A Play Exploring Gentrification's (Literal) Horrors
A Year Later, Bay Area Theater Companies Reckon With BIPOC Demands
In 'CHURCH,' Crowded Fire Examines Assumptions of Faith
Fall Into Theater: 9 Bay Area Stage and Performance Picks
On the Air: Cy and A-lan's Do List Picks for March 9, 2018
'Game of Thrones' Meets Shakespeare for the Google Age
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An interracial artist couple with big aspirations, they’ve landed a classic, brick-walled loft near the Pink line, and they’re excited to be embarking on their new life adventure together.\u003c/p>\n\u003cp>Or are they?\u003c/p>\n\u003cp>Like cracks in old plaster, their partnership soon reveals some structural damage. The stress of the move—combined with deeply-rooted suspicion—results in the kind of circular bickering that signals to everyone in the room (except the couple in question!) that this relationship is doomed. In relatively quick succession, Marísa and Lev fight over paint swatches, household decision-making, internalized racism and issues of trust, occasionally punctuating their arguments with fumbling attempts at physical intimacy.\u003c/p>\n\u003cp>As if that doesn’t create enough tension, every time an “L” train rumbles by the room shakes, small objects fall to the floor, and the lights flicker ominously. And into this uncomfortable atmosphere creeps a horror that threatens not only their equilibrium, but their very existence.\u003c/p>\n\u003cfigure id=\"attachment_13903500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903500\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Mari%CC%81sa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater1-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater1.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jordan Maria Don as Marísa and Troy Rockett as Lev in their new home in ‘The Displaced’ by Isaac Gómez. \u003ccite>(Adam Tolbert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Crowded Fire Theater’s West Coast premiere of Isaac Gómez’ spooky two-hander—directed by Mina Morita and Karina Gutiérrez—is the perfect prelude to the approaching Halloween season. Much like the recently released Nia DaCosta film \u003cem>Candyman\u003c/em>, and Bennett Fisher’s 2016 haunted \u003cem>Campo Maldito\u003c/em>, the play focuses as much on the everyday horrors of gentrification and displacement as it does on jump scares and skillfully-deployed special effects (courtesy of Devon LaBelle). As Marísa and Lev dig into the (sometimes literal) bones of their new apartment, what they find out about the original occupants disquiets them, even as they try to assert to themselves and each other that they really do belong. In this space. Together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We said all of this was so we could start running towards each other,” Marísa observes sadly, as they alternate trying to recalibrate their connection and trying to explain away the increasingly weird, possibly supernatural disturbances happening around them.\u003c/p>\n\u003cfigure id=\"attachment_13903501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Mari%CC%81sa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-800x594.jpeg\" alt=\"\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-800x594.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-1020x757.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-768x570.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-1536x1140.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-1920x1426.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Troy Rockett as Lev and Jordan Maria Don as Marísa peruse an unexpected artifact in ‘The Displaced’ by Isaac Gómez. \u003ccite>(Adam Tolbert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What hurts most about Marísa and Lev’s inability to see each other as they want to be seen is the tender chemistry that stirs between Don and Rockett, enhanced by Maya Herbsman’s intimacy direction and their own fearless commitment to their roles. At turns Don’s Marísa is imperious and self-confident. She lays claim to her Mexican heritage when it suits her objectives to do so, boasting of intimidating their new neighbors—“my people”—even while cringing from showing solidarity in the face of a neighborhood tragedy.\u003c/p>\n\u003cp>In contrast, Rockett’s Lev, a Black man stuck in a dead-end service job who dreams of making it as a painter, is more soft-spoken, more delightfully playful. He reads like an open book, even when we discover he’s actually been hiding things all along. Further complicated by their disparate family dynamics—Marísa comes from money and is supported by her parents, Lev is effectively estranged from his—their insular struggle expands to indict a host of social ills.\u003c/p>\n\u003cp>But truly, \u003cem>The Displaced \u003c/em>is best when it lays politics aside and leans into terrifying its protagonists, and audience, as the unrestful spirits of the apartment make themselves definitively known. In the close confines of the Potrero Stage, paranormal activity such as levitation, possession, and a grab-bag of flying objects are felt as much as witnessed by the audience. There’s a tingle of unease and anticipation as your eyes scan the room for what might happen next, a surrender to the inexplicable, and a punch of adrenaline to carry you across the finish line. Moody saturated lighting courtesy of Stephanie Anne Johnson and Ashley Munday fleshes out the visual impact, and Christopher Sauceda’s disquieting soundscape throbs like a tell-tale heart beating for vengeance.\u003c/p>\n\u003cfigure id=\"attachment_13903502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Troy Rockett as Lev facing down some fears in ‘The Displaced’ by Isaac Gómez. \u003ccite>(Adam Tolbert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further solidifying their reputation for presenting new or under-produced works by emerging and non-canonical American playwrights, Crowded Fire’s pandemic-extended collaboration with Gómez even boasts two alternate endings, one written especially for them (check the calendar for dates). By creating a space for a playwright interested in pushing the boundaries of genre, while also building a sturdy framework of pandemic safety protocols for cast, crew, and audience, Crowded Fire is leading the way back to the indoor stage on multiple fronts. Grab your fanciest mask and your least squeamish bestie, and enjoy the ride.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg\" alt=\"\" width=\"160\" height=\"16\" class=\"alignright size-thumbnail wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Displaced’ runs through Oct. 2. \u003ca href=\"http://www.crowdedfire.org/displaced\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'The Displaced' at Crowded Fire Theater is a perfect prelude to the approaching Halloween season.","status":"publish","parent":0,"modified":1705007714,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":891},"headData":{"title":"Review: 'The Displaced' at Crowded Fire Theater","description":"An innovative play exploring gentrification's horrors, 'The Displaced' is a perfect Halloween prelude.","ogTitle":"A Play Exploring Gentrification's (Literal) Horrors","ogDescription":"'The Displaced' at Crowded Fire Theater is a perfect prelude to the approaching Halloween season.","ogImgId":"","twTitle":"A Play Exploring Gentrification's (Literal) Horrors","twDescription":"'The Displaced' at Crowded Fire Theater is a perfect prelude to the approaching Halloween season.","twImgId":"","socialTitle":"Review: 'The Displaced' at Crowded Fire Theater","socialDescription":"An innovative play exploring gentrification's horrors, 'The Displaced' is a perfect Halloween prelude.","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Play Exploring Gentrification's (Literal) Horrors","datePublished":"2021-09-21T23:45:03.000Z","dateModified":"2024-01-11T21:15:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13903496/review-the-displaced-crowded-fire-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a lot to unpack in \u003cem>The Displaced\u003c/em>.\u003c/p>\n\u003cp>Quite literally, in fact, as it’s moving day for Marísa (Jordan Maria Don) and Lev (Troy Rockett), who’ve just acquired their starter dream home in the Pilsen neighborhood of Chicago. An interracial artist couple with big aspirations, they’ve landed a classic, brick-walled loft near the Pink line, and they’re excited to be embarking on their new life adventure together.\u003c/p>\n\u003cp>Or are they?\u003c/p>\n\u003cp>Like cracks in old plaster, their partnership soon reveals some structural damage. The stress of the move—combined with deeply-rooted suspicion—results in the kind of circular bickering that signals to everyone in the room (except the couple in question!) that this relationship is doomed. In relatively quick succession, Marísa and Lev fight over paint swatches, household decision-making, internalized racism and issues of trust, occasionally punctuating their arguments with fumbling attempts at physical intimacy.\u003c/p>\n\u003cp>As if that doesn’t create enough tension, every time an “L” train rumbles by the room shakes, small objects fall to the floor, and the lights flicker ominously. And into this uncomfortable atmosphere creeps a horror that threatens not only their equilibrium, but their very existence.\u003c/p>\n\u003cfigure id=\"attachment_13903500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903500\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Mari%CC%81sa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater1-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater1.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jordan Maria Don as Marísa and Troy Rockett as Lev in their new home in ‘The Displaced’ by Isaac Gómez. \u003ccite>(Adam Tolbert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Crowded Fire Theater’s West Coast premiere of Isaac Gómez’ spooky two-hander—directed by Mina Morita and Karina Gutiérrez—is the perfect prelude to the approaching Halloween season. Much like the recently released Nia DaCosta film \u003cem>Candyman\u003c/em>, and Bennett Fisher’s 2016 haunted \u003cem>Campo Maldito\u003c/em>, the play focuses as much on the everyday horrors of gentrification and displacement as it does on jump scares and skillfully-deployed special effects (courtesy of Devon LaBelle). As Marísa and Lev dig into the (sometimes literal) bones of their new apartment, what they find out about the original occupants disquiets them, even as they try to assert to themselves and each other that they really do belong. In this space. Together.\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>“We said all of this was so we could start running towards each other,” Marísa observes sadly, as they alternate trying to recalibrate their connection and trying to explain away the increasingly weird, possibly supernatural disturbances happening around them.