10 Ways to Fall in Love With Bay Area Theatre and Dance
Want Shrooms on That Pizza? In 'Exhaustion Arroyo,' the Answer Is Yes
Aimee Suzara Imagines ‘The Real Sappho,’ Shifting an Ancient Life to Present Day
Charles Mee’s Virtual Play ‘Utopia’ Brims with Imagination and Possibility
Partying Like it’s 2099 at Cutting Ball's 'Free For All'
On the Air: Rachael and Sahba's Do List Picks for Apr. 7, 2018
In a Time of Economic Extremes, Shakespeare's Timon Recast as a Silicon Valley CEO
On the Air: Cy and Matias' Do List Picks for Sept. 29, 2017
A Satire on the Women's Movement — and its Backlash
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When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.","avatar":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","subscriber"]},{"site":"news","roles":["author"]},{"site":"bayareabites","roles":["contributor"]}],"headData":{"title":"Cy Musiker | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cmusiker"},"rachael-myrow":{"type":"authors","id":"251","meta":{"index":"authors_1591205172","id":"251","found":true},"name":"Rachael Myrow","firstName":"Rachael","lastName":"Myrow","slug":"rachael-myrow","email":"rmyrow@kqed.org","display_author_email":false,"staff_mastheads":["news"],"title":"Senior Editor of KQED's Silicon Valley News Desk","bio":"Rachael Myrow is Senior Editor of KQED's Silicon Valley News Desk. You can hear her work on \u003ca href=\"https://www.npr.org/search?query=Rachael%20Myrow&page=1\">NPR\u003c/a>, \u003ca href=\"https://theworld.org/people/rachael-myrow\">The World\u003c/a>, WBUR's \u003ca href=\"https://www.wbur.org/search?q=Rachael%20Myrow\">\u003ci>Here & Now\u003c/i>\u003c/a> and the BBC. \u003c/i>She also guest hosts for KQED's \u003ci>\u003ca href=\"https://www.kqed.org/forum/tag/rachael-myrow\">Forum\u003c/a>\u003c/i>. Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. She holds degrees in English and journalism from UC Berkeley (where she got her start in public radio on KALX-FM).\r\n\r\nOutside of the studio, you'll find Rachael hiking Bay Area trails and whipping up Instagram-ready meals in her kitchen.","avatar":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twitter":"rachaelmyrow","facebook":null,"instagram":null,"linkedin":"https://www.linkedin.com/in/rachaelmyrow/","sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["edit_others_posts","editor"]},{"site":"futureofyou","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Rachael Myrow | KQED","description":"Senior Editor of KQED's Silicon Valley News Desk","ogImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rachael-myrow"},"aproehl":{"type":"authors","id":"11296","meta":{"index":"authors_1591205172","id":"11296","found":true},"name":"Ariana Proehl","firstName":"Ariana","lastName":"Proehl","slug":"aproehl","email":"aproehl@KQED.org","display_author_email":true,"staff_mastheads":["news"],"title":"Culture Reporter, KQED","bio":"Ariana Proehl is a Culture Reporter and Host.","avatar":"https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g","twitter":"ArianaProehl","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]},{"site":"news","roles":["editor"]},{"site":"education","roles":["editor"]},{"site":"forum","roles":["administrator"]}],"headData":{"title":"Ariana Proehl | KQED","description":"Culture Reporter, KQED","ogImgSrc":"https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/aproehl"},"ngluckstern":{"type":"authors","id":"11497","meta":{"index":"authors_1591205172","id":"11497","found":true},"name":"Nicole Gluckstern","firstName":"Nicole","lastName":"Gluckstern","slug":"ngluckstern","email":"gluckstern.nicole@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":null,"avatar":"https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Nicole Gluckstern | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ngluckstern"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal 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Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13933150":{"type":"posts","id":"arts_13933150","meta":{"index":"posts_1591205157","site":"arts","id":"13933150","score":null,"sort":[1692724524000]},"guestAuthors":[],"slug":"bay-area-theatre-dance-fall-2023","title":"10 Ways to Fall in Love With Bay Area Theatre and Dance","publishDate":1692724524,"format":"standard","headTitle":"10 Ways to Fall in Love With Bay Area Theatre and Dance | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>\u003cem>Find more of KQED’s picks for the \u003ca href=\"https://www.kqed.org/fallguide2023\">best fall 2023 events here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>For Bay Area theatre, fall is when summer festivals wind down and new seasons of performing companies ramp up. As always, far more amazing shows open over the next few months than one roundup can contain. But here’s a sampling of the most exciting, innovative, and thought-provoking works hitting the boards this fall — from A.C.T. to Z Space.\u003c/p>\n\u003ch3>Theater\u003c/h3>\n\u003cfigure id=\"attachment_13933327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933327\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg\" alt=\"a group photo of three young Black women and a tall Black man, the musician Questlove, in glasses \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dominique Morisseau, Ahmir Questlove Thompson, Camille A. Brown and Kamilah Forbes. \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.act-sf.org/whats-on/2023-24-season/soul-train/\" target=\"_blank\" rel=\"noopener\">Hippest Trip — The Soul Train Musical\u003c/a>\u003cem>’\u003c/em>\u003c/h2>\n\u003cp>\u003cem>Aug. 25–Oct. 1, 2023\u003cbr>\nA.C.T.’s Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>All aboard — the Soul Train is about to leave the station! \u003cem>Hippest Trip — The Soul Train Musical\u003c/em> promises to turn A.C.T.’s Toni Rembe Theater into a celebratory dance party, as well as an homage to the talent that made \u003cem>Soul Train\u003c/em> a beloved household staple for 35 years. Spotlighting the Black music, dance and culture variety show founded by Don Cornelius in 1971, \u003cem>Hippest Trip\u003c/em> presents a powerhouse cast, playwriting by Tony Award-nominated Dominique Morisseau, direction by Kamilah Forbes and choreography by \u003cem>Toni Stone\u003c/em>’s Camille A. Brown.\u003c/p>\n\u003cfigure id=\"attachment_13933423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg\" alt=\"a Black woman with short hair wraps her hands in tape like she's about to box next to a young Asian American man in a jean jacket with his fists up\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabby Momah and Mikee Loria in ‘Wolf Play.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/online/article/wolf-play\" target=\"_blank\" rel=\"noopener\">Wolf Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 2–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Ashby Stage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tackling the morally dubious practice of adoptive parents “re-homing” their children online, Hansol Jung’s devastatingly astute \u003cem>Wolf Play\u003c/em> brings an unforgettable protagonist to life in this Elizabeth Carter-directed production. Jeenu, a 6-year old adoptee, finds refuge in the idea that he is a wolf seeking his pack. For new parents Robin and Ash, Jeenu is both a completion and a complication inside their own refuge of a chosen family. When external forces intrude in their circle, each character must learn to fight for their territory — and for each other.\u003c/p>\n\u003cfigure id=\"attachment_13933580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Gary-800x894.jpg\" alt=\"A man in purple top and spiked headpiece, with gold sash\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-800x894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1020x1140.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-768x859.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1374x1536.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary.jpg 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Gary: A Sequel to Titus Andronicus.’ \u003ccite>(Oakland Theater Project )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/gary\">Gary: A Sequel To Titus Andronicus\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 8–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Oakland Theater Project at FLAX\u003c/em>\u003c/p>\n\u003cp>One of Shakespeare’s most harrowing plays, \u003cem>Titus Andronicus\u003c/em> ends in buckets of blood and piles of bodies — a state of affairs gleefully exaggerated in Taylor Mac’s \u003cem>Gary\u003c/em>. With literal bodies stacked to the ceiling, and a pair of put-upon servants to mop up the mess the mighty have left behind, \u003cem>Gary\u003c/em> gives voice to the voiceless — albeit with fart jokes. But don’t think Mac’s foray into Theatre of the Ridiculous territory is all about the frailties of the human body. What Mac is after is examining the frailties of the systems that perpetrate cycles of violence and trauma, finding unexpected grace under unimaginable pressure.\u003c/p>\n\u003cfigure id=\"attachment_13933332\" class=\"wp-caption aligncenter\" style=\"max-width: 546px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\" alt=\"a white woman with curly hair and a green scarf looks at the camera outside\" width=\"546\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot-160x215.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Mary Glen Fredrick. \u003ccite>(Courtesy of Mary Glen Fredrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.crowdedfire.org/edit-annie/\" target=\"_blank\" rel=\"noopener\">Edit Annie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 21–Oct. 14, 2023\u003cbr>\nMagic Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s been two long years since Crowded Fire Theater presented Isaac Gómez’ terrific and terrifying \u003cem>The Displaced\u003c/em>. Their West Coast premiere of \u003cem>Edit Annie\u003c/em>, by rising New York-based playwright and video artist Mary Glen Fredrick, promises to be worth the wait. Unapologetically rooted in the technological tangles of our time, the play explores the implications and repercussions of our ability to continuously reinvent, redefine, and rewind our relationships in a heavily mediated reality. With a superlative cast, co-direction by Leigh Rondon-Davis and Nailah Unole Dida-nese’ah Harper-Malveaux, and video designed and edited by Fredrick with Lana Palmer, \u003cem>Edit Annie\u003c/em> gives the Extremely Online generation a chance to connect IRL without even having to swipe.\u003c/p>\n\u003cfigure id=\"attachment_13933398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg\" alt=\"a spooky costumed drag queen against a purple background\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm.jpg 1766w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peaches Christ at the Terror Vault inside the San Francisco Mint. \u003ccite>(Courtesy of Terror Vault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.tixr.com/groups/terrorvault\" target=\"_blank\" rel=\"noopener\">Terror Vault Presents: The Initiation\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 29-Oct. 31, 2023\u003cbr>\nSan Francisco Mint\u003c/em>\u003c/p>\n\u003cp>Borne from Peaches Christ’s taste for the macabre and San Francisco’s appetite for the immersive, Terror Vault is a haunted attraction that truly delivers. Appropriately ensconced in the magnificent Old Mint — a granite behemoth built in 1874 — Terror Vault makes use of its shadowy corners, vintage vaults, and disorienting floorplan to devious effect. This year’s theme —\u003cem>The Initiation \u003c/em>— delves into the Bay Area’s unsavory association with cults and their leaders, inviting audiences to attend a “seminar” for a mysterious organization called INsight. Far more involved than your typical haunted house, Terror Vault shows include fully realized world-building, humor, exhibitionists, the best horror makeup around, and consensual audience interactivity for a thrilling adventure you won’t soon forget.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://cuttingball.com/tickets\" target=\"_blank\" rel=\"noopener\">Rossum’s Universal Robots\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20–Nov. 12, 2023\u003c/em>\u003cbr>\n\u003cem>EXIT on Taylor, San Francisco\u003c/em>\u003c/p>\n\u003cp>From its inception, Cutting Ball Theater has been devoted to interrogating the present moment through revitalized classics that sidestep mundane realism in favor of fertile imagination. That makes this adaptation of proto-science fiction \u003cem>Rossum’s Universal Robots\u003c/em> completely on-brand, while still staking out some fantastical new territory for this experimental company. Written in 1920 by Czech playwright Karel Čapek, \u003cem>R.U.R.