A Reworked 'Harry Potter and the Cursed Child' Brings Its Magic Back to the Curran
Ticket Alert: ‘Harry Potter and the Cursed Child’ Returns to the Curran Theatre
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Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle
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Not a casual “I watched the movies” kind of fan, either. I have two \u003cem>Harry Potter\u003c/em> tattoos, my email address includes the word “potter,” and—you guessed it—I own my own wand.\u003c/p>\n\u003cp>So, when offered the opportunity to see \u003cem>Harry Potter and the Cursed Child\u003c/em>, which reopened last week at the Curran Theatre in San Francisco, I didn’t hesitate. I had read the play and admittedly wasn’t crazy about the story. It was long, too—and enduring six hours of the lesser \u003cem>Potter\u003c/em> didn’t particularly appeal to me.\u003c/p>\n\u003cp>But now, after a redesign from its original, two-separate-performances form (read the \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">KQED review here\u003c/a>), \u003cem>The Cursed Child\u003c/em> has been shortened to just one three-hour play. And maybe it’s the nostalgia of the 20-year anniversary special on HBO, or the release of the new \u003cem>Fantastic Beasts and Where to Find Them\u003c/em>, but seeing my favorite trio back in action, I was not disappointed.\u003c/p>\n\u003cfigure id=\"attachment_13870730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg\" alt=\"An epic battle against darkness in 'Harry Potter and the Cursed Child' at the Curran Theatre.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13870730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An epic battle against darkness in ‘Harry Potter and the Cursed Child’ at the Curran Theatre. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately, the audience is transported to where the series left off in the epilogue of \u003cem>Deathly Hallows\u003c/em>. Standing at Platform 9¾ is Harry, Ron, and Hermione, and soon we’re introduced to Albus Severus Potter, the timid and unsure son of the “Boy Who Lived.”\u003c/p>\n\u003cp>I don’t want to give too much away story-wise, but I can say what had me mesmerized was, simply put, the magic. Swooshing capes, flying Dementors soaring over the audience, duels to rival those that occurred in the Ministry of Magic—and I believed every second of it. My eyes twinkled in awe, consumed with the sheer magnitude of the production. I had almost forgotten how \u003cem>much\u003c/em> I loved these characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re one of the millions of Potter fans like me, I can tell you: It was that first-book feeling, when you feel energized by this world of wizards, witches, centaurs and most importantly: magic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Happy Potter and the Cursed Child’ runs for eight performances each week at the Curran Theatre in San Francisco. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Now presented as a single play, 'Harry Potter and the Cursed Child' is irresistible fun for diehard fans. ","status":"publish","parent":0,"modified":1705007136,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":391},"headData":{"title":"A Reworked 'Harry Potter and the Cursed Child' Brings Its Magic Back to the Curran | KQED","description":"Now presented as a single play, 'Harry Potter and the Cursed Child' is irresistible fun for diehard fans. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Reworked 'Harry Potter and the Cursed Child' Brings Its Magic Back to the Curran","datePublished":"2022-03-03T22:43:53.000Z","dateModified":"2024-01-11T21:05:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"a-reworked-harry-potter-and-the-cursed-child-works-magic-at-the-curran","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13910038/reworked-harry-potter-and-the-cursed-child-curran","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I need to start with a disclaimer: I am a \u003cem>Harry Potter\u003c/em> fanatic. Not a casual “I watched the movies” kind of fan, either. I have two \u003cem>Harry Potter\u003c/em> tattoos, my email address includes the word “potter,” and—you guessed it—I own my own wand.\u003c/p>\n\u003cp>So, when offered the opportunity to see \u003cem>Harry Potter and the Cursed Child\u003c/em>, which reopened last week at the Curran Theatre in San Francisco, I didn’t hesitate. I had read the play and admittedly wasn’t crazy about the story. It was long, too—and enduring six hours of the lesser \u003cem>Potter\u003c/em> didn’t particularly appeal to me.\u003c/p>\n\u003cp>But now, after a redesign from its original, two-separate-performances form (read the \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">KQED review here\u003c/a>), \u003cem>The Cursed Child\u003c/em> has been shortened to just one three-hour play. And maybe it’s the nostalgia of the 20-year anniversary special on HBO, or the release of the new \u003cem>Fantastic Beasts and Where to Find Them\u003c/em>, but seeing my favorite trio back in action, I was not disappointed.\u003c/p>\n\u003cfigure id=\"attachment_13870730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg\" alt=\"An epic battle against darkness in 'Harry Potter and the Cursed Child' at the Curran Theatre.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13870730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An epic battle against darkness in ‘Harry Potter and the Cursed Child’ at the Curran Theatre. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately, the audience is transported to where the series left off in the epilogue of \u003cem>Deathly Hallows\u003c/em>. Standing at Platform 9¾ is Harry, Ron, and Hermione, and soon we’re introduced to Albus Severus Potter, the timid and unsure son of the “Boy Who Lived.”\u003c/p>\n\u003cp>I don’t want to give too much away story-wise, but I can say what had me mesmerized was, simply put, the magic. Swooshing capes, flying Dementors soaring over the audience, duels to rival those that occurred in the Ministry of Magic—and I believed every second of it. My eyes twinkled in awe, consumed with the sheer magnitude of the production. I had almost forgotten how \u003cem>much\u003c/em> I loved these characters.\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>If you’re one of the millions of Potter fans like me, I can tell you: It was that first-book feeling, when you feel energized by this world of wizards, witches, centaurs and most importantly: magic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Happy Potter and the Cursed Child’ runs for eight performances each week at the Curran Theatre in San Francisco. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13910038/reworked-harry-potter-and-the-cursed-child-curran","authors":["11789"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_2372","arts_1376","arts_769","arts_1072","arts_585"],"featImg":"arts_13910048","label":"arts_140"},"arts_13900093":{"type":"posts","id":"arts_13900093","meta":{"index":"posts_1591205157","site":"arts","id":"13900093","score":null,"sort":[1626805822000]},"guestAuthors":[],"slug":"ticket-alert-harry-potter-and-the-cursed-child-returns-to-the-curran-theatre","title":"Ticket Alert: ‘Harry Potter and the Cursed Child’ Returns to the Curran Theatre","publishDate":1626805822,"format":"standard","headTitle":"Ticket Alert: ‘Harry Potter and the Cursed Child’ Returns to the Curran Theatre | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In some ways, the Wizarding world isn’t so different from its Muggle counterpart. All the divination professors in the world couldn’t foresee the COVID-19 pandemic—and, during the lockdown, Hogwarts shuttered its campus just like any other Muggle school. At least that’s what happened when the cast and crew of \u003cem>Harry Potter and the Cursed Child\u003c/em> found themselves locked out of their magical castle of the Curran Theatre just months after the play’s \u003ca href=\"https://www.kqed.org/forum/2010101874957/harry-potter-onstage\" rel=\"noopener noreferrer\" target=\"_blank\">2019 San Francisco premiere\u003c/a>. \u003c/p>\n\u003cp>Also, just like regular schools, later and later dates were announced for the play’s reopening. First May 30, then Nov. 28—and now, finally, Jan. 11, 2022, when witches and wizards will take to the Quidditch fields once again as \u003cem>Harry Potter and the Cursed Child\u003c/em> reopens. Tickets to the general public \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">go on sale\u003c/a> at 10am on Wednesday, July 21, and judging from the play’s packed houses of cosplaying Potter fans pre-pandemic, they’re sure to disappear quickly. \u003c/p>\n\u003cp>[aside postID='arts_13870645']Things aren’t going completely back to normal just yet: this version of \u003cem>Harry Potter and the Cursed Child\u003c/em> is modified to comply with pandemic safety protocol. The original \u003cem>Cursed Child\u003c/em> was a two-part, five-hour long epic with a dinner break in between, while the new staging of the play condenses the plot into one intermission-less evening production.