Rainin Fellowship Awards $100,000 Grants to Four Bay Area Artists
In '[hieroglyph],' a Tale of Displacement is Brought to Rich, Evocative Life
Margo Hall Set to Lead the Lorraine Hansberry Theatre Into an Exciting New Future
In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient
Toni Morrison's 'Jazz' Comes to Life at Marin Theatre Co.
'Skeleton Crew' Tries to Capture the Corpse of an American Tragedy
On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018
A Family Intervention in Black and White
Sponsored
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The Rainin Fellowship awards four unrestricted grants of $100,000 to help artists maintain their lives and practices in the San Francisco Bay Area. The inaugural recipients are \u003ca href=\"http://www.deepwatersdance.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Amara Tabor-Smith\u003c/a>, \u003ca href=\"https://www.margohall.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Margo Hall\u003c/a>, \u003ca href=\"http://peopleskitchencollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">People’s Kitchen Collective\u003c/a> (Sita Kuratomi Bhaumik, Jocelyn Jackson and Saqib Keval), and \u003ca href=\"https://rrcinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rodrigo Reyes\u003c/a>. \u003c/p>\n\u003cp>The fellows, whose work includes deeply vulnerable performance experiences, theater by and for people of color, food-centered art and activism, and creative approaches to documentary film, are described by the Rainin Foundation in today’s announcement as artists “who push the boundaries of creative expression, anchor local communities, and advance the field.” \u003c/p>\n\u003cfigure id=\"attachment_13894796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RaininFellows_1200.jpg\" alt=\"\" width=\"1200\" height=\"300\" class=\"size-full wp-image-13894796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-768x192.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 2021 Rainin Fellows Amara Tabor-Smith, Margo Hall, Rodrigo Reyes and People’s Kitchen Collective (Saqib Keval, Sita Kuratomi Bhaumik and Jocelyn Jackson). \u003ccite>(L to R photos by Jean Melesaine, Lisa Keating, Jennifer Duran, and Molly DeCoudreaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Hall, whose many roles in the Bay Area theater world include actor, director, playwright and educator—and as of last year, \u003ca href=\"https://www.kqed.org/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future\" rel=\"noopener noreferrer\" target=\"_blank\">artistic director\u003c/a> of San Francisco’s Lorraine Hansberry Theatre—this fellowship provides a sense of validation. \u003c/p>\n\u003cp>“It solidified the fact that all the work I’ve done is paying off,” she says. “And not just because of the financial award of the fellowship, but because of the true recognition for the work I’ve done in the Bay Area.”\u003c/p>\n\u003cp>“I decided long ago that this was my home and I wanted to dedicate my energy and time to a community I believe in,” she continues. “I’m so happy that I did because I have built relationships that have carried me through my career and will carry me through my lifetime.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID=\"arts_13890207\"]Rainin Foundation Chief Program Officer Shelley Trott says plans for the fellowship, which was administered by the national arts funding nonprofit \u003ca href=\"https://www.unitedstatesartists.org/\" rel=\"noopener noreferrer\" target=\"_blank\">United States Artists\u003c/a>, predate the coronavirus pandemic and its toll on the local arts sector. While working on a strategic plan in 2017, she says, the foundation turned its attention to helping Bay Area artists thrive. It was clear just how many people were leaving the region, often forced to choose between their practices and affordability.\u003c/p>\n\u003cp>“We felt that it would be really important to have a program that provided direct support to individual artists at a level that would help them maintain a life and a living in the Bay Area given all the economic pressures,” Trott says.\u003c/p>\n\u003cp>Surveying other fellowships across the country and taking into account the Bay Area’s high cost of living, Rainin landed on $100,000 based on a year’s worth of living expenses. Because the grant is unrestricted, the fellows have complete freedom in their spending. They can even draw down on the total grant amount over a period of years, based on their needs and the tax implications of the added income. The fellowship also offers recipients help with financial planning, communications, marketing and legal services.