\u003c/em> examines the human condition through the eyes of its greatest imitators, and would-be inheritors. This production is helmed by Chris Steele — who recently stepped in as the company’s fourth Artistic leader operating within a newly-defined collective — and features a dynamic cast of robots who may have already taken over the world.\u003c/p>\n\u003ch2>‘\u003ca href=\"http://berkeleyrep.org/shows/bulrusher/\" target=\"_blank\" rel=\"noopener\">Bulrusher\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27–Dec. 3, 2023\u003cbr>\nBerkeley Rep’s Peet’s Theatre\u003c/em>\u003c/p>\n\u003cp>In a highly anticipated return to Berkeley, the 2007 Pulitzer-nominated \u003cem>Bulrusher\u003c/em> is a language-driven coming-of-age story. Questions of braided identities, personal liberation and birthright combine with poetry, clairvoyance and the regionally specific Northern California dialect known as “Boontling.” Written by Bay Area-raised Eisa Davis, the niece of activist-scholar Angela Davis and an artistic multi-hyphenate in her own right, \u003cem>Bulrusher\u003c/em> asks: How do we discover who we really are in a world that constantly seeks to define us — and confine us? Nicole A. Watson directs.\u003c/p>\n\u003ch3>Dance\u003c/h3>\n\u003cfigure id=\"attachment_13933581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg\" alt=\"A dancer in hospital patient garb leaps in the air with a nurse in the background.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1920x1348.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nursing These Wounds.’ \u003ccite>(KULARTS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.kularts-sf.org/nursing-these-wounds\" target=\"_blank\" rel=\"noopener\">Nursing These Wounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22–24, 2023\u003cbr>\nODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 21–30, 2023\u003cbr>\nBrava Cabaret, San Francisco\u003c/em>\u003c/p>\n\u003cp>The COVID-19 pandemic has revealed the cracks and fissures in so many of our structures and institutions — particularly in the American health care system. So choreographer Alleluia Panis’ embodied exploration of the many faces and pathways of Pilipinix-born nurses and caregivers is as timely as it is vital. Panis, the co-founder of KULARTS, frequently wrestles with themes of migration, labor, and colonization in her work, and looks to folk dance and indigenous tradition to inform her vibrant choreography. This reprise of 2022’s world premiere offers an unflinching, sometimes harrowing, and loving tribute to an entire demographic of under-recognized, overwhelmed public health protectors.\u003c/p>\n\u003cfigure id=\"attachment_13933427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg\" alt=\"a young Black man dancer poses while facing the camera as other dancers in blue dresses move behind him\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1020x751.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-160x118.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-768x566.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1536x1132.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-2048x1509.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1920x1414.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandon Graham in ‘The Lost Art of Dreaming’ from Sean Dorsey Dance. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Three at Z\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.zspace.org/orale\" target=\"_blank\" rel=\"noopener\">Òrale\u003c/a>, Sept. 7–9; \u003ca href=\"https://www.zspace.org/sdd-dreaming\">The Lost Art of Dreaming\u003c/a>, Sept. 29–Oct. 1; \u003ca href=\"https://www.queercatproductions.com/jesdeville\">Forgetting Tree\u003c/a>, Nov. 3–5\u003c/em>\u003cbr>\n\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dance-driven, genre-exploding work comes to Z Space with a trio of radical performances. First up is \u003cem>Òrale\u003c/em>, a mini-festival of pieces directed by David Herrera Performance Company with an exciting who’s-who of nationally recognized Latinx dance-makers, with live music provided by the excellent El Vez and the Memphis Mariachis. Next, Sean Dorsey Dance encores \u003cem>The Lost Art of Dreaming \u003c/em>— a visually stunning and emotionally ecstatic work, setting its sights on a future of love and collective liberation, expressed through a choreography of queer trans and non-binary bodies. Finally, Queer Cat Productions and Openhaus Athletics install a “consent-forward” interactive and ecologically-engaged experience called \u003cem>Forgetting Tree\u003c/em> in Z Space’s spacious lobby. Curated and created by Jes DeVille, this work promises to stimulate all of the senses — most especially that of the revolutionary within.\u003c/p>\n\u003cfigure id=\"attachment_13933417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg\" alt=\"a group of dancers in colorful clothes pose inside a trolley with green seats\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kim Epifano and dancers on a trolley during the annual San Francisco Trolley Dances. \u003ccite>(Amani Wade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://epiphanydance.org/san-francisco-trolley-dances/\" target=\"_blank\" rel=\"noopener\">San Francisco Trolley Dances: 20th Anniversary Edition\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 21–22, 2023\u003c/em>\u003cbr>\n\u003cem>One Bush Plaza, various locations in San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s simply nothing like the combination dance festival-urban exploration known as Trolley Dances. This year, the San Francisco treat returns to where it all began 20 years ago — on the iconic F-Market line. Starting at One Bush Plaza with Nava Dance Theatre, then hopping on and off the F-Market train en route to Fisherman’s Wharf, audience members will encounter such Bay Area dance luminaries as Blind Tiger Society, Jennifer Perfilio Movement Works, Kinetech Arts, Loco Bloco and artistic director Kim Epifano’s own company, Epiphany Dance. A highlight of the event will be a piece choreographed by San Diego dance legend Jean Isaacs — the originator of the Trolley Dance concept back in 1997.\u003c/p>\n\n","blocks":[],"excerpt":"From Shakespeare to 'Soul Train,' here are highlights of Bay Area theatre and dance this fall.","status":"publish","parent":0,"modified":1705005121,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1540},"headData":{"title":"10 Ways to Fall in Love With Bay Area Theatre and Dance | KQED","description":"From Shakespeare to 'Soul Train,' here are highlights of Bay Area theatre and dance this fall.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Fall Guide 2023","sourceUrl":"/fallguide2023","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13933150/bay-area-theatre-dance-fall-2023","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Find more of KQED’s picks for the \u003ca href=\"https://www.kqed.org/fallguide2023\">best fall 2023 events here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>For Bay Area theatre, fall is when summer festivals wind down and new seasons of performing companies ramp up. As always, far more amazing shows open over the next few months than one roundup can contain. But here’s a sampling of the most exciting, innovative, and thought-provoking works hitting the boards this fall — from A.C.T. to Z Space.\u003c/p>\n\u003ch3>Theater\u003c/h3>\n\u003cfigure id=\"attachment_13933327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933327\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg\" alt=\"a group photo of three young Black women and a tall Black man, the musician Questlove, in glasses \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dominique Morisseau, Ahmir Questlove Thompson, Camille A. Brown and Kamilah Forbes. \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.act-sf.org/whats-on/2023-24-season/soul-train/\" target=\"_blank\" rel=\"noopener\">Hippest Trip — The Soul Train Musical\u003c/a>\u003cem>’\u003c/em>\u003c/h2>\n\u003cp>\u003cem>Aug. 25–Oct. 1, 2023\u003cbr>\nA.C.T.’s Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>All aboard — the Soul Train is about to leave the station! \u003cem>Hippest Trip — The Soul Train Musical\u003c/em> promises to turn A.C.T.’s Toni Rembe Theater into a celebratory dance party, as well as an homage to the talent that made \u003cem>Soul Train\u003c/em> a beloved household staple for 35 years. Spotlighting the Black music, dance and culture variety show founded by Don Cornelius in 1971, \u003cem>Hippest Trip\u003c/em> presents a powerhouse cast, playwriting by Tony Award-nominated Dominique Morisseau, direction by Kamilah Forbes and choreography by \u003cem>Toni Stone\u003c/em>’s Camille A. Brown.\u003c/p>\n\u003cfigure id=\"attachment_13933423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg\" alt=\"a Black woman with short hair wraps her hands in tape like she's about to box next to a young Asian American man in a jean jacket with his fists up\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabby Momah and Mikee Loria in ‘Wolf Play.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/online/article/wolf-play\" target=\"_blank\" rel=\"noopener\">Wolf Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 2–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Ashby Stage, Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tackling the morally dubious practice of adoptive parents “re-homing” their children online, Hansol Jung’s devastatingly astute \u003cem>Wolf Play\u003c/em> brings an unforgettable protagonist to life in this Elizabeth Carter-directed production. Jeenu, a 6-year old adoptee, finds refuge in the idea that he is a wolf seeking his pack. For new parents Robin and Ash, Jeenu is both a completion and a complication inside their own refuge of a chosen family. When external forces intrude in their circle, each character must learn to fight for their territory — and for each other.\u003c/p>\n\u003cfigure id=\"attachment_13933580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Gary-800x894.jpg\" alt=\"A man in purple top and spiked headpiece, with gold sash\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-800x894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1020x1140.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-768x859.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1374x1536.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary.jpg 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Gary: A Sequel to Titus Andronicus.’ \u003ccite>(Oakland Theater Project )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/gary\">Gary: A Sequel To Titus Andronicus\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 8–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Oakland Theater Project at FLAX\u003c/em>\u003c/p>\n\u003cp>One of Shakespeare’s most harrowing plays, \u003cem>Titus Andronicus\u003c/em> ends in buckets of blood and piles of bodies — a state of affairs gleefully exaggerated in Taylor Mac’s \u003cem>Gary\u003c/em>. With literal bodies stacked to the ceiling, and a pair of put-upon servants to mop up the mess the mighty have left behind, \u003cem>Gary\u003c/em> gives voice to the voiceless — albeit with fart jokes. But don’t think Mac’s foray into Theatre of the Ridiculous territory is all about the frailties of the human body. What Mac is after is examining the frailties of the systems that perpetrate cycles of violence and trauma, finding unexpected grace under unimaginable pressure.\u003c/p>\n\u003cfigure id=\"attachment_13933332\" class=\"wp-caption aligncenter\" style=\"max-width: 546px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\" alt=\"a white woman with curly hair and a green scarf looks at the camera outside\" width=\"546\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot-160x215.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Mary Glen Fredrick. \u003ccite>(Courtesy of Mary Glen Fredrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.crowdedfire.org/edit-annie/\" target=\"_blank\" rel=\"noopener\">Edit Annie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 21–Oct. 14, 2023\u003cbr>\nMagic Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s been two long years since Crowded Fire Theater presented Isaac Gómez’ terrific and terrifying \u003cem>The Displaced\u003c/em>. Their West Coast premiere of \u003cem>Edit Annie\u003c/em>, by rising New York-based playwright and video artist Mary Glen Fredrick, promises to be worth the wait. Unapologetically rooted in the technological tangles of our time, the play explores the implications and repercussions of our ability to continuously reinvent, redefine, and rewind our relationships in a heavily mediated reality. With a superlative cast, co-direction by Leigh Rondon-Davis and Nailah Unole Dida-nese’ah Harper-Malveaux, and video designed and edited by Fredrick with Lana Palmer, \u003cem>Edit Annie\u003c/em> gives the Extremely Online generation a chance to connect IRL without even having to swipe.