\u003c/p>\n\u003cp>The eighth “book” in the Harry Potter series, \u003cem>Cursed Child\u003c/em> takes place more than a decade after the first seven books. The familiar faces from the Second Wizarding War like Harry and Draco Malfroy are now middle-aged, and preparing to send their children off to their alma mater. Albus Potter and Scorpius Malfoy, however, take after their parents with their talent for sniffing out trouble, and begin messing with time-turners to undo one of the great tragedies from the original series—the death of Cedric Diggory during the events of \u003cem>Goblet of Fire\u003c/em>. \u003c/p>\n\u003cp>The meaty, canon-altering plot of \u003cem>Cursed Child\u003c/em> drove fans wild when the play \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">premiered two years ago\u003c/a>, and their zeal is not to be underestimated. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tickets and details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Tickets for the immensely popular, canon-altering play go on sale Wednesday, July 21.","status":"publish","parent":0,"modified":1705008074,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":368},"headData":{"title":"Ticket Alert: ‘Harry Potter and the Cursed Child’ Returns to the Curran Theatre | KQED","description":"Tickets for the immensely popular, canon-altering play go on sale Wednesday, July 21.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ticket Alert: ‘Harry Potter and the Cursed Child’ Returns to the Curran Theatre","datePublished":"2021-07-20T18:30:22.000Z","dateModified":"2024-01-11T21:21:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Adesh Thapliyal","templateType":"standard","featuredImageType":"standard","path":"/arts/13900093/ticket-alert-harry-potter-and-the-cursed-child-returns-to-the-curran-theatre","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In some ways, the Wizarding world isn’t so different from its Muggle counterpart. All the divination professors in the world couldn’t foresee the COVID-19 pandemic—and, during the lockdown, Hogwarts shuttered its campus just like any other Muggle school. At least that’s what happened when the cast and crew of \u003cem>Harry Potter and the Cursed Child\u003c/em> found themselves locked out of their magical castle of the Curran Theatre just months after the play’s \u003ca href=\"https://www.kqed.org/forum/2010101874957/harry-potter-onstage\" rel=\"noopener noreferrer\" target=\"_blank\">2019 San Francisco premiere\u003c/a>. \u003c/p>\n\u003cp>Also, just like regular schools, later and later dates were announced for the play’s reopening. First May 30, then Nov. 28—and now, finally, Jan. 11, 2022, when witches and wizards will take to the Quidditch fields once again as \u003cem>Harry Potter and the Cursed Child\u003c/em> reopens. Tickets to the general public \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">go on sale\u003c/a> at 10am on Wednesday, July 21, and judging from the play’s packed houses of cosplaying Potter fans pre-pandemic, they’re sure to disappear quickly. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13870645","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Things aren’t going completely back to normal just yet: this version of \u003cem>Harry Potter and the Cursed Child\u003c/em> is modified to comply with pandemic safety protocol. The original \u003cem>Cursed Child\u003c/em> was a two-part, five-hour long epic with a dinner break in between, while the new staging of the play condenses the plot into one intermission-less evening production.\u003c/p>\n\u003cp>The eighth “book” in the Harry Potter series, \u003cem>Cursed Child\u003c/em> takes place more than a decade after the first seven books. The familiar faces from the Second Wizarding War like Harry and Draco Malfroy are now middle-aged, and preparing to send their children off to their alma mater. Albus Potter and Scorpius Malfoy, however, take after their parents with their talent for sniffing out trouble, and begin messing with time-turners to undo one of the great tragedies from the original series—the death of Cedric Diggory during the events of \u003cem>Goblet of Fire\u003c/em>. \u003c/p>\n\u003cp>The meaty, canon-altering plot of \u003cem>Cursed Child\u003c/em> drove fans wild when the play \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">premiered two years ago\u003c/a>, and their zeal is not to be underestimated. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tickets and details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13900093/ticket-alert-harry-potter-and-the-cursed-child-returns-to-the-curran-theatre","authors":["byline_arts_13900093"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_967"],"tags":["arts_2372","arts_1376","arts_1072","arts_700"],"featImg":"arts_13900107","label":"arts_140"},"arts_13870645":{"type":"posts","id":"arts_13870645","meta":{"index":"posts_1591205157","site":"arts","id":"13870645","score":null,"sort":[1575391765000]},"guestAuthors":[],"slug":"bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child","title":"Bedlam and Broomsticks: A 12-Year-Old Fan Reviews 'Harry Potter and the Cursed Child'","publishDate":1575391765,"format":"standard","headTitle":"Bedlam and Broomsticks: A 12-Year-Old Fan Reviews ‘Harry Potter and the Cursed Child’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>After more than a month of previews, \u003cem>Harry Potter and the Cursed Child \u003c/em>opened at the Curran Theatre with a Sunday marathon of both Parts One and Two—over five hours of wizardly drama and human emotion.\u003c/p>\n\u003cp>Beyond the first few books, my knowledge of Harry Potter lore is woefully minimal. So I brought a guide. Juliana Greco is 12 years old, and a proud Gryffindor. She first read the entire series of Harry Potter books when she was eight, has seen all the movies, and even went to a midnight book release party for the published script of \u003cem>Harry Potter and the Cursed Child\u003c/em> in 2016. Plus, she went to the very first preview performance of \u003cem>Harry Potter and the Cursed Child\u003c/em> back in October. Besides \u003cem>The Nutcracker\u003c/em> at the San Francisco Ballet, this wildly inventive, epic production is her first play.\u003c/p>\n\u003cfigure id=\"attachment_13870658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870658\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern-.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My tour guide to all things Harry Potter, guest critic Juliana Greco. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: What’s something you noticed this time around that you hadn’t noticed before (during the preview performance)?