Ticket Alert: The Magnetic Fields' '69 Love Songs' at the Curran Theater
'The Jungle' an Unforgettable Experience Inside a Transformed Curran Theater
'Dear Evan Hansen' Lives Up to Its Massive Buzz at the Curran
The Curran at a Crossroads
The Best Bay Area Theater of 2017
Taylor Mac's American History in Feathers and Sky-High Heels
Simon McBurney's 'The Encounter' is an Elevator Pitch Disguised as a Play
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Seeing Stephen Merritt’s masterwork song suite, performed in full over two nights, for the first time in the Bay Area in over 20 years? And at a gorgeous historic theater, no less?\u003c/p>\n\u003cp>If you missed out on tickets to it, you’re not alone. Lucky for you: the band has added additional dates on April 28 and 29, 2024, and tickets go on sale Friday, July 28, at 10 a.m. Be quick with the click at \u003ca href=\"https://www.broadwaysf.com/events/the-magnetic-fields-2-day-ex/\">Broadway SF’s site right here\u003c/a>, and note that you have the option of buying two-night passes or single night tickets. (Ticket prices start at $55.50.)\u003c/p>\n\u003cp>[aside postID='arts_13931892']If you can believe it, \u003cem>69 Love Songs\u003c/em> was released 25 years ago. This anniversary tour is traveling to only four other U.S. cities, and will feature all the players from the 1999 box set, along with supplemental musicians. Want to take bets on how loud the applause will be for “Come Back From San Francisco”… \u003cem>performed in San Francisco\u003c/em>?\u003c/p>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/events/the-magnetic-fields-2-day-ex/\">Tickets for the Magnetic Fields’ \u003cem>69 Love Songs\u003c/em> and additional details are here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The band has added two additional dates to the '69 Love Songs' tour at the Curran Theater in San Francisco. ","status":"publish","parent":0,"modified":1705005238,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":223},"headData":{"title":"Ticket Alert: The Magnetic Fields' '69 Love Songs' at the Curran Theater | KQED","description":"The band has added two additional dates to the '69 Love Songs' tour at the Curran Theater in San Francisco. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ticket Alert: The Magnetic Fields' '69 Love Songs' at the Curran Theater","datePublished":"2023-07-25T23:33:45.000Z","dateModified":"2024-01-11T20:33:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932018/ticket-alert-magnetic-fields-69-love-songs-curran-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Magnetic Fields announced a live performance of their landmark album \u003cem>69 Love Songs\u003c/em> at the Curran Theater next year in San Francisco, we knew it would sell out quickly. Seeing Stephen Merritt’s masterwork song suite, performed in full over two nights, for the first time in the Bay Area in over 20 years? And at a gorgeous historic theater, no less?\u003c/p>\n\u003cp>If you missed out on tickets to it, you’re not alone. Lucky for you: the band has added additional dates on April 28 and 29, 2024, and tickets go on sale Friday, July 28, at 10 a.m. Be quick with the click at \u003ca href=\"https://www.broadwaysf.com/events/the-magnetic-fields-2-day-ex/\">Broadway SF’s site right here\u003c/a>, and note that you have the option of buying two-night passes or single night tickets. (Ticket prices start at $55.50.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931892","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>If you can believe it, \u003cem>69 Love Songs\u003c/em> was released 25 years ago. This anniversary tour is traveling to only four other U.S. cities, and will feature all the players from the 1999 box set, along with supplemental musicians. Want to take bets on how loud the applause will be for “Come Back From San Francisco”… \u003cem>performed in San Francisco\u003c/em>?\u003c/p>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/events/the-magnetic-fields-2-day-ex/\">Tickets for the Magnetic Fields’ \u003cem>69 Love Songs\u003c/em> and additional details are here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932018/ticket-alert-magnetic-fields-69-love-songs-curran-theater","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1789","arts_585","arts_700"],"featImg":"arts_13932022","label":"arts_140"},"arts_13854486":{"type":"posts","id":"arts_13854486","meta":{"index":"posts_1591205157","site":"arts","id":"13854486","score":null,"sort":[1554761337000]},"guestAuthors":[],"slug":"the-jungle-an-unforgettable-experience-inside-a-transformed-curran-theater","title":"'The Jungle' an Unforgettable Experience Inside a Transformed Curran Theater","publishDate":1554761337,"format":"standard","headTitle":"‘The Jungle’ an Unforgettable Experience Inside a Transformed Curran Theater | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s a cliché in theater at this point: waxing rhapsodic about spending two hours in the dark with strangers, sharing an experience that’s impossible to replicate, and walking out onto the sidewalk bonded over your collective transformation.\u003c/p>\n\u003cp>The thing about \u003cem>The Jungle\u003c/em>, currently at the Curran Theater, is it’s true.\u003c/p>\n\u003cfigure id=\"attachment_13854504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg\" alt=\"Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I cannot accurately convey the experience of seeing \u003cem>The Jungle\u003c/em>. Oh, sure, I can tell you that in order to immerse the audience inside a refugee camp, the interior of the Curran Theater has been completely transformed with a brand-new floor, walls, ceiling and set built on top of the theater’s orchestra seating. (See a time-lapse video of it \u003ca href=\"https://www.youtube.com/watch?v=Xka8veAE4rc\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.) I can tell you that as attendees sit at tables in the theater, which has now become a restaurant, actors tumble into the audience, brush against seated attendee’s backs, spill water and oranges into their laps, and employ them to hold flashlights and drums. \u003c/p>\n\u003cp>But that doesn’t explain that this immersive set isn’t the gimmicky sort, utilized to augment a dull play. Rather, the wood bark on the floor, the ratty cardboard strewn about, the actual fruit flies inside the Curran—it all lends more impact to a story of refugees who, as one describes them, “are not people but between people, drowning in a sea of suffering.”\u003c/p>\n\u003cfigure id=\"attachment_13854505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg\" alt=\"Okot (John Pfumojena) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Okot (John Pfumojena) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Jungle\u003c/em> takes place in the recent past, at a makeshift cafe in the refugee camp at Calais, France. Nestled among thousands of people hoping to get to the UK from over two dozen different countries, the cafe serves as a meeting place for leaders from different countries’ camps to help each other, hold celebrations, and plan against evictions over naan and tea.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon, young British activists arrive, swiftly apologize on behalf of their country, and set out to help. They bring optimism about successfully fighting eviction of the camp by French police, along with some naïvete of the harrowing path its residents have taken to get there. Over the course of the play’s events, with the set used to dramatic effect—at one key moment producing loud gasps—they are accepted and trusted.\u003c/p>\n\u003cfigure id=\"attachment_13854503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg\" alt=\"Mohammed (Jonathan Nyati) and Salar (Ben Turner) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed (Jonathan Nyati) and Salar (Ben Turner) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ensemble cast here is top-notch, particularly cafe owner Salar (Ben Turner) and young, well-meaning Beth (Rachel Redford), whose inner turmoil over sending beaten, scarred refugee Okot (John Pfumojena) to be smuggled in a lorry across the English Channel is one of the play’s several emotional gut-punches.\u003c/p>\n\u003cp>Other highlights include Eton graduate Sam (Tommy Letts) as a one-man planning department, Hele (Nahel Tzegai) as the happy quitter who decides against immigrating to the UK due to its changing tolerance of immigrants, Boxer (Trevor Fox) as the camp’s drunken serenader and Little Amal (Zara Rasti) as the 6 year-old girl everyone knows they must protect. \u003c/p>\n\u003cp>It is impossible to watch \u003cem>The Jungle\u003c/em> without thinking of Brexit, or of Trump’s racist fearmongering over the U.S. border, or closer to home, the bulldozing of homeless camps in San Francisco. As the woman sitting next to me offered at intermission: “It’s so important, with everything that’s going on now. I’ve cried five times already.”\u003c/p>\n\u003cfigure id=\"attachment_13854508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg\" alt=\"Beth (Rachel Redford) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth (Rachel Redford) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What will ensure \u003cem>The Jungle\u003c/em> lasts in revivals when “everything that’s going on now” is a distant, shameful memory is the play’s innate understanding of grassroots organizing and communal living in desperate circumstances. \u003cem>The Jungle\u003c/em> is as much about activism’s unorganized hierarchy of responsibilities and duties as it is about refugees.\u003c/p>\n\u003cp>Inside the camp cafe, we see classic ego clashes, hair-brained schemes that actually work, fights driven by a shared passion, and hope in the face of insurmountable odds. Whether it be Calais, Occupy, the Dakota Access Pipeline or Ferguson, every movement has a similar array of figures and friction. Adding to the realism are two of the show’s actors, Yasin Moradi and Mohamed Sarrar, who actually lived in the camp in Calais upon which the play is based.