\u003c/p>\n\u003cfigure id=\"attachment_13933398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg\" alt=\"a spooky costumed drag queen against a purple background\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm.jpg 1766w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peaches Christ at the Terror Vault inside the San Francisco Mint. \u003ccite>(Courtesy of Terror Vault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.tixr.com/groups/terrorvault\" target=\"_blank\" rel=\"noopener\">Terror Vault Presents: The Initiation\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 29-Oct. 31, 2023\u003cbr>\nSan Francisco Mint\u003c/em>\u003c/p>\n\u003cp>Borne from Peaches Christ’s taste for the macabre and San Francisco’s appetite for the immersive, Terror Vault is a haunted attraction that truly delivers. Appropriately ensconced in the magnificent Old Mint — a granite behemoth built in 1874 — Terror Vault makes use of its shadowy corners, vintage vaults, and disorienting floorplan to devious effect. This year’s theme —\u003cem>The Initiation \u003c/em>— delves into the Bay Area’s unsavory association with cults and their leaders, inviting audiences to attend a “seminar” for a mysterious organization called INsight. Far more involved than your typical haunted house, Terror Vault shows include fully realized world-building, humor, exhibitionists, the best horror makeup around, and consensual audience interactivity for a thrilling adventure you won’t soon forget.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://cuttingball.com/tickets\" target=\"_blank\" rel=\"noopener\">Rossum’s Universal Robots\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20–Nov. 12, 2023\u003c/em>\u003cbr>\n\u003cem>EXIT on Taylor, San Francisco\u003c/em>\u003c/p>\n\u003cp>From its inception, Cutting Ball Theater has been devoted to interrogating the present moment through revitalized classics that sidestep mundane realism in favor of fertile imagination. That makes this adaptation of proto-science fiction \u003cem>Rossum’s Universal Robots\u003c/em> completely on-brand, while still staking out some fantastical new territory for this experimental company. Written in 1920 by Czech playwright Karel Čapek, \u003cem>R.U.R.\u003c/em> examines the human condition through the eyes of its greatest imitators, and would-be inheritors. This production is helmed by Chris Steele — who recently stepped in as the company’s fourth Artistic leader operating within a newly-defined collective — and features a dynamic cast of robots who may have already taken over the world.\u003c/p>\n\u003ch2>‘\u003ca href=\"http://berkeleyrep.org/shows/bulrusher/\" target=\"_blank\" rel=\"noopener\">Bulrusher\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27–Dec. 3, 2023\u003cbr>\nBerkeley Rep’s Peet’s Theatre\u003c/em>\u003c/p>\n\u003cp>In a highly anticipated return to Berkeley, the 2007 Pulitzer-nominated \u003cem>Bulrusher\u003c/em> is a language-driven coming-of-age story. Questions of braided identities, personal liberation and birthright combine with poetry, clairvoyance and the regionally specific Northern California dialect known as “Boontling.” Written by Bay Area-raised Eisa Davis, the niece of activist-scholar Angela Davis and an artistic multi-hyphenate in her own right, \u003cem>Bulrusher\u003c/em> asks: How do we discover who we really are in a world that constantly seeks to define us — and confine us? Nicole A. Watson directs.\u003c/p>\n\u003ch3>Dance\u003c/h3>\n\u003cfigure id=\"attachment_13933581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg\" alt=\"A dancer in hospital patient garb leaps in the air with a nurse in the background.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1920x1348.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nursing These Wounds.’ \u003ccite>(KULARTS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.kularts-sf.org/nursing-these-wounds\" target=\"_blank\" rel=\"noopener\">Nursing These Wounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22–24, 2023\u003cbr>\nODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 21–30, 2023\u003cbr>\nBrava Cabaret, San Francisco\u003c/em>\u003c/p>\n\u003cp>The COVID-19 pandemic has revealed the cracks and fissures in so many of our structures and institutions — particularly in the American health care system. So choreographer Alleluia Panis’ embodied exploration of the many faces and pathways of Pilipinix-born nurses and caregivers is as timely as it is vital. Panis, the co-founder of KULARTS, frequently wrestles with themes of migration, labor, and colonization in her work, and looks to folk dance and indigenous tradition to inform her vibrant choreography. This reprise of 2022’s world premiere offers an unflinching, sometimes harrowing, and loving tribute to an entire demographic of under-recognized, overwhelmed public health protectors.\u003c/p>\n\u003cfigure id=\"attachment_13933427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg\" alt=\"a young Black man dancer poses while facing the camera as other dancers in blue dresses move behind him\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1020x751.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-160x118.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-768x566.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1536x1132.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-2048x1509.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1920x1414.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandon Graham in ‘The Lost Art of Dreaming’ from Sean Dorsey Dance. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Three at Z\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.zspace.org/orale\" target=\"_blank\" rel=\"noopener\">Òrale\u003c/a>, Sept. 7–9; \u003ca href=\"https://www.zspace.org/sdd-dreaming\">The Lost Art of Dreaming\u003c/a>, Sept. 29–Oct. 1; \u003ca href=\"https://www.queercatproductions.com/jesdeville\">Forgetting Tree\u003c/a>, Nov. 3–5\u003c/em>\u003cbr>\n\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dance-driven, genre-exploding work comes to Z Space with a trio of radical performances. First up is \u003cem>Òrale\u003c/em>, a mini-festival of pieces directed by David Herrera Performance Company with an exciting who’s-who of nationally recognized Latinx dance-makers, with live music provided by the excellent El Vez and the Memphis Mariachis. Next, Sean Dorsey Dance encores \u003cem>The Lost Art of Dreaming \u003c/em>— a visually stunning and emotionally ecstatic work, setting its sights on a future of love and collective liberation, expressed through a choreography of queer trans and non-binary bodies. Finally, Queer Cat Productions and Openhaus Athletics install a “consent-forward” interactive and ecologically-engaged experience called \u003cem>Forgetting Tree\u003c/em> in Z Space’s spacious lobby. Curated and created by Jes DeVille, this work promises to stimulate all of the senses — most especially that of the revolutionary within.\u003c/p>\n\u003cfigure id=\"attachment_13933417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg\" alt=\"a group of dancers in colorful clothes pose inside a trolley with green seats\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kim Epifano and dancers on a trolley during the annual San Francisco Trolley Dances. \u003ccite>(Amani Wade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://epiphanydance.org/san-francisco-trolley-dances/\" target=\"_blank\" rel=\"noopener\">San Francisco Trolley Dances: 20th Anniversary Edition\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 21–22, 2023\u003c/em>\u003cbr>\n\u003cem>One Bush Plaza, various locations in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s simply nothing like the combination dance festival-urban exploration known as Trolley Dances. This year, the San Francisco treat returns to where it all began 20 years ago — on the iconic F-Market line. Starting at One Bush Plaza with Nava Dance Theatre, then hopping on and off the F-Market train en route to Fisherman’s Wharf, audience members will encounter such Bay Area dance luminaries as Blind Tiger Society, Jennifer Perfilio Movement Works, Kinetech Arts, Loco Bloco and artistic director Kim Epifano’s own company, Epiphany Dance. A highlight of the event will be a piece choreographed by San Diego dance legend Jean Isaacs — the originator of the Trolley Dance concept back in 1997.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933150/bay-area-theatre-dance-fall-2023","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_967"],"tags":["arts_1238","arts_1237","arts_1414","arts_879","arts_21522","arts_10278","arts_1072","arts_585","arts_1240"],"featImg":"arts_13933415","label":"source_arts_13933150"},"arts_13929116":{"type":"posts","id":"arts_13929116","meta":{"index":"posts_1591205157","site":"arts","id":"13929116","score":null,"sort":[1683926359000]},"guestAuthors":[],"slug":"exhaustion-arroyo","title":"Want Shrooms on That Pizza? In 'Exhaustion Arroyo,' the Answer Is Yes","publishDate":1683926359,"format":"audio","headTitle":"Want Shrooms on That Pizza? In ‘Exhaustion Arroyo,’ the Answer Is Yes | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Playwright W. Fran Astorga’s \u003cem>Exhaustion Arroyo: Dancin’ Trees in the Ravine\u003c/em> is a trip — in both senses of the word. Running through May 21 at San Francisco’s Cutting Ball Theater, the play was inspired by an early pandemic experience in the Santa Cruz mountains.\u003c/p>\n\u003cp>“I was with some really creative friends… and we went into the woods and did shrooms. And that experience really stuck with me,” says Astorga, who also co-directs. \u003c/p>\n\u003cfigure id=\"attachment_13929121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13929121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shroom (Natalia Delgado, middle left), replenishes los tres amigos Apé (Patricio Becerril, left), Chío (Pano Roditis, middle right) and Taki (Edna Raia, right) in Cutting Ball Theater and IN THE MARGIN’s ‘Exhaustion Arroyo: Dancin’ Trees in the Ravine’ by W. Fran Astorga. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the intimate 48-seat, circular theater made to look like a forest, it is fictional characters Taki, Chío and Apé, co-workers at a pizza place, who go on the psychedelic adventure. Underpinning the sometimes goofy physical comedy, though, is a meditation on inequality, the exploitation of essential workers and the importance of community care — drawn from Astorga’s own experience as an essential worker.\u003c/p>\n\u003cp>Performed in Spanglish, Astorga is intentional and unapologetic in rejecting the white, heteronormative gaze, which they’d had to cater to in past experiences working in theater. \u003c/p>\n\u003cp>“I come from a community in Stanislaus County [and] we transition between Spanish and English very fluently,” Astorga says. “And that’s what’s in the show: this dialect of the Central Valley that, in English, is slang from the Bay and slang from Southern California. And in Spanish, it’s like Spanglish slang, but also slang from specific parts of Mexico. So it’s like a really cool cultural blend.”\u003c/p>\n\u003cfigure id=\"attachment_13929122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg 1503w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The burglar (Patricio Becerril) and Taki (Edna Raia) team up in fear of an even bigger threat — La Karen — in Cutting Ball Theater and IN THE MARGIN’s ‘Exhaustion Arroyo: Dancin’ Trees in the Ravine’ by W. Fran Astorga. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Exhaustion Arroyo\u003c/em> also features the professional theater debut of actor and Santa Rosa native Patricio Becerril, who plays Apé. Becerril, who studied theater at Santa Rosa Junior College before finishing his degree at UC San Diego, says the play is unlike anything he’s done. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s very clown-like, it’s very commedia dell’arte,” Becerril says. “So it’s not your traditional acting set on realism. It’s more animated. It’s just… wacky!”\u003c/p>\n\u003cp>Astorga says that wackiness and humor was necessary in taking on the heavier themes of the play: “It was important for me to like, speak to the experiences of my community in a joyful way, as opposed to a traumatic way.”\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>‘Exhaustion Arroyo: Dancin’ Trees in the Ravine’ runs through May 21, 2023, at Cutting Ball Theater in San Francisco. \u003ca href=\"https://cuttingball.com/productions/exhaustion-arroyo\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Psychedelics and essential workers meet in W. Fran Astorga's new play at Cutting Ball Theater.","status":"publish","parent":0,"modified":1705005502,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":520},"headData":{"title":"Want Shrooms on That Pizza? In 'Exhaustion Arroyo,' the Answer Is Yes | KQED","description":"Psychedelics and essential workers meet in W. Fran Astorga's new play at Cutting Ball Theater.