, never lets us escape the awful truth that what we’re really watching is a human preparation facility — as if cutting up chickens wasn’t bad enough.\u003c/p>\n\u003cp>\u003cstrong>3. The Wooster Group, \u003cem>The Town Hall Affair\u003c/em> (at the Z Space)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg\" alt=\"Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in 'Town Hall Affair' by the Wooster Group.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in ‘Town Hall Affair’ by the Wooster Group. \u003ccite>(Photo: Zbigniew Bzymek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wooster Group often finds plays in the garbage heap of history, and \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/wooster-group-reimagines-crazed-1971-feminist-debate-with-norman-mailer/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Town Hall Affair\u003c/em>\u003c/a> is as stunning a dumpster dive into the past as you’re likely to get: an acid-tinged recreation of Norman Mailer’s infamous 1971 state-of-the-woman summit, where the pugilist-minded author opined, bullied, and presided over a panel of feminist luminaries to hilarious effect. The sly Germaine Greer and the erudite Diana Trilling are worthy foils to Mailer, but it is \u003cem>Village Voice\u003c/em> columnist and goofball supreme Jill Johnston who steals the show — and our hearts. In her antic tomfoolery, the Woosters discover a lovely dream of a possible future, one we’re only just beginning to glimpse.\u003c/p>\n\u003cp>\u003cstrong>2. California Shakespeare Theater, Marcus Gardley’s \u003cem>Black Odyssey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg\" alt=\"(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in 'Black Odyssey' by Marcus Gardley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in ‘Black Odyssey’ by Marcus Gardley. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why Shakespeare isn’t a model for American playwrights is a mystery of the field and an odd cultural misstep down the stairs of irrelevance. For now, at least we can marvel at Marcus Gardley’s contemporary twist on the Shakespearian romance, \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/black-odyssey-evokes-emmett-till-hurricane-katrina-and-homer/\" rel=\"noopener\" target=\"_blank\">\u003cem>Black Odyssey\u003c/em>\u003c/a>, simultaneously a love letter to Oakland, a testament to African-American faith and resilience, and a complex accounting of guilt and innocence. Here is a true epic, where the twists and turns of life keep on revealing what a miracle it is just to hold on and make it through one more day — over 16 long years of struggle. (\u003cem>Black Odyssey\u003c/em> returns to \u003ca href=\"http://www.calshakes.org\">Cal Shakes\u003c/a> for two weeks at the end of next summer.)\u003c/p>\n\u003cp>\u003cstrong>1. Marin Theatre Company, Thomas Bradshaw’s \u003cem>Thomas and Sally\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg\" alt=\"Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Easily 2017’s most controversial and outrageous play, \u003ca href=\"https://ww2.kqed.org/arts/2017/10/12/thomas-and-sally-thomas-bradshaw-marin-theater-company/\" rel=\"noopener\" target=\"_blank\">\u003cem>Thomas and Sally\u003c/em>\u003c/a> (a Marin Theatre Company world premiere) rushes headlong into the shadows and corners of a newly minted America already tainted by its idiot embrace of slavery. Bradshaw’s depiction of the 44-year old Thomas Jefferson’s love affair with his 15-year old slave Sally Hemings is both a bold, grand romance and a wary take on whether love is even possible under those conditions. With a scientist’s eye for the ugly facts of human nature and a touch of Hitchcock’s \u003cem>Vertigo\u003c/em> (Hemings was the half-sister of Jefferson’s dead wife), Bradshaw’s comic epic imagines that we are all the daughters of the revolution — just not the revolution we thought.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Here’s a rare group of American plays that, as disaster loomed, pointed us toward a new and secret city on a hill.","status":"publish","parent":0,"modified":1705028887,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1162},"headData":{"title":"The Best Bay Area Theater of 2017 | KQED","description":"Here’s a rare group of American plays that, as disaster loomed, pointed us toward a new and secret city on a hill.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Bay Area Theater of 2017","datePublished":"2017-12-18T23:00:39.000Z","dateModified":"2024-01-12T03:08:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817662/the-best-bay-area-theater-of-2017","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In these end days of the year and perhaps the country, we might ask, just to while away the time, what we want from our American plays.