\u003c/p>\n\u003cfigure id=\"attachment_13903501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Mari%CC%81sa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-800x594.jpeg\" alt=\"\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-800x594.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-1020x757.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-768x570.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-1536x1140.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2-1920x1426.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-and-Jordan-Maria-Don-as-Marísa-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater2.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Troy Rockett as Lev and Jordan Maria Don as Marísa peruse an unexpected artifact in ‘The Displaced’ by Isaac Gómez. \u003ccite>(Adam Tolbert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What hurts most about Marísa and Lev’s inability to see each other as they want to be seen is the tender chemistry that stirs between Don and Rockett, enhanced by Maya Herbsman’s intimacy direction and their own fearless commitment to their roles. At turns Don’s Marísa is imperious and self-confident. She lays claim to her Mexican heritage when it suits her objectives to do so, boasting of intimidating their new neighbors—“my people”—even while cringing from showing solidarity in the face of a neighborhood tragedy.\u003c/p>\n\u003cp>In contrast, Rockett’s Lev, a Black man stuck in a dead-end service job who dreams of making it as a painter, is more soft-spoken, more delightfully playful. He reads like an open book, even when we discover he’s actually been hiding things all along. Further complicated by their disparate family dynamics—Marísa comes from money and is supported by her parents, Lev is effectively estranged from his—their insular struggle expands to indict a host of social ills.\u003c/p>\n\u003cp>But truly, \u003cem>The Displaced \u003c/em>is best when it lays politics aside and leans into terrifying its protagonists, and audience, as the unrestful spirits of the apartment make themselves definitively known. In the close confines of the Potrero Stage, paranormal activity such as levitation, possession, and a grab-bag of flying objects are felt as much as witnessed by the audience. There’s a tingle of unease and anticipation as your eyes scan the room for what might happen next, a surrender to the inexplicable, and a punch of adrenaline to carry you across the finish line. Moody saturated lighting courtesy of Stephanie Anne Johnson and Ashley Munday fleshes out the visual impact, and Christopher Sauceda’s disquieting soundscape throbs like a tell-tale heart beating for vengeance.\u003c/p>\n\u003cfigure id=\"attachment_13903502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Troy-Rockett-as-Lev-in-THE-DISPLACED-photo-by-Adam-Tolbert-for-Crowded-Fire-Theater.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Troy Rockett as Lev facing down some fears in ‘The Displaced’ by Isaac Gómez. \u003ccite>(Adam Tolbert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further solidifying their reputation for presenting new or under-produced works by emerging and non-canonical American playwrights, Crowded Fire’s pandemic-extended collaboration with Gómez even boasts two alternate endings, one written especially for them (check the calendar for dates). By creating a space for a playwright interested in pushing the boundaries of genre, while also building a sturdy framework of pandemic safety protocols for cast, crew, and audience, Crowded Fire is leading the way back to the indoor stage on multiple fronts. Grab your fanciest mask and your least squeamish bestie, and enjoy the ride.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg\" alt=\"\" width=\"160\" height=\"16\" class=\"alignright size-thumbnail wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Displaced’ runs through Oct. 2. \u003ca href=\"http://www.crowdedfire.org/displaced\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903496/review-the-displaced-crowded-fire-theater","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1185","arts_10278","arts_769","arts_1072","arts_585"],"featImg":"arts_13903499","label":"arts_140"},"arts_13898881":{"type":"posts","id":"arts_13898881","meta":{"index":"posts_1591205157","site":"arts","id":"13898881","score":null,"sort":[1624041829000]},"guestAuthors":[],"slug":"a-year-later-bay-area-theater-companies-reckon-with-bipoc-demands","title":"A Year Later, Bay Area Theater Companies Reckon With BIPOC Demands","publishDate":1624041829,"format":"standard","headTitle":"A Year Later, Bay Area Theater Companies Reckon With BIPOC Demands | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In June of 2020, the pandemic’s shutdown of live performance was nearly three months old. A wave of protests sparked by the murder of George Floyd were rocking the nation, bringing to the forefront demands for racial justice while challenging anti-blackness and structural inequities. And on June 8, 2020, an open letter from a nationwide coalition of BIPOC theater-makers, titled \u003ca href=\"https://www.weseeyouwat.com\">“We See You White American Theater,”\u003c/a> was published online.\u003c/p>\n\u003cp>The next day, an editable Google doc titled “Living Document of POC Experiences in Bay Area Theatre Co.”—\u003ca href=\"https://www.kqed.org/arts/13882276/for-bipoc-bay-area-theater-a-living-document-provides-catharsis-calls-to-action\">begun by Bay Area theater-maker and educator Ely Sonny Orquiza\u003c/a>—quickly amassed hundreds of anonymous testimonials, as well as at least one attempt to erase it altogether. But not only was it impossible to erase the Living Document from the internet, it’s remained a part of the discourse around reopening Bay Area theaters to live, in-person performance ever since.\u003c/p>\n\u003cp>[aside postID='arts_13882276']In the first weeks after the Living Document made its appearance, only a handful of companies released public statements addressing its contents. Undeterred, Orquiza and his collaborators published a comprehensive addendum in late July: \u003ca href=\"https://www.bipoclivdoc.com/action-plan\">the BIPOC Equity Action Plan\u003c/a>, a series of concrete demands directed at the Bay Area “Predominantly White Institutions” (or PWI). These included conducting staff-wide anti-racism/anti-bias trainings, implementing land acknowledgements and contributing regularly to the Shuumi Land Tax, programming seasons with minimum 60% of plays written by “BIPOC, queer, trans, womxn of color, non-binary and/or disabled playwrights,” prioritizing cultural competency, and shifting the racial demographics of staff and board.\u003c/p>\n\u003cp>Orquiza and his collaborators called for a response to the demands “within ten business days” of the document’s release. As of August 11, 2020, they estimated that only 15% of Bay Area theater companies had promised to take action. However, since the beginning of 2021, more companies have released their individual action plans, detailing in depth the anti-racist actions they have taken, are taking, and plan to take in the future.\u003c/p>\n\u003cp>As the largest theater company in the region, A.C.T. was mentioned extensively in the Living Document, including links and references to \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" rel=\"noopener noreferrer\" target=\"_blank\">a 2019 lawsuit\u003c/a> filed by former Conservatory instructor and movement choreographer, Stephen Buescher. While Buescher’s allegations of institutional racism, brought to A.C.T.’s board as early as 2018, eventually inspired the formation of a formal Equity, Diversity, and Inclusion committee, the demands delineated in the Living Document and We See You White American Theater forced the company to look more critically at every aspect of its operations.\u003c/p>\n\u003cfigure id=\"attachment_13898892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A.C.T. Executive Director, Jennifer Bielstein. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had a real intentional focus on developing an organizational culture that is welcoming and inclusive and transparent and accessible,” says Jennifer Bielstein, Executive Director of A.C.T., about the process. “Because diversity will not thrive if the organizational culture isn’t ready to embrace diversity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Referencing an internal spreadsheet that she estimates contains over 150 items, Bielstein describes hours of analyzing the demands from the Living Document and We See You WAT, “incorporating items from each of those documents into our work” throughout the organization. In November, the company published a \u003ca href=\"https://res.cloudinary.com/a-c-t/image/upload/v1617393816/Uploads/EDI/PDFs/EDI_Strategic_Plan.pdf\">31-page document of their own\u003c/a> detailing their updated Equity, Diversity and Inclusion strategic plan, a work they acknowledge is still in process.\u003c/p>\n\u003cp>Some actions mentioned by Bielstein include moving away from grueling “10 out of 12” tech rehearsals and six-day rehearsal weeks, paying artists for work done at fundraisers and other functions, and ensuring the availability of an on-site counselor or therapist for artists, particularly for shows engaged with racialized trauma, such as \u003cem>\u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\" rel=\"noopener noreferrer\" target=\"_blank\">Toni Stone\u003c/a>\u003c/em>. Artistically, Bielstein says, the company is prioritizing works written and directed by majority women and BIPOC creatives, and committing to hiring more Bay Area actors and designers (currently the percentage of local hires is around 73%).\u003c/p>\n\u003cp>For Bielstein, the emergence of the Living Document has been what she terms “a gift” to the organization and to the field, noting that “our community at large will hold us accountable for delivering on these commitments and actions.”\u003c/p>\n\u003cfigure id=\"attachment_13898891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowded Fire Artistic Director Mina Morita. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even BIPOC-led companies and theater artists have taken the demands of the Living Document to heart. For example, while San Francisco-based Crowded Fire had already been engaged in EDI work internally over the past five years, the publication of the Living Document highlighted to Artistic Director Mina Morita the need to further the work throughout the greater Bay Area theater ecosystem.\u003c/p>\n\u003cp>“What’s unique about the theater field is we all move through many different organizations to create,” she says. “So I was aware of some of the inequities and problems. But I don’t think I was as fully aware until the Living Document.” So, in addition to hiring on EDI trainer Lisa Walker to coach Crowded Fire through a multi-week training, Morita harnessed the energy of the moment to collaborate and share resources with other companies.