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/721b946e-d254-4ad6-8423-b000012111ca/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929116/exhaustion-arroyo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Playwright W. Fran Astorga’s \u003cem>Exhaustion Arroyo: Dancin’ Trees in the Ravine\u003c/em> is a trip — in both senses of the word. Running through May 21 at San Francisco’s Cutting Ball Theater, the play was inspired by an early pandemic experience in the Santa Cruz mountains.\u003c/p>\n\u003cp>“I was with some really creative friends… and we went into the woods and did shrooms. And that experience really stuck with me,” says Astorga, who also co-directs. \u003c/p>\n\u003cfigure id=\"attachment_13929121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13929121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press1_.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shroom (Natalia Delgado, middle left), replenishes los tres amigos Apé (Patricio Becerril, left), Chío (Pano Roditis, middle right) and Taki (Edna Raia, right) in Cutting Ball Theater and IN THE MARGIN’s ‘Exhaustion Arroyo: Dancin’ Trees in the Ravine’ by W. Fran Astorga. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the intimate 48-seat, circular theater made to look like a forest, it is fictional characters Taki, Chío and Apé, co-workers at a pizza place, who go on the psychedelic adventure. Underpinning the sometimes goofy physical comedy, though, is a meditation on inequality, the exploitation of essential workers and the importance of community care — drawn from Astorga’s own experience as an essential worker.\u003c/p>\n\u003cp>Performed in Spanglish, Astorga is intentional and unapologetic in rejecting the white, heteronormative gaze, which they’d had to cater to in past experiences working in theater. \u003c/p>\n\u003cp>“I come from a community in Stanislaus County [and] we transition between Spanish and English very fluently,” Astorga says. “And that’s what’s in the show: this dialect of the Central Valley that, in English, is slang from the Bay and slang from Southern California. And in Spanish, it’s like Spanglish slang, but also slang from specific parts of Mexico. So it’s like a really cool cultural blend.”\u003c/p>\n\u003cfigure id=\"attachment_13929122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg 1503w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The burglar (Patricio Becerril) and Taki (Edna Raia) team up in fear of an even bigger threat — La Karen — in Cutting Ball Theater and IN THE MARGIN’s ‘Exhaustion Arroyo: Dancin’ Trees in the Ravine’ by W. Fran Astorga. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Exhaustion Arroyo\u003c/em> also features the professional theater debut of actor and Santa Rosa native Patricio Becerril, who plays Apé. Becerril, who studied theater at Santa Rosa Junior College before finishing his degree at UC San Diego, says the play is unlike anything he’s done. \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>“It’s very clown-like, it’s very commedia dell’arte,” Becerril says. “So it’s not your traditional acting set on realism. It’s more animated. It’s just… wacky!”\u003c/p>\n\u003cp>Astorga says that wackiness and humor was necessary in taking on the heavier themes of the play: “It was important for me to like, speak to the experiences of my community in a joyful way, as opposed to a traumatic way.”\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>‘Exhaustion Arroyo: Dancin’ Trees in the Ravine’ runs through May 21, 2023, at Cutting Ball Theater in San Francisco. \u003ca href=\"https://cuttingball.com/productions/exhaustion-arroyo\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929116/exhaustion-arroyo","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1414","arts_3788","arts_585"],"featImg":"arts_13929120","label":"arts_140"},"arts_13915037":{"type":"posts","id":"arts_13915037","meta":{"index":"posts_1591205157","site":"arts","id":"13915037","score":null,"sort":[1655840553000]},"guestAuthors":[],"slug":"aimee-suzara-the-real-sappho-cutting-ball-theater","title":"Aimee Suzara Imagines ‘The Real Sappho,’ Shifting an Ancient Life to Present Day","publishDate":1655840553,"format":"standard","headTitle":"Aimee Suzara Imagines ‘The Real Sappho,’ Shifting an Ancient Life to Present Day | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Like many figures from the classical era, the lyric poet Sappho is only known to us through fragments and conjecture. What seems certain is that she was a poet of great renown, referred to by Plato as the “Tenth Muse.” We know she was born on the Greek island of Lesbos. We know she had at least one daughter. And we know her poetry frequently centers around love: in celebration of marriage, and of romantic, same-sex longing for women.\u003c/p>\n\u003cp>For Oakland-based poet and playwright Aimee Suzara, integrating the story of Sappho into the present day has been a years-long process, instigated and facilitated by Cutting Ball Theater in San Francisco. Now it’s finally coming to fruition in online performances of \u003ca href=\"https://cuttingball.com/productions/the-real-sappho\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Real Sappho\u003c/i>\u003c/a> on June 24 and 25.[aside postID='arts_13914823,arts_13914750']\u003c/p>\n\u003cp>One of a number of commissioned works (the first, \u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Free for All\u003c/em>\u003c/a> by Megan Cohen, debuted in 2019), Suzara’s \u003cem>The Real Sappho\u003c/em> was originally conceived as an adaptation of Estelle Lewis’ 1868 play \u003cem>Sappho of Lesbos\u003c/em>. But Suzara quickly found herself less drawn to Lewis’ tragedian take on the elusive poet and more to Sappho’s own writing.\u003c/p>\n\u003cp>“Here’s a female figure whose little fragments of work survived over centuries,” Suzara says. “We analyze it because it’s poetry and it’s about a life and a person that we can only imagine … [and then] we get these mythologies that were written about her … that take the place of her actual poetry.” But Suzara asserts that Sappho’s surviving poetry, as fragmented as it is, paints a much more down-to-earth portrait than the mythologies often do.\u003c/p>\n\u003cp>“The idea of her jumping off a cliff because she fell in love with a shepherd boy … was actually a myth that was written by male writers after she died,” she notes. “And the version of the story that went in Estelle Lewis’ [play] definitely followed a lot of that for the sake of it being very dramatic and tragic and high stakes. But I was reading it going, ‘Wait a second, where’s her daughter? Where are her female lovers?’ Aging is mentioned, her hair changing color … You know this happens to mothers, and she talks about it in her poetry. I connected with that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in order to create a Sappho that felt true to the source material Suzara found that mythology still had its place. Reflecting on Sappho’s poems for Aphrodite, Suzara wanted to keep that relationship to the divine as a theme in her play. Additionally she aimed to reconfigure Sappho’s island home into a place that felt closer to her own experience. To that end she invented “Oak-Island,” a fictionalized ode to her current hometown melded with inspiration drawn from time spent in Cuba, where her husband Einar Leliebre Nuñez (the composer for \u003cem>The Real Sappho\u003c/em>) currently lives.\u003c/p>\n\u003cp>“It’s not like Oak-Island \u003cem>is\u003c/em> Cuba, but … [it’s] a place where it’s normal to be in a community setting that includes cultural expression that may include spiritual elements.” The spiritual elements she refers to appear in her play as a chorus embodying the goddess Oshun, an Orisha figure important to Cuban Santería.\u003c/p>\n\u003cp>“Orisha-honoring is a part of the fabric of everyday life,” Suzara explains. “It’s very common to see altars, and to have to participate in celebrations that are religious—or to at least see it or be around it.” With input from Nuñez (a Santería practitioner) she was able to infuse her exploration of divine connection with an Afro-Cuban perspective that felt more authentic to the play’s Oak-Island setting.\u003c/p>\n\u003cfigure id=\"attachment_13915041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/TheRealSappho_Jeune%CC%81eSimon_photocredit_EstelaHernandez-800x533.jpg\" alt=\"A Black woman with short hair sitting on outdoor stone steps\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon as Sappho in Cutting Ball Theater’s production of Aimee Suzara’s ‘The Real Sappho.’ \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of equal importance to Suzara’s Sappho (played in the Cutting Ball production by Jeunée Simon) are her other key relationships. She teaches her poetry students not only the art of the written word but that of embodiment, through dance, ritual and frank eroticism. We see her relationships to her daughter Cleis (played by Tierra Allen), and to her lovers: men and women, past and present.\u003c/p>\n\u003cp>It may be no coincidence that all of these fragments of Suzara’s Sappho also seem to correlate to aspects of Suzara’s own identities. She too is a poet. An instructor. A queer woman whose loves are not confined to one gender. She is a maturing mother steeped in the art of creation, and in the creation of art. This last facet of Sappho’s identity felt especially important because of, as Suzara points out, an endemic inability to see mothers as artists, or even as whole human beings.\u003c/p>\n\u003cp>“There’s a line in the play where (Sappho) says ‘I was a mother, and the father, and everything raising her daughter and … I almost let my dreams go to the wayside like women always do,’” Suzara describes. “And the real threat that I constantly feel is that I could easily just say, ‘You know what? I can’t do this anymore.’ … [But] actually as a mom, I have so much to express now and so much wisdom and knowledge. I feel like I’ve become a whole other person.”\u003c/p>\n\u003cp>One could even say she’s become like Sappho, even though—as she points out in our interview—we can’t know yet what mythologies will be built around her present-day legacy. “What would it be like if my work was found in hundreds of years?” she wonders aloud. “What would I want to be carried along?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Real Sappho,’ written by Aimee Suzara, directed by Nailah Harper-Malveaux, produced by Cutting Ball Theater, plays virtually June 24 and 25. \u003ca href=\"https://cuttingball.com/productions/the-real-sappho\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In an online play at Cutting Ball Theater, the Oakland playwright shifts the story of Sappho to ‘Oak-Island.’","status":"publish","parent":0,"modified":1705006701,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1051},"headData":{"title":"‘The Real Sappho’ at Cutting Ball: Poet as Artist, Lover and Mother | KQED","description":"In an online play at Cutting Ball Theater, the Oakland playwright shifts the story of Sappho to ‘Oak-Island.’","ogTitle":"Aimee Suzara Imagines ‘The Real Sappho,’ Shifting an Ancient Life to Present Day","ogDescription":"","ogImgId":"","twTitle":"Aimee Suzara Imagines ‘The Real Sappho,’ Shifting an Ancient Life to Present Day","twDescription":"","twImgId":"","socialTitle":"‘The Real Sappho’ at Cutting Ball: Poet as Artist, Lover and Mother %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13915037/aimee-suzara-the-real-sappho-cutting-ball-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many figures from the classical era, the lyric poet Sappho is only known to us through fragments and conjecture. What seems certain is that she was a poet of great renown, referred to by Plato as the “Tenth Muse.” We know she was born on the Greek island of Lesbos. We know she had at least one daughter. And we know her poetry frequently centers around love: in celebration of marriage, and of romantic, same-sex longing for women.\u003c/p>\n\u003cp>For Oakland-based poet and playwright Aimee Suzara, integrating the story of Sappho into the present day has been a years-long process, instigated and facilitated by Cutting Ball Theater in San Francisco. Now it’s finally coming to fruition in online performances of \u003ca href=\"https://cuttingball.com/productions/the-real-sappho\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Real Sappho\u003c/i>\u003c/a> on June 24 and 25.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13914823,arts_13914750","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of a number of commissioned works (the first, \u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Free for All\u003c/em>\u003c/a> by Megan Cohen, debuted in 2019), Suzara’s \u003cem>The Real Sappho\u003c/em> was originally conceived as an adaptation of Estelle Lewis’ 1868 play \u003cem>Sappho of Lesbos\u003c/em>. But Suzara quickly found herself less drawn to Lewis’ tragedian take on the elusive poet and more to Sappho’s own writing.