\u003c/p>\n\u003cp>The fellowship is guaranteed to run annually for three years, but the Rainin Foundation anticipates it will continue beyond that term. \u003c/p>\n\u003cp>While the funding goes to just one artist (or in the case of People’s Kitchen Collective, a collaborative of three artists), the Rainin Fellowship is geared towards the enrichment of the entire Bay Area arts community. “We thought a lot about this concept of an anchor artist,” Trott says. “That’s an artist who’s deeply rooted in this community and in this region, who reflects the diverse communities of the Bay Area. And their practice also tends to uplift other artists as well, to influence and inspire.”\u003c/p>\n\u003cfigure id=\"attachment_13894799\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13894799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rodrigo Reyes’ film ‘499,’ 2020. \u003ccite>(Alejandro Mejía/AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes, a Mexican director based in Oakland, says he moved to the Bay Area in search of that artistic community. His latest film, \u003ci>\u003ca href=\"https://rrcinema.com/films-499/\" rel=\"noopener noreferrer\" target=\"_blank\">499\u003c/a>\u003c/i>, follows a reawakened conquistador as he interacts with people in contemporary Mexico, and pinpoints the brutal legacy of colonialism in today’s humanitarian crises. \u003c/p>\n\u003cp>“I recently joined the Bay Area Video Coalition as the co-director for their \u003ca href=\"https://bavc.org/mediamaker\" rel=\"noopener noreferrer\" target=\"_blank\">MediaMaker Fellowship\u003c/a>, which is a wonderful program that mentors filmmakers working on their first feature documentaries,” he says. “And being part of that has just really helped me to dig into a lot of the things that I love about Bay, which is the collaborative, open-to-dialogue experience, and the nourishing diversity of our space here.”\u003c/p>\n\u003cp>Another part of the Rainin Fellowship’s goal is to raise the profile of Bay Area artists—including those who don’t ultimately receive the grant. Trott says over 100 artists nominated by local experts in their fields were invited to submit applications, which were read by national reviewers and then a panel of local jurors, a process that introduced Bay Area artists to arts professionals across the country.\u003c/p>\n\u003cp>“I think it’s going to mean the world to the Bay Area,” says Hall of the Rainin Fellowship’s potential long-term impact. “Just the thought of having that kind of financial foundation will help you want to stay in the Bay.” Knowing that someone is keeping an eye on Bay Area artists’ work makes all the difference. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s nothing like feeling like your community supports you and gets you,” Hall says.\u003c/p>\n\n","blocks":[],"excerpt":"Amara Tabor-Smith, Margo Hall, People’s Kitchen Collective and Rodrigo Reyes are the first recipients of an annual unrestricted award. ","status":"publish","parent":0,"modified":1705019261,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":940},"headData":{"title":"Rainin Fellowship Awards $100,000 Grants to Four Bay Area Artists | KQED","description":"Amara Tabor-Smith, Margo Hall, People’s Kitchen Collective and Rodrigo Reyes are the first recipients of an annual unrestricted award. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rainin Fellowship Awards $100,000 Grants to Four Bay Area Artists","datePublished":"2021-03-29T19:30:36.000Z","dateModified":"2024-01-12T00:27:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13894782/rainin-fellowship-awards-100000-grants-to-four-bay-area-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kenneth Rainin Foundation announced today the launch of a \u003ca href=\"https://krfoundation.org/inaugural-rainin-fellowship-announced/\" rel=\"noopener noreferrer\" target=\"_blank\">new fellowship\u003c/a> for artists working in dance, film, public space and theater. The Rainin Fellowship awards four unrestricted grants of $100,000 to help artists maintain their lives and practices in the San Francisco Bay Area. The inaugural recipients are \u003ca href=\"http://www.deepwatersdance.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Amara Tabor-Smith\u003c/a>, \u003ca href=\"https://www.margohall.