\u003c/p>\n\u003cp>Despite a sudden shift in tone at the end (when Safi (Ammar Haj Ahmad) breaks the fourth wall to address the audience about ongoing grassroots efforts for refugees), \u003cem>The Jungle\u003c/em> creates a vivid world that’s intimate, raw, and real, particularly for those sitting among the action in the cafe’s table seating. It’s an incredible thing to be a part of for two and a half hours, and I can’t get it out of my head.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Jungle’ runs through May 19 at the Curran Theater in San Francisco. \u003ca href=\"https://sfcurran.com/shows/the-jungle/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Inside a drastically changed Curran Theater, 'The Jungle' places the audience in a refugee camp that's intimate, raw, and real.","status":"publish","parent":0,"modified":1705026369,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":867},"headData":{"title":"'The Jungle' an Unforgettable Experience Inside a Transformed Curran Theater | KQED","description":"Inside a drastically changed Curran Theater, 'The Jungle' places the audience in a refugee camp that's intimate, raw, and real.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'The Jungle' an Unforgettable Experience Inside a Transformed Curran Theater","datePublished":"2019-04-08T22:08:57.000Z","dateModified":"2024-01-12T02:26:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13854486/the-jungle-an-unforgettable-experience-inside-a-transformed-curran-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a cliché in theater at this point: waxing rhapsodic about spending two hours in the dark with strangers, sharing an experience that’s impossible to replicate, and walking out onto the sidewalk bonded over your collective transformation.\u003c/p>\n\u003cp>The thing about \u003cem>The Jungle\u003c/em>, currently at the Curran Theater, is it’s true.\u003c/p>\n\u003cfigure id=\"attachment_13854504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg\" alt=\"Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I cannot accurately convey the experience of seeing \u003cem>The Jungle\u003c/em>. Oh, sure, I can tell you that in order to immerse the audience inside a refugee camp, the interior of the Curran Theater has been completely transformed with a brand-new floor, walls, ceiling and set built on top of the theater’s orchestra seating. (See a time-lapse video of it \u003ca href=\"https://www.youtube.com/watch?v=Xka8veAE4rc\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.) I can tell you that as attendees sit at tables in the theater, which has now become a restaurant, actors tumble into the audience, brush against seated attendee’s backs, spill water and oranges into their laps, and employ them to hold flashlights and drums. \u003c/p>\n\u003cp>But that doesn’t explain that this immersive set isn’t the gimmicky sort, utilized to augment a dull play. Rather, the wood bark on the floor, the ratty cardboard strewn about, the actual fruit flies inside the Curran—it all lends more impact to a story of refugees who, as one describes them, “are not people but between people, drowning in a sea of suffering.”\u003c/p>\n\u003cfigure id=\"attachment_13854505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg\" alt=\"Okot (John Pfumojena) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Okot (John Pfumojena) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Jungle\u003c/em> takes place in the recent past, at a makeshift cafe in the refugee camp at Calais, France. Nestled among thousands of people hoping to get to the UK from over two dozen different countries, the cafe serves as a meeting place for leaders from different countries’ camps to help each other, hold celebrations, and plan against evictions over naan and tea.\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>Soon, young British activists arrive, swiftly apologize on behalf of their country, and set out to help. They bring optimism about successfully fighting eviction of the camp by French police, along with some naïvete of the harrowing path its residents have taken to get there. Over the course of the play’s events, with the set used to dramatic effect—at one key moment producing loud gasps—they are accepted and trusted.\u003c/p>\n\u003cfigure id=\"attachment_13854503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg\" alt=\"Mohammed (Jonathan Nyati) and Salar (Ben Turner) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed (Jonathan Nyati) and Salar (Ben Turner) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ensemble cast here is top-notch, particularly cafe owner Salar (Ben Turner) and young, well-meaning Beth (Rachel Redford), whose inner turmoil over sending beaten, scarred refugee Okot (John Pfumojena) to be smuggled in a lorry across the English Channel is one of the play’s several emotional gut-punches.\u003c/p>\n\u003cp>Other highlights include Eton graduate Sam (Tommy Letts) as a one-man planning department, Hele (Nahel Tzegai) as the happy quitter who decides against immigrating to the UK due to its changing tolerance of immigrants, Boxer (Trevor Fox) as the camp’s drunken serenader and Little Amal (Zara Rasti) as the 6 year-old girl everyone knows they must protect. \u003c/p>\n\u003cp>It is impossible to watch \u003cem>The Jungle\u003c/em> without thinking of Brexit, or of Trump’s racist fearmongering over the U.S. border, or closer to home, the bulldozing of homeless camps in San Francisco. As the woman sitting next to me offered at intermission: “It’s so important, with everything that’s going on now. I’ve cried five times already.”\u003c/p>\n\u003cfigure id=\"attachment_13854508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg\" alt=\"Beth (Rachel Redford) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth (Rachel Redford) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What will ensure \u003cem>The Jungle\u003c/em> lasts in revivals when “everything that’s going on now” is a distant, shameful memory is the play’s innate understanding of grassroots organizing and communal living in desperate circumstances. \u003cem>The Jungle\u003c/em> is as much about activism’s unorganized hierarchy of responsibilities and duties as it is about refugees.\u003c/p>\n\u003cp>Inside the camp cafe, we see classic ego clashes, hair-brained schemes that actually work, fights driven by a shared passion, and hope in the face of insurmountable odds. Whether it be Calais, Occupy, the Dakota Access Pipeline or Ferguson, every movement has a similar array of figures and friction. Adding to the realism are two of the show’s actors, Yasin Moradi and Mohamed Sarrar, who actually lived in the camp in Calais upon which the play is based.\u003c/p>\n\u003cp>Despite a sudden shift in tone at the end (when Safi (Ammar Haj Ahmad) breaks the fourth wall to address the audience about ongoing grassroots efforts for refugees), \u003cem>The Jungle\u003c/em> creates a vivid world that’s intimate, raw, and real, particularly for those sitting among the action in the cafe’s table seating. It’s an incredible thing to be a part of for two and a half hours, and I can’t get it out of my head.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Jungle’ runs through May 19 at the Curran Theater in San Francisco. \u003ca href=\"https://sfcurran.com/shows/the-jungle/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13854486/the-jungle-an-unforgettable-experience-inside-a-transformed-curran-theater","authors":["185"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1238","arts_1789","arts_1118","arts_1773","arts_596","arts_769"],"featImg":"arts_13854507","label":"arts_140"},"arts_13846656":{"type":"posts","id":"arts_13846656","meta":{"index":"posts_1591205157","site":"arts","id":"13846656","score":null,"sort":[1544214665000]},"guestAuthors":[],"slug":"dear-evan-hansen-a-teen-isolation-story-for-the-social-media-age","title":"'Dear Evan Hansen' Lives Up to Its Massive Buzz at the Curran","publishDate":1544214665,"format":"standard","headTitle":"‘Dear Evan Hansen’ Lives Up to Its Massive Buzz at the Curran | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In 2018, it’s baffling to see works of art reluctant to acknowledge the existence of the internet. \u003cem>Dear Evan Hansen\u003c/em>, which opened last night at the Curran Theater, hinges almost entirely on it. Facebook, Kickstarter, virality and email are all key to its story, told on a stage flanked by large screens displaying a constant scroll of tweets, comments and texts. \u003c/p>\n\u003cp>But at its heart, \u003cem>Dear Evan Hansen\u003c/em> is really about the timeless stuff: teenage isolation, self-acceptance, death, and the human necessity for validation. How do you make those issues, so well-worn on Broadway, come alive anew? Adding a digital aspect to them could have been a disaster in the wrong hands, but Steven Levenson (book) and Benj Pasek & Justin Paul (music and lyrics) have done so thoughtfully and movingly, with six Tonys and a massive buzz to show for it.\u003c/p>\n\u003cp>I’ll add to the buzz: this is an astounding show.\u003c/p>\n\u003cfigure id=\"attachment_13846683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-800x358.jpg\" alt=\"The company of the first North American tour of 'Dear Evan Hansen.'\" width=\"800\" height=\"358\" class=\"size-medium wp-image-13846683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-768x344.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-1020x456.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-1200x537.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The company of the first North American tour of ‘Dear Evan Hansen.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story centers on Evan Hansen, a teenage outcast who has only a few interactions with his high school classmate, Connor Murphy, before Connor commits suicide. Craving attention, and seeing the needs of Connor’s family for understanding, Evan half-jumps (and is half-pushed) into an elaborate lie that he and Connor were secretly best friends. While his tangled web brings comfort to Connor’s family, purpose to fellow students, and a romance with Connor’s sister, Zoe, it begins to inevitably spiral out of control, aided by social media. \u003c/p>\n\u003cp>As the lead in the touring production at the Curran, Ben Levi Ross is a dizzying bundle of twitching and retreating; the constant physicality of his character’s anxiety turns into transcendence when he sings. There is not one weak link in the eight-person cast, while the songs, textbook at times (you might know Pasek & Paul from \u003cem>The Greatest Showman\u003c/em>), achieve enough spine-chilling climaxes to balance out their syrupiness. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And even if you have issues with the ending—I did, and my seatmate did, as well as people overheard in the lobby afterward—you’ll be talking about it the whole way home, and thinking about it for days to come. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dear Evan Hansen’ runs through Dec. 30 at the Curran Theater in San Francisco. \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. The run of the show is almost entirely sold out, but a lottery for $25 seats can be entered \u003ca href=\"https://www.luckyseat.com/dearevanhansen/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Facebook, email, Kickstarter and social media virality are all key to this teen-isolation story packed with talent.","status":"publish","parent":0,"modified":1705026890,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":426},"headData":{"title":"'Dear Evan Hansen' Lives Up to Its Massive Buzz at the Curran | KQED","description":"Facebook, email, Kickstarter and social media virality are all key to this teen-isolation story packed with talent.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Dear Evan Hansen' Lives Up to Its Massive Buzz at the Curran","datePublished":"2018-12-07T20:31:05.000Z","dateModified":"2024-01-12T02:34:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13846656/dear-evan-hansen-a-teen-isolation-story-for-the-social-media-age","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2018, it’s baffling to see works of art reluctant to acknowledge the existence of the internet. \u003cem>Dear Evan Hansen\u003c/em>, which opened last night at the Curran Theater, hinges almost entirely on it. Facebook, Kickstarter, virality and email are all key to its story, told on a stage flanked by large screens displaying a constant scroll of tweets, comments and texts. \u003c/p>\n\u003cp>But at its heart, \u003cem>Dear Evan Hansen\u003c/em> is really about the timeless stuff: teenage isolation, self-acceptance, death, and the human necessity for validation. How do you make those issues, so well-worn on Broadway, come alive anew? Adding a digital aspect to them could have been a disaster in the wrong hands, but Steven Levenson (book) and Benj Pasek & Justin Paul (music and lyrics) have done so thoughtfully and movingly, with six Tonys and a massive buzz to show for it.\u003c/p>\n\u003cp>I’ll add to the buzz: this is an astounding show.\u003c/p>\n\u003cfigure id=\"attachment_13846683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-800x358.jpg\" alt=\"The company of the first North American tour of 'Dear Evan Hansen.'\" width=\"800\" height=\"358\" class=\"size-medium wp-image-13846683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-768x344.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-1020x456.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_-1200x537.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DearEvanHansen.tech_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The company of the first North American tour of ‘Dear Evan Hansen.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story centers on Evan Hansen, a teenage outcast who has only a few interactions with his high school classmate, Connor Murphy, before Connor commits suicide. Craving attention, and seeing the needs of Connor’s family for understanding, Evan half-jumps (and is half-pushed) into an elaborate lie that he and Connor were secretly best friends. While his tangled web brings comfort to Connor’s family, purpose to fellow students, and a romance with Connor’s sister, Zoe, it begins to inevitably spiral out of control, aided by social media. \u003c/p>\n\u003cp>As the lead in the touring production at the Curran, Ben Levi Ross is a dizzying bundle of twitching and retreating; the constant physicality of his character’s anxiety turns into transcendence when he sings. There is not one weak link in the eight-person cast, while the songs, textbook at times (you might know Pasek & Paul from \u003cem>The Greatest Showman\u003c/em>), achieve enough spine-chilling climaxes to balance out their syrupiness. \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>And even if you have issues with the ending—I did, and my seatmate did, as well as people overheard in the lobby afterward—you’ll be talking about it the whole way home, and thinking about it for days to come. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dear Evan Hansen’ runs through Dec. 30 at the Curran Theater in San Francisco. \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. The run of the show is almost entirely sold out, but a lottery for $25 seats can be entered \u003ca href=\"https://www.luckyseat.com/dearevanhansen/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846656/dear-evan-hansen-a-teen-isolation-story-for-the-social-media-age","authors":["185"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1789","arts_596","arts_769","arts_1334","arts_626","arts_1072"],"featImg":"arts_13846682","label":"arts_140"},"arts_13845883":{"type":"posts","id":"arts_13845883","meta":{"index":"posts_1591205157","site":"arts","id":"13845883","score":null,"sort":[1543883216000]},"guestAuthors":[],"slug":"the-curran-at-a-crossroads","title":"The Curran at a Crossroads","publishDate":1543883216,"format":"standard","headTitle":"The Curran at a Crossroads | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When the Curran Theater reopened in early 2017 after two years of renovation, owner Carole Shorenstein Hays declared her vision to create an innovative arts space in San Francisco.\u003c/p>\n\u003cp>Even before the Curran was able to open for full productions, it made do—and made headlines—in 2015 with a series of experimental and off-kilter works called \u003cem>Curran: Under Construction\u003c/em>. Entering through a side door and sitting directly on the stage, theatergoers witnessed a staging of David Greig’s provocative Edinburgh Fringe hit, \u003cem>The Events\u003c/em>, Dave Malloy’s experiential \u003cem>Ghost Quartet\u003c/em>, and even a workshopped version of what would become Taylor Mac’s sumptuous \u003cem>A 24-Decade History of Popular Music\u003c/em>.\u003c/p>\n\u003cp>It set a tone, and heralded a sea change from the usual “Best of Broadway” touring fare such as \u003cem>Phantom of the Opera\u003c/em>, which ran at the pre-renovated Curran for five years in the ’90s.\u003c/p>\n\u003cfigure id=\"attachment_13845888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac busting through the fourth wall in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This vision came to grand fruition in September 2017, with a full staging of Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>. Enlisting dozens of local performers and the extravagant costuming abilities of a designer whose preferred moniker “Machine Dazzle” would fit right into a work of utopian fiction, \u003cem>A 24-Decade History of Popular Music \u003c/em>challenged the notion that in order for theater to be impactful it must be “serious.” For Mac’s happy band of misfits, the weirdly static theatrical norms were simply thrown out the window. The fourth wall didn’t exist. Audiences were given a place on the stage, fed soup, and urged to recreate community-building in the aisles.\u003c/p>\n\u003cp>There was glitter. There were tears. There were monumental costume changes. And there were 246 songs, each one meticulously researched and carefully chosen to represent a moment in the history. It was a grand, queer sendoff for 2017, a year that desperately called out for some queering.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But after that heady inauguration, the Curran’s 2018 season has been decidedly less audacious, mainly dedicated to musicals that have continued to stray from the Curran’s trail of innovation. There was the futuristic \u003cem>Soft Power\u003c/em>, by David Henry Hwang and Jeanne Tesori, followed by the fantasy-forward Go-Go’s jukebox musical \u003cem>Head Over Heels\u003c/em>. November saw the welcome return of Taylor Mac with \u003cem>Holiday Sauce\u003c/em>, a season-specific coda to his triumphal 2017 tour.\u003c/p>\n\u003cp>Now, with the \u003ca href=\"https://datebook.sfchronicle.com/theater/judge-denies-injunction-to-stop-dear-evan-hansen-at-curran-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">dust settled last week on a legal battle\u003c/a>, the Curran is at an artistic crossroads.\u003c/p>\n\u003cfigure id=\"attachment_13845894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Levi Ross, Aaron Lazar, Christiane Noll, and Maggie McKenna from the National tour of ‘Dear Evan Hansen.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First, about that legal battle: last Friday, a judge shot down a request by Nederlander of San Francisco, a.k.a. San Francisco theater company SHN, to block Hays from producing \u003cem>Dear Evan Hansen\u003c/em>, which opens this week, and \u003cem>Harry Potter and the Cursed Child\u003c/em>, scheduled to open in the fall of 2019.\u003c/p>\n\u003cp>Both are the types of commercially attractive productions SHN is known to present at the two theaters it operates in San Francisco, the Orpheum and the Golden Gate. SHN had argued that Hays’ booking of the shows violated a noncompete clause. The judge, noting that both shows are touring productions with an open bidding process, ruled in Hays’ favor.\u003c/p>\n\u003cp>For years, Hays and Robert Nederlander were powerhouse theater presenters together under the SHN name. Hays stepped down from the SHN board in 2014, recusing herself from any active decision-making. But she is still a co-owner of SHN, adding another layer of messy to the already awkward professional rivalry under which \u003cem>Dear Evan Hansen\u003c/em> opens this week.