\u003c/p>\n\u003cp>“Here’s a female figure whose little fragments of work survived over centuries,” Suzara says. “We analyze it because it’s poetry and it’s about a life and a person that we can only imagine … [and then] we get these mythologies that were written about her … that take the place of her actual poetry.” But Suzara asserts that Sappho’s surviving poetry, as fragmented as it is, paints a much more down-to-earth portrait than the mythologies often do.\u003c/p>\n\u003cp>“The idea of her jumping off a cliff because she fell in love with a shepherd boy … was actually a myth that was written by male writers after she died,” she notes. “And the version of the story that went in Estelle Lewis’ [play] definitely followed a lot of that for the sake of it being very dramatic and tragic and high stakes. But I was reading it going, ‘Wait a second, where’s her daughter? Where are her female lovers?’ Aging is mentioned, her hair changing color … You know this happens to mothers, and she talks about it in her poetry. I connected with that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in order to create a Sappho that felt true to the source material Suzara found that mythology still had its place. Reflecting on Sappho’s poems for Aphrodite, Suzara wanted to keep that relationship to the divine as a theme in her play. Additionally she aimed to reconfigure Sappho’s island home into a place that felt closer to her own experience. To that end she invented “Oak-Island,” a fictionalized ode to her current hometown melded with inspiration drawn from time spent in Cuba, where her husband Einar Leliebre Nuñez (the composer for \u003cem>The Real Sappho\u003c/em>) currently lives.\u003c/p>\n\u003cp>“It’s not like Oak-Island \u003cem>is\u003c/em> Cuba, but … [it’s] a place where it’s normal to be in a community setting that includes cultural expression that may include spiritual elements.” The spiritual elements she refers to appear in her play as a chorus embodying the goddess Oshun, an Orisha figure important to Cuban Santería.\u003c/p>\n\u003cp>“Orisha-honoring is a part of the fabric of everyday life,” Suzara explains. “It’s very common to see altars, and to have to participate in celebrations that are religious—or to at least see it or be around it.” With input from Nuñez (a Santería practitioner) she was able to infuse her exploration of divine connection with an Afro-Cuban perspective that felt more authentic to the play’s Oak-Island setting.\u003c/p>\n\u003cfigure id=\"attachment_13915041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/TheRealSappho_Jeune%CC%81eSimon_photocredit_EstelaHernandez-800x533.jpg\" alt=\"A Black woman with short hair sitting on outdoor stone steps\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon as Sappho in Cutting Ball Theater’s production of Aimee Suzara’s ‘The Real Sappho.’ \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of equal importance to Suzara’s Sappho (played in the Cutting Ball production by Jeunée Simon) are her other key relationships. She teaches her poetry students not only the art of the written word but that of embodiment, through dance, ritual and frank eroticism. We see her relationships to her daughter Cleis (played by Tierra Allen), and to her lovers: men and women, past and present.\u003c/p>\n\u003cp>It may be no coincidence that all of these fragments of Suzara’s Sappho also seem to correlate to aspects of Suzara’s own identities. She too is a poet. An instructor. A queer woman whose loves are not confined to one gender. She is a maturing mother steeped in the art of creation, and in the creation of art. This last facet of Sappho’s identity felt especially important because of, as Suzara points out, an endemic inability to see mothers as artists, or even as whole human beings.\u003c/p>\n\u003cp>“There’s a line in the play where (Sappho) says ‘I was a mother, and the father, and everything raising her daughter and … I almost let my dreams go to the wayside like women always do,’” Suzara describes. “And the real threat that I constantly feel is that I could easily just say, ‘You know what? I can’t do this anymore.’ … [But] actually as a mom, I have so much to express now and so much wisdom and knowledge. I feel like I’ve become a whole other person.”\u003c/p>\n\u003cp>One could even say she’s become like Sappho, even though—as she points out in our interview—we can’t know yet what mythologies will be built around her present-day legacy. “What would it be like if my work was found in hundreds of years?” she wonders aloud. “What would I want to be carried along?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Real Sappho,’ written by Aimee Suzara, directed by Nailah Harper-Malveaux, produced by Cutting Ball Theater, plays virtually June 24 and 25. \u003ca href=\"https://cuttingball.com/productions/the-real-sappho\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13915037/aimee-suzara-the-real-sappho-cutting-ball-theater","authors":["11497"],"categories":["arts_1","arts_967"],"tags":["arts_1414","arts_10278","arts_769","arts_585"],"featImg":"arts_13915039","label":"arts"},"arts_13888105":{"type":"posts","id":"arts_13888105","meta":{"index":"posts_1591205157","site":"arts","id":"13888105","score":null,"sort":[1603149877000]},"guestAuthors":[],"slug":"charles-mees-virtual-play-utopia-brims-with-imagination-and-possibility","title":"Charles Mee’s Virtual Play ‘Utopia’ Brims with Imagination and Possibility","publishDate":1603149877,"format":"standard","headTitle":"Charles Mee’s Virtual Play ‘Utopia’ Brims with Imagination and Possibility | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>What makes a “utopia?” Is it a place where we can be free to be ourselves, or a place where we can become our better versions? And what is \u003cem>better\u003c/em>? Is the purpose of utopia to give us something to build towards, or is it something to dream into existence? At a time when both building and dreaming feel essential, there may be no better moment than to ponder the attainability of a utopian ideal.\u003c/p>\n\u003cp>Joining a veritable pantheon of utopia-themed entertainment currently streaming, Charles Mee’s newest play, \u003cem>\u003ca href=\"https://cuttingball.com/productions/utopia\" target=\"_blank\" rel=\"noopener noreferrer\">Utopia\u003c/a>,\u003c/em> opened Oct. 16. Commissioned and presented online by Cutting Ball Theater, and directed by Ariel Craft, \u003cem>Utopia \u003c/em>gives audiences a window into a world much like our own but just a bit \u003cem>extra\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13888112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888112\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-800x442.jpg\" alt=\"\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble cast of Cutting Ball Theater’s ‘Utopia,’ by Charles Mee. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To sit with the world of \u003cem>Utopia\u003c/em>—as with Mee’s other work—is to sit with the idea of expansiveness. A spiraling outward that connects small dots of intimacy, pushing them ever further. A world that begs the viewer to consider love, joy and emotional fulfillment as theatrical topics as “big” and “important” as ones of anger, fear and disillusionment. A world where control is never the point, only iteration.\u003c/p>\n\u003cp>Within \u003cem>Utopia\u003c/em>, Mee borrows and remixes from his own past works—including \u003cem>Our Times\u003c/em>, \u003cem>Tunnel of Love\u003c/em> and \u003cem>Wintertime\u003c/em>—creating a resonance that spans years and distance and disciplines. In some ways it’s reminiscent of his 2019 collaboration with Anne Bogart and Elizabeth Streb, \u003ca href=\"https://allarts.org/programs/peak-hd/falling-loving-61jt8a/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Falling and Loving\u003c/em>\u003c/a>, itself a remix of past work. This continuous revisiting and revising of the same text and tropes feels familiar and necessary, both as an artistic process and a life practice. What \u003cem>Utopia\u003c/em> seems to suggest is that the work is never really done. The conversation is never really over. The \u003cem>ideal\u003c/em>—whatever that might mean—is never fully attained.\u003c/p>\n\u003cfigure id=\"attachment_13888110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/utopia_ChrisSteele_noir_screenshot_credit_CuttingBallTheater-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ChrisSteele_noir_screenshot_credit_CuttingBallTheater-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ChrisSteele_noir_screenshot_credit_CuttingBallTheater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ChrisSteele_noir_screenshot_credit_CuttingBallTheater-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ChrisSteele_noir_screenshot_credit_CuttingBallTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Steele as Edmund in a noir sequence in Cutting Ball Theater’s ‘Utopia,’ by Charles Mee. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that lack of resolution produces anxiety for you, what \u003cem>Utopia\u003c/em> brings to the table is a buoyant exploration of \u003cem>possibility\u003c/em>, frequently turning to the familiar for inspiration. In a time of heightened anxiety and socially distant isolation, how novel and welcome it feels to “sit” in a “cafe” with actors Michelle Talgarow and Chloe Fong. To eavesdrop on the burgeoning romance between Jasmine Milan Williams and Regina Morones, listen to a long list of impossible ice creams flavors delivered with jolly sincerity or bite with gusto at a cartoon croissant with an audible crunch. Or to hear the words of Joe Brainard recited, notable for infusing the everyday with elements of the sensual. The taste of the sugar left over on the wrappers of bubblegum, the click of Mahjong tiles, the sounds, smells and flavors that proliferate the ordinary extraordinary.\u003c/p>\n\u003cfigure id=\"attachment_13888108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13888108 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-800x435.jpg\" alt=\"\" width=\"800\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-1020x554.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-1536x835.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-1920x1044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Shao and Joel Chapman contemplate a cookie in Cutting Ball Theater’s ’Utopia,’ written by Charles Mee. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Above all, \u003cem>Utopia\u003c/em> is a sensory experience, with a dizzying array of colorful costumes designed by Sarah LeFeber and exquisite props by Adeline Smith. Lighting designer Cassie Barnes imbues each scene with a signature color—a cabaret palette of deep lavender, luscious rose, gaslight green and primary blue. And cartoonish swoops and flourishes provided by James Ard’s sound design add dimension and a delightful goofiness to the mix. Interspersed throughout, the vibrant work of painters and sculptors from the Creativity Explored art studio for developmentally disabled adults brings irresistible pops of color and energy to this \u003cem>Utopia\u003c/em>. [aside postid='arts_13887999']\u003c/p>\n\u003cp>The last portion of the show is given over to RAWdance, in an outdoor series choreographed by Katerina Wong. Staging dances on hilltops, beneath trees and against a backdrop of beach sand and crashing waves, RAWdance performers move through the city, alone, in pairs and in masked, distanced groups. True to their moniker, their movement feels both raw and limitless. Joel Chapman’s score seems to trace the shape of breath expanding through lungs, complemented by a melancholy piano and precise percussion.\u003c/p>\n\u003cfigure id=\"attachment_13888109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13888109 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/utopia_RAWdance_screenshot_credit_CuttingBallTheater-800x437.jpg\" alt=\"\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_RAWdance_screenshot_credit_CuttingBallTheater-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_RAWdance_screenshot_credit_CuttingBallTheater-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_RAWdance_screenshot_credit_CuttingBallTheater-768x419.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_RAWdance_screenshot_credit_CuttingBallTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RAWdance ensemble in Cutting Ball Theater’s ‘Utopia,’ written by Charles Mee. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, it’s the dance sequences rather than the spoken text of the piece that moved me beyond mere appreciation of Cutting Ball’s fanciful vision. As I watched the dancers’ bodies inhabiting the scraps of nature left in the city, with the Sutro Tower looming behind them and the breeze ruffling their pant legs, I felt a desire to be near them in person. I felt a yearning and a sense of loss for what might have been and what yet might be. And perhaps an envy at the way the dancers seemed so free and unconfined.\u003c/p>\n\u003cp>It’s this yearning and envy that solidifies the idea of standing at the gates of a utopia for me. To peek through the lens at a world that slips, laughing, still just beyond reach. Is \u003cem>Utopia\u003c/em> an ideal? Or is it an invitation? The answer may be different for every viewer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Utopia streams though November 15, 2020. Audio descriptions, closed captioning and ASL interpretations are all available. More info and tickets \u003ca href=\"https://cuttingball.com/productions/utopia\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Its sensory delights come alive through the screen, and it makes the ordinary feel extraordinary. ","status":"publish","parent":0,"modified":1705019966,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":917},"headData":{"title":"Charles Mee’s Virtual Play ‘Utopia’ Brims with Imagination and Possibility | KQED","description":"Its sensory delights come alive through the screen, and it makes the ordinary feel extraordinary. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13888105/charles-mees-virtual-play-utopia-brims-with-imagination-and-possibility","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What makes a “utopia?” Is it a place where we can be free to be ourselves, or a place where we can become our better versions? And what is \u003cem>better\u003c/em>? Is the purpose of utopia to give us something to build towards, or is it something to dream into existence? At a time when both building and dreaming feel essential, there may be no better moment than to ponder the attainability of a utopian ideal.\u003c/p>\n\u003cp>Joining a veritable pantheon of utopia-themed entertainment currently streaming, Charles Mee’s newest play, \u003cem>\u003ca href=\"https://cuttingball.com/productions/utopia\" target=\"_blank\" rel=\"noopener noreferrer\">Utopia\u003c/a>,\u003c/em> opened Oct. 16. Commissioned and presented online by Cutting Ball Theater, and directed by Ariel Craft, \u003cem>Utopia \u003c/em>gives audiences a window into a world much like our own but just a bit \u003cem>extra\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13888112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888112\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-800x442.jpg\" alt=\"\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble cast of Cutting Ball Theater’s ‘Utopia,’ by Charles Mee. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To sit with the world of \u003cem>Utopia\u003c/em>—as with Mee’s other work—is to sit with the idea of expansiveness. A spiraling outward that connects small dots of intimacy, pushing them ever further. A world that begs the viewer to consider love, joy and emotional fulfillment as theatrical topics as “big” and “important” as ones of anger, fear and disillusionment. A world where control is never the point, only iteration.\u003c/p>\n\u003cp>Within \u003cem>Utopia\u003c/em>, Mee borrows and remixes from his own past works—including \u003cem>Our Times\u003c/em>, \u003cem>Tunnel of Love\u003c/em> and \u003cem>Wintertime\u003c/em>—creating a resonance that spans years and distance and disciplines. In some ways it’s reminiscent of his 2019 collaboration with Anne Bogart and Elizabeth Streb, \u003ca href=\"https://allarts.org/programs/peak-hd/falling-loving-61jt8a/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Falling and Loving\u003c/em>\u003c/a>, itself a remix of past work. This continuous revisiting and revising of the same text and tropes feels familiar and necessary, both as an artistic process and a life practice. What \u003cem>Utopia\u003c/em> seems to suggest is that the work is never really done. The conversation is never really over. The \u003cem>ideal\u003c/em>—whatever that might mean—is never fully attained.\u003c/p>\n\u003cfigure id=\"attachment_13888110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/utopia_ChrisSteele_noir_screenshot_credit_CuttingBallTheater-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ChrisSteele_noir_screenshot_credit_CuttingBallTheater-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ChrisSteele_noir_screenshot_credit_CuttingBallTheater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ChrisSteele_noir_screenshot_credit_CuttingBallTheater-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ChrisSteele_noir_screenshot_credit_CuttingBallTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Steele as Edmund in a noir sequence in Cutting Ball Theater’s ‘Utopia,’ by Charles Mee. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that lack of resolution produces anxiety for you, what \u003cem>Utopia\u003c/em> brings to the table is a buoyant exploration of \u003cem>possibility\u003c/em>, frequently turning to the familiar for inspiration. In a time of heightened anxiety and socially distant isolation, how novel and welcome it feels to “sit” in a “cafe” with actors Michelle Talgarow and Chloe Fong. To eavesdrop on the burgeoning romance between Jasmine Milan Williams and Regina Morones, listen to a long list of impossible ice creams flavors delivered with jolly sincerity or bite with gusto at a cartoon croissant with an audible crunch. Or to hear the words of Joe Brainard recited, notable for infusing the everyday with elements of the sensual. The taste of the sugar left over on the wrappers of bubblegum, the click of Mahjong tiles, the sounds, smells and flavors that proliferate the ordinary extraordinary.\u003c/p>\n\u003cfigure id=\"attachment_13888108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13888108 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-800x435.jpg\" alt=\"\" width=\"800\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-1020x554.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-1536x835.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater-1920x1044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_SharonShao_JoelChapman_screenshot_credit_CuttingBallTheater.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Shao and Joel Chapman contemplate a cookie in Cutting Ball Theater’s ’Utopia,’ written by Charles Mee. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Above all, \u003cem>Utopia\u003c/em> is a sensory experience, with a dizzying array of colorful costumes designed by Sarah LeFeber and exquisite props by Adeline Smith. Lighting designer Cassie Barnes imbues each scene with a signature color—a cabaret palette of deep lavender, luscious rose, gaslight green and primary blue. And cartoonish swoops and flourishes provided by James Ard’s sound design add dimension and a delightful goofiness to the mix. Interspersed throughout, the vibrant work of painters and sculptors from the Creativity Explored art studio for developmentally disabled adults brings irresistible pops of color and energy to this \u003cem>Utopia\u003c/em>. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13887999","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last portion of the show is given over to RAWdance, in an outdoor series choreographed by Katerina Wong. Staging dances on hilltops, beneath trees and against a backdrop of beach sand and crashing waves, RAWdance performers move through the city, alone, in pairs and in masked, distanced groups. True to their moniker, their movement feels both raw and limitless. Joel Chapman’s score seems to trace the shape of breath expanding through lungs, complemented by a melancholy piano and precise percussion.\u003c/p>\n\u003cfigure id=\"attachment_13888109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13888109 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/utopia_RAWdance_screenshot_credit_CuttingBallTheater-800x437.jpg\" alt=\"\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_RAWdance_screenshot_credit_CuttingBallTheater-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_RAWdance_screenshot_credit_CuttingBallTheater-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_RAWdance_screenshot_credit_CuttingBallTheater-768x419.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_RAWdance_screenshot_credit_CuttingBallTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RAWdance ensemble in Cutting Ball Theater’s ‘Utopia,’ written by Charles Mee. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, it’s the dance sequences rather than the spoken text of the piece that moved me beyond mere appreciation of Cutting Ball’s fanciful vision. As I watched the dancers’ bodies inhabiting the scraps of nature left in the city, with the Sutro Tower looming behind them and the breeze ruffling their pant legs, I felt a desire to be near them in person. I felt a yearning and a sense of loss for what might have been and what yet might be. And perhaps an envy at the way the dancers seemed so free and unconfined.\u003c/p>\n\u003cp>It’s this yearning and envy that solidifies the idea of standing at the gates of a utopia for me. To peek through the lens at a world that slips, laughing, still just beyond reach. Is \u003cem>Utopia\u003c/em> an ideal? Or is it an invitation? The answer may be different for every viewer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Utopia streams though November 15, 2020. Audio descriptions, closed captioning and ASL interpretations are all available. More info and tickets \u003ca href=\"https://cuttingball.com/productions/utopia\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13888105/charles-mees-virtual-play-utopia-brims-with-imagination-and-possibility","authors":["11497"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_1414","arts_10278","arts_585"],"featImg":"arts_13888111","label":"arts_140"},"arts_13867205":{"type":"posts","id":"arts_13867205","meta":{"index":"posts_1591205157","site":"arts","id":"13867205","score":null,"sort":[1569596433000]},"guestAuthors":[],"slug":"partying-like-its-2099-at-cutting-balls-free-for-all","title":"Partying Like it’s 2099 at Cutting Ball's 'Free For All'","publishDate":1569596433,"format":"standard","headTitle":"Partying Like it’s 2099 at Cutting Ball’s ‘Free For All’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>Everything we see we want to possess. –Sting \u003c/em>\u003c/p>\n\u003cp>Sometimes attending a play is like attending a party. The energy crackles, the assembled audience is alert and engaged, and everyone onstage looks like they’re just having so much damn fun. On such nights, it feels like if you just stick around long enough, maybe they’ll haul you up there to be a part of the in crowd, or at least top off your glass.\u003c/p>\n\u003cp>In Cutting Ball Theater’s \u003cem>Free for All: A New Miss Julie for a New World\u003c/em>, written by Megan Cohen and directed by Ariel Craft, we see August Strindberg’s \u003cem>Miss Julie \u003c/em>deconstructed to a bare frame, then filled extravagantly back up with madcap futurism, and all of our modern-day concerns explored to their most strangely logical extremes.\u003c/p>\n\u003cp>Worried about climate change? Just wait until the snows melting off of Nob Hill drown the lower-lying neighborhoods. Concerned about the ingrained misogyny and power dynamics that led to the #MeToo movement? Your introduction to power-bros Brockingfield and Jacobson won’t alleviate those concerns (though they \u003cem>will\u003c/em> make you laugh). Have feelings about the destructive nature of unchecked capitalism? Have another tiny donut and a cigar. Or a deviled egg and a cigarette. In the world of \u003cem>Free for All\u003c/em>, even the vices are indicative of class position.\u003c/p>\n\u003cfigure id=\"attachment_13867209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (left) and Phil Wong (right) as power-bros Brockingfield and Jacobson in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actors Stacy Ross and Phil Wong—as Julie and Brockingfield, and John and Jacobson, respectively—elevate their roles to hilarious heights. Ross is especially mesmerizing as she chafes visibly against the smoothly aristocratic shell that is her birthright. In the opening scene, she skis down the “slope” of Nob Hill, exalting and cursing with equal vigor. Later, when she flirts with John in the kitchen, she almost coos; when she slaps him, she laughs with impudent delight. When she gets a hot flash, the whole theatre feels as if it’s increased in temperature with her. When she’s disgusted within her own skin, you get the feeling that she might just peel it right off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between the two actors flows a current of chummy, professional camaraderie, which only occasionally intrudes on the scene, especially in moments where we understand by John’s words and actions that he’s being chauvinistic, but Wong doesn’t quite make it feel genuine. His Jacobson fares better in that particular regard, but always with a nod and a wink.