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Margo Hall\u003c/a>, \u003ca href=\"http://peopleskitchencollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">People’s Kitchen Collective\u003c/a> (Sita Kuratomi Bhaumik, Jocelyn Jackson and Saqib Keval), and \u003ca href=\"https://rrcinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rodrigo Reyes\u003c/a>. \u003c/p>\n\u003cp>The fellows, whose work includes deeply vulnerable performance experiences, theater by and for people of color, food-centered art and activism, and creative approaches to documentary film, are described by the Rainin Foundation in today’s announcement as artists “who push the boundaries of creative expression, anchor local communities, and advance the field.” \u003c/p>\n\u003cfigure id=\"attachment_13894796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RaininFellows_1200.jpg\" alt=\"\" width=\"1200\" height=\"300\" class=\"size-full wp-image-13894796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-768x192.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 2021 Rainin Fellows Amara Tabor-Smith, Margo Hall, Rodrigo Reyes and People’s Kitchen Collective (Saqib Keval, Sita Kuratomi Bhaumik and Jocelyn Jackson). \u003ccite>(L to R photos by Jean Melesaine, Lisa Keating, Jennifer Duran, and Molly DeCoudreaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Hall, whose many roles in the Bay Area theater world include actor, director, playwright and educator—and as of last year, \u003ca href=\"https://www.kqed.org/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future\" rel=\"noopener noreferrer\" target=\"_blank\">artistic director\u003c/a> of San Francisco’s Lorraine Hansberry Theatre—this fellowship provides a sense of validation. \u003c/p>\n\u003cp>“It solidified the fact that all the work I’ve done is paying off,” she says. “And not just because of the financial award of the fellowship, but because of the true recognition for the work I’ve done in the Bay Area.”\u003c/p>\n\u003cp>“I decided long ago that this was my home and I wanted to dedicate my energy and time to a community I believe in,” she continues. “I’m so happy that I did because I have built relationships that have carried me through my career and will carry me through my lifetime.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890207","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Rainin Foundation Chief Program Officer Shelley Trott says plans for the fellowship, which was administered by the national arts funding nonprofit \u003ca href=\"https://www.unitedstatesartists.org/\" rel=\"noopener noreferrer\" target=\"_blank\">United States Artists\u003c/a>, predate the coronavirus pandemic and its toll on the local arts sector. While working on a strategic plan in 2017, she says, the foundation turned its attention to helping Bay Area artists thrive. It was clear just how many people were leaving the region, often forced to choose between their practices and affordability.\u003c/p>\n\u003cp>“We felt that it would be really important to have a program that provided direct support to individual artists at a level that would help them maintain a life and a living in the Bay Area given all the economic pressures,” Trott says.\u003c/p>\n\u003cp>Surveying other fellowships across the country and taking into account the Bay Area’s high cost of living, Rainin landed on $100,000 based on a year’s worth of living expenses. Because the grant is unrestricted, the fellows have complete freedom in their spending. They can even draw down on the total grant amount over a period of years, based on their needs and the tax implications of the added income. The fellowship also offers recipients help with financial planning, communications, marketing and legal services.\u003c/p>\n\u003cp>The fellowship is guaranteed to run annually for three years, but the Rainin Foundation anticipates it will continue beyond that term. \u003c/p>\n\u003cp>While the funding goes to just one artist (or in the case of People’s Kitchen Collective, a collaborative of three artists), the Rainin Fellowship is geared towards the enrichment of the entire Bay Area arts community. “We thought a lot about this concept of an anchor artist,” Trott says. “That’s an artist who’s deeply rooted in this community and in this region, who reflects the diverse communities of the Bay Area. And their practice also tends to uplift other artists as well, to influence and inspire.”