\u003c/strong>\u003c/p>\n\u003cp>Juliana Greco: They use suitcases a lot, as props. They sat on the suitcases in the Hogwarts Express, and then they used them stacked for the top of the train, and then they walked out with the suitcases while they put things on the stage, to distract us.\u003c/p>\n\u003cfigure id=\"attachment_13870668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suitcase-train car, with Katherine Leask, Benjamin Papac, and Jon Steiger. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>That’s a really good observation. They use them as tombstones too, I noticed. What’s another?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lighting. I noticed that in different scenes it’s lighter or darker…like the forbidden forest and the lake need to be darker, but they still put small spotlights on the people so we could see them. And then in later scenes, like at Hogwarts, or the Ministry of Magic, you would need more light.\u003c/p>\n\u003cp>\u003cstrong>I thought the lighting (designed by Neil Austin) was \u003cem>very\u003c/em> well done. As long as we’re talking about lights, how did the sound affect you? What did you think about it?\u003c/strong>\u003c/p>\n\u003cp>I liked the sound, because it kind of helped make it more magical, and make the effects seem like they had sounds…The music is there to \u003cem>feel\u003c/em> it, so you don’t just hear talking, but you can feel what they feel as their characters…like maybe they’re sad or there’s something they’re realizing.\u003c/p>\n\u003cfigure id=\"attachment_13870666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A perfect lighting moment in an alternate, totalitarian universe. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s a favorite magic trick that you saw in the play?\u003c/strong>\u003c/p>\n\u003cp>I think the time-turner, because it brings them back in time. And that wavy movement on the stage, as if time is rippling back, is really magical.\u003c/p>\n\u003cp>\u003cstrong>It’s pretty cool. I don’t think I’ve seen something like that on a stage before.\u003c/strong>\u003c/p>\n\u003cp>Also, the sound makes it feel like it’s vibrating, which makes you feel like you’re vibrating.\u003c/p>\n\u003cp>\u003cstrong>Yeah, like \u003cem>you’re \u003c/em>going back in time.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A magic bookcase is one of the many, inventive effects in Harry Potter and the Cursed Child. With Yanna McIntosh, David Abeles, and John Skelley. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production design was indeed a highlight. Although the musical score penned by alt-rocker Imogen Heap struck me in places as being overly cinematic, as Juliana noted, the sound design by Gareth Fry lent veracity to the magic effects. The lighting shouldered much of the burden of shifting time and place, in a palette that encompassed the warm glow of a family home, the aquatic blues of a dazzling underwater sequence, and the harsh vision of a totalitarian alternate reality. Meanwhile, the magical staging offered just the right balance between humor and wonder (illusions and magic by Jamie Harrison, bolstered by key video projections by Finn Ross and Ash J. Woodward). Startling, immersive flourishes beyond the elaborately arched set (Christine Jones), such as the Hogwarts carpeting and wallpaper adorning the Curran, and occasional breaks in the fourth wall added greatly to the experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13870663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1920x1256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BFF’s Scorpius Malfoy (Jon Steiger) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did you think of the acting?\u003c/strong>\u003c/p>\n\u003cp>I think the actor who plays Scorpius Malfoy (Jon Steiger) does a really good job.\u003c/p>\n\u003cp>\u003cstrong>I agree, he makes you really feel for the character. What do you think of Scorpius as a character? He seems very different than any of the characters that we’re used to from the books.\u003c/strong>\u003c/p>\n\u003cp>I like how he represents how you don’t have to be evil to be Slytherin. He kind of shows that just because he is Draco’s son doesn’t mean he’s mean, or that he \u003cem>wants\u003c/em> to be a Malfoy. Just like Albus doesn’t want to be Harry Potter’s son….But after he comes back (from the time-travel altered world), he is braver. He sort of helps to lead Albus, instead of him following.\u003c/p>\n\u003cp>\u003cstrong>What other acting stands out for you?\u003c/strong>\u003c/p>\n\u003cp>I think the actor of Ginny Potter (Angela Reed) stands out really well, and also all of the actors that are \u003cem>meant\u003c/em> to stand out. Especially Delphi Diggory (Emily Juliette Murphy) and Moaning Myrtle (Brittany Zeinstra).\u003c/p>\n\u003cfigure id=\"attachment_13870661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ginny Potter (Angela Reed), Harry Potter (John Skelley), Professor McGonagal (Shannon Cochran), and Draco Malfoy (Lucas Hall) search for clues. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any characters that you see yourself in, or that you identify with or feel really connected to?\u003c/strong>\u003c/p>\n\u003cp>Maybe Ginny Potter. Because she’s kind of what Gryffindor is. She’s friendly. She has courage. I’m friendly and I have courage. And she has friends, and she likes being who she is!\u003c/p>\n\u003cp>\u003cstrong>Do you think there’s a message to \u003cem>Harry Potter and the Cursed Child\u003c/em>? Is there something we should be learning from it?\u003c/strong>\u003c/p>\n\u003cp>They did bring up that “love blinds you,” a lot. So I guess it’s about finding the true meaning in somebody, rather than what you think they are.\u003c/p>\n\u003cp>\u003cstrong>Would you recommend this play?\u003c/strong>\u003c/p>\n\u003cp>Yes! But you should probably review the books. You just need to know some facts that will be necessary in watching the play so you don’t have a lot of questions.\u003c/p>\n\u003cfigure id=\"attachment_13870665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg\" alt=\"\" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love blinds. A father-son moment with Harry Potter (John Skelley) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For both of us, Jon Steiger as Scorpius definitely stood out, as a character who undergoes one of the biggest personal evolutions. I also appreciated the jokey, guileless nature of Ron Weasley (David Abeles), the steadfast accountability of Hermione Granger (Yanna McIntosh), and the complementary brusqueness of Draco Malfoy (Lucas Hall) and Professor McGonagall (Shannon Cochran). Although I didn’t always get an at-odds, father-son vibe from the actors who play Harry Potter and Albus Potter (John Skelley and Benjamin Papac), Papac’s BFF connection to Steiger was a delight.\u003c/p>\n\u003cp>As Juliana mentioned, a central theme in the play is that of love, informing even the play’s darkest characters, and bringing everyone’s deepest fears and boldest choices into the light. Occasionally, the many speeches about the powers and pitfalls of love hinder rather than drive the action onstage, and there are definitely scenes that seem superfluous, even maudlin, in this regard. I wouldn’t have understood the details of the historic Triwizard Cup debacle without my tour guide, and those five-plus hours of stage time are a pretty big ask for a fair-weather fan. But the audacious theatricality of \u003cem>Harry Potter and the Cursed Child\u003c/em> does create a real opportunity to turn a new generation onto the magic of live performance, one Polyjuice potion and levitating Dementor at a time.\u003c/p>\n\u003cfigure id=\"attachment_13870667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1200x773.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget to brush up on your Triwizard Cup knowledge before the show. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tickets for ‘Harry Potter and the Cursed Child’ at the Curran Theatre in San Francisco are currently available through June 2020. \u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Our guest reviewer Juliana Greco is 12 years old, a proud Gryffindor, and has plenty to say about 'Harry Potter and the Cursed Child' at the Curran Theatre.","status":"publish","parent":0,"modified":1705021751,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1360},"headData":{"title":"Bedlam and Broomsticks: A 12-Year-Old Fan Reviews 'Harry Potter and the Cursed Child' | KQED","description":"Our guest reviewer Juliana Greco is 12 years old, a proud Gryffindor, and has plenty to say about 'Harry Potter and the Cursed Child' at the Curran Theatre.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bedlam and Broomsticks: A 12-Year-Old Fan Reviews 'Harry Potter and the Cursed Child'","datePublished":"2019-12-03T16:49:25.000Z","dateModified":"2024-01-12T01:09:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Nicole Gluckstern and Juliana Greco","templateType":"standard","featuredImageType":"standard","path":"/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After more than a month of previews, \u003cem>Harry Potter and the Cursed Child \u003c/em>opened at the Curran Theatre with a Sunday marathon of both Parts One and Two—over five hours of wizardly drama and human emotion.\u003c/p>\n\u003cp>Beyond the first few books, my knowledge of Harry Potter lore is woefully minimal. So I brought a guide. Juliana Greco is 12 years old, and a proud Gryffindor. She first read the entire series of Harry Potter books when she was eight, has seen all the movies, and even went to a midnight book release party for the published script of \u003cem>Harry Potter and the Cursed Child\u003c/em> in 2016. Plus, she went to the very first preview performance of \u003cem>Harry Potter and the Cursed Child\u003c/em> back in October. Besides \u003cem>The Nutcracker\u003c/em> at the San Francisco Ballet, this wildly inventive, epic production is her first play.\u003c/p>\n\u003cfigure id=\"attachment_13870658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870658\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern-.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My tour guide to all things Harry Potter, guest critic Juliana Greco. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: What’s something you noticed this time around that you hadn’t noticed before (during the preview performance)?\u003c/strong>\u003c/p>\n\u003cp>Juliana Greco: They use suitcases a lot, as props. They sat on the suitcases in the Hogwarts Express, and then they used them stacked for the top of the train, and then they walked out with the suitcases while they put things on the stage, to distract us.\u003c/p>\n\u003cfigure id=\"attachment_13870668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suitcase-train car, with Katherine Leask, Benjamin Papac, and Jon Steiger. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>That’s a really good observation. They use them as tombstones too, I noticed. What’s another?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lighting. I noticed that in different scenes it’s lighter or darker…like the forbidden forest and the lake need to be darker, but they still put small spotlights on the people so we could see them. And then in later scenes, like at Hogwarts, or the Ministry of Magic, you would need more light.\u003c/p>\n\u003cp>\u003cstrong>I thought the lighting (designed by Neil Austin) was \u003cem>very\u003c/em> well done. As long as we’re talking about lights, how did the sound affect you? What did you think about it?\u003c/strong>\u003c/p>\n\u003cp>I liked the sound, because it kind of helped make it more magical, and make the effects seem like they had sounds…The music is there to \u003cem>feel\u003c/em> it, so you don’t just hear talking, but you can feel what they feel as their characters…like maybe they’re sad or there’s something they’re realizing.\u003c/p>\n\u003cfigure id=\"attachment_13870666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A perfect lighting moment in an alternate, totalitarian universe. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s a favorite magic trick that you saw in the play?\u003c/strong>\u003c/p>\n\u003cp>I think the time-turner, because it brings them back in time. And that wavy movement on the stage, as if time is rippling back, is really magical.\u003c/p>\n\u003cp>\u003cstrong>It’s pretty cool. I don’t think I’ve seen something like that on a stage before.\u003c/strong>\u003c/p>\n\u003cp>Also, the sound makes it feel like it’s vibrating, which makes you feel like you’re vibrating.\u003c/p>\n\u003cp>\u003cstrong>Yeah, like \u003cem>you’re \u003c/em>going back in time.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A magic bookcase is one of the many, inventive effects in Harry Potter and the Cursed Child. With Yanna McIntosh, David Abeles, and John Skelley. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production design was indeed a highlight. Although the musical score penned by alt-rocker Imogen Heap struck me in places as being overly cinematic, as Juliana noted, the sound design by Gareth Fry lent veracity to the magic effects. The lighting shouldered much of the burden of shifting time and place, in a palette that encompassed the warm glow of a family home, the aquatic blues of a dazzling underwater sequence, and the harsh vision of a totalitarian alternate reality. Meanwhile, the magical staging offered just the right balance between humor and wonder (illusions and magic by Jamie Harrison, bolstered by key video projections by Finn Ross and Ash J. Woodward). Startling, immersive flourishes beyond the elaborately arched set (Christine Jones), such as the Hogwarts carpeting and wallpaper adorning the Curran, and occasional breaks in the fourth wall added greatly to the experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13870663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1920x1256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BFF’s Scorpius Malfoy (Jon Steiger) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did you think of the acting?\u003c/strong>\u003c/p>\n\u003cp>I think the actor who plays Scorpius Malfoy (Jon Steiger) does a really good job.\u003c/p>\n\u003cp>\u003cstrong>I agree, he makes you really feel for the character. What do you think of Scorpius as a character? He seems very different than any of the characters that we’re used to from the books.\u003c/strong>\u003c/p>\n\u003cp>I like how he represents how you don’t have to be evil to be Slytherin. He kind of shows that just because he is Draco’s son doesn’t mean he’s mean, or that he \u003cem>wants\u003c/em> to be a Malfoy. Just like Albus doesn’t want to be Harry Potter’s son….But after he comes back (from the time-travel altered world), he is braver. He sort of helps to lead Albus, instead of him following.\u003c/p>\n\u003cp>\u003cstrong>What other acting stands out for you?\u003c/strong>\u003c/p>\n\u003cp>I think the actor of Ginny Potter (Angela Reed) stands out really well, and also all of the actors that are \u003cem>meant\u003c/em> to stand out. Especially Delphi Diggory (Emily Juliette Murphy) and Moaning Myrtle (Brittany Zeinstra).\u003c/p>\n\u003cfigure id=\"attachment_13870661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ginny Potter (Angela Reed), Harry Potter (John Skelley), Professor McGonagal (Shannon Cochran), and Draco Malfoy (Lucas Hall) search for clues. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any characters that you see yourself in, or that you identify with or feel really connected to?\u003c/strong>\u003c/p>\n\u003cp>Maybe Ginny Potter. Because she’s kind of what Gryffindor is. She’s friendly. She has courage. I’m friendly and I have courage. And she has friends, and she likes being who she is!\u003c/p>\n\u003cp>\u003cstrong>Do you think there’s a message to \u003cem>Harry Potter and the Cursed Child\u003c/em>? Is there something we should be learning from it?