\u003c/p>\n\u003cp>A pair of puppeteers (Charlie Gray and Miyaka P. Cochrane) spend much of their time onstage blending into the background, reacting silently to the puerile antics of the named characters, using confetti to represent snow, flood, flame. They also manipulate the action of two different pigeon puppets—a pampered but captive pigeon in a cage and a rough-and-tumble scrapper from the streets. (Yes, it’s a metaphor.)\u003c/p>\n\u003cfigure id=\"attachment_13867208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong (right, front) as John, Stacy Ross as Julie (back middle), with puppeteers Miyaka P. Cochrane (back left), and Charlie Gray (back right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set, designed by Jacqueline Wren Scott, is spartan but fully mobile, playfully morphing from the ski slopes of Nob Hill to its last remaining kitchens with a flick of a bedsheet. The sound design by James Ard is deliberately cloying, heavy on the Vivaldi, and the lighting by Cassie Barnes leans into surrealistic flourish. The last time I saw Strindberg performed at Cutting Ball Theater, in an epic marathon in 2012, the experience was significantly more monochromatic. This is not that Strindberg.\u003c/p>\n\u003cp>As a treasured Cohen theme dating back at least as far as her stellar 2011 short play \u003cem>A Three Little Dumplings Adventure\u003c/em>, hunger drives much of the action. From Julie’s ravenous inhalation of her servant’s supper, to Jacobson’s petulant quest for more champagne and donuts, or John’s memory of eating his feelings by stuffing himself with dumpstered danish, consumption is the underlying thread. Or at least a desire to \u003cem>possess\u003c/em>: John dares to imagine that he can be Julie’s equal (or master), Brockingfield pontificates that he knows how to turn a profit even on the end of the world, and the party devolves into a final desperate orgy.\u003c/p>\n\u003cfigure id=\"attachment_13867207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867207\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (middle) as Julie, accompanied by her “henchmen,” Charlie Gray (left) and Miyaka P. Cochrane (right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Cutting Ball Theater’s new initiatives under the artistic direction of Ariel Craft is one of playwright commissioning—with Cohen the first recipient. If their wildly imaginative comedic romp through a doomed San Francisco is anything to go by, this initiative will be one to watch for seasons to come.\u003c/p>\n\u003cp>As for what this play portends for our not too-distant future, the outlook is significantly less hopeful. Unless, of course, you have the money to buy a good chunk of stock in hydropower, or a soon-to-be beachfront property up by Grace Cathedral. If you dig beneath the playful trappings of frolic, you’ll find a pretty damning indictment of capitalist myopia, classism, and corporate greed. But like any good party, everyone is invited to come and decide for themselves what to get out of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Free for All: A New Miss Julie for a New World’ runs through Oct. 20 at Cutting Ball Theater in San Francisco. \u003ca href=\"https://cuttingball.com/productions/free-for-all\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Megan Cohen's latest brilliantly extrapolates all our modern-day concerns to their strangely logical extremes.","status":"publish","parent":0,"modified":1705022072,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":968},"headData":{"title":"Partying Like it’s 2099 at Cutting Ball's 'Free For All' | KQED","description":"Megan Cohen's latest brilliantly extrapolates all our modern-day concerns to their strangely logical extremes.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","startTime":1569481200,"endTime":1571684400,"startTimeString":"Sept. 19–Oct. 20, 2019","venueName":"Cutting Ball Theater","venueAddress":"277 Taylor St, San Francisco","eventLink":"https://cuttingball.com/","path":"/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Everything we see we want to possess. –Sting \u003c/em>\u003c/p>\n\u003cp>Sometimes attending a play is like attending a party. The energy crackles, the assembled audience is alert and engaged, and everyone onstage looks like they’re just having so much damn fun. On such nights, it feels like if you just stick around long enough, maybe they’ll haul you up there to be a part of the in crowd, or at least top off your glass.\u003c/p>\n\u003cp>In Cutting Ball Theater’s \u003cem>Free for All: A New Miss Julie for a New World\u003c/em>, written by Megan Cohen and directed by Ariel Craft, we see August Strindberg’s \u003cem>Miss Julie \u003c/em>deconstructed to a bare frame, then filled extravagantly back up with madcap futurism, and all of our modern-day concerns explored to their most strangely logical extremes.\u003c/p>\n\u003cp>Worried about climate change? Just wait until the snows melting off of Nob Hill drown the lower-lying neighborhoods. Concerned about the ingrained misogyny and power dynamics that led to the #MeToo movement? Your introduction to power-bros Brockingfield and Jacobson won’t alleviate those concerns (though they \u003cem>will\u003c/em> make you laugh). Have feelings about the destructive nature of unchecked capitalism? Have another tiny donut and a cigar. Or a deviled egg and a cigarette. In the world of \u003cem>Free for All\u003c/em>, even the vices are indicative of class position.\u003c/p>\n\u003cfigure id=\"attachment_13867209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (left) and Phil Wong (right) as power-bros Brockingfield and Jacobson in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actors Stacy Ross and Phil Wong—as Julie and Brockingfield, and John and Jacobson, respectively—elevate their roles to hilarious heights. Ross is especially mesmerizing as she chafes visibly against the smoothly aristocratic shell that is her birthright. In the opening scene, she skis down the “slope” of Nob Hill, exalting and cursing with equal vigor. Later, when she flirts with John in the kitchen, she almost coos; when she slaps him, she laughs with impudent delight. When she gets a hot flash, the whole theatre feels as if it’s increased in temperature with her. When she’s disgusted within her own skin, you get the feeling that she might just peel it right off.\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>Between the two actors flows a current of chummy, professional camaraderie, which only occasionally intrudes on the scene, especially in moments where we understand by John’s words and actions that he’s being chauvinistic, but Wong doesn’t quite make it feel genuine. His Jacobson fares better in that particular regard, but always with a nod and a wink.\u003c/p>\n\u003cp>A pair of puppeteers (Charlie Gray and Miyaka P. Cochrane) spend much of their time onstage blending into the background, reacting silently to the puerile antics of the named characters, using confetti to represent snow, flood, flame. They also manipulate the action of two different pigeon puppets—a pampered but captive pigeon in a cage and a rough-and-tumble scrapper from the streets. (Yes, it’s a metaphor.)\u003c/p>\n\u003cfigure id=\"attachment_13867208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong (right, front) as John, Stacy Ross as Julie (back middle), with puppeteers Miyaka P. Cochrane (back left), and Charlie Gray (back right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set, designed by Jacqueline Wren Scott, is spartan but fully mobile, playfully morphing from the ski slopes of Nob Hill to its last remaining kitchens with a flick of a bedsheet. The sound design by James Ard is deliberately cloying, heavy on the Vivaldi, and the lighting by Cassie Barnes leans into surrealistic flourish. The last time I saw Strindberg performed at Cutting Ball Theater, in an epic marathon in 2012, the experience was significantly more monochromatic. This is not that Strindberg.\u003c/p>\n\u003cp>As a treasured Cohen theme dating back at least as far as her stellar 2011 short play \u003cem>A Three Little Dumplings Adventure\u003c/em>, hunger drives much of the action. From Julie’s ravenous inhalation of her servant’s supper, to Jacobson’s petulant quest for more champagne and donuts, or John’s memory of eating his feelings by stuffing himself with dumpstered danish, consumption is the underlying thread. Or at least a desire to \u003cem>possess\u003c/em>: John dares to imagine that he can be Julie’s equal (or master), Brockingfield pontificates that he knows how to turn a profit even on the end of the world, and the party devolves into a final desperate orgy.\u003c/p>\n\u003cfigure id=\"attachment_13867207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867207\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (middle) as Julie, accompanied by her “henchmen,” Charlie Gray (left) and Miyaka P. Cochrane (right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Cutting Ball Theater’s new initiatives under the artistic direction of Ariel Craft is one of playwright commissioning—with Cohen the first recipient. If their wildly imaginative comedic romp through a doomed San Francisco is anything to go by, this initiative will be one to watch for seasons to come.\u003c/p>\n\u003cp>As for what this play portends for our not too-distant future, the outlook is significantly less hopeful. Unless, of course, you have the money to buy a good chunk of stock in hydropower, or a soon-to-be beachfront property up by Grace Cathedral. If you dig beneath the playful trappings of frolic, you’ll find a pretty damning indictment of capitalist myopia, classism, and corporate greed. But like any good party, everyone is invited to come and decide for themselves what to get out of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Free for All: A New Miss Julie for a New World’ runs through Oct. 20 at Cutting Ball Theater in San Francisco. \u003ca href=\"https://cuttingball.com/productions/free-for-all\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all","authors":["11497"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1414","arts_1118","arts_769","arts_1334","arts_1072"],"featImg":"arts_13867210","label":"arts_140"},"arts_13828633":{"type":"posts","id":"arts_13828633","meta":{"index":"posts_1591205157","site":"arts","id":"13828633","score":null,"sort":[1522905052000]},"guestAuthors":[],"slug":"on-the-air-rachael-and-sahbas-do-list-picks-for-apr-7-2018","title":"On the Air: Rachael and Sahba's Do List Picks for Apr. 7, 2018","publishDate":1522905052,"format":"audio","headTitle":"On the Air: Rachael and Sahba’s Do List Picks for Apr. 7, 2018 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The Do List highlights what we're most excited about in April, including Silicon Valley Comic Con, Bless Me, Ultima and Green Fog.","status":"publish","parent":0,"modified":1705028126,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":175},"headData":{"title":"On the Air: Rachael and Sahba's Do List Picks for Apr. 7, 2018 | KQED","description":"The Do List highlights what we're most excited about in April, including Silicon Valley Comic Con, Bless Me, Ultima and Green Fog.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2018/04/TDL20180404.mp3","sticky":false,"path":"/arts/13828633/on-the-air-rachael-and-sahbas-do-list-picks-for-apr-7-2018","audioDuration":559000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13828633/on-the-air-rachael-and-sahbas-do-list-picks-for-apr-7-2018","authors":["251"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_966","arts_74","arts_69","arts_1003","arts_75","arts_967","arts_70"],"tags":["arts_3669","arts_3419","arts_1942","arts_1414","arts_879","arts_1210","arts_3607","arts_1118","arts_2244","arts_3772","arts_2265","arts_626"],"featImg":"arts_13828738","label":"arts_140"},"arts_13828662":{"type":"posts","id":"arts_13828662","meta":{"index":"posts_1591205157","site":"arts","id":"13828662","score":null,"sort":[1522888341000]},"guestAuthors":[],"slug":"in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo","title":"In a Time of Economic Extremes, Shakespeare's Timon Recast as a Silicon Valley CEO","publishDate":1522888341,"format":"standard","headTitle":"In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For nearly two decades now, \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">the Cutting Ball Theater\u003c/a> in San Francisco has taken classics and set them in modern times to make relevant points. That’s the case with Shakespeare’s \u003cem>Timon of Athens.\u003c/em> (Say TIE-mon to sound smart.)