\u003c/p>\n\u003cp>It’s a child’s experiment, really, as there’s no theater imaginable that might save us from the disasters looming before us. Still, we might ask of our American playwrights that they perhaps point out a way, a path to follow that might have escaped our sight, or to paint a sign in the woods that might lead us to a new and secret city on a hill.\u003c/p>\n\u003cp>Here’s a rare group of American plays that did just that in the Bay Area of 2017, giving us a few gentle hints of where others have gone and where we might run.\u003c/p>\n\u003cp>\u003cstrong>6. The Curran Theater, Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817664 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg\" alt=\"Taylor Mac lights up American song in 'A 24-Decade History of Popular Music' at the Curran.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac lights up American song in ‘A 24-Decade History of Popular Music’ at the Curran. \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If America were a 24-hour queer slumber party, then it would be something like \u003ca href=\"https://ww2.kqed.org/arts/2016/10/12/how-i-survived-taylor-macs-24-hour-long-musical-history-lesson/\" rel=\"noopener\" target=\"_blank\">Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/a> — the country’s history at its most unguarded, wacky, and tragic. Mac is an extravagant realist, daring us to experience in full the songs that have marked the history of the nation for over 240 years. It’s an audacious examination and surrender to all the delights and discontents of the simple pleasures of song. Mac knows what we’ve felt and what we’re feeling, and he yanks it all out onto the open stage for everyone to see — with a razor wit and hard-fought joy.\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>\u003cstrong>5. The Shotgun Players, William Burroughs and Tom Waits’ \u003cem>The Black Rider: The Casting of the Magic Bullets\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in 'The Black Rider' by William Burroughs and Tom Waits.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-520x312.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in ‘The Black Rider’ by William Burroughs and Tom Waits. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Wilson’s production of \u003ca href=\"https://ww2.kqed.org/arts/2017/11/23/shotguns-daring-black-rider-aims-shoots-and-pierces-americas-heart/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Black Rider\u003c/em>\u003c/a> was an international sensation, a lavish valentine to German expressionism, and a lovely artifact of what the lush, extravagant subsidies of European Art House Theater can accomplish. Yet lurking beneath all those Euros was a nasty American attack dog of a play. Director Mark Jackson strips William Burroughs and Tom Waits’ fairy tale of magic bullets down to dime store essentials and subjects us to the logic of a brutal equation — if you love to shoot, you’re aiming to kill. A beautiful and entrancing nightmare for which, unfortunately, there is no antidote. (You can still see the bullets fly in the \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>’ production running through Sunday, Jan. 21.)\u003c/p>\n\u003cp>\u003cstrong>4. Ubuntu Theater Project, Lisa Ramirez’s \u003cem>To The Bone\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg\" alt=\"(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project’s production of ‘To the Bone’ by Lisa Ramirez. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Ramirez’s play about a community of immigrant women working in a poultry preparation facility is an off-key bit of terror. Most of the screams are silent, and the victims more likely to simply vanish than to suffer the fate of the slaughterhouse — though that’s a constant threat, too. The play’s politics might be ripped from the headlines, but Ramirez’s characters are startling for their everyday dreams and concerns. This is what happens in America to all those the law refuses to recognize. And \u003ca href=\"https://ww2.kqed.org/arts/2017/04/05/to-the-bone-explores-workers-lives-outside-the-law/\" rel=\"noopener\" target=\"_blank\">the Ubuntu production\u003c/a>, under Michael Maron’s direction, never lets us escape the awful truth that what we’re really watching is a human preparation facility — as if cutting up chickens wasn’t bad enough.\u003c/p>\n\u003cp>\u003cstrong>3. The Wooster Group, \u003cem>The Town Hall Affair\u003c/em> (at the Z Space)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg\" alt=\"Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in 'Town Hall Affair' by the Wooster Group.