\u003c/strong>\u003c/p>\n\u003cp>They did bring up that “love blinds you,” a lot. So I guess it’s about finding the true meaning in somebody, rather than what you think they are.\u003c/p>\n\u003cp>\u003cstrong>Would you recommend this play?\u003c/strong>\u003c/p>\n\u003cp>Yes! But you should probably review the books. You just need to know some facts that will be necessary in watching the play so you don’t have a lot of questions.\u003c/p>\n\u003cfigure id=\"attachment_13870665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg\" alt=\"\" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love blinds. A father-son moment with Harry Potter (John Skelley) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For both of us, Jon Steiger as Scorpius definitely stood out, as a character who undergoes one of the biggest personal evolutions. I also appreciated the jokey, guileless nature of Ron Weasley (David Abeles), the steadfast accountability of Hermione Granger (Yanna McIntosh), and the complementary brusqueness of Draco Malfoy (Lucas Hall) and Professor McGonagall (Shannon Cochran). Although I didn’t always get an at-odds, father-son vibe from the actors who play Harry Potter and Albus Potter (John Skelley and Benjamin Papac), Papac’s BFF connection to Steiger was a delight.\u003c/p>\n\u003cp>As Juliana mentioned, a central theme in the play is that of love, informing even the play’s darkest characters, and bringing everyone’s deepest fears and boldest choices into the light. Occasionally, the many speeches about the powers and pitfalls of love hinder rather than drive the action onstage, and there are definitely scenes that seem superfluous, even maudlin, in this regard. I wouldn’t have understood the details of the historic Triwizard Cup debacle without my tour guide, and those five-plus hours of stage time are a pretty big ask for a fair-weather fan. But the audacious theatricality of \u003cem>Harry Potter and the Cursed Child\u003c/em> does create a real opportunity to turn a new generation onto the magic of live performance, one Polyjuice potion and levitating Dementor at a time.\u003c/p>\n\u003cfigure id=\"attachment_13870667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1200x773.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget to brush up on your Triwizard Cup knowledge before the show. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for ‘Harry Potter and the Cursed Child’ at the Curran Theatre in San Francisco are currently available through June 2020. \u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child","authors":["byline_arts_13870645"],"categories":["arts_73","arts_967"],"tags":["arts_2372","arts_1118","arts_1376","arts_769","arts_1146","arts_1072"],"featImg":"arts_13870730","label":"arts"},"arts_13864721":{"type":"posts","id":"arts_13864721","meta":{"index":"posts_1591205157","site":"arts","id":"13864721","score":null,"sort":[1567105246000]},"guestAuthors":[],"slug":"fall-theater-guide-2019-top-plays-and-performances-in-sf-and-the-east-bay","title":"Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay","publishDate":1567105246,"format":"standard","headTitle":"Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>After a summer full of outdoor festivals, touring shows in parks, and family-style recreating, autumn signals a shift—if not in temperature, than in the theatrical climate. For many Bay Area theaters, fall is when new seasons begin, and even for theater companies whose seasons follow the calendar year, rarely is their autumnal offering anything but a grand centerpiece.\u003c/p>\n\u003cp>For even the occasional theatergoer, it’s hard to choose wrong—the real challenge is in narrowing down the field. Here are nine picks from the heavy-hitting months ahead. (And as always, check \u003ca href=\"https://www.kqed.org/thedolist\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for weekly recommendations in music, art and more from KQED Arts editors.)\u003c/p>\n\u003cfigure id=\"attachment_13864734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong and Stacy Ross in Megan Cohen’s ‘Free for All’ at Cutting Ball Theater. \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Free For All’\u003c/h2>\n\u003cp>\u003ci>Cutting Ball Theater, San Francisco\u003cbr>\nSept. 19-Oct. 20, 2019\u003cbr>\n\u003ca href=\"https://cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This highly anticipated world premiere from local playwright and librettist Megan Cohen—the first playwright selected for Cutting Ball Theater’s new playwright commissions program—opens their 21st season with a champagne cork pop. Billed as a “new \u003cem>Miss Julie\u003c/em> for a new world,” this non-naturalistic, San Francisco-centric riff on Strindberg’s problematic interrogation of power dynamics promises comedy, theatricality, and a foray into a future of elegant waste and survivalism. Can San Francisco be saved before half of it washes out to sea? Does anyone even care to try? Directed by Ariel Craft.\u003c/p>\n\u003cfigure id=\"attachment_13864731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leigh Rondon-Davis, Christell Lewis, and Everett Moore star in ‘Inked Baby’ at Crowded Fire Theater. \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Inked Baby’\u003c/h2>\n\u003cp>\u003ci>Crowded Fire Theater, San Francisco\u003cbr>\nSept. 12-Oct. 5, 2019\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/inked-baby/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Crowded Fire Theater continues its tradition of bringing dynamic American playwrights to their Potrero Hill stage with this early Christina Anderson work. A playwright with a history of Crowded Fire productions (they produced her \u003cem>Drip\u003c/em> in 2009, and \u003cem>Good Goods\u003c/em> in 2012), and erstwhile Bay Area artistic roots, Anderson has garnered international acclaim for her multi-layered works centering the black American experience. With \u003cem>Inked Baby\u003c/em>, she begins by wrestling with the dynamics of an in-family surrogate pregnancy and winds up in a speculative realm where a mysterious malady ravages the city, and potentially their future. Directed by Lisa Marie Rollins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13864735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caryl Churchill. \u003ccite>(American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caryl Churchill-palooza\u003c/h2>\n\u003cp>\u003cstrong>‘Top Girls’\u003c/strong>\u003cbr>\n\u003ci>A.C.T., San Francisco\u003cbr>\nSept. 19-Oct. 13, 2019\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1920_season/top_girls.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Vinegar Tom\u003c/strong>\u003cbr>\n\u003ci>Shotgun Players, Berkeley\u003cbr>\nDec. 6, 2019-Jan. 5, 2020\u003cbr>\n\u003ca href=\"http://bit.ly/2FPuyCJ\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Hot on the heels of new Caryl Churchill one-acts produced by Berkeley’s Anton’s Well, A.C.T. opens its new season with her best-known work, the \u003cspan class=\"st\">inimitable\u003c/span> \u003cem>Top Girls—\u003c/em>partly set at the most interesting dinner party of all time. Then, closing their season in December, Shotgun Players presents a rollicking rendition of Churchill’s \u003cem>Vinegar Tom\u003c/em>, a Brechtian musical foray set in a 17th century of witchfinders and oppressive patriarchy. It’s a wonderful opportunity for Bay Area theatergoers to reacquaint themselves with multiple decades’ worth of Churchill’s feminist ideals and strong-willed protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13864729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terror Vault returns to the Old Mint. \u003ccite>(Jose A. Guzman Colon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Terror Vault’\u003c/h2>\n\u003cp>\u003ci>The Old Mint, San Francisco\u003cbr>\nOct. 10-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://www.intothedarksf.