\u003c/p>\n\u003cp>One such collaboration involves Crowded Fire, Magic Theatre, and Playwrights Foundation instigating a “train the trainer”-style workshop series they’ve dubbed “Making Good Trouble,” led by Beatrice Thomas of Authentic Arts & Media. Over the course of nine months, a cohort of 20+ persons will develop the tools to train other companies—including their own—in anti-racist and inclusionary practices. This will not only make it possible for more theater companies to access the training necessary to implement these practices in their own institutions, but will provide the new trainers with an extra income stream—a welcome and needed benefit after a 15-month shutdown.\u003c/p>\n\u003cp>“(I) didn’t think I would see it in my lifetime,” Morita comments about overall effects of the Living Document. “To have such a courageous disruption happen, where we could really open up the harms, and start to try to hopefully address and repair them.”\u003c/p>\n\u003cp>[aside postID='arts_13851339']That these effects have reverberated outside of theaters is exemplified by the announcement of a new grant administered by the Center for Cultural Innovation. Called \u003ca href=\"https://www.cciarts.org/cgi/page.cgi/cali_grants.htm\">CALI Catalyst\u003c/a>, the program funds individual artists and collectives active in what they term “moving the sector towards greater inclusion, access, diversity, and equity” by centering “Black, Indigenous, people of color, LGBTQIA+, and people with disabilities.”\u003c/p>\n\u003cp>CCI Program Director Laura Poppiti emphasizes how the Living Document—which she first heard about on Facebook—helped to inspire the creation of CALI Catalyst.\u003c/p>\n\u003cp>“For me it was a ‘Wow,’” she describes. “(That) one person like Ely can launch this document in a…guerrilla arts kind of way, and it’s really having tangible impacts…that was just so powerful.”\u003c/p>\n\u003cp>As a member of a funding organization that focuses on individuals, she and her colleagues began to design the guidelines for CALI Catalyst in the summer of 2020. She admits it’s been a slow process, but is confident that the program will help support “change-makers” whose demands of accountability from the arts sector have potentially put their own livelihoods and well-being at risk. In this spirit, the grants are unrestricted with no “measurable” outcome required, and the first round of applications are due by July 15.\u003c/p>\n\u003cfigure id=\"attachment_13882279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882279\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ely Sonny Orquiza, creator of the “Living Document.” \u003ccite>(Paciano Triunfo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As theaters and performance venues move towards reopening their physical doors, an overarching hope expressed by the proponents of the Living Document is that the work of confronting and dismantling oppression within the arts sectors not become an afterthought. Or, as Morita calls it, a “performative” one.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think the Living Document urged us as artists and as a community to be more sensitive and respectful and careful towards one another, especially in association with BIPOC artists,” reflects Orquiza. “Finding all the nuances within and affirming our identities and practices and policies—I think that sets us up for success.”\u003c/p>\n\n","blocks":[],"excerpt":"How the anonymously sourced 'Living Document' forced Bay Area theater to take stock of its practices.","status":"publish","parent":0,"modified":1705008191,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1393},"headData":{"title":"A Year Later, Bay Area Theater Companies Reckon With BIPOC Demands | KQED","description":"How the anonymously sourced 'Living Document' forced Bay Area theater to take stock of its practices.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Year Later, Bay Area Theater Companies Reckon With BIPOC Demands","datePublished":"2021-06-18T18:43:49.000Z","dateModified":"2024-01-11T21:23:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13898881/a-year-later-bay-area-theater-companies-reckon-with-bipoc-demands","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In June of 2020, the pandemic’s shutdown of live performance was nearly three months old. A wave of protests sparked by the murder of George Floyd were rocking the nation, bringing to the forefront demands for racial justice while challenging anti-blackness and structural inequities. And on June 8, 2020, an open letter from a nationwide coalition of BIPOC theater-makers, titled \u003ca href=\"https://www.weseeyouwat.com\">“We See You White American Theater,”\u003c/a> was published online.\u003c/p>\n\u003cp>The next day, an editable Google doc titled “Living Document of POC Experiences in Bay Area Theatre Co.”—\u003ca href=\"https://www.kqed.org/arts/13882276/for-bipoc-bay-area-theater-a-living-document-provides-catharsis-calls-to-action\">begun by Bay Area theater-maker and educator Ely Sonny Orquiza\u003c/a>—quickly amassed hundreds of anonymous testimonials, as well as at least one attempt to erase it altogether. But not only was it impossible to erase the Living Document from the internet, it’s remained a part of the discourse around reopening Bay Area theaters to live, in-person performance ever since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13882276","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In the first weeks after the Living Document made its appearance, only a handful of companies released public statements addressing its contents. Undeterred, Orquiza and his collaborators published a comprehensive addendum in late July: \u003ca href=\"https://www.bipoclivdoc.com/action-plan\">the BIPOC Equity Action Plan\u003c/a>, a series of concrete demands directed at the Bay Area “Predominantly White Institutions” (or PWI). These included conducting staff-wide anti-racism/anti-bias trainings, implementing land acknowledgements and contributing regularly to the Shuumi Land Tax, programming seasons with minimum 60% of plays written by “BIPOC, queer, trans, womxn of color, non-binary and/or disabled playwrights,” prioritizing cultural competency, and shifting the racial demographics of staff and board.\u003c/p>\n\u003cp>Orquiza and his collaborators called for a response to the demands “within ten business days” of the document’s release. As of August 11, 2020, they estimated that only 15% of Bay Area theater companies had promised to take action. However, since the beginning of 2021, more companies have released their individual action plans, detailing in depth the anti-racist actions they have taken, are taking, and plan to take in the future.\u003c/p>\n\u003cp>As the largest theater company in the region, A.C.T. was mentioned extensively in the Living Document, including links and references to \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" rel=\"noopener noreferrer\" target=\"_blank\">a 2019 lawsuit\u003c/a> filed by former Conservatory instructor and movement choreographer, Stephen Buescher. While Buescher’s allegations of institutional racism, brought to A.C.T.’s board as early as 2018, eventually inspired the formation of a formal Equity, Diversity, and Inclusion committee, the demands delineated in the Living Document and We See You White American Theater forced the company to look more critically at every aspect of its operations.\u003c/p>\n\u003cfigure id=\"attachment_13898892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ACT_JenniferBielstein_photocredit_KevingBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A.C.T. Executive Director, Jennifer Bielstein. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had a real intentional focus on developing an organizational culture that is welcoming and inclusive and transparent and accessible,” says Jennifer Bielstein, Executive Director of A.C.T., about the process. “Because diversity will not thrive if the organizational culture isn’t ready to embrace diversity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Referencing an internal spreadsheet that she estimates contains over 150 items, Bielstein describes hours of analyzing the demands from the Living Document and We See You WAT, “incorporating items from each of those documents into our work” throughout the organization. In November, the company published a \u003ca href=\"https://res.cloudinary.com/a-c-t/image/upload/v1617393816/Uploads/EDI/PDFs/EDI_Strategic_Plan.pdf\">31-page document of their own\u003c/a> detailing their updated Equity, Diversity and Inclusion strategic plan, a work they acknowledge is still in process.\u003c/p>\n\u003cp>Some actions mentioned by Bielstein include moving away from grueling “10 out of 12” tech rehearsals and six-day rehearsal weeks, paying artists for work done at fundraisers and other functions, and ensuring the availability of an on-site counselor or therapist for artists, particularly for shows engaged with racialized trauma, such as \u003cem>\u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\" rel=\"noopener noreferrer\" target=\"_blank\">Toni Stone\u003c/a>\u003c/em>. Artistically, Bielstein says, the company is prioritizing works written and directed by majority women and BIPOC creatives, and committing to hiring more Bay Area actors and designers (currently the percentage of local hires is around 73%).\u003c/p>\n\u003cp>For Bielstein, the emergence of the Living Document has been what she terms “a gift” to the organization and to the field, noting that “our community at large will hold us accountable for delivering on these commitments and actions.”\u003c/p>\n\u003cfigure id=\"attachment_13898891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CrowdedFire_MinaMorita_photocredit_CheshireIsaacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowded Fire Artistic Director Mina Morita. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even BIPOC-led companies and theater artists have taken the demands of the Living Document to heart. For example, while San Francisco-based Crowded Fire had already been engaged in EDI work internally over the past five years, the publication of the Living Document highlighted to Artistic Director Mina Morita the need to further the work throughout the greater Bay Area theater ecosystem.\u003c/p>\n\u003cp>“What’s unique about the theater field is we all move through many different organizations to create,” she says. “So I was aware of some of the inequities and problems. But I don’t think I was as fully aware until the Living Document.” So, in addition to hiring on EDI trainer Lisa Walker to coach Crowded Fire through a multi-week training, Morita harnessed the energy of the moment to collaborate and share resources with other companies.