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in ‘Town Hall Affair’ by the Wooster Group. \u003ccite>(Photo: Zbigniew Bzymek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wooster Group often finds plays in the garbage heap of history, and \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/wooster-group-reimagines-crazed-1971-feminist-debate-with-norman-mailer/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Town Hall Affair\u003c/em>\u003c/a> is as stunning a dumpster dive into the past as you’re likely to get: an acid-tinged recreation of Norman Mailer’s infamous 1971 state-of-the-woman summit, where the pugilist-minded author opined, bullied, and presided over a panel of feminist luminaries to hilarious effect. The sly Germaine Greer and the erudite Diana Trilling are worthy foils to Mailer, but it is \u003cem>Village Voice\u003c/em> columnist and goofball supreme Jill Johnston who steals the show — and our hearts. In her antic tomfoolery, the Woosters discover a lovely dream of a possible future, one we’re only just beginning to glimpse.\u003c/p>\n\u003cp>\u003cstrong>2. California Shakespeare Theater, Marcus Gardley’s \u003cem>Black Odyssey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg\" alt=\"(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in 'Black Odyssey' by Marcus Gardley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in ‘Black Odyssey’ by Marcus Gardley. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why Shakespeare isn’t a model for American playwrights is a mystery of the field and an odd cultural misstep down the stairs of irrelevance. For now, at least we can marvel at Marcus Gardley’s contemporary twist on the Shakespearian romance, \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/black-odyssey-evokes-emmett-till-hurricane-katrina-and-homer/\" rel=\"noopener\" target=\"_blank\">\u003cem>Black Odyssey\u003c/em>\u003c/a>, simultaneously a love letter to Oakland, a testament to African-American faith and resilience, and a complex accounting of guilt and innocence. Here is a true epic, where the twists and turns of life keep on revealing what a miracle it is just to hold on and make it through one more day — over 16 long years of struggle. (\u003cem>Black Odyssey\u003c/em> returns to \u003ca href=\"http://www.calshakes.org\">Cal Shakes\u003c/a> for two weeks at the end of next summer.)\u003c/p>\n\u003cp>\u003cstrong>1. Marin Theatre Company, Thomas Bradshaw’s \u003cem>Thomas and Sally\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg\" alt=\"Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Easily 2017’s most controversial and outrageous play, \u003ca href=\"https://ww2.kqed.org/arts/2017/10/12/thomas-and-sally-thomas-bradshaw-marin-theater-company/\" rel=\"noopener\" target=\"_blank\">\u003cem>Thomas and Sally\u003c/em>\u003c/a> (a Marin Theatre Company world premiere) rushes headlong into the shadows and corners of a newly minted America already tainted by its idiot embrace of slavery. Bradshaw’s depiction of the 44-year old Thomas Jefferson’s love affair with his 15-year old slave Sally Hemings is both a bold, grand romance and a wary take on whether love is even possible under those conditions. With a scientist’s eye for the ugly facts of human nature and a touch of Hitchcock’s \u003cem>Vertigo\u003c/em> (Hemings was the half-sister of Jefferson’s dead wife), Bradshaw’s comic epic imagines that we are all the daughters of the revolution — just not the revolution we thought.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817662/the-best-bay-area-theater-of-2017","authors":["8668"],"series":["arts_3461"],"categories":["arts_967"],"tags":["arts_1890","arts_1789","arts_1118","arts_2331","arts_596","arts_769","arts_2360","arts_3392"],"featImg":"arts_13817671","label":"arts_3461"},"arts_13805790":{"type":"posts","id":"arts_13805790","meta":{"index":"posts_1591205157","site":"arts","id":"13805790","score":null,"sort":[1502951715000]},"guestAuthors":[],"slug":"african-american-history-as-a-homeric-odyssey","title":"African-American History as a Homeric Odyssey","publishDate":1502951715,"format":"standard","headTitle":"African-American History as a Homeric Odyssey | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>This week’s Do List co-host Marc Bamuthi Joseph liked \u003cem>Black Odyssey\u003c/em> at California Shakespeare Theater so much, he went back the next night with his wife, kids, and in-laws. It’s an adaptation of Homer’s \u003cem>Odyssey\u003c/em> by Marcus Gardley, raised in Oakland, which name-checks everyone from Paw Sidin (Poseidon) and Tiresias to Emmett Till and Tina Turner. Check out KQED theater critic \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/black-odyssey-evokes-emmett-till-hurricane-katrina-and-homer/\">John Wilkins’ review here\u003c/a>. \u003cem>Black Odyssey\u003c/em> runs Aug. 9–Sept. 3 at California Shakespeare Theater; \u003ca href=\"https://tickets.calshakes.org\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"'Black Odyssey' is an adaptation of Homer by Marcus Gardley, raised in Oakland, which name-checks Emmett Till, Poseidon, and even Tina Turner.","status":"publish","parent":0,"modified":1705029750,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":93},"headData":{"title":"African-American History as a Homeric Odyssey | KQED","description":"'Black Odyssey' is an adaptation of Homer by Marcus Gardley, raised in Oakland, which name-checks Emmett Till, Poseidon, and even Tina Turner.