\u003c/p>\n\u003cfigure id=\"attachment_13894799\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13894799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rodrigo Reyes’ film ‘499,’ 2020. \u003ccite>(Alejandro Mejía/AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes, a Mexican director based in Oakland, says he moved to the Bay Area in search of that artistic community. His latest film, \u003ci>\u003ca href=\"https://rrcinema.com/films-499/\" rel=\"noopener noreferrer\" target=\"_blank\">499\u003c/a>\u003c/i>, follows a reawakened conquistador as he interacts with people in contemporary Mexico, and pinpoints the brutal legacy of colonialism in today’s humanitarian crises. \u003c/p>\n\u003cp>“I recently joined the Bay Area Video Coalition as the co-director for their \u003ca href=\"https://bavc.org/mediamaker\" rel=\"noopener noreferrer\" target=\"_blank\">MediaMaker Fellowship\u003c/a>, which is a wonderful program that mentors filmmakers working on their first feature documentaries,” he says. “And being part of that has just really helped me to dig into a lot of the things that I love about Bay, which is the collaborative, open-to-dialogue experience, and the nourishing diversity of our space here.”\u003c/p>\n\u003cp>Another part of the Rainin Fellowship’s goal is to raise the profile of Bay Area artists—including those who don’t ultimately receive the grant. Trott says over 100 artists nominated by local experts in their fields were invited to submit applications, which were read by national reviewers and then a panel of local jurors, a process that introduced Bay Area artists to arts professionals across the country.\u003c/p>\n\u003cp>“I think it’s going to mean the world to the Bay Area,” says Hall of the Rainin Fellowship’s potential long-term impact. “Just the thought of having that kind of financial foundation will help you want to stay in the Bay.” Knowing that someone is keeping an eye on Bay Area artists’ work makes all the difference. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s nothing like feeling like your community supports you and gets you,” Hall says.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894782/rainin-fellowship-awards-100000-grants-to-four-bay-area-artists","authors":["61"],"categories":["arts_1","arts_235"],"tags":["arts_3713","arts_10278","arts_977","arts_2335","arts_5264"],"featImg":"arts_13894797","label":"arts"},"arts_13894006":{"type":"posts","id":"arts_13894006","meta":{"index":"posts_1591205157","site":"arts","id":"13894006","score":null,"sort":[1615939215000]},"guestAuthors":[],"slug":"hieroglyph-lorraine-hansberry-san-francisco-playhouse-review","title":"In '[hieroglyph],' a Tale of Displacement is Brought to Rich, Evocative Life","publishDate":1615939215,"format":"standard","headTitle":"In ‘[hieroglyph],’ a Tale of Displacement is Brought to Rich, Evocative Life | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In 2005, after over twenty-five years years, playwright August Wilson completed his 10-play Pittsburgh Cycle—a tribute to a century’s worth of Black experience, and widely considered one of the masterpieces of contemporary American Theater. So it’s thrilling to encounter a 21st century cohort of playwrights seeking to match that achievement. Locally, playwright and costume designer Regina Evans is working on a 10-play cycle called \u003cem>Infrastructure\u003c/em>, using household objects as departure points for plays connecting them to the long history of slavery, both historical and modern. And in Chicago-raised Erika Dickerson-Despenza’s projected 10-play cycle, the central focus of each will be the reverberating effects of Hurricane Katrina on the still-displaced Katrina Diaspora.\u003c/p>\n\u003cp>In \u003cem>[hieroglyph]\u003c/em>—the second play of Dickerson-Despenza’s series, which uses lowercase names for all its characters—a pair of storm-tossed, Hurricane Katrina evacuees wash up onto Chicago’s urban shore, their transition to the north far from smooth. The adolescent davis (Jamella Cross) is 13 and having trouble settling into her new school, except for art class, where she excels. Her father ernest (Khary L. Moye), a janitor at The DuSable Museum of African American History, is concerned for her, stymied by her falling grades and (to him) unexplainable mood swings. That davis’ mother has chosen to stay behind in New Orleans is another source of tension for them both, and it’s clear that as a family unit they have much to mourn.