\u003c/p>\n\u003cp>One such collaboration involves Crowded Fire, Magic Theatre, and Playwrights Foundation instigating a “train the trainer”-style workshop series they’ve dubbed “Making Good Trouble,” led by Beatrice Thomas of Authentic Arts & Media. Over the course of nine months, a cohort of 20+ persons will develop the tools to train other companies—including their own—in anti-racist and inclusionary practices. This will not only make it possible for more theater companies to access the training necessary to implement these practices in their own institutions, but will provide the new trainers with an extra income stream—a welcome and needed benefit after a 15-month shutdown.\u003c/p>\n\u003cp>“(I) didn’t think I would see it in my lifetime,” Morita comments about overall effects of the Living Document. “To have such a courageous disruption happen, where we could really open up the harms, and start to try to hopefully address and repair them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13851339","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That these effects have reverberated outside of theaters is exemplified by the announcement of a new grant administered by the Center for Cultural Innovation. Called \u003ca href=\"https://www.cciarts.org/cgi/page.cgi/cali_grants.htm\">CALI Catalyst\u003c/a>, the program funds individual artists and collectives active in what they term “moving the sector towards greater inclusion, access, diversity, and equity” by centering “Black, Indigenous, people of color, LGBTQIA+, and people with disabilities.”\u003c/p>\n\u003cp>CCI Program Director Laura Poppiti emphasizes how the Living Document—which she first heard about on Facebook—helped to inspire the creation of CALI Catalyst.\u003c/p>\n\u003cp>“For me it was a ‘Wow,’” she describes. “(That) one person like Ely can launch this document in a…guerrilla arts kind of way, and it’s really having tangible impacts…that was just so powerful.”\u003c/p>\n\u003cp>As a member of a funding organization that focuses on individuals, she and her colleagues began to design the guidelines for CALI Catalyst in the summer of 2020. She admits it’s been a slow process, but is confident that the program will help support “change-makers” whose demands of accountability from the arts sector have potentially put their own livelihoods and well-being at risk. In this spirit, the grants are unrestricted with no “measurable” outcome required, and the first round of applications are due by July 15.\u003c/p>\n\u003cfigure id=\"attachment_13882279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882279\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ElySonnyOrquiza_credit_PacianoTriunfo.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ely Sonny Orquiza, creator of the “Living Document.” \u003ccite>(Paciano Triunfo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As theaters and performance venues move towards reopening their physical doors, an overarching hope expressed by the proponents of the Living Document is that the work of confronting and dismantling oppression within the arts sectors not become an afterthought. Or, as Morita calls it, a “performative” one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think the Living Document urged us as artists and as a community to be more sensitive and respectful and careful towards one another, especially in association with BIPOC artists,” reflects Orquiza. “Finding all the nuances within and affirming our identities and practices and policies—I think that sets us up for success.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13898881/a-year-later-bay-area-theater-companies-reckon-with-bipoc-demands","authors":["11497"],"categories":["arts_1","arts_835","arts_235","arts_967"],"tags":["arts_1238","arts_1175","arts_4876","arts_1185","arts_10342","arts_10278","arts_3652","arts_1072"],"featImg":"arts_13899029","label":"arts"},"arts_13841539":{"type":"posts","id":"arts_13841539","meta":{"index":"posts_1591205157","site":"arts","id":"13841539","score":null,"sort":[1537912825000]},"guestAuthors":[],"slug":"in-church-crowded-fire-examines-assumptions-of-faith","title":"In 'CHURCH,' Crowded Fire Examines Assumptions of Faith","publishDate":1537912825,"format":"standard","headTitle":"In ‘CHURCH,’ Crowded Fire Examines Assumptions of Faith | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The genius of the plays of Young Jean Lee is that no matter what your personal opinion of a specific work is, it’s impossible to view one with indifference. It’s a rare playwright who can consider charged topics such as race (\u003cem>The Shipment\u003c/em>), gender privilege (\u003cem>Straight White Men\u003c/em>), and gender identity (\u003cem>Untitled Feminist Show\u003c/em>) and reveal them as fully nuanced topics with fully nuanced humans on either side of their inevitable ideological divide. A line or scene that may have one audience member nodding along in recognition may provoke a recoil of shock in another, but whatever their reaction, neither will walk away without a strong opinion of the experience.\u003c/p>\n\u003cp>Lee’s public meditation on Christian faith, \u003cem>CHURCH\u003c/em>—currently produced by Crowded Fire, and directed by Mina Morita—is a brief slip of a play, clocking in at around 60 minutes. In concept, it portrays a much-abbreviated church service, one that’s over long before the congregation-audience can begin wriggling uncomfortably in their seats or looking longingly at the exits. The basic elements of a Sunday morning churchgoing—liturgical music, earnest sermonizing, a call to prayer—form the foundation of the performance, and it’s clearly a structure familiar to many audience members, with several spontaneously murmuring amen and offering grace at the appropriate times.\u003c/p>\n\u003cfigure id=\"attachment_13841545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Reverend José (Lawrence Radecker) explains it all in ‘CHURCH.’ \u003ccite>(Hillary Goidell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even for a staunch atheist with religion an integral but maddening part of the long-distant past, a condition I share with the playwright, there are moments in \u003cem>CHURCH\u003c/em> that resonate on a personal level. The opening monologue, performed in the dark by Reverend José (Lawrence Radecker), is a pointed observation of the all-too human condition of self-importance and half-hearted armchair activism, directed seemingly specifically to the skeptics.\u003c/p>\n\u003cp>“You claim to care about suffering in the world and take luxurious pleasure in raging against the perpetrators of that suffering,” he admonishes. “But this masturbation-rage helps nothing and no one.” I doubt I’m the only non-believer in the room who feels personally singled out by this merciless deconstruction of the well-intentioned path to hell. And I can’t deny that it’s a scripture I can subscribe to, right up until the moment he concludes with: “The day will come in which the Lord God Almighty comes in a shining blaze of glory, and the knowledge of your shallow heart will cause you to bite through your own tongue with grief,” and in a single sentence everything I might otherwise have agreed with is subverted by holy fear-mongering. It’s a subversion not at all uncommon in Lee’s confrontational aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13841546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841546\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jordan María Don, Alison Whismore, and Nkechi Emeruwa as their Reverend selves in Crowded Fire’s production of ‘CHURCH.’ \u003ccite>(Hillary Goidell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other moments in the play appear tailored to resonate more with the true believers in the room, as a cluster of three female reverends join Radecker onstage, clad in playful floral prints (designed by Alice Ruiz), and offering the assembled congregation heartfelt smiles of welcome, as they take turns at the modest podium set centerstage. The Reverend Jordan (Jordan María Don) invites the audience to offer up prayer requests. The Reverend Nkechi (Nkechi Emeruwa) quotes from Hebrews as the audience murmurs along.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But soon enough the play begins veering into the territory of the absurd. The Reverend Alison (Alison Whismore) smiles impishly as she confesses to all kinds of past perversions, her hair a beguiling Boticelli cascade. She’s followed by Reverend José who delivers another sermon, the main purpose of which seems to be equating the language of the faithful to a passionate torrent of Baroque gibberish.\u003c/p>\n\u003cp>It’s at this point that my own objectivity gives way to the unmistakable sensation of being a bored 10-year-old surrounded by the righteous, surreptitiously kicking the pews and waiting for the final amens. Nothing about the Reverend José’s parable makes sense to me, presumably because it wasn’t written to make sense to \u003cem>anyone\u003c/em>, and herein lies the subversive power of Lee’s piece. No communal experience, she points out, even among the mostly like-minded, is the same for each participant. Through the medium of Reverend Jose’s tortured metaphors of tuna, cactus, and poison, Lee reminds us that we all take different parts of the experience into ourselves and make of it what we will. That’s life, and art, and yes, even religion.\u003c/p>\n\u003cfigure id=\"attachment_13841547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-800x719.jpg\" alt=\"\" width=\"800\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-800x719.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-960x863.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-240x216.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-375x337.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-520x467.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nkechi Emeruwa in a state of ecstatic dance in Crowded Fire’s ‘CHURCH.’ \u003ccite>(Adam Tolbert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More universally relatable are the moments where spoken expression gives way to music, as in a scene where the three female reverends begin to dance, and they abandon themselves to the physical ecstasy of it, eventually joined by Radecker. Without words they convey volumes of what it means to experience joy as communion. And when, in the final moments of the play, an entire choir invades the stage to raise their voices in song, their benign presence reminds the audience that music is one of the most enduring mediums both for worship and for creating secular community.\u003c/p>\n\u003cp>In short, Young Jean Lee’s \u003cem>CHURCH\u003c/em> likely won’t change the way you do or do not believe—but at some point, you may come to appreciate how closely your own practices and reactions resemble those from either end of the spectrum of faith.