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Most haunted houses don’t qualify as theater picks, but then again, most haunted houses aren’t 45-minute immersive experiences, scripted and staged by the great Peaches Christ (in collaboration with Non Plus Ultra and legendary haunted house designer David Flower). Last year’s \u003cem>Terror Vault\u003c/em> was a taut tightrope of creepshow, camp, and bloodbath, with a surprisingly cohesive narrative throughline and plenty of (optional) audience participation, and this year’s version looks to be all that and more. This edition introduces \u003cem>Apolcalypse,\u003c/em> a zombie-themed escape-room experience for folks who just can’t get scared enough. Discover the haunted histories of San Francisco’s Old Mint—or become one of them yourself.\u003c/p>\n\u003cfigure id=\"attachment_13864728\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864728\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg\" alt=\"\" width=\"600\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-768x1066.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-865x1200.jpg 865w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dan Wolf. \u003ccite>(TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Haunted Playwrights\u003c/h2>\n\u003cp>\u003cstrong>‘From the Ground Up’\u003c/strong>\u003cbr>\n\u003ci>TheatreFIRST, San Francisco\u003cbr>\nOct. 27-Nov. 10, 2019\u003cbr>\n\u003ca href=\"https://theatrefirst.com/2019-20-season/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill Festival\u003c/strong>\u003cbr>\n\u003ci>Various venues\u003cbr>\nAug. 24-Sept. 29, 2019\u003cbr>\n\u003ca href=\"http://www.eugeneoneill.org/20th-annual-eugene-oneill-festival/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Speaking of hauntings, is there anything so haunted as the unresolved past? TheatreFIRST’s anthology of commissioned short plays explores the personal as peril—and how society is shaped by the supernatural—in \u003cem>From the Ground Up: An Anthology of Ghost Stories Made New\u003c/em>, penned by a who’s-who of some of the Bay Area’s most inventive voices, including Eugenie Chan, Dan Wolf, and Cleavon Smith. Meanwhile, the 20th Annual Eugene O’Neill Festival calls back to a pair of American Theater’s “haunted poets”—Eugene O’Neill and Tennessee Williams. It includes a special weekend of O’Neill’s seafaring short plays at Hyde Street Pier, and a production of his epic \u003cem>Long Day’s Journey Into Night \u003c/em>at his historic Tao House in Danville.\u003c/p>\n\u003cfigure id=\"attachment_13864736\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg\" alt=\"\" width=\"600\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-768x856.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cristina García. \u003ccite>(Central Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Lady Matador’s Hotel’\u003c/h2>\n\u003cp>\u003ci>Central Works, Berkeley\u003cbr>\nOct. 12-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://centralworks.org/the-lady-matadors-hotel/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>So successful was \u003cem>King of Cuba,\u003c/em> last year’s Central Works collaboration with novelist Cristina García, that they’re back this year with another, \u003cem>The Lady Matador’s Hotel\u003c/em>. Adapted from her 2010 book of the same name, \u003cem>The Lady Matador’s Hotel\u003c/em> follows the adventures of an unlikely coterie of travelers, stranded in an unnamed Central American country in a state of political unrest. Featuring a high-caliber cast and directed by Central Works’ co-artistic director, Gary Graves, this production closes out their 29th season with their 65th world premiere.\u003c/p>\n\u003cfigure id=\"attachment_13864733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bubba Weller, Nadia Brown, Nicholas Podany in the New York production of ‘Harry Potter and the Cursed Child.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Harry Potter and the Cursed Child’\u003c/h2>\n\u003cp>\u003ci>The Curran, San Francisco\u003cbr>\nOct. 23, 2019-May 2020\u003cbr>\n\u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Calling all wizards! The extravaganza that is \u003cem>Harry Potter and the Cursed Child \u003c/em>is coming to San Francisco in October for its West Coast premiere under the refurbished Curran Theater roof. \u003cem>Harry Potter and the Cursed Child\u003c/em> features a grown-up Harry and his children, in particular his son Albus, who is heading to Hogwarts. Having been written with the many Harry Potter superfans in mind, the play is a two-part marathon, with tickets available for both consecutive and non-consecutive showings. Either way, be prepared to board the Hogwarts Express from Platform 9 ¾.\u003c/p>\n\u003cfigure id=\"attachment_13864730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nassim.’ \u003ccite>(David Monteith-Hodge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Nassim’\u003c/h2>\n\u003cp>\u003ci>Magic Theatre, San Francisco\u003cbr>\nNov. 12-16, 2019\u003cbr>\n\u003ca href=\"https://magictheatre.secure.force.com/ticket#details_a0S5A00000VLiXtUAL\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>In his infamous \u003cem>White Rabbit, Red Rabbit\u003c/em>, Nassim Soleimanpour challenged actors around the globe to perform his play without rehearsal, direction, or even time to read the script before the show. His eponymous \u003cem>Nassim \u003c/em>asks a similar leap of performer faith. The twist, however, is that Soleimanpour himself controls how and when the actor receives the text they are to speak via a projection screen. They’ll also receive an onstage crash course in Farsi, while exploring the human nuances of language and our universal struggles to communicate. Winner of the 2017 Fringe First award in Edinburgh, Scotland.\u003c/p>\n\u003cfigure id=\"attachment_13864737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Skyline at Beach Blanket Babylon \u003ccite>(Rick Markovich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Beach Blanket Babylon’\u003c/h2>\n\u003cp>\u003ci>Club Fugazi, San Francisco\u003cbr>\nThrough Dec. 31, 2019\u003cbr>\n\u003ca href=\"http://www.beachblanketbabylon.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Sure, it’s a little over the top. Ok, a \u003cem>lot\u003c/em>. But \u003cem>Beach Blanket Babylon\u003c/em> is as much a San Francisco institution as any of our mainstages, and predates many of them at a venerable 45 years old; it’s the world’s longest-running musical revue. But despite its enduring charm, unflappable energy, and strong sales, the show must apparently not go on, closing for good on Dec. 31. So whether you’re a long-time fan, or one who’s been meaning to go but just haven’t quite made it out, this is your last opportunity to make some \u003cem>Beach Blanket Babylon \u003c/em>memories to carry with you into a future bereft of its broad-stroke satire and iconic hats.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"World premieres! Famous playwrights! Avant-garde stagings! Harry Potter! This fall, get out and see some theater. ","status":"publish","parent":0,"modified":1705022235,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1397},"headData":{"title":"Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay | KQED","description":"World premieres! Famous playwrights! Avant-garde stagings! Harry Potter! This fall, get out and see some theater. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay","datePublished":"2019-08-29T19:00:46.000Z","dateModified":"2024-01-12T01:17:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13864721/fall-theater-guide-2019-top-plays-and-performances-in-sf-and-the-east-bay","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a summer full of outdoor festivals, touring shows in parks, and family-style recreating, autumn signals a shift—if not in temperature, than in the theatrical climate. For many Bay Area theaters, fall is when new seasons begin, and even for theater companies whose seasons follow the calendar year, rarely is their autumnal offering anything but a grand centerpiece.