\u003c/p>\n\u003cfigure id=\"attachment_13894018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamella Cross as davis and Safiya Fredericks as ms. t. in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s davis’ artistic talent that connects much of the play’s activity. Her detailed sketches and portraits are given prominence via a series of projections (designed by Teddy Hulsker), and many scenes begin or end with her poring over her sketchbook or discussing the relevance of one or another of her drawings. As ms. t. (Safiya Fredericks) the art teacher notes, they’re remarkably realistic and assured, but each are marked with an indecipherable character, like a cross. “Hieroglyphic,” ms. t. calls them, as she shows them to davis’ father. Neither of them can decipher them, though, and davis is reluctant to explain her artistic choices. At one point she reveals only that her portraits connect to her memories of New Orleans, and that by committing them to paper, she is exorcising them from her body. This telling compartmentalization remains a mystery to her teacher and her father—until it doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13894019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-800x542.jpg\" alt=\"\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Marie Sharpe as leah and Jamella Cross as davis in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As davis, Jamella Cross deftly portrays a lanky, reserved teenager processing the physical and emotional trauma that both haunts her dreams and keeps her closed in on herself. Meanwhile, her sympathetic new friend leah (Anna Marie Sharpe) tries to teach her how to party South Side-style and diligently tutors her in algebra. Although neither actor is an actual teenager, they both manage to embody the spirit of teenhood in the easy cadence of their banter—the way they simultaneously appear to be sizing each other up and yet admiring what they see. Meanwhile Fredericks and Moye wear their mantles of adulthood with more gravity, but with no less grace. As ms. t., Fredericks draws careful boundaries around her that prove more permeable, less protective, than she’d like. Even her accumulated knowledge of African-American art history cannot completely block out her own complicated history, a fragile core that she tries desperately to keep hidden. And Moye, as ernest, carries worry etched on his face as stark as the mysterious hieroglyphs in davis’ drawings, even while he perpetuates his own cycles of careless harm. But what does not feel careless in the slightest is his deep concern for davis and his inability to pinpoint just what it is that she needs.\u003c/p>\n\u003cfigure id=\"attachment_13894016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled.jpg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khary L. Moye as ernest and Safiya Fredericks as ms. t. in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the play’s most dramatically surprising moments is a makeout session between Fredericks and Moye, not only because it takes an unfortunate turn, but because an onstage kiss feels like an act of sheer daring after a year of physically distanced theatre-making. In an article about the co-production \u003ca href=\"https://www.americantheatre.org/2021/03/11/a-heiroglyph-from-another-time-of-trauma/\">in \u003cem>American Theatre Magazine\u003c/em>\u003c/a>, San Francisco Playhouse’s artistic director Bill English describes the process for getting this kiss approved by Actor’s Equity, including a period of enforced solitary quarantine for the two actors involved, and filming their scene out of sequence before coming into contact with the other actors. The initial effect was as electrifying as if I’d just witnessed a scandalous ankle reveal in the Victorian era, so pent-up has my need for in-the-same-room performance been.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Under Margo Hall’s assured direction, none of the scenes feel out of sequence with another, or “filmed,” and each actor inhabits the space purposefully, as if it were a stage filled with bit players vying for their own moment in the spotlight. Having had to adapt the script to the unique production circumstances, Dickerson-Despenza gives even these off-stage characters lives of their own. And if occasionally a line telegraphs a message rather than an emotion, the actors still make their essence feel completely genuine. Lighting flourishes by Kevin Myrick and dramatic sound design by Everett Elton Bradman imbue the production with an extra layer of theatricality, and the savvy costume design by Regina Evans turns the clock back to 2005: white sneakers and fuzzy sweaters for the teenagers, chunky elegant jewelry and long tunics for ms. t.