\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>‘CHURCH’ runs through Oct. 6 at the Potrero Stage. \u003ca href=\"http://www.crowdedfire.org/church/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Crowded Fire’s production of Young Jean Lee’s 'CHURCH' fails to convert this nonbeliever, but it’s not trying to.","status":"publish","parent":0,"modified":1705027207,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":967},"headData":{"title":"In 'CHURCH,' Crowded Fire Examines Assumptions of Faith | KQED","description":"Crowded Fire’s production of Young Jean Lee’s 'CHURCH' fails to convert this nonbeliever, but it’s not trying to.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In 'CHURCH,' Crowded Fire Examines Assumptions of Faith","datePublished":"2018-09-25T22:00:25.000Z","dateModified":"2024-01-12T02:40:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13841539/in-church-crowded-fire-examines-assumptions-of-faith","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The genius of the plays of Young Jean Lee is that no matter what your personal opinion of a specific work is, it’s impossible to view one with indifference. It’s a rare playwright who can consider charged topics such as race (\u003cem>The Shipment\u003c/em>), gender privilege (\u003cem>Straight White Men\u003c/em>), and gender identity (\u003cem>Untitled Feminist Show\u003c/em>) and reveal them as fully nuanced topics with fully nuanced humans on either side of their inevitable ideological divide. A line or scene that may have one audience member nodding along in recognition may provoke a recoil of shock in another, but whatever their reaction, neither will walk away without a strong opinion of the experience.\u003c/p>\n\u003cp>Lee’s public meditation on Christian faith, \u003cem>CHURCH\u003c/em>—currently produced by Crowded Fire, and directed by Mina Morita—is a brief slip of a play, clocking in at around 60 minutes. In concept, it portrays a much-abbreviated church service, one that’s over long before the congregation-audience can begin wriggling uncomfortably in their seats or looking longingly at the exits. The basic elements of a Sunday morning churchgoing—liturgical music, earnest sermonizing, a call to prayer—form the foundation of the performance, and it’s clearly a structure familiar to many audience members, with several spontaneously murmuring amen and offering grace at the appropriate times.\u003c/p>\n\u003cfigure id=\"attachment_13841545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Reverend José (Lawrence Radecker) explains it all in ‘CHURCH.’ \u003ccite>(Hillary Goidell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even for a staunch atheist with religion an integral but maddening part of the long-distant past, a condition I share with the playwright, there are moments in \u003cem>CHURCH\u003c/em> that resonate on a personal level. The opening monologue, performed in the dark by Reverend José (Lawrence Radecker), is a pointed observation of the all-too human condition of self-importance and half-hearted armchair activism, directed seemingly specifically to the skeptics.\u003c/p>\n\u003cp>“You claim to care about suffering in the world and take luxurious pleasure in raging against the perpetrators of that suffering,” he admonishes. “But this masturbation-rage helps nothing and no one.” I doubt I’m the only non-believer in the room who feels personally singled out by this merciless deconstruction of the well-intentioned path to hell. And I can’t deny that it’s a scripture I can subscribe to, right up until the moment he concludes with: “The day will come in which the Lord God Almighty comes in a shining blaze of glory, and the knowledge of your shallow heart will cause you to bite through your own tongue with grief,” and in a single sentence everything I might otherwise have agreed with is subverted by holy fear-mongering. It’s a subversion not at all uncommon in Lee’s confrontational aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13841546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841546\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jordan María Don, Alison Whismore, and Nkechi Emeruwa as their Reverend selves in Crowded Fire’s production of ‘CHURCH.’ \u003ccite>(Hillary Goidell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other moments in the play appear tailored to resonate more with the true believers in the room, as a cluster of three female reverends join Radecker onstage, clad in playful floral prints (designed by Alice Ruiz), and offering the assembled congregation heartfelt smiles of welcome, as they take turns at the modest podium set centerstage. The Reverend Jordan (Jordan María Don) invites the audience to offer up prayer requests. The Reverend Nkechi (Nkechi Emeruwa) quotes from Hebrews as the audience murmurs along.\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 soon enough the play begins veering into the territory of the absurd. The Reverend Alison (Alison Whismore) smiles impishly as she confesses to all kinds of past perversions, her hair a beguiling Boticelli cascade. She’s followed by Reverend José who delivers another sermon, the main purpose of which seems to be equating the language of the faithful to a passionate torrent of Baroque gibberish.\u003c/p>\n\u003cp>It’s at this point that my own objectivity gives way to the unmistakable sensation of being a bored 10-year-old surrounded by the righteous, surreptitiously kicking the pews and waiting for the final amens. Nothing about the Reverend José’s parable makes sense to me, presumably because it wasn’t written to make sense to \u003cem>anyone\u003c/em>, and herein lies the subversive power of Lee’s piece. No communal experience, she points out, even among the mostly like-minded, is the same for each participant. Through the medium of Reverend Jose’s tortured metaphors of tuna, cactus, and poison, Lee reminds us that we all take different parts of the experience into ourselves and make of it what we will. That’s life, and art, and yes, even religion.\u003c/p>\n\u003cfigure id=\"attachment_13841547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-800x719.jpg\" alt=\"\" width=\"800\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-800x719.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-960x863.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-240x216.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-375x337.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-520x467.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nkechi Emeruwa in a state of ecstatic dance in Crowded Fire’s ‘CHURCH.’ \u003ccite>(Adam Tolbert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More universally relatable are the moments where spoken expression gives way to music, as in a scene where the three female reverends begin to dance, and they abandon themselves to the physical ecstasy of it, eventually joined by Radecker. Without words they convey volumes of what it means to experience joy as communion. And when, in the final moments of the play, an entire choir invades the stage to raise their voices in song, their benign presence reminds the audience that music is one of the most enduring mediums both for worship and for creating secular community.\u003c/p>\n\u003cp>In short, Young Jean Lee’s \u003cem>CHURCH\u003c/em> likely won’t change the way you do or do not believe—but at some point, you may come to appreciate how closely your own practices and reactions resemble those from either end of the spectrum of faith.\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>‘CHURCH’ runs through Oct. 6 at the Potrero Stage. \u003ca href=\"http://www.crowdedfire.org/church/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13841539/in-church-crowded-fire-examines-assumptions-of-faith","authors":["11497"],"categories":["arts_967"],"tags":["arts_1185","arts_1118","arts_596","arts_769"],"featImg":"arts_13841622","label":"arts"},"arts_13839807":{"type":"posts","id":"arts_13839807","meta":{"index":"posts_1591205157","site":"arts","id":"13839807","score":null,"sort":[1535649358000]},"guestAuthors":[],"slug":"fall-into-theater-9-bay-area-stage-and-performance-picks","title":"Fall Into Theater: 9 Bay Area Stage and Performance Picks","publishDate":1535649358,"format":"image","headTitle":"Fall Into Theater: 9 Bay Area Stage and Performance Picks | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Autumn in the Bay Area is a vibrant time for the performing arts, the only real limit being the number of days in a week to fit it all in. During a time when theater companies are either ending seasons or beginning new ones, the overlap creates a truly staggering array of options. World premieres, revisited triumphs, anniversary celebrations, and international visitors fill this season’s arts calendar. Here are but a few of its offerings worth seeing.\u003c/p>\n\u003cfigure id=\"attachment_13840018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg\" alt=\"Young Jean Lee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Jean Lee. \u003ccite>(Blaine Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Church’\u003c/h2>\n\u003cp>\u003cb>Crowded Fire Theatre Company, Portrero Stage, San Francisco\u003cbr>\nSept. 13–Oct 6, 2018\u003c/b>\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/church/\">Details Here\u003c/a>\u003c/p>\n\u003cp>Written over 10 years ago, Young Jean Lee’s faith-finding mission \u003cem>Church\u003c/em> consistently resonates with those who struggle with the losing-my-religion syndrome of the pragmatic empiricist. Raised in a Korean-American evangelical family, Lee knows all too well the feeling of comfort and familiarity a well-timed church service can offer even a skeptic. In \u003cem>Church\u003c/em>, directed for Crowded Fire by Mina Morita, she explores the various manifestations of faith-based thinking for believers and non-believers alike.\u003c/p>\n\u003cfigure id=\"attachment_13839813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band YASSOU scores ‘FURY’ at the Midway. \u003ccite>(Austin Hobart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘FURY’\u003c/h2>\n\u003cp>\u003cstrong>The Midway, San Francisco\u003cbr>\nSept. 14–15, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.furyshow.com/\">Details Here\u003c/a>\u003c/p>\n\u003cp>An ambitious collaboration with Mill Valley-based indie rockers YASSOU and a coterie of high-level Bay Area ballet dancers, \u003cem>FURY\u003c/em> brings the core narrative of \u003cem>Mad Max: Fury Road\u003c/em> to the club. Combining live music, projections, and dance, the show contains themes of hope, heroism, and homecoming for adventurous audiences. Installed at the Midway, a multi-use space in the Dogpatch perhaps best known for late-night electronic music events, \u003cem>FURY\u003c/em>seeks to challenge the norms of ballet performance by integrating it with pop culture touchstones to create a vibrant, immersive experience.