\u003c/p>\n\u003cp>For even the occasional theatergoer, it’s hard to choose wrong—the real challenge is in narrowing down the field. Here are nine picks from the heavy-hitting months ahead. (And as always, check \u003ca href=\"https://www.kqed.org/thedolist\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for weekly recommendations in music, art and more from KQED Arts editors.)\u003c/p>\n\u003cfigure id=\"attachment_13864734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong and Stacy Ross in Megan Cohen’s ‘Free for All’ at Cutting Ball Theater. \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Free For All’\u003c/h2>\n\u003cp>\u003ci>Cutting Ball Theater, San Francisco\u003cbr>\nSept. 19-Oct. 20, 2019\u003cbr>\n\u003ca href=\"https://cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This highly anticipated world premiere from local playwright and librettist Megan Cohen—the first playwright selected for Cutting Ball Theater’s new playwright commissions program—opens their 21st season with a champagne cork pop. Billed as a “new \u003cem>Miss Julie\u003c/em> for a new world,” this non-naturalistic, San Francisco-centric riff on Strindberg’s problematic interrogation of power dynamics promises comedy, theatricality, and a foray into a future of elegant waste and survivalism. Can San Francisco be saved before half of it washes out to sea? Does anyone even care to try? Directed by Ariel Craft.\u003c/p>\n\u003cfigure id=\"attachment_13864731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leigh Rondon-Davis, Christell Lewis, and Everett Moore star in ‘Inked Baby’ at Crowded Fire Theater. \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Inked Baby’\u003c/h2>\n\u003cp>\u003ci>Crowded Fire Theater, San Francisco\u003cbr>\nSept. 12-Oct. 5, 2019\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/inked-baby/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Crowded Fire Theater continues its tradition of bringing dynamic American playwrights to their Potrero Hill stage with this early Christina Anderson work. A playwright with a history of Crowded Fire productions (they produced her \u003cem>Drip\u003c/em> in 2009, and \u003cem>Good Goods\u003c/em> in 2012), and erstwhile Bay Area artistic roots, Anderson has garnered international acclaim for her multi-layered works centering the black American experience. With \u003cem>Inked Baby\u003c/em>, she begins by wrestling with the dynamics of an in-family surrogate pregnancy and winds up in a speculative realm where a mysterious malady ravages the city, and potentially their future. Directed by Lisa Marie Rollins.\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\u003cfigure id=\"attachment_13864735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caryl Churchill. \u003ccite>(American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caryl Churchill-palooza\u003c/h2>\n\u003cp>\u003cstrong>‘Top Girls’\u003c/strong>\u003cbr>\n\u003ci>A.C.T., San Francisco\u003cbr>\nSept. 19-Oct. 13, 2019\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1920_season/top_girls.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Vinegar Tom\u003c/strong>\u003cbr>\n\u003ci>Shotgun Players, Berkeley\u003cbr>\nDec. 6, 2019-Jan. 5, 2020\u003cbr>\n\u003ca href=\"http://bit.ly/2FPuyCJ\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Hot on the heels of new Caryl Churchill one-acts produced by Berkeley’s Anton’s Well, A.C.T. opens its new season with her best-known work, the \u003cspan class=\"st\">inimitable\u003c/span> \u003cem>Top Girls—\u003c/em>partly set at the most interesting dinner party of all time. Then, closing their season in December, Shotgun Players presents a rollicking rendition of Churchill’s \u003cem>Vinegar Tom\u003c/em>, a Brechtian musical foray set in a 17th century of witchfinders and oppressive patriarchy. It’s a wonderful opportunity for Bay Area theatergoers to reacquaint themselves with multiple decades’ worth of Churchill’s feminist ideals and strong-willed protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13864729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terror Vault returns to the Old Mint. \u003ccite>(Jose A. Guzman Colon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Terror Vault’\u003c/h2>\n\u003cp>\u003ci>The Old Mint, San Francisco\u003cbr>\nOct. 10-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://www.intothedarksf.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Most haunted houses don’t qualify as theater picks, but then again, most haunted houses aren’t 45-minute immersive experiences, scripted and staged by the great Peaches Christ (in collaboration with Non Plus Ultra and legendary haunted house designer David Flower). Last year’s \u003cem>Terror Vault\u003c/em> was a taut tightrope of creepshow, camp, and bloodbath, with a surprisingly cohesive narrative throughline and plenty of (optional) audience participation, and this year’s version looks to be all that and more. This edition introduces \u003cem>Apolcalypse,\u003c/em> a zombie-themed escape-room experience for folks who just can’t get scared enough. Discover the haunted histories of San Francisco’s Old Mint—or become one of them yourself.\u003c/p>\n\u003cfigure id=\"attachment_13864728\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864728\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg\" alt=\"\" width=\"600\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-768x1066.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-865x1200.jpg 865w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dan Wolf. \u003ccite>(TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Haunted Playwrights\u003c/h2>\n\u003cp>\u003cstrong>‘From the Ground Up’\u003c/strong>\u003cbr>\n\u003ci>TheatreFIRST, San Francisco\u003cbr>\nOct. 27-Nov. 10, 2019\u003cbr>\n\u003ca href=\"https://theatrefirst.com/2019-20-season/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill Festival\u003c/strong>\u003cbr>\n\u003ci>Various venues\u003cbr>\nAug. 24-Sept. 29, 2019\u003cbr>\n\u003ca href=\"http://www.eugeneoneill.org/20th-annual-eugene-oneill-festival/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Speaking of hauntings, is there anything so haunted as the unresolved past? TheatreFIRST’s anthology of commissioned short plays explores the personal as peril—and how society is shaped by the supernatural—in \u003cem>From the Ground Up: An Anthology of Ghost Stories Made New\u003c/em>, penned by a who’s-who of some of the Bay Area’s most inventive voices, including Eugenie Chan, Dan Wolf, and Cleavon Smith. Meanwhile, the 20th Annual Eugene O’Neill Festival calls back to a pair of American Theater’s “haunted poets”—Eugene O’Neill and Tennessee Williams. It includes a special weekend of O’Neill’s seafaring short plays at Hyde Street Pier, and a production of his epic \u003cem>Long Day’s Journey Into Night \u003c/em>at his historic Tao House in Danville.\u003c/p>\n\u003cfigure id=\"attachment_13864736\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg\" alt=\"\" width=\"600\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-768x856.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cristina García. \u003ccite>(Central Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Lady Matador’s Hotel’\u003c/h2>\n\u003cp>\u003ci>Central Works, Berkeley\u003cbr>\nOct. 12-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://centralworks.org/the-lady-matadors-hotel/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>So successful was \u003cem>King of Cuba,\u003c/em> last year’s Central Works collaboration with novelist Cristina García, that they’re back this year with another, \u003cem>The Lady Matador’s Hotel\u003c/em>. Adapted from her 2010 book of the same name, \u003cem>The Lady Matador’s Hotel\u003c/em> follows the adventures of an unlikely coterie of travelers, stranded in an unnamed Central American country in a state of political unrest. Featuring a high-caliber cast and directed by Central Works’ co-artistic director, Gary Graves, this production closes out their 29th season with their 65th world premiere.