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"African-American History as a Homeric Odyssey","datePublished":"2017-08-17T06:35:15.000Z","dateModified":"2024-01-12T03:22:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13805790/african-american-history-as-a-homeric-odyssey","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week’s Do List co-host Marc Bamuthi Joseph liked \u003cem>Black Odyssey\u003c/em> at California Shakespeare Theater so much, he went back the next night with his wife, kids, and in-laws. It’s an adaptation of Homer’s \u003cem>Odyssey\u003c/em> by Marcus Gardley, raised in Oakland, which name-checks everyone from Paw Sidin (Poseidon) and Tiresias to Emmett Till and Tina Turner. Check out KQED theater critic \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/black-odyssey-evokes-emmett-till-hurricane-katrina-and-homer/\">John Wilkins’ review here\u003c/a>. \u003cem>Black Odyssey\u003c/em> runs Aug. 9–Sept. 3 at California Shakespeare Theater; \u003ca href=\"https://tickets.calshakes.org\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13805790/african-american-history-as-a-homeric-odyssey","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_967"],"tags":["arts_1890","arts_626"],"featImg":"arts_13805517","label":"arts_140"},"arts_13423008":{"type":"posts","id":"arts_13423008","meta":{"index":"posts_1591205157","site":"arts","id":"13423008","score":null,"sort":[1497315155000]},"guestAuthors":[],"slug":"a-trump-tinged-julius-caesar-what-now","title":"A Trump-Tinged ‘Julius Caesar’: What Now?","publishDate":1497315155,"format":"image","headTitle":"A Trump-Tinged ‘Julius Caesar’: What Now? | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In Act III of \u003cem>Hamlet\u003c/em>, when the skirt-chasing, king-killing, crown-usurping villain Claudius watches a play entitled \u003cem>The Murder of Gonzago\u003c/em> about a similarly skirt-chasing, king-killing, crown-usurping villain, he recoils at seeing himself portrayed and runs screaming from the theater: “Give me some light, away!”\u003c/p>\n\u003cp>So it’s been no surprise over the past few days to witness the knee-jerk reactions from the Trump team, the right-wing media and two major corporations to the Public Theater’s latest production of \u003cem>Julius Caesar\u003c/em>, which depicts the murder of a Trump-esque Caesar in gory fashion. Over the weekend, the president’s own son performed a wounded sparrow act on Twitter, Breitbart and Fox acted suitably scandalized and Delta Airlines and Bank of America withdrew financial support of the show.\u003c/p>\n\u003cp>https://twitter.com/DonaldJTrumpJr/status/873916847191724033\u003c/p>\n\u003cp>Meanwhile, on the other side of the political fence, the media has been aflame with defenses of Shakespeare’s 1599 political drama (Shakespeare makes it clear that the murder of Julius Caesar isn’t a good thing) as well as Oskar Eustis’ production for the Public (the director’s production notes include a warning: “Those who attempt to defend democracy by undemocratic methods pay a terrible price and destroy their republic.”)\u003c/p>\n\u003cp>At a time when stage productions outside of \u003cem>Hamilton\u003c/em> rarely make headlines, it’s been edifying to see the art form do what it was set up to do since back in the days of Aristophanes and Aeschylus: make trouble. But because we’re not used to theater having this kind of impact, we’re left wondering, what now? “People talk about what theater does, but it’s rare that it actually hits a nerve,” says theater director and Yerba Buena Center for the Arts’ Jonathan Moscone. “Here we are in a situation where theater is hitting a nerve and we don’t know what to do with it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there are several things art can do in the face of such an assault on the freedom of creative expression. The most important is to stick up for itself.\u003c/p>\n\u003cp>Moscone has an interesting cautionary tale about the time he produced a production of \u003cem>Julius Caesar\u003c/em> for the California Shakespeare Theater that speaks to this necessity. It was in 2003, when Moscone was near the start of his tenure as artistic director of the company. His take on \u003cem>Caesar\u003c/em> — like all productions of this play — was politically charged, referencing the 1978 slaying of his father, San Francisco mayor George Moscone.\u003c/p>\n\u003cp>In preview performances, Moscone had the actor playing Brutus pull a gun and shoot Caesar, instead of stabbing him. This theatrical glance at real-life events — the death of the mayor — caused consternation among audience members in previews, Moscone says. “The thing that triggered this was literally a trigger,” Moscone says. “I had people run up to me and yell at me for doing that.”