\u003c/p>\n\u003cfigure id=\"attachment_13839815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839815\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-%E2%80%99s-2017-production-of-Marcus-Gardley%E2%80%99s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of California Shakespeare Theater’s 2017 production of ‘black odyssey.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘black odyssey’\u003c/h2>\n\u003cp>\u003cstrong>California Shakespeare Theater, Bruns Amphitheater, Orinda\u003cbr>\nSept. 25–Oct. 7, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This revival of Marcus Gardley’s Homeric epic updates the pain and poetry of a man in exile, as one Ulysses Jackson struggles to return home to Oakland after being shipwrecked in another time and place. His journey to find himself, physically and metaphorically, includes the squabbling gods and patient wife of the Greek original, mixed with modern references to Afghanistan, Hurricane Katrina, and the cold-blooded assassinations of black men throughout history. Gardley has a longtime connection to the East Bay, and closes out the Cal Shakes 2018 season with a heroic flourish.\u003c/p>\n\u003cfigure id=\"attachment_13840016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg\" alt=\"Pulitzer-winning playwright Lynn Nottage.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pulitzer-winning playwright Lynn Nottage.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sweat’\u003c/h2>\n\u003cp>\u003cstrong>ACT Geary Theater, San Francisco\u003cbr>\nSept. 26–Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat/about.html\">Details Here\u003c/a>\u003c/p>\n\u003cp>The first play under the tenure of ACT’s new artistic director Pam MacKinnon, \u003cem>Sweat\u003c/em> is set in a Pennsylvania factory town, where union strife, racial tension, and recession woes are tearing longtime relationships apart. Playwright Lynn Nottage famously spent over two years interviewing the citizens of Reading, Pennsylvania in order to distill their hopes and fears in this very timely and Pulitzer-winning play, hailed by the \u003cem>New Yorker\u003c/em> as “the first theatrical landmark of the Trump era.” Directed by Magic Theatre’s Loretta Greco.\u003c/p>\n\u003cfigure id=\"attachment_13839822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christoph Gawenda in Schaubühne Theater’s ‘An Enemy of the People.’ \u003ccite>(Arno Declair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Schaubühne Theater’s ‘An Enemy of the People’\u003c/h2>\n\u003cp>\u003cstrong>Cal Performances, Zellerbach Hall, Berkeley\u003cbr>\nOct. 12–13, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/theater/schaubuhne-an-enemy-of-the-people.php\">Details Here\u003c/a>\u003c/p>\n\u003cp>One of Europe’s top-rated theater companies, Berlin-based Schaubühne Theater first staged its controversial take on Ibsen’s ode to a whistleblower, \u003cem>An Enemy of the People\u003c/em>, in 2012. Rather than lose any of the urgency with which Ibsen imbued it in 1882, this touring production has stirred impassioned audience responses from Avignon to London to New York. Adapted and updated by Floriam Borchmeyer, featuring \u003ca href=\"https://www.schaubuehne.de/en/personen/christoph-gawenda.html\">Christoph Gawenda\u003c/a> as a scruffy, hipster Stockmann, who nonetheless takes his responsibility to the public good seriously, the play is performed in the cast’s native German, with English supertitles.\u003c/p>\n\u003cfigure id=\"attachment_13839820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Hellman in ‘Traumboy’ at CounterPulse. \u003ccite>(Raphael Hadad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Weekend at CounterPulse: ‘The Homophobes, a Clown Show’ and ‘Traumboy’\u003c/h2>\n\u003cp>\u003cstrong>CounterPulse, San Francisco\u003cbr>\nOct. 17–19 and Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://counterpulse.org\">Details Here\u003c/a>\u003c/p>\n\u003cp>CounterPulse has long championed genre-defying work from both hyperlocal performers and touring ones, and in October the venue co-hosts two edgy out-of-town performances: \u003cem>The Homophobes, a Clown Show\u003c/em>, brought by longtime queer artmaker and director Dino Dinco, and \u003cem>Traumboy \u003c/em>starring Daniel Hellman, a Swiss-born male prostitute and performance artist, in conjunction with the \u003ca href=\"https://www.zurichmeetssanfrancisco.org/events\" target=\"_blank\" rel=\"noopener\">Zürich Meets San Francisco Festival\u003c/a>. \u003cem>The Homophobes\u003c/em>, a genderqueered divine comedy by Argentinean playwright Susana Cook, features a pregnant reverend whose congregation is taken aback by the implications of tangible immaculate conception. \u003cem>Traumboy\u003c/em>, meanwhile, explores the realities and fantasies of male sex work from Hellman’s perspective. Both shows should prove to be fascinating forays, whether on their own or in tandem.\u003c/p>\n\u003cfigure id=\"attachment_13839814\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839814\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg\" alt=\"\" width=\"700\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-520x260.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">American playwright Robert O’Hara returns to Brava Theater. \u003ccite>(Zack Dezon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An American Ma(u)l’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 18–Nov. 11, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/18/an-american-maul\">Details Here\u003c/a>\u003c/p>\n\u003cp>The satirical genius of playwright Robert O’Hara has found a solid home with Black Artists Contemporary Cultural Experience, who presented his subversive \u003cem>Bootycandy\u003c/em> in 2017. This fall, they produce his \u003cem>American Ma(u)l\u003c/em>, an irreverent script that brings the cotton gin and all its attendant social and political implications to a futurist America (an improbable scenario which nonetheless seems more and more believable as the current administration progresses). Directed by Edris Cooper-Anifowoshe at Brava Theater.\u003c/p>\n\u003cfigure id=\"attachment_13839819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839819\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Epifano, founder of San Francisco Trolley Dances, prepares for adventure. \u003ccite>(Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Trolley Dances 15-year Anniversary\u003c/h2>\n\u003cp>\u003cstrong>Mission Creek Park, N-Judah Muni Line, San Francisco\u003cbr>\nOct. 20–21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://epiphanydance.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>For lovers of the \u003ca href=\"http://www.munidiaries.com/\">Muni Diaries\u003c/a>, SF’s robust, homegrown dance scene, and the hybrid performance/tour model, there’s nothing like this year’s 15-year anniversary for Epiphany Dance Theater’s charming \u003cem>Trolley Dances\u003c/em>, a site-integrated, transit-minded showcase. For the price of a MUNI ticket, riders join the trolley dancers as they meet up at Mission Creek Park, then jump on the N-Judah line to head over to SFMOMA—stopping along the way to experience mini dance performances. A diverse array of companies is involved, including SF stalwarts such as ODC/Dance and Robert Moses’ Kin, traveling guests from San Diego Dance Theater, and festival newcomers such as Aisan Hoss and Dancers and the Hālau Makana Polynesian Cultural Arts company.\u003c/p>\n\u003cfigure id=\"attachment_13839816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Medea Project’s Rhodessa Jones. \u003ccite>(Thatcher Hayward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘When Did Your Hands Become a Weapon?’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 25–Nov. 4, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/25/when-did-your-hands-become-a-weapon\">Details Here\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Within Bay Area arts organization Cultural Odyssey are nested several long-term performance projects, including the Medea Project, Theater for Incarcerated Women and HIV Circle. Helmed by Cultural Odyssey’s Rhodessa Jones, the almost-30-year-old Medea Project collaborates with and performs works by incarcerated women and women living with HIV, combining urgent storytelling with physical movement, music, and ritual. \u003cem>When Did Your Hands Become a Weapon?\u003c/em> tackles themes of domestic violence and sexual abuse, as well as the mechanisms we use to survive and heal from it, part of Cultural Odyssey’s 40-year anniversary season.\u003c/p>\n\n","blocks":[],"excerpt":"Autumn is always a busy time for theater; here are nine of the best shows to see this season.","status":"publish","parent":0,"modified":1705027306,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1262},"headData":{"title":"Fall Into Theater: 9 Bay Area Stage and Performance Picks | KQED","description":"Autumn is always a busy time for theater; here are nine of the best shows to see this season.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fall Into Theater: 9 Bay Area Stage and Performance Picks","datePublished":"2018-08-30T17:15:58.000Z","dateModified":"2024-01-12T02:41:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13839807/fall-into-theater-9-bay-area-stage-and-performance-picks","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Autumn in the Bay Area is a vibrant time for the performing arts, the only real limit being the number of days in a week to fit it all in. During a time when theater companies are either ending seasons or beginning new ones, the overlap creates a truly staggering array of options. World premieres, revisited triumphs, anniversary celebrations, and international visitors fill this season’s arts calendar. Here are but a few of its offerings worth seeing.\u003c/p>\n\u003cfigure id=\"attachment_13840018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg\" alt=\"Young Jean Lee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Jean Lee. \u003ccite>(Blaine Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Church’\u003c/h2>\n\u003cp>\u003cb>Crowded Fire Theatre Company, Portrero Stage, San Francisco\u003cbr>\nSept. 13–Oct 6, 2018\u003c/b>\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/church/\">Details Here\u003c/a>\u003c/p>\n\u003cp>Written over 10 years ago, Young Jean Lee’s faith-finding mission \u003cem>Church\u003c/em> consistently resonates with those who struggle with the losing-my-religion syndrome of the pragmatic empiricist. Raised in a Korean-American evangelical family, Lee knows all too well the feeling of comfort and familiarity a well-timed church service can offer even a skeptic. In \u003cem>Church\u003c/em>, directed for Crowded Fire by Mina Morita, she explores the various manifestations of faith-based thinking for believers and non-believers alike.