\u003c/p>\n\u003cp>Timon in this version of the play is a young, wildly successful CEO who loves to throw wild parties for others like himself. But when his fortunes fail, he finds himself friendless. And because this is a work from Shakespeare, Timon is exquisitely eloquent expressing his rage and disgust.\u003c/p>\n\u003cp>“It’s a very interesting play, but one that you rarely get to see,” says Cutting Board co-founder and director Rob Melrose.\u003c/p>\n\u003cp>Now, he is the first to praise the generosity of techies like those on the theater’s board, but San Francisco is a city marked by sweeping gentrification and radical economic disparity.\u003c/p>\n\u003cp>“We have the experiences of, you know, tech billionaires right up against people living in the street right here in our own neighborhood. The vast income inequality of our city is reflected in this play of Shakespeare’s,” Melrose says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Timon of Athens\u003c/em> runs through April 29 at the Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Timon of Athens is \"a play that explores the extremes, and we're living with the extremes,\" says director Rob Melrose of the Cutting Ball Theater.","status":"publish","parent":0,"modified":1705028134,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":212},"headData":{"title":"In a Time of Economic Extremes, Shakespeare's Timon Recast as a Silicon Valley CEO | KQED","description":"Timon of Athens is "a play that explores the extremes, and we're living with the extremes," says director Rob Melrose of the Cutting Ball Theater.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For nearly two decades now, \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">the Cutting Ball Theater\u003c/a> in San Francisco has taken classics and set them in modern times to make relevant points. That’s the case with Shakespeare’s \u003cem>Timon of Athens.\u003c/em> (Say TIE-mon to sound smart.)\u003c/p>\n\u003cp>Timon in this version of the play is a young, wildly successful CEO who loves to throw wild parties for others like himself. But when his fortunes fail, he finds himself friendless. And because this is a work from Shakespeare, Timon is exquisitely eloquent expressing his rage and disgust.\u003c/p>\n\u003cp>“It’s a very interesting play, but one that you rarely get to see,” says Cutting Board co-founder and director Rob Melrose.\u003c/p>\n\u003cp>Now, he is the first to praise the generosity of techies like those on the theater’s board, but San Francisco is a city marked by sweeping gentrification and radical economic disparity.\u003c/p>\n\u003cp>“We have the experiences of, you know, tech billionaires right up against people living in the street right here in our own neighborhood. The vast income inequality of our city is reflected in this play of Shakespeare’s,” Melrose says.\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>Timon of Athens\u003c/em> runs through April 29 at the Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo","authors":["251"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1414","arts_2087","arts_3001"],"featImg":"arts_13828742","label":"arts_140"},"arts_13809670":{"type":"posts","id":"arts_13809670","meta":{"index":"posts_1591205157","site":"arts","id":"13809670","score":null,"sort":[1506565276000]},"guestAuthors":[],"slug":"on-the-air-cy-and-matias-do-list-picks-for-sept-29-2017","title":"On the Air: Cy and Matias' Do List Picks for Sept. 29, 2017","publishDate":1506565276,"format":"audio","headTitle":"On the Air: Cy and Matias’ Do List Picks for Sept. 29, 2017 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">cat is back\u003c/a>, but thanks to the mice (Suzie Racho and Gabe Meline) for \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">filling in last week\u003c/a>. Also thanks to \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> Director Matias Tarnopolsky for joining me this week as co-host. Listen to the show (with all the podcast extras) above, and click on the links below for more details on the this week’s picks.\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 1:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxi\" target=\"_blank\" rel=\"noopener\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in Berlioz’s \u003cem>Symphonie Fantastique.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWxu\" target=\"_blank\" rel=\"noopener\">The Berkeley Symphony welcomes back Music Director Joana Carneiro for a concert featuring a world premiere by a talented young Australian composer.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 29: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWy7\" target=\"_blank\" rel=\"noopener\">The Cutting Ball Theater revives Paula Vogel’s \u003cem>The Mineola Twins, \u003c/em>a timely comedy about the rise of radical politics and feminism from the age of Eisenhower through the first Bush.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxJ\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents that rarest of classical hat tricks, a new piece for baroque orchestra, the U.S. premiere of Sally Beamish’s \u003cem>The Judas Passion\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWwX\" target=\"_blank\" rel=\"noopener\">Myra Melford is a relentlessly creative pianist and educator with a gig at the Red Poppy Art House.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWy0\" target=\"_blank\" rel=\"noopener\">Renaissance troubadour Billy Bragg is on a book tour for \u003cem>Roots, Radicals and Rockers: How Skiffle Changed the World, \u003c/em>his tribute to the roots of British rock.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 9–11:\u003c/strong> \u003ca href=\"http://www.lw3.com/itinerary\" target=\"_blank\" rel=\"noopener\">Loudon Wainwright is another terrific singer-songwriter out with a book, this one a memoir about his philandering ways.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"The Do List's picks this week include Billy Bragg, Myra Melford, some twins on the feminist barricades, and more.","status":"publish","parent":0,"modified":1705029449,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":271},"headData":{"title":"On the Air: Cy and Matias' Do List Picks for Sept. 29, 2017 | KQED","description":"The Do List's picks this week include Billy Bragg, Myra Melford, some twins on the feminist barricades, and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2017/09/TDLforPodcast92917.mp3","sticky":false,"path":"/arts/13809670/on-the-air-cy-and-matias-do-list-picks-for-sept-29-2017","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">cat is back\u003c/a>, but thanks to the mice (Suzie Racho and Gabe Meline) for \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">filling in last week\u003c/a>. Also thanks to \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> Director Matias Tarnopolsky for joining me this week as co-host. Listen to the show (with all the podcast extras) above, and click on the links below for more details on the this week’s picks.\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 1:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxi\" target=\"_blank\" rel=\"noopener\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in Berlioz’s \u003cem>Symphonie Fantastique.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWxu\" target=\"_blank\" rel=\"noopener\">The Berkeley Symphony welcomes back Music Director Joana Carneiro for a concert featuring a world premiere by a talented young Australian composer.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 29: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWy7\" target=\"_blank\" rel=\"noopener\">The Cutting Ball Theater revives Paula Vogel’s \u003cem>The Mineola Twins, \u003c/em>a timely comedy about the rise of radical politics and feminism from the age of Eisenhower through the first Bush.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxJ\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents that rarest of classical hat tricks, a new piece for baroque orchestra, the U.S. premiere of Sally Beamish’s \u003cem>The Judas Passion\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWwX\" target=\"_blank\" rel=\"noopener\">Myra Melford is a relentlessly creative pianist and educator with a gig at the Red Poppy Art House.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWy0\" target=\"_blank\" rel=\"noopener\">Renaissance troubadour Billy Bragg is on a book tour for \u003cem>Roots, Radicals and Rockers: How Skiffle Changed the World, \u003c/em>his tribute to the roots of British rock.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 9–11:\u003c/strong> \u003ca href=\"http://www.lw3.com/itinerary\" target=\"_blank\" rel=\"noopener\">Loudon Wainwright is another terrific singer-songwriter out with a book, this one a memoir about his philandering ways.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13809670/on-the-air-cy-and-matias-do-list-picks-for-sept-29-2017","authors":["32"],"programs":["arts_140"],"categories":["arts_69","arts_235","arts_967"],"tags":["arts_1414","arts_1118","arts_3649","arts_1006","arts_1420","arts_1677","arts_1366","arts_596","arts_2605","arts_626"],"featImg":"arts_13809770","label":"arts_140"},"arts_13809763":{"type":"posts","id":"arts_13809763","meta":{"index":"posts_1591205157","site":"arts","id":"13809763","score":null,"sort":[1506562620000]},"guestAuthors":[],"slug":"cutting-ball-mineola-twins-exit-theater","title":"A Satire on the Women's Movement — and its Backlash","publishDate":1506562620,"format":"standard","headTitle":"A Satire on the Women’s Movement — and its Backlash | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A lot of theater directors, we’re guessing, spent the period after Donald Trump’s election wondering how to address the state of the nation, gender politics, and how polarized we are in America. The Cutting Ball Theater explores those themes as it kicks off its fall season with a revival of Paula Vogel’s \u003cem>The Mineola Twins\u003c/em>, a satire on the rise of the women’s movement and the backlash against it, as seen through the eyes of twin sisters.\u003c/p>\n\u003cp>The play spans the years from Eisenhower to the first President Bush; the 1950s through the 1980s. Producing Associate Artistic Director Ariel Craft directs the play. “In this political landscape, we are struggling to find common ground with the people in our country,” she says in a Cutting Ball video. “And this show is especially important, because it speaks directly to that. Maybe it can provide us with some insightful tools for how we can move forward, and find common ground where common ground seems to not exist.” Now that’s a radical notion. \u003ca href=\"http://cuttingball.com/productions/the-mineola-twins/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/233056680\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Cutting Ball Theater revives Paula Vogel‘s play about the women‘s movement, seen through the eyes of twin sisters.","status":"publish","parent":0,"modified":1705029451,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":192},"headData":{"title":"A Satire on the Women's Movement — and its Backlash | KQED","description":"Cutting Ball Theater revives Paula Vogel‘s play about the women‘s movement, seen through the eyes of twin sisters.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13809763/cutting-ball-mineola-twins-exit-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of theater directors, we’re guessing, spent the period after Donald Trump’s election wondering how to address the state of the nation, gender politics, and how polarized we are in America. The Cutting Ball Theater explores those themes as it kicks off its fall season with a revival of Paula Vogel’s \u003cem>The Mineola Twins\u003c/em>, a satire on the rise of the women’s movement and the backlash against it, as seen through the eyes of twin sisters.\u003c/p>\n\u003cp>The play spans the years from Eisenhower to the first President Bush; the 1950s through the 1980s. Producing Associate Artistic Director Ariel Craft directs the play. “In this political landscape, we are struggling to find common ground with the people in our country,” she says in a Cutting Ball video. “And this show is especially important, because it speaks directly to that. Maybe it can provide us with some insightful tools for how we can move forward, and find common ground where common ground seems to not exist.” Now that’s a radical notion. \u003ca href=\"http://cuttingball.com/productions/the-mineola-twins/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"233056680"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13809763/cutting-ball-mineola-twins-exit-theater","authors":["32"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1414","arts_1006","arts_596","arts_626"],"featImg":"arts_13809942","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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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