\u003c/p>\n\u003cp>While \u003cem>Dear Evan Hansen \u003c/em>is certainly well-regarded, winning numerous Tony awards in 2017 and a Grammy in 2018, it sits solidly in the mainstream of musical theater. Like \u003cem>Fun Home\u003c/em>, which opened the 2017 season at the Curran, \u003cem>Dear Evan Hansen\u003c/em>’s socially-awkward teenage protagonist has resonated deeply with a younger generation of theater-goers who may have left their high school years behind, but have not forgotten the special angst of adolescence. \u003cem>Dear Evan Hansen\u003c/em> should prove to be a lucrative and popular choice for the Curran, as will the 2019-scheduled \u003cem>Harry Potter and the Cursed Child\u003c/em> (also included in the Nederlander suit).\u003c/p>\n\u003cfigure id=\"attachment_13845886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fun Home’ opened the 2017 season at the Curran Theater. Pictured are Karen Eilbacher (lying down) and Abby Corrigan (standing). \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But lucrative and popular doesn’t necessarily translate to groundbreaking. Furthermore, as \u003ca href=\"https://www.nytimes.com/2018/12/01/theater/judge-allows-harry-potter-and-evan-hansen-in-san-francisco.html\">reported in the \u003cem>New York Times\u003c/em> on Saturday\u003c/a>, the ruling revealed that \u003cem>Harry Potter\u003c/em> is intended to run at the Curran for three years, with the possibility of an extension. (Publicists for the Curran did not respond to a request for confirmation of the length of the show’s run.) It’s beginning to seem as if the Curran’s grand ambitions to create an “artistic hub” of “bold, daring work” may already be coming to an end.\u003c/p>\n\u003cp>For Hays’ vision of innovation to stick, the Curran will need to find a show as generous in spirit and perspective-shifting in execution as Mac’s 2017 \u003cem>tour de force\u003c/em> to take center stage between \u003cem>Evan Hansen\u003c/em> and \u003cem>Harry Potter\u003c/em>. No doubt Hays feels some pressure too, before she mounts a long-running commercial success based on one of the highest-grossing movie franchises of all time.\u003c/p>\n\u003cfigure id=\"attachment_13845885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg\" alt=\"Taylor Mac and players in 'A 24-Decade History of Popular Music.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac and players in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Curran’s 2019 season has not been announced yet. In a statement to KQED, Hays was vague about what San Francisco audiences can expect next after \u003cem>Dear Evan Hansen\u003c/em>. “In 2019, and before \u003cem>Harry Potter\u003c/em>, the Curran will be home to an extraordinary theater event, the kind of work that I’ve been most honored to present over the years, and the kind of theater that is essential to our community.”\u003c/p>\n\u003cp>It bears noting that as a Broadway producer, Hays acquired her first Tony in 1987 backing August Wilson’s \u003cem>Fences\u003c/em> (an award she won again in 2010 with the revival), and that her taste for more unconventional work contributed to her desire to acquire and operate the Curran in the first place. It remains to be seen whether the Curran will serve the same purpose it did in years past—as a tourist destination producing the hits \u003cem>du jour\u003c/em> for years-long engagements—or as the embodiment of a more forward-thinking artistic imperative.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I know which direction I’d like to see the trail blazed.\u003c/p>\n\n","blocks":[],"excerpt":"As a judge clears the way for the Curran Theater to produce 'Dear Evan Hansen' and 'Harry Potter and the Cursed Child,' its artistic vision remains undefined.","status":"publish","parent":0,"modified":1705026930,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1146},"headData":{"title":"The Curran at a Crossroads | KQED","description":"As a judge clears the way for the Curran Theater to produce 'Dear Evan Hansen' and 'Harry Potter and the Cursed Child,' its artistic vision remains undefined.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Curran at a Crossroads","datePublished":"2018-12-04T00:26:56.000Z","dateModified":"2024-01-12T02:35:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13845883/the-curran-at-a-crossroads","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Curran Theater reopened in early 2017 after two years of renovation, owner Carole Shorenstein Hays declared her vision to create an innovative arts space in San Francisco.\u003c/p>\n\u003cp>Even before the Curran was able to open for full productions, it made do—and made headlines—in 2015 with a series of experimental and off-kilter works called \u003cem>Curran: Under Construction\u003c/em>. Entering through a side door and sitting directly on the stage, theatergoers witnessed a staging of David Greig’s provocative Edinburgh Fringe hit, \u003cem>The Events\u003c/em>, Dave Malloy’s experiential \u003cem>Ghost Quartet\u003c/em>, and even a workshopped version of what would become Taylor Mac’s sumptuous \u003cem>A 24-Decade History of Popular Music\u003c/em>.\u003c/p>\n\u003cp>It set a tone, and heralded a sea change from the usual “Best of Broadway” touring fare such as \u003cem>Phantom of the Opera\u003c/em>, which ran at the pre-renovated Curran for five years in the ’90s.\u003c/p>\n\u003cfigure id=\"attachment_13845888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac busting through the fourth wall in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This vision came to grand fruition in September 2017, with a full staging of Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>. Enlisting dozens of local performers and the extravagant costuming abilities of a designer whose preferred moniker “Machine Dazzle” would fit right into a work of utopian fiction, \u003cem>A 24-Decade History of Popular Music \u003c/em>challenged the notion that in order for theater to be impactful it must be “serious.” For Mac’s happy band of misfits, the weirdly static theatrical norms were simply thrown out the window. The fourth wall didn’t exist. Audiences were given a place on the stage, fed soup, and urged to recreate community-building in the aisles.\u003c/p>\n\u003cp>There was glitter. There were tears. There were monumental costume changes. And there were 246 songs, each one meticulously researched and carefully chosen to represent a moment in the history. It was a grand, queer sendoff for 2017, a year that desperately called out for some queering.\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 after that heady inauguration, the Curran’s 2018 season has been decidedly less audacious, mainly dedicated to musicals that have continued to stray from the Curran’s trail of innovation. There was the futuristic \u003cem>Soft Power\u003c/em>, by David Henry Hwang and Jeanne Tesori, followed by the fantasy-forward Go-Go’s jukebox musical \u003cem>Head Over Heels\u003c/em>. November saw the welcome return of Taylor Mac with \u003cem>Holiday Sauce\u003c/em>, a season-specific coda to his triumphal 2017 tour.\u003c/p>\n\u003cp>Now, with the \u003ca href=\"https://datebook.sfchronicle.com/theater/judge-denies-injunction-to-stop-dear-evan-hansen-at-curran-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">dust settled last week on a legal battle\u003c/a>, the Curran is at an artistic crossroads.\u003c/p>\n\u003cfigure id=\"attachment_13845894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Levi Ross, Aaron Lazar, Christiane Noll, and Maggie McKenna from the National tour of ‘Dear Evan Hansen.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First, about that legal battle: last Friday, a judge shot down a request by Nederlander of San Francisco, a.k.a. San Francisco theater company SHN, to block Hays from producing \u003cem>Dear Evan Hansen\u003c/em>, which opens this week, and \u003cem>Harry Potter and the Cursed Child\u003c/em>, scheduled to open in the fall of 2019.\u003c/p>\n\u003cp>Both are the types of commercially attractive productions SHN is known to present at the two theaters it operates in San Francisco, the Orpheum and the Golden Gate. SHN had argued that Hays’ booking of the shows violated a noncompete clause. The judge, noting that both shows are touring productions with an open bidding process, ruled in Hays’ favor.\u003c/p>\n\u003cp>For years, Hays and Robert Nederlander were powerhouse theater presenters together under the SHN name. Hays stepped down from the SHN board in 2014, recusing herself from any active decision-making. But she is still a co-owner of SHN, adding another layer of messy to the already awkward professional rivalry under which \u003cem>Dear Evan Hansen\u003c/em> opens this week.\u003c/p>\n\u003cp>While \u003cem>Dear Evan Hansen \u003c/em>is certainly well-regarded, winning numerous Tony awards in 2017 and a Grammy in 2018, it sits solidly in the mainstream of musical theater. Like \u003cem>Fun Home\u003c/em>, which opened the 2017 season at the Curran, \u003cem>Dear Evan Hansen\u003c/em>’s socially-awkward teenage protagonist has resonated deeply with a younger generation of theater-goers who may have left their high school years behind, but have not forgotten the special angst of adolescence. \u003cem>Dear Evan Hansen\u003c/em> should prove to be a lucrative and popular choice for the Curran, as will the 2019-scheduled \u003cem>Harry Potter and the Cursed Child\u003c/em> (also included in the Nederlander suit).\u003c/p>\n\u003cfigure id=\"attachment_13845886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fun Home’ opened the 2017 season at the Curran Theater. Pictured are Karen Eilbacher (lying down) and Abby Corrigan (standing). \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But lucrative and popular doesn’t necessarily translate to groundbreaking. Furthermore, as \u003ca href=\"https://www.nytimes.com/2018/12/01/theater/judge-allows-harry-potter-and-evan-hansen-in-san-francisco.html\">reported in the \u003cem>New York Times\u003c/em> on Saturday\u003c/a>, the ruling revealed that \u003cem>Harry Potter\u003c/em> is intended to run at the Curran for three years, with the possibility of an extension. (Publicists for the Curran did not respond to a request for confirmation of the length of the show’s run.) It’s beginning to seem as if the Curran’s grand ambitions to create an “artistic hub” of “bold, daring work” may already be coming to an end.