\u003c/p>\n\u003cfigure id=\"attachment_13839813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band YASSOU scores ‘FURY’ at the Midway. \u003ccite>(Austin Hobart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘FURY’\u003c/h2>\n\u003cp>\u003cstrong>The Midway, San Francisco\u003cbr>\nSept. 14–15, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.furyshow.com/\">Details Here\u003c/a>\u003c/p>\n\u003cp>An ambitious collaboration with Mill Valley-based indie rockers YASSOU and a coterie of high-level Bay Area ballet dancers, \u003cem>FURY\u003c/em> brings the core narrative of \u003cem>Mad Max: Fury Road\u003c/em> to the club. Combining live music, projections, and dance, the show contains themes of hope, heroism, and homecoming for adventurous audiences. Installed at the Midway, a multi-use space in the Dogpatch perhaps best known for late-night electronic music events, \u003cem>FURY\u003c/em>seeks to challenge the norms of ballet performance by integrating it with pop culture touchstones to create a vibrant, immersive experience.\u003c/p>\n\u003cfigure id=\"attachment_13839815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839815\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-%E2%80%99s-2017-production-of-Marcus-Gardley%E2%80%99s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of California Shakespeare Theater’s 2017 production of ‘black odyssey.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘black odyssey’\u003c/h2>\n\u003cp>\u003cstrong>California Shakespeare Theater, Bruns Amphitheater, Orinda\u003cbr>\nSept. 25–Oct. 7, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.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>\n\u003cp>This revival of Marcus Gardley’s Homeric epic updates the pain and poetry of a man in exile, as one Ulysses Jackson struggles to return home to Oakland after being shipwrecked in another time and place. His journey to find himself, physically and metaphorically, includes the squabbling gods and patient wife of the Greek original, mixed with modern references to Afghanistan, Hurricane Katrina, and the cold-blooded assassinations of black men throughout history. Gardley has a longtime connection to the East Bay, and closes out the Cal Shakes 2018 season with a heroic flourish.\u003c/p>\n\u003cfigure id=\"attachment_13840016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg\" alt=\"Pulitzer-winning playwright Lynn Nottage.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pulitzer-winning playwright Lynn Nottage.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sweat’\u003c/h2>\n\u003cp>\u003cstrong>ACT Geary Theater, San Francisco\u003cbr>\nSept. 26–Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat/about.html\">Details Here\u003c/a>\u003c/p>\n\u003cp>The first play under the tenure of ACT’s new artistic director Pam MacKinnon, \u003cem>Sweat\u003c/em> is set in a Pennsylvania factory town, where union strife, racial tension, and recession woes are tearing longtime relationships apart. Playwright Lynn Nottage famously spent over two years interviewing the citizens of Reading, Pennsylvania in order to distill their hopes and fears in this very timely and Pulitzer-winning play, hailed by the \u003cem>New Yorker\u003c/em> as “the first theatrical landmark of the Trump era.” Directed by Magic Theatre’s Loretta Greco.\u003c/p>\n\u003cfigure id=\"attachment_13839822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christoph Gawenda in Schaubühne Theater’s ‘An Enemy of the People.’ \u003ccite>(Arno Declair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Schaubühne Theater’s ‘An Enemy of the People’\u003c/h2>\n\u003cp>\u003cstrong>Cal Performances, Zellerbach Hall, Berkeley\u003cbr>\nOct. 12–13, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/theater/schaubuhne-an-enemy-of-the-people.php\">Details Here\u003c/a>\u003c/p>\n\u003cp>One of Europe’s top-rated theater companies, Berlin-based Schaubühne Theater first staged its controversial take on Ibsen’s ode to a whistleblower, \u003cem>An Enemy of the People\u003c/em>, in 2012. Rather than lose any of the urgency with which Ibsen imbued it in 1882, this touring production has stirred impassioned audience responses from Avignon to London to New York. Adapted and updated by Floriam Borchmeyer, featuring \u003ca href=\"https://www.schaubuehne.de/en/personen/christoph-gawenda.html\">Christoph Gawenda\u003c/a> as a scruffy, hipster Stockmann, who nonetheless takes his responsibility to the public good seriously, the play is performed in the cast’s native German, with English supertitles.\u003c/p>\n\u003cfigure id=\"attachment_13839820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Hellman in ‘Traumboy’ at CounterPulse. \u003ccite>(Raphael Hadad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Weekend at CounterPulse: ‘The Homophobes, a Clown Show’ and ‘Traumboy’\u003c/h2>\n\u003cp>\u003cstrong>CounterPulse, San Francisco\u003cbr>\nOct. 17–19 and Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://counterpulse.org\">Details Here\u003c/a>\u003c/p>\n\u003cp>CounterPulse has long championed genre-defying work from both hyperlocal performers and touring ones, and in October the venue co-hosts two edgy out-of-town performances: \u003cem>The Homophobes, a Clown Show\u003c/em>, brought by longtime queer artmaker and director Dino Dinco, and \u003cem>Traumboy \u003c/em>starring Daniel Hellman, a Swiss-born male prostitute and performance artist, in conjunction with the \u003ca href=\"https://www.zurichmeetssanfrancisco.org/events\" target=\"_blank\" rel=\"noopener\">Zürich Meets San Francisco Festival\u003c/a>. \u003cem>The Homophobes\u003c/em>, a genderqueered divine comedy by Argentinean playwright Susana Cook, features a pregnant reverend whose congregation is taken aback by the implications of tangible immaculate conception. \u003cem>Traumboy\u003c/em>, meanwhile, explores the realities and fantasies of male sex work from Hellman’s perspective. Both shows should prove to be fascinating forays, whether on their own or in tandem.\u003c/p>\n\u003cfigure id=\"attachment_13839814\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839814\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg\" alt=\"\" width=\"700\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-520x260.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">American playwright Robert O’Hara returns to Brava Theater. \u003ccite>(Zack Dezon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An American Ma(u)l’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 18–Nov. 11, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/18/an-american-maul\">Details Here\u003c/a>\u003c/p>\n\u003cp>The satirical genius of playwright Robert O’Hara has found a solid home with Black Artists Contemporary Cultural Experience, who presented his subversive \u003cem>Bootycandy\u003c/em> in 2017. This fall, they produce his \u003cem>American Ma(u)l\u003c/em>, an irreverent script that brings the cotton gin and all its attendant social and political implications to a futurist America (an improbable scenario which nonetheless seems more and more believable as the current administration progresses). Directed by Edris Cooper-Anifowoshe at Brava Theater.\u003c/p>\n\u003cfigure id=\"attachment_13839819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839819\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Epifano, founder of San Francisco Trolley Dances, prepares for adventure. \u003ccite>(Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Trolley Dances 15-year Anniversary\u003c/h2>\n\u003cp>\u003cstrong>Mission Creek Park, N-Judah Muni Line, San Francisco\u003cbr>\nOct. 20–21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://epiphanydance.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>For lovers of the \u003ca href=\"http://www.munidiaries.com/\">Muni Diaries\u003c/a>, SF’s robust, homegrown dance scene, and the hybrid performance/tour model, there’s nothing like this year’s 15-year anniversary for Epiphany Dance Theater’s charming \u003cem>Trolley Dances\u003c/em>, a site-integrated, transit-minded showcase. For the price of a MUNI ticket, riders join the trolley dancers as they meet up at Mission Creek Park, then jump on the N-Judah line to head over to SFMOMA—stopping along the way to experience mini dance performances. A diverse array of companies is involved, including SF stalwarts such as ODC/Dance and Robert Moses’ Kin, traveling guests from San Diego Dance Theater, and festival newcomers such as Aisan Hoss and Dancers and the Hālau Makana Polynesian Cultural Arts company.\u003c/p>\n\u003cfigure id=\"attachment_13839816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Medea Project’s Rhodessa Jones. \u003ccite>(Thatcher Hayward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘When Did Your Hands Become a Weapon?’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 25–Nov. 4, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/25/when-did-your-hands-become-a-weapon\">Details Here\u003c/a>\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>Within Bay Area arts organization Cultural Odyssey are nested several long-term performance projects, including the Medea Project, Theater for Incarcerated Women and HIV Circle. Helmed by Cultural Odyssey’s Rhodessa Jones, the almost-30-year-old Medea Project collaborates with and performs works by incarcerated women and women living with HIV, combining urgent storytelling with physical movement, music, and ritual. \u003cem>When Did Your Hands Become a Weapon?\u003c/em> tackles themes of domestic violence and sexual abuse, as well as the mechanisms we use to survive and heal from it, part of Cultural Odyssey’s 40-year anniversary season.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13839807/fall-into-theater-9-bay-area-stage-and-performance-picks","authors":["11497"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1238","arts_1185","arts_5537","arts_1118","arts_1006","arts_596","arts_3129"],"featImg":"arts_13840019","label":"arts_140"},"arts_13826363":{"type":"posts","id":"arts_13826363","meta":{"index":"posts_1591205157","site":"arts","id":"13826363","score":null,"sort":[1520472962000]},"guestAuthors":[],"slug":"on-the-air-cy-and-a-lans-do-list-picks-for-march-9-2018","title":"On the Air: Cy and A-lan's Do List Picks for March 9, 2018","publishDate":1520472962,"format":"audio","headTitle":"On the Air: Cy and A-lan’s Do List Picks for March 9, 2018 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>My co-host this week is A-lan Holt, a playwright and co-director for the Center for Diversity in the Arts at Stanford. To no one’s surprise, we talked about the plays we’re most excited about at Bay Area theaters. But there’s lots of music on the show too, including a new violin concerto by film score master Danny Elfman and tropical rocker Hollie Cook. Check it out.