\u003c/p>\n\u003cfigure id=\"attachment_13864733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bubba Weller, Nadia Brown, Nicholas Podany in the New York production of ‘Harry Potter and the Cursed Child.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Harry Potter and the Cursed Child’\u003c/h2>\n\u003cp>\u003ci>The Curran, San Francisco\u003cbr>\nOct. 23, 2019-May 2020\u003cbr>\n\u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Calling all wizards! The extravaganza that is \u003cem>Harry Potter and the Cursed Child \u003c/em>is coming to San Francisco in October for its West Coast premiere under the refurbished Curran Theater roof. \u003cem>Harry Potter and the Cursed Child\u003c/em> features a grown-up Harry and his children, in particular his son Albus, who is heading to Hogwarts. Having been written with the many Harry Potter superfans in mind, the play is a two-part marathon, with tickets available for both consecutive and non-consecutive showings. Either way, be prepared to board the Hogwarts Express from Platform 9 ¾.\u003c/p>\n\u003cfigure id=\"attachment_13864730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nassim.’ \u003ccite>(David Monteith-Hodge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Nassim’\u003c/h2>\n\u003cp>\u003ci>Magic Theatre, San Francisco\u003cbr>\nNov. 12-16, 2019\u003cbr>\n\u003ca href=\"https://magictheatre.secure.force.com/ticket#details_a0S5A00000VLiXtUAL\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>In his infamous \u003cem>White Rabbit, Red Rabbit\u003c/em>, Nassim Soleimanpour challenged actors around the globe to perform his play without rehearsal, direction, or even time to read the script before the show. His eponymous \u003cem>Nassim \u003c/em>asks a similar leap of performer faith. The twist, however, is that Soleimanpour himself controls how and when the actor receives the text they are to speak via a projection screen. They’ll also receive an onstage crash course in Farsi, while exploring the human nuances of language and our universal struggles to communicate. Winner of the 2017 Fringe First award in Edinburgh, Scotland.\u003c/p>\n\u003cfigure id=\"attachment_13864737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Skyline at Beach Blanket Babylon \u003ccite>(Rick Markovich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Beach Blanket Babylon’\u003c/h2>\n\u003cp>\u003ci>Club Fugazi, San Francisco\u003cbr>\nThrough Dec. 31, 2019\u003cbr>\n\u003ca href=\"http://www.beachblanketbabylon.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Sure, it’s a little over the top. Ok, a \u003cem>lot\u003c/em>. But \u003cem>Beach Blanket Babylon\u003c/em> is as much a San Francisco institution as any of our mainstages, and predates many of them at a venerable 45 years old; it’s the world’s longest-running musical revue. But despite its enduring charm, unflappable energy, and strong sales, the show must apparently not go on, closing for good on Dec. 31. So whether you’re a long-time fan, or one who’s been meaning to go but just haven’t quite made it out, this is your last opportunity to make some \u003cem>Beach Blanket Babylon \u003c/em>memories to carry with you into a future bereft of its broad-stroke satire and iconic hats.\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864721/fall-theater-guide-2019-top-plays-and-performances-in-sf-and-the-east-bay","authors":["11497"],"categories":["arts_967"],"tags":["arts_1238","arts_2372","arts_1118","arts_1376","arts_2020","arts_2360","arts_1334","arts_1072"],"featImg":"arts_13864732","label":"arts"},"arts_13864475":{"type":"posts","id":"arts_13864475","meta":{"index":"posts_1591205157","site":"arts","id":"13864475","score":null,"sort":[1566248527000]},"guestAuthors":[],"slug":"bay-area-broadway-producers-announce-settlement-ending-five-year-legal-battle","title":"Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle","publishDate":1566248527,"format":"audio","headTitle":"Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n","blocks":[],"excerpt":"The owners of SHN and the Curran announced an “amicable settlement\" of litigation involving the Golden Gate Theatre, the Orpheum Theatre and the Curran. ","status":"publish","parent":0,"modified":1705022291,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":295},"headData":{"title":"Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle | KQED","description":"The owners of SHN and the Curran announced an “amicable settlement" of litigation involving the Golden Gate Theatre, the Orpheum Theatre and the Curran. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle","datePublished":"2019-08-19T21:02:07.000Z","dateModified":"2024-01-12T01:18:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/08/VeltmanTheaterSettlement.mp3","sticky":false,"audioTrackLength":73,"templateType":"standard","featuredImageType":"standard","path":"/arts/13864475/bay-area-broadway-producers-announce-settlement-ending-five-year-legal-battle","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\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>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864475/bay-area-broadway-producers-announce-settlement-ending-five-year-legal-battle","authors":["8608"],"categories":["arts_1","arts_235","arts_967"],"tags":["arts_2372","arts_7032","arts_6742","arts_596","arts_2366","arts_3129"],"featImg":"arts_12644539","label":"arts"},"arts_13807948":{"type":"posts","id":"arts_13807948","meta":{"index":"posts_1591205157","site":"arts","id":"13807948","score":null,"sort":[1505574030000]},"guestAuthors":[],"slug":"video-taylor-mac-machine-dazzle-turn-u-s-history-into-a-catwalk","title":"VIDEO: Taylor Mac & Machine Dazzle Turn U.S. History into a Catwalk","publishDate":1505574030,"format":"video","headTitle":"VIDEO: Taylor Mac & Machine Dazzle Turn U.S. History into a Catwalk | KQED","labelTerm":{"term":1541,"site":"arts"},"content":"\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4tor0TADs3Q\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"Watch KQED Newsroom's interview with the creators of a mind-altering, 24-hour long cabaret act. ","status":"publish","parent":0,"modified":1705029521,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":220},"headData":{"title":"VIDEO: Taylor Mac & Machine Dazzle Turn U.S. History into a Catwalk | KQED","description":"Watch KQED Newsroom's interview with the creators of a mind-altering, 24-hour long cabaret act. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"VIDEO: Taylor Mac & Machine Dazzle Turn U.S. History into a Catwalk","datePublished":"2017-09-16T15:00:30.000Z","dateModified":"2024-01-12T03:18:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13807948/video-taylor-mac-machine-dazzle-turn-u-s-history-into-a-catwalk","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\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/4tor0TADs3Q'\n title='//www.youtube.com/embed/4tor0TADs3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\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>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807948/video-taylor-mac-machine-dazzle-turn-u-s-history-into-a-catwalk","authors":["8608"],"programs":["arts_1541"],"categories":["arts_69","arts_235","arts_1003","arts_75","arts_967"],"tags":["arts_2372","arts_1118","arts_596","arts_1007"],"featImg":"arts_13807956","label":"arts_1541"}},"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. 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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. 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