\u003c/p>\n\u003cp>For Hays’ vision of innovation to stick, the Curran will need to find a show as generous in spirit and perspective-shifting in execution as Mac’s 2017 \u003cem>tour de force\u003c/em> to take center stage between \u003cem>Evan Hansen\u003c/em> and \u003cem>Harry Potter\u003c/em>. No doubt Hays feels some pressure too, before she mounts a long-running commercial success based on one of the highest-grossing movie franchises of all time.\u003c/p>\n\u003cfigure id=\"attachment_13845885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg\" alt=\"Taylor Mac and players in 'A 24-Decade History of Popular Music.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac and players in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Curran’s 2019 season has not been announced yet. In a statement to KQED, Hays was vague about what San Francisco audiences can expect next after \u003cem>Dear Evan Hansen\u003c/em>. “In 2019, and before \u003cem>Harry Potter\u003c/em>, the Curran will be home to an extraordinary theater event, the kind of work that I’ve been most honored to present over the years, and the kind of theater that is essential to our community.”\u003c/p>\n\u003cp>It bears noting that as a Broadway producer, Hays acquired her first Tony in 1987 backing August Wilson’s \u003cem>Fences\u003c/em> (an award she won again in 2010 with the revival), and that her taste for more unconventional work contributed to her desire to acquire and operate the Curran in the first place. It remains to be seen whether the Curran will serve the same purpose it did in years past—as a tourist destination producing the hits \u003cem>du jour\u003c/em> for years-long engagements—or as the embodiment of a more forward-thinking artistic imperative.\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 know which direction I’d like to see the trail blazed.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13845883/the-curran-at-a-crossroads","authors":["11497"],"categories":["arts_2303","arts_967"],"tags":["arts_2767","arts_1789","arts_1118","arts_1376","arts_596","arts_3129","arts_1072"],"featImg":"arts_13845887","label":"arts"},"arts_13817662":{"type":"posts","id":"arts_13817662","meta":{"index":"posts_1591205157","site":"arts","id":"13817662","score":null,"sort":[1513638039000]},"guestAuthors":[],"slug":"the-best-bay-area-theater-of-2017","title":"The Best Bay Area Theater of 2017","publishDate":1513638039,"format":"standard","headTitle":"The Best Bay Area Theater of 2017 | KQED","labelTerm":{"term":3461,"site":"arts"},"content":"\u003cp>In these end days of the year and perhaps the country, we might ask, just to while away the time, what we want from our American plays.\u003c/p>\n\u003cp>It’s a child’s experiment, really, as there’s no theater imaginable that might save us from the disasters looming before us. Still, we might ask of our American playwrights that they perhaps point out a way, a path to follow that might have escaped our sight, or to paint a sign in the woods that might lead us to a new and secret city on a hill.\u003c/p>\n\u003cp>Here’s a rare group of American plays that did just that in the Bay Area of 2017, giving us a few gentle hints of where others have gone and where we might run.\u003c/p>\n\u003cp>\u003cstrong>6. The Curran Theater, Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817664 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg\" alt=\"Taylor Mac lights up American song in 'A 24-Decade History of Popular Music' at the Curran.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac lights up American song in ‘A 24-Decade History of Popular Music’ at the Curran. \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If America were a 24-hour queer slumber party, then it would be something like \u003ca href=\"https://ww2.kqed.org/arts/2016/10/12/how-i-survived-taylor-macs-24-hour-long-musical-history-lesson/\" rel=\"noopener\" target=\"_blank\">Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/a> — the country’s history at its most unguarded, wacky, and tragic. Mac is an extravagant realist, daring us to experience in full the songs that have marked the history of the nation for over 240 years. It’s an audacious examination and surrender to all the delights and discontents of the simple pleasures of song. Mac knows what we’ve felt and what we’re feeling, and he yanks it all out onto the open stage for everyone to see — with a razor wit and hard-fought joy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>5. The Shotgun Players, William Burroughs and Tom Waits’ \u003cem>The Black Rider: The Casting of the Magic Bullets\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in 'The Black Rider' by William Burroughs and Tom Waits.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-520x312.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in ‘The Black Rider’ by William Burroughs and Tom Waits. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Wilson’s production of \u003ca href=\"https://ww2.kqed.org/arts/2017/11/23/shotguns-daring-black-rider-aims-shoots-and-pierces-americas-heart/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Black Rider\u003c/em>\u003c/a> was an international sensation, a lavish valentine to German expressionism, and a lovely artifact of what the lush, extravagant subsidies of European Art House Theater can accomplish. Yet lurking beneath all those Euros was a nasty American attack dog of a play. Director Mark Jackson strips William Burroughs and Tom Waits’ fairy tale of magic bullets down to dime store essentials and subjects us to the logic of a brutal equation — if you love to shoot, you’re aiming to kill. A beautiful and entrancing nightmare for which, unfortunately, there is no antidote. (You can still see the bullets fly in the \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>’ production running through Sunday, Jan. 21.)\u003c/p>\n\u003cp>\u003cstrong>4. Ubuntu Theater Project, Lisa Ramirez’s \u003cem>To The Bone\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg\" alt=\"(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project’s production of ‘To the Bone’ by Lisa Ramirez. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Ramirez’s play about a community of immigrant women working in a poultry preparation facility is an off-key bit of terror. Most of the screams are silent, and the victims more likely to simply vanish than to suffer the fate of the slaughterhouse — though that’s a constant threat, too. The play’s politics might be ripped from the headlines, but Ramirez’s characters are startling for their everyday dreams and concerns. This is what happens in America to all those the law refuses to recognize. And \u003ca href=\"https://ww2.kqed.org/arts/2017/04/05/to-the-bone-explores-workers-lives-outside-the-law/\" rel=\"noopener\" target=\"_blank\">the Ubuntu production\u003c/a>, under Michael Maron’s direction, never lets us escape the awful truth that what we’re really watching is a human preparation facility — as if cutting up chickens wasn’t bad enough.\u003c/p>\n\u003cp>\u003cstrong>3. The Wooster Group, \u003cem>The Town Hall Affair\u003c/em> (at the Z Space)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg\" alt=\"Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in 'Town Hall Affair' by the Wooster Group.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in ‘Town Hall Affair’ by the Wooster Group. \u003ccite>(Photo: Zbigniew Bzymek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wooster Group often finds plays in the garbage heap of history, and \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/wooster-group-reimagines-crazed-1971-feminist-debate-with-norman-mailer/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Town Hall Affair\u003c/em>\u003c/a> is as stunning a dumpster dive into the past as you’re likely to get: an acid-tinged recreation of Norman Mailer’s infamous 1971 state-of-the-woman summit, where the pugilist-minded author opined, bullied, and presided over a panel of feminist luminaries to hilarious effect. The sly Germaine Greer and the erudite Diana Trilling are worthy foils to Mailer, but it is \u003cem>Village Voice\u003c/em> columnist and goofball supreme Jill Johnston who steals the show — and our hearts. In her antic tomfoolery, the Woosters discover a lovely dream of a possible future, one we’re only just beginning to glimpse.\u003c/p>\n\u003cp>\u003cstrong>2. California Shakespeare Theater, Marcus Gardley’s \u003cem>Black Odyssey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg\" alt=\"(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in 'Black Odyssey' by Marcus Gardley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in ‘Black Odyssey’ by Marcus Gardley. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why Shakespeare isn’t a model for American playwrights is a mystery of the field and an odd cultural misstep down the stairs of irrelevance. For now, at least we can marvel at Marcus Gardley’s contemporary twist on the Shakespearian romance, \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/black-odyssey-evokes-emmett-till-hurricane-katrina-and-homer/\" rel=\"noopener\" target=\"_blank\">\u003cem>Black Odyssey\u003c/em>\u003c/a>, simultaneously a love letter to Oakland, a testament to African-American faith and resilience, and a complex accounting of guilt and innocence. Here is a true epic, where the twists and turns of life keep on revealing what a miracle it is just to hold on and make it through one more day — over 16 long years of struggle. (\u003cem>Black Odyssey\u003c/em> returns to \u003ca href=\"http://www.calshakes.org\">Cal Shakes\u003c/a> for two weeks at the end of next summer.)