\u003c/p>\n\u003cp>Still relatively young in his role with the company, Moscone decided to replace the gun with a knife. “It was a decision I made at the time as a new artistic director,” Moscone says. “Would I do that now? No.”\u003c/p>\n\u003cfigure id=\"attachment_13423011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13423011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg\" alt=\"A 2003 production of 'Julius Ceasar' at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Ceasar that recalled the director's father, the late George Moscone.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 2003 production of ‘Julius Caesar’ at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Caesar that recalled the director’s father, the late George Moscone. \u003ccite>(Jay Yamada/Courtesy Cal Shakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in that same season, when audiences complained about a Cal Shakes staging of \u003cem>Measure for Measure\u003c/em> which included an executioner wearing a George W. Bush mask, Moscone didn’t change course. “It’s a dangerous place to be,” Moscone says. “We should be doing this all the time.”\u003c/p>\n\u003cp>But there’s a certain peril in staging productions that make obvious political parallels between Shakespeare’s world and our own. Should they end up failing in their mission to get the message across, they fail all the more spectacularly. Which brings me to the second important thing theater should do at this moment, which is to more carefully consider its tactics.\u003c/p>\n\u003cp>When the Oregon Shakespeare Festival produced \u003cem>Julius Caesar\u003c/em> in 2011 with a woman in the title role — Vilma Silva — you couldn’t help but have to balance Silva’s brilliant portrayal of a leader drunk on power with the murder of a female premier destroyed by the men around her. The production brought out all the complexities of Shakespeare’s play while making a strong feminist political statement without needing to resort to putting Silva in a Hillary Clinton pantsuit or Queen Victoria pearls.\u003c/p>\n\u003cp>The reason we keep coming back to Shakespeare and other great dramatists like him is because their messages about power, leadership and its undoing transcend the moment. They endure. So whether a director puts Caesar in a toga or a red tie ultimately doesn’t matter. If it’s a strong production, its resonance to today’s world should be loud and clear.\u003c/p>\n\u003cp>Sigh.\u003c/p>\n\u003cp>If only that were really the case. In the din of today’s media landscape, where many people draw their conclusions based on a headline or an opinion expressed in 140 characters or less, it makes sense, at one level, for a theater director who wants to make an impression beyond the confines of an auditorium to go for the bleeding obvious — and put Trump, complete with gold bathtub and Slavic-accented wife, right there up on stage. After all, great art is subtle and rarely easy on the brain; understanding it requires patience, and who the hell has time for that? “Shakespeare demands breathing room and we as a nation are not breathing,” Moscone says. “We’re choking and everything is crisis responding.”\u003c/p>\n\u003cp>This reality causes Eric Ting, who took over from Moscone as artistic director of Cal Shakes in 2015, a great deal of concern. He notes that the problems for the Public arose when people took the one epic moment in the company’s production of \u003cem>Julius Caesar\u003c/em> — the grisly murder scene of the Trump-like Caesar figure — out of context, unable to see the larger and more nuanced message of the whole play. “This is a single moment in a production of a great, classical drama,” Ting says. “What is missed is the context of that moment: that \u003cem>Julius Caesar\u003c/em> is a play that says ‘violent means beget violent ends.’”\u003c/p>\n\u003cp>https://twitter.com/BofA_News/status/874079447909052417\u003c/p>\n\u003cp>What’s a theater director to do? By presenting Shakespeare (or for that matter Bertolt Brecht, Suzan-Lori Parks or Caryl Churchill) in all its depth and subtlety, one risks reaching only fans of the performing arts, and the show tip-toeing quietly into oblivion. But when trying to grab the public’s attention with some kind of shock tactic that causes less than a moment of thought prior to eliciting a reaction, there’s every chance it will be misinterpreted.\u003c/p>\n\u003cp>Which brings me to my third and final thing that theater can do: It should never give up. What the hoopla surrounding the Public’s \u003cem>Julius Caesar\u003c/em> teaches us is that this art form can make a great noise and send the corporate overlords into a tailspin. As I write, I wouldn’t be surprised if others among the Public’s sponsors stepped up to redouble their support of the company in the wake of Delta Airlines’ and Bank of America’s withdrawal.