\u003c/p>\n\u003cp>\u003cstrong>March 10: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826532/the-whip-smart-folk-music-of-henry-jamison\" target=\"_blank\" rel=\"noopener\">Vermont folkie Henry Jamison’s tells eloquent love stories in song.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 16-April 7: \u003c/strong>\u003ca href=\"https://www.kqed.org/news/11650964/bay-area-artist-retrieves-missing-young-black-women\" target=\"_blank\" rel=\"noopener\">Kenyatta A. C. Hinkle’s smokey portraits work to rescue the victims of sex trafficking. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 1-24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826571/tearing-down-the-patriarchy-in-crowded-fires-revolt-she-said-revolt-again\" target=\"_blank\" rel=\"noopener\">The women in Crowded Fire Theater’s production \u003cstrong>of \u003c/strong>\u003cem>Revolt. She Said. Revolt Again.\u003c/em> tear down the patriarchy\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 9-11: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826595/the-marsh-offers-a-theater-alternative-to-march-madness\" target=\"_blank\" rel=\"noopener\">Theater with brackets in ‘Marsh Madness ‘at The Marsh Theater.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 16-31:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/dance/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project offers the West Coast premiere of Oakland native Marcus Gardley’s memory play \u003cem>Dance of the Holy Ghosts.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 10 and 11\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13826509/danny-elfmans-genre-defying-music-at-stanford\" target=\"_blank\" rel=\"noopener\">The Stanford Symphony features the genre hopping music of Danny Elfman.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826399/luscious-tropical-pop-from-hollie-cook\" target=\"_blank\" rel=\"noopener\">The luscious “tropical pop” of singer Hollie Cook.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>March 16\u003c/strong>: \u003ca href=\"https://www.ncco.org/concert-tickets/2017-2018-season/zurichchamberorchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra teams up with the Zurich Chamber Orchestra under Daniel Hope, music director for both ensembles. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 15: \u003c/strong>\u003ca href=\"https://www.brava.org/all-events/2017/11/20/so-soul-san-francisco-black-art-salon-f3gh9-b8t68\" target=\"_blank\" rel=\"noopener\">Brava in the Mission continues its salon series with a discussion by choreographer Amara Tabor Smith, director Ellen Sebastian Chang, multi-media artist Alexa C. Burell (aka LEXAGON), and somatic scholar Amber McZeal \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"KQED's Cy Musiker and A-lan Holt find the best Bay Area shows on The Do List","status":"publish","parent":0,"modified":1705028311,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":285},"headData":{"title":"On the Air: Cy and A-lan's Do List Picks for March 9, 2018 | KQED","description":"KQED's Cy Musiker and A-lan Holt find the best Bay Area shows on The Do List","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy and A-lan's Do List Picks for March 9, 2018","datePublished":"2018-03-08T01:36:02.000Z","dateModified":"2024-01-12T02:58:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2018/03/TDL20180309.mp3","sticky":false,"path":"/arts/13826363/on-the-air-cy-and-a-lans-do-list-picks-for-march-9-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is A-lan Holt, a playwright and co-director for the Center for Diversity in the Arts at Stanford. To no one’s surprise, we talked about the plays we’re most excited about at Bay Area theaters. But there’s lots of music on the show too, including a new violin concerto by film score master Danny Elfman and tropical rocker Hollie Cook. Check it out.\u003c/p>\n\u003cp>\u003cstrong>March 10: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826532/the-whip-smart-folk-music-of-henry-jamison\" target=\"_blank\" rel=\"noopener\">Vermont folkie Henry Jamison’s tells eloquent love stories in song.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 16-April 7: \u003c/strong>\u003ca href=\"https://www.kqed.org/news/11650964/bay-area-artist-retrieves-missing-young-black-women\" target=\"_blank\" rel=\"noopener\">Kenyatta A. C. Hinkle’s smokey portraits work to rescue the victims of sex trafficking. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 1-24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826571/tearing-down-the-patriarchy-in-crowded-fires-revolt-she-said-revolt-again\" target=\"_blank\" rel=\"noopener\">The women in Crowded Fire Theater’s production \u003cstrong>of \u003c/strong>\u003cem>Revolt. She Said. Revolt Again.\u003c/em> tear down the patriarchy\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 9-11: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826595/the-marsh-offers-a-theater-alternative-to-march-madness\" target=\"_blank\" rel=\"noopener\">Theater with brackets in ‘Marsh Madness ‘at The Marsh Theater.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>March 16-31:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/dance/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project offers the West Coast premiere of Oakland native Marcus Gardley’s memory play \u003cem>Dance of the Holy Ghosts.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 10 and 11\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13826509/danny-elfmans-genre-defying-music-at-stanford\" target=\"_blank\" rel=\"noopener\">The Stanford Symphony features the genre hopping music of Danny Elfman.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826399/luscious-tropical-pop-from-hollie-cook\" target=\"_blank\" rel=\"noopener\">The luscious “tropical pop” of singer Hollie Cook.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>March 16\u003c/strong>: \u003ca href=\"https://www.ncco.org/concert-tickets/2017-2018-season/zurichchamberorchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra teams up with the Zurich Chamber Orchestra under Daniel Hope, music director for both ensembles. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 15: \u003c/strong>\u003ca href=\"https://www.brava.org/all-events/2017/11/20/so-soul-san-francisco-black-art-salon-f3gh9-b8t68\" target=\"_blank\" rel=\"noopener\">Brava in the Mission continues its salon series with a discussion by choreographer Amara Tabor Smith, director Ellen Sebastian Chang, multi-media artist Alexa C. Burell (aka LEXAGON), and somatic scholar Amber McZeal \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13826363/on-the-air-cy-and-a-lans-do-list-picks-for-march-9-2018","authors":["32"],"programs":["arts_140"],"categories":["arts_69","arts_1003","arts_967"],"tags":["arts_15393","arts_1185","arts_879","arts_1118","arts_1006","arts_6387","arts_596","arts_4193","arts_4028","arts_1111","arts_4190","arts_626","arts_1072","arts_3879"],"featImg":"arts_13826647","label":"arts_140"},"arts_13807694":{"type":"posts","id":"arts_13807694","meta":{"index":"posts_1591205157","site":"arts","id":"13807694","score":null,"sort":[1504753844000]},"guestAuthors":[],"slug":"game-of-thrones-meets-shakespeare-for-the-google-age","title":"'Game of Thrones' Meets Shakespeare for the Google Age","publishDate":1504753844,"format":"standard","headTitle":"‘Game of Thrones’ Meets Shakespeare for the Google Age | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Sept.14–Oct. 7\u003c/strong>: The fall theater season is full of timely world premieres, like \u003cem>A Tale of Autumn\u003c/em>, by Bay Area native \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Chen. He s\u003c/span>\u003cspan style=\"font-weight: 400\">ays this play is \u003c/span>\u003cspan style=\"font-weight: 400\">inspired by both Shakespeare and TV series like\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Game of Thrones \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> House of Cards\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> — a tale of corporate succession at a seemingly idealistic company. Chen is an \u003c/span>\u003cspan style=\"font-weight: 400\">innovative playwright whose previous efforts have challenged our theatrical expectations, even as he tells compelling stories that keep us guessing about the outcome until the curtain falls. His play is in good hands here with Crowded Fire artistic director Mina Morita. \u003ca href=\"http://www.crowdedfire.org/a-tale-of-autumn/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Christopher Chen's tale of corporate succession at a seemingly idealistic company has dark undertones.","status":"publish","parent":0,"modified":1705029596,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":109},"headData":{"title":"'Game of Thrones' Meets Shakespeare for the Google Age | KQED","description":"Christopher Chen's tale of corporate succession at a seemingly idealistic company has dark undertones.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Game of Thrones' Meets Shakespeare for the Google Age","datePublished":"2017-09-07T03:10:44.000Z","dateModified":"2024-01-12T03:19:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13807694/game-of-thrones-meets-shakespeare-for-the-google-age","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Sept.14–Oct. 7\u003c/strong>: The fall theater season is full of timely world premieres, like \u003cem>A Tale of Autumn\u003c/em>, by Bay Area native \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Chen. He s\u003c/span>\u003cspan style=\"font-weight: 400\">ays this play is \u003c/span>\u003cspan style=\"font-weight: 400\">inspired by both Shakespeare and TV series like\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Game of Thrones \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> House of Cards\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> — a tale of corporate succession at a seemingly idealistic company. Chen is an \u003c/span>\u003cspan style=\"font-weight: 400\">innovative playwright whose previous efforts have challenged our theatrical expectations, even as he tells compelling stories that keep us guessing about the outcome until the curtain falls. His play is in good hands here with Crowded Fire artistic director Mina Morita. \u003ca href=\"http://www.crowdedfire.org/a-tale-of-autumn/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/span>\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/13807694/game-of-thrones-meets-shakespeare-for-the-google-age","authors":["32"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1185","arts_1006","arts_596","arts_626"],"featImg":"arts_13807706","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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