\u003c/p>\n\u003cp>\u003cstrong>1. Marin Theatre Company, Thomas Bradshaw’s \u003cem>Thomas and Sally\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg\" alt=\"Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Easily 2017’s most controversial and outrageous play, \u003ca href=\"https://ww2.kqed.org/arts/2017/10/12/thomas-and-sally-thomas-bradshaw-marin-theater-company/\" rel=\"noopener\" target=\"_blank\">\u003cem>Thomas and Sally\u003c/em>\u003c/a> (a Marin Theatre Company world premiere) rushes headlong into the shadows and corners of a newly minted America already tainted by its idiot embrace of slavery. Bradshaw’s depiction of the 44-year old Thomas Jefferson’s love affair with his 15-year old slave Sally Hemings is both a bold, grand romance and a wary take on whether love is even possible under those conditions. With a scientist’s eye for the ugly facts of human nature and a touch of Hitchcock’s \u003cem>Vertigo\u003c/em> (Hemings was the half-sister of Jefferson’s dead wife), Bradshaw’s comic epic imagines that we are all the daughters of the revolution — just not the revolution we thought.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Here’s a rare group of American plays that, as disaster loomed, pointed us toward a new and secret city on a hill.","status":"publish","parent":0,"modified":1705028887,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1162},"headData":{"title":"The Best Bay Area Theater of 2017 | KQED","description":"Here’s a rare group of American plays that, as disaster loomed, pointed us toward a new and secret city on a hill.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Bay Area Theater of 2017","datePublished":"2017-12-18T23:00:39.000Z","dateModified":"2024-01-12T03:08:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817662/the-best-bay-area-theater-of-2017","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In these end days of the year and perhaps the country, we might ask, just to while away the time, what we want from our American plays.\u003c/p>\n\u003cp>It’s a child’s experiment, really, as there’s no theater imaginable that might save us from the disasters looming before us. Still, we might ask of our American playwrights that they perhaps point out a way, a path to follow that might have escaped our sight, or to paint a sign in the woods that might lead us to a new and secret city on a hill.\u003c/p>\n\u003cp>Here’s a rare group of American plays that did just that in the Bay Area of 2017, giving us a few gentle hints of where others have gone and where we might run.\u003c/p>\n\u003cp>\u003cstrong>6. The Curran Theater, Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817664 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg\" alt=\"Taylor Mac lights up American song in 'A 24-Decade History of Popular Music' at the Curran.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac lights up American song in ‘A 24-Decade History of Popular Music’ at the Curran. \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If America were a 24-hour queer slumber party, then it would be something like \u003ca href=\"https://ww2.kqed.org/arts/2016/10/12/how-i-survived-taylor-macs-24-hour-long-musical-history-lesson/\" rel=\"noopener\" target=\"_blank\">Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/a> — the country’s history at its most unguarded, wacky, and tragic. Mac is an extravagant realist, daring us to experience in full the songs that have marked the history of the nation for over 240 years. It’s an audacious examination and surrender to all the delights and discontents of the simple pleasures of song. Mac knows what we’ve felt and what we’re feeling, and he yanks it all out onto the open stage for everyone to see — with a razor wit and hard-fought joy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>5. The Shotgun Players, William Burroughs and Tom Waits’ \u003cem>The Black Rider: The Casting of the Magic Bullets\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in 'The Black Rider' by William Burroughs and Tom Waits.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-520x312.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in ‘The Black Rider’ by William Burroughs and Tom Waits. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Wilson’s production of \u003ca href=\"https://ww2.kqed.org/arts/2017/11/23/shotguns-daring-black-rider-aims-shoots-and-pierces-americas-heart/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Black Rider\u003c/em>\u003c/a> was an international sensation, a lavish valentine to German expressionism, and a lovely artifact of what the lush, extravagant subsidies of European Art House Theater can accomplish. Yet lurking beneath all those Euros was a nasty American attack dog of a play. Director Mark Jackson strips William Burroughs and Tom Waits’ fairy tale of magic bullets down to dime store essentials and subjects us to the logic of a brutal equation — if you love to shoot, you’re aiming to kill. A beautiful and entrancing nightmare for which, unfortunately, there is no antidote. (You can still see the bullets fly in the \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>’ production running through Sunday, Jan. 21.)\u003c/p>\n\u003cp>\u003cstrong>4. Ubuntu Theater Project, Lisa Ramirez’s \u003cem>To The Bone\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg\" alt=\"(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project’s production of ‘To the Bone’ by Lisa Ramirez. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Ramirez’s play about a community of immigrant women working in a poultry preparation facility is an off-key bit of terror. Most of the screams are silent, and the victims more likely to simply vanish than to suffer the fate of the slaughterhouse — though that’s a constant threat, too. The play’s politics might be ripped from the headlines, but Ramirez’s characters are startling for their everyday dreams and concerns. This is what happens in America to all those the law refuses to recognize. And \u003ca href=\"https://ww2.kqed.org/arts/2017/04/05/to-the-bone-explores-workers-lives-outside-the-law/\" rel=\"noopener\" target=\"_blank\">the Ubuntu production\u003c/a>, under Michael Maron’s direction, never lets us escape the awful truth that what we’re really watching is a human preparation facility — as if cutting up chickens wasn’t bad enough.\u003c/p>\n\u003cp>\u003cstrong>3. The Wooster Group, \u003cem>The Town Hall Affair\u003c/em> (at the Z Space)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg\" alt=\"Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in 'Town Hall Affair' by the Wooster Group.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in ‘Town Hall Affair’ by the Wooster Group. \u003ccite>(Photo: Zbigniew Bzymek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wooster Group often finds plays in the garbage heap of history, and \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/wooster-group-reimagines-crazed-1971-feminist-debate-with-norman-mailer/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Town Hall Affair\u003c/em>\u003c/a> is as stunning a dumpster dive into the past as you’re likely to get: an acid-tinged recreation of Norman Mailer’s infamous 1971 state-of-the-woman summit, where the pugilist-minded author opined, bullied, and presided over a panel of feminist luminaries to hilarious effect. The sly Germaine Greer and the erudite Diana Trilling are worthy foils to Mailer, but it is \u003cem>Village Voice\u003c/em> columnist and goofball supreme Jill Johnston who steals the show — and our hearts. In her antic tomfoolery, the Woosters discover a lovely dream of a possible future, one we’re only just beginning to glimpse.\u003c/p>\n\u003cp>\u003cstrong>2. California Shakespeare Theater, Marcus Gardley’s \u003cem>Black Odyssey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg\" alt=\"(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in 'Black Odyssey' by Marcus Gardley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in ‘Black Odyssey’ by Marcus Gardley. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why Shakespeare isn’t a model for American playwrights is a mystery of the field and an odd cultural misstep down the stairs of irrelevance. For now, at least we can marvel at Marcus Gardley’s contemporary twist on the Shakespearian romance, \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/black-odyssey-evokes-emmett-till-hurricane-katrina-and-homer/\" rel=\"noopener\" target=\"_blank\">\u003cem>Black Odyssey\u003c/em>\u003c/a>, simultaneously a love letter to Oakland, a testament to African-American faith and resilience, and a complex accounting of guilt and innocence. Here is a true epic, where the twists and turns of life keep on revealing what a miracle it is just to hold on and make it through one more day — over 16 long years of struggle. (\u003cem>Black Odyssey\u003c/em> returns to \u003ca href=\"http://www.calshakes.org\">Cal Shakes\u003c/a> for two weeks at the end of next summer.)\u003c/p>\n\u003cp>\u003cstrong>1. Marin Theatre Company, Thomas Bradshaw’s \u003cem>Thomas and Sally\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg\" alt=\"Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Easily 2017’s most controversial and outrageous play, \u003ca href=\"https://ww2.kqed.org/arts/2017/10/12/thomas-and-sally-thomas-bradshaw-marin-theater-company/\" rel=\"noopener\" target=\"_blank\">\u003cem>Thomas and Sally\u003c/em>\u003c/a> (a Marin Theatre Company world premiere) rushes headlong into the shadows and corners of a newly minted America already tainted by its idiot embrace of slavery. Bradshaw’s depiction of the 44-year old Thomas Jefferson’s love affair with his 15-year old slave Sally Hemings is both a bold, grand romance and a wary take on whether love is even possible under those conditions. With a scientist’s eye for the ugly facts of human nature and a touch of Hitchcock’s \u003cem>Vertigo\u003c/em> (Hemings was the half-sister of Jefferson’s dead wife), Bradshaw’s comic epic imagines that we are all the daughters of the revolution — just not the revolution we thought.