\u003c/p>\n\u003cp>And if the day should come when we end up in a nuclear wasteland, where all power is down and none of our electronic devices work, at least there’ll still be theater — a few actors walking across a stage — to bear witness, tell the important stories of our times, and spread hope.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"A three-point game plan for the theater as our senior arts editor weighs in on the Public Theater controversy.\r\n","status":"publish","parent":0,"modified":1705030370,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1360},"headData":{"title":"A Trump-Tinged ‘Julius Caesar’: What Now? | KQED","description":"A three-point game plan for the theater as our senior arts editor weighs in on the Public Theater controversy.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Trump-Tinged ‘Julius Caesar’: What Now?","datePublished":"2017-06-13T00:52:35.000Z","dateModified":"2024-01-12T03:32:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13423008/a-trump-tinged-julius-caesar-what-now","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Act III of \u003cem>Hamlet\u003c/em>, when the skirt-chasing, king-killing, crown-usurping villain Claudius watches a play entitled \u003cem>The Murder of Gonzago\u003c/em> about a similarly skirt-chasing, king-killing, crown-usurping villain, he recoils at seeing himself portrayed and runs screaming from the theater: “Give me some light, away!”\u003c/p>\n\u003cp>So it’s been no surprise over the past few days to witness the knee-jerk reactions from the Trump team, the right-wing media and two major corporations to the Public Theater’s latest production of \u003cem>Julius Caesar\u003c/em>, which depicts the murder of a Trump-esque Caesar in gory fashion. Over the weekend, the president’s own son performed a wounded sparrow act on Twitter, Breitbart and Fox acted suitably scandalized and Delta Airlines and Bank of America withdrew financial support of the show.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"873916847191724033"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Meanwhile, on the other side of the political fence, the media has been aflame with defenses of Shakespeare’s 1599 political drama (Shakespeare makes it clear that the murder of Julius Caesar isn’t a good thing) as well as Oskar Eustis’ production for the Public (the director’s production notes include a warning: “Those who attempt to defend democracy by undemocratic methods pay a terrible price and destroy their republic.”)\u003c/p>\n\u003cp>At a time when stage productions outside of \u003cem>Hamilton\u003c/em> rarely make headlines, it’s been edifying to see the art form do what it was set up to do since back in the days of Aristophanes and Aeschylus: make trouble. But because we’re not used to theater having this kind of impact, we’re left wondering, what now? “People talk about what theater does, but it’s rare that it actually hits a nerve,” says theater director and Yerba Buena Center for the Arts’ Jonathan Moscone. “Here we are in a situation where theater is hitting a nerve and we don’t know what to do with it.”\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>But there are several things art can do in the face of such an assault on the freedom of creative expression. The most important is to stick up for itself.\u003c/p>\n\u003cp>Moscone has an interesting cautionary tale about the time he produced a production of \u003cem>Julius Caesar\u003c/em> for the California Shakespeare Theater that speaks to this necessity. It was in 2003, when Moscone was near the start of his tenure as artistic director of the company. His take on \u003cem>Caesar\u003c/em> — like all productions of this play — was politically charged, referencing the 1978 slaying of his father, San Francisco mayor George Moscone.\u003c/p>\n\u003cp>In preview performances, Moscone had the actor playing Brutus pull a gun and shoot Caesar, instead of stabbing him. This theatrical glance at real-life events — the death of the mayor — caused consternation among audience members in previews, Moscone says. “The thing that triggered this was literally a trigger,” Moscone says. “I had people run up to me and yell at me for doing that.”\u003c/p>\n\u003cp>Still relatively young in his role with the company, Moscone decided to replace the gun with a knife. “It was a decision I made at the time as a new artistic director,” Moscone says. “Would I do that now? No.”\u003c/p>\n\u003cfigure id=\"attachment_13423011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13423011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg\" alt=\"A 2003 production of 'Julius Ceasar' at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Ceasar that recalled the director's father, the late George Moscone.