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817662/the-best-bay-area-theater-of-2017","authors":["8668"],"series":["arts_3461"],"categories":["arts_967"],"tags":["arts_1890","arts_1789","arts_1118","arts_2331","arts_596","arts_769","arts_2360","arts_3392"],"featImg":"arts_13817671","label":"arts_3461"},"arts_13807585":{"type":"posts","id":"arts_13807585","meta":{"index":"posts_1591205157","site":"arts","id":"13807585","score":null,"sort":[1504752387000]},"guestAuthors":[],"slug":"taylor-macs-american-history-in-feathers-and-sky-high-heels","title":"Taylor Mac's American History in Feathers and Sky-High Heels","publishDate":1504752387,"format":"standard","headTitle":"Taylor Mac’s American History in Feathers and Sky-High Heels | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cstrong>Sept. 15-27:\u003c/strong> \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac’s\u003c/a>\u003cem> 24-Decade History of Popular Music\u003c/em> is perhaps the most ambitious of the shows we’re previewing this week on the Do List. It’s a solo piece (albeit with a small orchestra backing the songs), but Mac sings and lectures his way through the full span of American history, focusing on its hypocrisies, betrayals and unfulfilled promises as portrayed in songs from “Yankee Doodle” to “Amazing Grace.” This is what Mac calls a “radical faerie” take on the subject, meaning Mac mixes radical left-wing politics with a radical sense of humor, and what the \u003cem>New York Times\u003c/em>‘ critic Wesley Morris calls a “a radical sense of beauty.” Mac towers over the stage in heels and sparkly costumes, topped by giant feathered headdresses à la Carmen Miranda. But beware, he plays theater games too, with lots of audience involvement. Mac is as happy to annoy you as thrill you with this musical, as long you leave the theater feeling something. For his four nights at the Curran Theater (Sept. 15–24), \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a> For his abridged three-hour version of the show at Bing Concert Hall at Stanford, \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JHSaoMVqta4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Taylor Mac's '24-Decade History of Popular Music' covers the full span of American history.","status":"publish","parent":0,"modified":1705029605,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":223},"headData":{"title":"Taylor Mac's American History in Feathers and Sky-High Heels | KQED","description":"Taylor Mac's '24-Decade History of Popular Music' covers the full span of American history.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Taylor Mac's American History in Feathers and Sky-High Heels","datePublished":"2017-09-07T02:46:27.000Z","dateModified":"2024-01-12T03:20:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13807585/taylor-macs-american-history-in-feathers-and-sky-high-heels","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Sept. 15-27:\u003c/strong> \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac’s\u003c/a>\u003cem> 24-Decade History of Popular Music\u003c/em> is perhaps the most ambitious of the shows we’re previewing this week on the Do List. It’s a solo piece (albeit with a small orchestra backing the songs), but Mac sings and lectures his way through the full span of American history, focusing on its hypocrisies, betrayals and unfulfilled promises as portrayed in songs from “Yankee Doodle” to “Amazing Grace.” This is what Mac calls a “radical faerie” take on the subject, meaning Mac mixes radical left-wing politics with a radical sense of humor, and what the \u003cem>New York Times\u003c/em>‘ critic Wesley Morris calls a “a radical sense of beauty.” Mac towers over the stage in heels and sparkly costumes, topped by giant feathered headdresses à la Carmen Miranda. But beware, he plays theater games too, with lots of audience involvement. Mac is as happy to annoy you as thrill you with this musical, as long you leave the theater feeling something. For his four nights at the Curran Theater (Sept. 15–24), \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a> For his abridged three-hour version of the show at Bing Concert Hall at Stanford, \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JHSaoMVqta4'\n title='//www.youtube.com/embed/JHSaoMVqta4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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/13807585/taylor-macs-american-history-in-feathers-and-sky-high-heels","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_76","arts_69","arts_235","arts_75"],"tags":["arts_2308","arts_1789","arts_1006","arts_596","arts_2265","arts_626"],"featImg":"arts_13807587","label":"arts_140"},"arts_13141032":{"type":"posts","id":"arts_13141032","meta":{"index":"posts_1591205157","site":"arts","id":"13141032","score":null,"sort":[1493751615000]},"guestAuthors":[],"slug":"simon-mcburneys-the-encounter-is-an-elevator-pitch-disguised-as-a-play","title":"Simon McBurney's 'The Encounter' is an Elevator Pitch Disguised as a Play","publishDate":1493751615,"format":"standard","headTitle":"Simon McBurney’s ‘The Encounter’ is an Elevator Pitch Disguised as a Play | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The British company \u003ca href=\"http://www.complicite.org/\" target=\"_blank\" rel=\"noopener\">Complicite\u003c/a>’s production of Simon McBurney’s one-man high-tech extravaganza, \u003ca href=\"https://sfcurran.com/shows/the-encounter/?gclid=Cj0KEQjwuZvIBRD-8Z6B2M2Sy68BEiQAtjYS3NT65v183CyaU7umJoOpGciCXdNCEm5eDdMmbO9bFfQaAvNj8P8HAQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Encounter\u003c/em>\u003c/a>, has the sharp kick of a Hollywood pitch: \u003cem>National Geographic\u003c/em> photojournalist Loren McIntyre slips into the Amazon jungle on assignment, gets lost, and spends two months with the remote Mayoruna tribe, whose members alternately dismiss, torture, and nurse him back to life. Along the way, he learns to speak telepathically to tribal elders, and feels that he has somehow reached the beginning or end of time.\u003c/p>\n\u003cp>It’s a classic setup, reminiscent of Joseph Conrad’s \u003cem>Heart of Darkness\u003c/em>, Werner Herzog’s \u003cem>Aguirre, the Wrath of God\u003c/em>, not to mention Ridley Scott’s \u003cem>Alien\u003c/em> and Homer’s \u003cem>The Odyssey\u003c/em>. The promise of getting lost is always tantalizing, which of course is the pleasure of the journey — or at least the tale of one.\u003c/p>\n\u003cfigure id=\"attachment_13141298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-800x450.jpg\" alt=\"Simon McBurney as 'National Geographic' photographer Loren McIntyre in 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Simon McBurney as ‘National Geographic’ photographer Loren McIntyre in ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Robbie Jack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show begins with a rather amusing description of its sophisticated sound technology. Under McBurney’s direction, the entire audience dons headphones and gets a lesson in the mysteries of sound. Center stage is an amazing piece of equipment known as a “binaural microphone.” With it, McBurney can whisper into our collective ears, as if he were standing right beside each of us.\u003c/p>\n\u003cp>You don’t doubt the theatrical potential of such technology, but you do wonder what’s next: an explanation of the wonders of programmable lighting boards, or the physics of counter-weight rigging systems? McBurney takes what is essentially a tool and treats it as a philosophical insight of startling scope. What we’re here for is McIntyre’s jungle freakout, but what McBurney gives us is a lecture on method and themes.\u003c/p>\n\u003cp>He makes three claims up front: that “stories are how we understand life,” that the “past is probably more important to you than your present,” and, with the help of a recording of Marcus du Sautoy, a math professor at Oxford University, that time is “just a fiction. Something that we have made up in order to make sense of the world.” Yes, all that might be true, but it feels like a dodge, a way of pre-declaring the importance of the work rather than taking a chance with actual art.\u003c/p>\n\u003cfigure id=\"attachment_13141302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-800x428.jpg\" alt=\"'National Geographic' photographer Loren McIntyre (Simon McBurney) finds himself lost in the jungle, which is maybe what he wanted in 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-768x411.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1020x546.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1920x1027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1180x631.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-960x513.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-520x278.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘National Geographic’ photographer Loren McIntyre (Simon McBurney) finds himself lost in the jungle, which is maybe what he wanted in ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Tristram Kenton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McIntyre’s story is fascinating — full of nagging inconsistencies and strange motivations. What was he expecting when he ordered his pilot to drop him at a riverbank beach and come back to get him in two or three days, at least 400 miles from any kind of civilization? And why did he follow the Mayoruna into the jungle without the slightest idea of how to get back? Yes, McIntyre wanted pictures and a terrific story. But it seems that more than anything else, he wanted to get lost.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And this is where you would expect the show’s sound design, by Gareth Fry and Pete Malkin, to soar and throw us into a maze of disorientation. (The \u003ca href=\"http://www.broadwayworld.com/article/Gareth-Fry-and-Pete-Malkin-to-Be-Honored-with-2017-Special-Tony-Awards-for-THE-ENCOUNTER-20170501\" target=\"_blank\" rel=\"noopener\">Tony Awards Committee\u003c/a> just announced that it will be presenting the pair with a special award for their work on \u003cem>The Encounter\u003c/em>.) Yet instead of radically destroying our perception of time and space, which is what happened to McIntyre in the jungle, McBurney slavishly adheres to the creakiest conventions of one-man stage plays.\u003c/p>\n\u003cp>Nothing much actually happens in \u003cem>The Encounter\u003c/em> without an explanation about what is happening, or what it means, or the philosophical importance of that meaning. McIntyre talks to himself in bite-sized bits of audience-friendly information: “My Camera! I’d fallen asleep with it on my hip and now I don’t have it. Where was it?” And every action is both acted out and narrated at the same time, so that when McIntyre runs he’s constantly reminding us that he’s, well, running: “I started jogging,” “running felt good,” “I ran on.”\u003c/p>\n\u003cp>If that weren’t enough to strain patience, McBurney, as himself, narrates each moment with a novelistic detail that numbs and overwhelms: “Loren McIntyre’s knees gave way and he just sank to the floor. He sat there. Inches from his damaged camera. Useless.” That’s merely the beginning of a lengthy description of McIntyre losing his camera, and there are scores of passages just like this from start to finish of the two-hour-long, intermission-less show.\u003c/p>\n\u003cfigure id=\"attachment_13141305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-800x450.jpg\" alt=\"The binaural microphone might be the true and underutilized star of 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The binaural microphone might be the true and underutilized star of ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Guy Coletta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, this is not an experience so much as a bludgeoning of the possibility of any experience at all. Like McIntyre, we yearn for strange and authentic encounters. But that requires trust, and trust is what McBurney refuses to grant us. This isn’t art, but prestige dressed up in the guise of radical experimentation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Encounter’ runs through Sunday, May 7, at the Curran Theater in San Francisco. Tickets and more information \u003ca href=\"https://sfcurran.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"If 'The Encounter' were a movie, it’d be making a run for the Oscars.","status":"publish","parent":0,"modified":1705030783,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":924},"headData":{"title":"Simon McBurney's 'The Encounter' is an Elevator Pitch Disguised as a Play | KQED","description":"If 'The Encounter' were a movie, it’d be making a run for the Oscars.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Simon McBurney's 'The Encounter' is an Elevator Pitch Disguised as a Play","datePublished":"2017-05-02T19:00:15.000Z","dateModified":"2024-01-12T03:39:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13141032/simon-mcburneys-the-encounter-is-an-elevator-pitch-disguised-as-a-play","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The British company \u003ca href=\"http://www.complicite.org/\" target=\"_blank\" rel=\"noopener\">Complicite\u003c/a>’s production of Simon McBurney’s one-man high-tech extravaganza, \u003ca href=\"https://sfcurran.com/shows/the-encounter/?gclid=Cj0KEQjwuZvIBRD-8Z6B2M2Sy68BEiQAtjYS3NT65v183CyaU7umJoOpGciCXdNCEm5eDdMmbO9bFfQaAvNj8P8HAQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Encounter\u003c/em>\u003c/a>, has the sharp kick of a Hollywood pitch: \u003cem>National Geographic\u003c/em> photojournalist Loren McIntyre slips into the Amazon jungle on assignment, gets lost, and spends two months with the remote Mayoruna tribe, whose members alternately dismiss, torture, and nurse him back to life. Along the way, he learns to speak telepathically to tribal elders, and feels that he has somehow reached the beginning or end of time.\u003c/p>\n\u003cp>It’s a classic setup, reminiscent of Joseph Conrad’s \u003cem>Heart of Darkness\u003c/em>, Werner Herzog’s \u003cem>Aguirre, the Wrath of God\u003c/em>, not to mention Ridley Scott’s \u003cem>Alien\u003c/em> and Homer’s \u003cem>The Odyssey\u003c/em>. The promise of getting lost is always tantalizing, which of course is the pleasure of the journey — or at least the tale of one.\u003c/p>\n\u003cfigure id=\"attachment_13141298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-800x450.jpg\" alt=\"Simon McBurney as 'National Geographic' photographer Loren McIntyre in 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Simon McBurney as ‘National Geographic’ photographer Loren McIntyre in ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Robbie Jack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show begins with a rather amusing description of its sophisticated sound technology. Under McBurney’s direction, the entire audience dons headphones and gets a lesson in the mysteries of sound. Center stage is an amazing piece of equipment known as a “binaural microphone.” With it, McBurney can whisper into our collective ears, as if he were standing right beside each of us.\u003c/p>\n\u003cp>You don’t doubt the theatrical potential of such technology, but you do wonder what’s next: an explanation of the wonders of programmable lighting boards, or the physics of counter-weight rigging systems? McBurney takes what is essentially a tool and treats it as a philosophical insight of startling scope. What we’re here for is McIntyre’s jungle freakout, but what McBurney gives us is a lecture on method and themes.\u003c/p>\n\u003cp>He makes three claims up front: that “stories are how we understand life,” that the “past is probably more important to you than your present,” and, with the help of a recording of Marcus du Sautoy, a math professor at Oxford University, that time is “just a fiction. Something that we have made up in order to make sense of the world.” Yes, all that might be true, but it feels like a dodge, a way of pre-declaring the importance of the work rather than taking a chance with actual art.\u003c/p>\n\u003cfigure id=\"attachment_13141302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-800x428.jpg\" alt=\"'National Geographic' photographer Loren McIntyre (Simon McBurney) finds himself lost in the jungle, which is maybe what he wanted in 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-768x411.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1020x546.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1920x1027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1180x631.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-960x513.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-520x278.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘National Geographic’ photographer Loren McIntyre (Simon McBurney) finds himself lost in the jungle, which is maybe what he wanted in ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Tristram Kenton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McIntyre’s story is fascinating — full of nagging inconsistencies and strange motivations. What was he expecting when he ordered his pilot to drop him at a riverbank beach and come back to get him in two or three days, at least 400 miles from any kind of civilization? And why did he follow the Mayoruna into the jungle without the slightest idea of how to get back? Yes, McIntyre wanted pictures and a terrific story. But it seems that more than anything else, he wanted to get lost.\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>And this is where you would expect the show’s sound design, by Gareth Fry and Pete Malkin, to soar and throw us into a maze of disorientation. (The \u003ca href=\"http://www.broadwayworld.com/article/Gareth-Fry-and-Pete-Malkin-to-Be-Honored-with-2017-Special-Tony-Awards-for-THE-ENCOUNTER-20170501\" target=\"_blank\" rel=\"noopener\">Tony Awards Committee\u003c/a> just announced that it will be presenting the pair with a special award for their work on \u003cem>The Encounter\u003c/em>.) Yet instead of radically destroying our perception of time and space, which is what happened to McIntyre in the jungle, McBurney slavishly adheres to the creakiest conventions of one-man stage plays.\u003c/p>\n\u003cp>Nothing much actually happens in \u003cem>The Encounter\u003c/em> without an explanation about what is happening, or what it means, or the philosophical importance of that meaning. McIntyre talks to himself in bite-sized bits of audience-friendly information: “My Camera! I’d fallen asleep with it on my hip and now I don’t have it. Where was it?” And every action is both acted out and narrated at the same time, so that when McIntyre runs he’s constantly reminding us that he’s, well, running: “I started jogging,” “running felt good,” “I ran on.”\u003c/p>\n\u003cp>If that weren’t enough to strain patience, McBurney, as himself, narrates each moment with a novelistic detail that numbs and overwhelms: “Loren McIntyre’s knees gave way and he just sank to the floor. He sat there. Inches from his damaged camera. Useless.” That’s merely the beginning of a lengthy description of McIntyre losing his camera, and there are scores of passages just like this from start to finish of the two-hour-long, intermission-less show.\u003c/p>\n\u003cfigure id=\"attachment_13141305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-800x450.jpg\" alt=\"The binaural microphone might be the true and underutilized star of 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The binaural microphone might be the true and underutilized star of ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Guy Coletta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, this is not an experience so much as a bludgeoning of the possibility of any experience at all. Like McIntyre, we yearn for strange and authentic encounters. But that requires trust, and trust is what McBurney refuses to grant us. This isn’t art, but prestige dressed up in the guise of radical experimentation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Encounter’ runs through Sunday, May 7, at the Curran Theater in San Francisco. Tickets and more information \u003ca href=\"https://sfcurran.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13141032/simon-mcburneys-the-encounter-is-an-elevator-pitch-disguised-as-a-play","authors":["8668"],"categories":["arts_967"],"tags":["arts_1789","arts_1118","arts_596","arts_769"],"featImg":"arts_13141297","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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