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 2003 production of ‘Julius Caesar’ at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Caesar that recalled the director’s father, the late George Moscone. \u003ccite>(Jay Yamada/Courtesy Cal Shakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in that same season, when audiences complained about a Cal Shakes staging of \u003cem>Measure for Measure\u003c/em> which included an executioner wearing a George W. Bush mask, Moscone didn’t change course. “It’s a dangerous place to be,” Moscone says. “We should be doing this all the time.”\u003c/p>\n\u003cp>But there’s a certain peril in staging productions that make obvious political parallels between Shakespeare’s world and our own. Should they end up failing in their mission to get the message across, they fail all the more spectacularly. Which brings me to the second important thing theater should do at this moment, which is to more carefully consider its tactics.\u003c/p>\n\u003cp>When the Oregon Shakespeare Festival produced \u003cem>Julius Caesar\u003c/em> in 2011 with a woman in the title role — Vilma Silva — you couldn’t help but have to balance Silva’s brilliant portrayal of a leader drunk on power with the murder of a female premier destroyed by the men around her. The production brought out all the complexities of Shakespeare’s play while making a strong feminist political statement without needing to resort to putting Silva in a Hillary Clinton pantsuit or Queen Victoria pearls.\u003c/p>\n\u003cp>The reason we keep coming back to Shakespeare and other great dramatists like him is because their messages about power, leadership and its undoing transcend the moment. They endure. So whether a director puts Caesar in a toga or a red tie ultimately doesn’t matter. If it’s a strong production, its resonance to today’s world should be loud and clear.\u003c/p>\n\u003cp>Sigh.\u003c/p>\n\u003cp>If only that were really the case. In the din of today’s media landscape, where many people draw their conclusions based on a headline or an opinion expressed in 140 characters or less, it makes sense, at one level, for a theater director who wants to make an impression beyond the confines of an auditorium to go for the bleeding obvious — and put Trump, complete with gold bathtub and Slavic-accented wife, right there up on stage. After all, great art is subtle and rarely easy on the brain; understanding it requires patience, and who the hell has time for that? “Shakespeare demands breathing room and we as a nation are not breathing,” Moscone says. “We’re choking and everything is crisis responding.”\u003c/p>\n\u003cp>This reality causes Eric Ting, who took over from Moscone as artistic director of Cal Shakes in 2015, a great deal of concern. He notes that the problems for the Public arose when people took the one epic moment in the company’s production of \u003cem>Julius Caesar\u003c/em> — the grisly murder scene of the Trump-like Caesar figure — out of context, unable to see the larger and more nuanced message of the whole play. “This is a single moment in a production of a great, classical drama,” Ting says. “What is missed is the context of that moment: that \u003cem>Julius Caesar\u003c/em> is a play that says ‘violent means beget violent ends.’”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"874079447909052417"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>What’s a theater director to do? By presenting Shakespeare (or for that matter Bertolt Brecht, Suzan-Lori Parks or Caryl Churchill) in all its depth and subtlety, one risks reaching only fans of the performing arts, and the show tip-toeing quietly into oblivion. But when trying to grab the public’s attention with some kind of shock tactic that causes less than a moment of thought prior to eliciting a reaction, there’s every chance it will be misinterpreted.\u003c/p>\n\u003cp>Which brings me to my third and final thing that theater can do: It should never give up. What the hoopla surrounding the Public’s \u003cem>Julius Caesar\u003c/em> teaches us is that this art form can make a great noise and send the corporate overlords into a tailspin. As I write, I wouldn’t be surprised if others among the Public’s sponsors stepped up to redouble their support of the company in the wake of Delta Airlines’ and Bank of America’s withdrawal.\u003c/p>\n\u003cp>And if the day should come when we end up in a nuclear wasteland, where all power is down and none of our electronic devices work, at least there’ll still be theater — a few actors walking across a stage — to bear witness, tell the important stories of our times, and spread hope.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13423008/a-trump-tinged-julius-caesar-what-now","authors":["8608"],"categories":["arts_967"],"tags":["arts_1890","arts_1118","arts_596"],"featImg":"arts_13423009","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. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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