\u003c/p>\n\u003cfigure id=\"attachment_13894020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘[hieroglyph]’ with playwright Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This co-production between San Francisco Playhouse and the Lorraine Hansberry Theatre represents a momentous collaboration. It’s director Margo Hall’s first play as the \u003ca href=\"https://www.kqed.org/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future\">newly appointed artistic director\u003c/a> of the 40-year-old Lorraine Hansberry Theatre, and the company’s first foray into \u003cem>almost \u003c/em>post-pandemic producing. It merges the creative capacities of two notable theater district mainstays, with the additional twist of reuniting the Lorraine Hansberry Theatre with their short-held space at 450 Post (which they had to relinquish in 2010 after the unexpected deaths of both of their founders). It makes use of San Francisco Playhouse’s trialing of fully-filmed productions under a unique contract with Actor’s Equity. And it brings a richly evocative work about the Hurricane Katrina disaster to empathetic life, during a time when the failures of government to respond to the disasters that affect its most vulnerable populations is on full and constant display.\u003c/p>\n\u003cp>It shouldn’t need to take a global pandemic to underscore lessons we should already have learned about structural inequality and environmental racism. But at least with artistic documentation, such as Dickerson-Despenza’s plays, we can’t say we weren’t warned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘[hieroglyph]’ is available on-demand through April 3. \u003ca href=\"https://www.lhtsf.org\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Erika Dickerson-Despenza's story of Hurricane Katrina refugees in Chicago is a remarkable collaboration.","status":"publish","parent":0,"modified":1705019338,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":1217},"headData":{"title":"In '[hieroglyph],' a Tale of Displacement is Brought to Rich, Evocative Life | KQED","description":"Erika Dickerson-Despenza's story of Hurricane Katrina refugees in Chicago is a remarkable collaboration.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In '[hieroglyph],' a Tale of Displacement is Brought to Rich, Evocative Life","datePublished":"2021-03-17T00:00:15.000Z","dateModified":"2024-01-12T00:28:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","subhead":"a co-production between the Lorraine Hansberry Theatre and San Francisco Playhouse, Erika Dickerson-Despenza’s Katrina-themed play finds an empathetic home.","path":"/arts/13894006/hieroglyph-lorraine-hansberry-san-francisco-playhouse-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2005, after over twenty-five years years, playwright August Wilson completed his 10-play Pittsburgh Cycle—a tribute to a century’s worth of Black experience, and widely considered one of the masterpieces of contemporary American Theater. So it’s thrilling to encounter a 21st century cohort of playwrights seeking to match that achievement. Locally, playwright and costume designer Regina Evans is working on a 10-play cycle called \u003cem>Infrastructure\u003c/em>, using household objects as departure points for plays connecting them to the long history of slavery, both historical and modern. And in Chicago-raised Erika Dickerson-Despenza’s projected 10-play cycle, the central focus of each will be the reverberating effects of Hurricane Katrina on the still-displaced Katrina Diaspora.\u003c/p>\n\u003cp>In \u003cem>[hieroglyph]\u003c/em>—the second play of Dickerson-Despenza’s series, which uses lowercase names for all its characters—a pair of storm-tossed, Hurricane Katrina evacuees wash up onto Chicago’s urban shore, their transition to the north far from smooth. The adolescent davis (Jamella Cross) is 13 and having trouble settling into her new school, except for art class, where she excels. Her father ernest (Khary L. Moye), a janitor at The DuSable Museum of African American History, is concerned for her, stymied by her falling grades and (to him) unexplainable mood swings. That davis’ mother has chosen to stay behind in New Orleans is another source of tension for them both, and it’s clear that as a family unit they have much to mourn.\u003c/p>\n\u003cfigure id=\"attachment_13894018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamella Cross as davis and Safiya Fredericks as ms. t. in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s davis’ artistic talent that connects much of the play’s activity. Her detailed sketches and portraits are given prominence via a series of projections (designed by Teddy Hulsker), and many scenes begin or end with her poring over her sketchbook or discussing the relevance of one or another of her drawings. As ms. t. (Safiya Fredericks) the art teacher notes, they’re remarkably realistic and assured, but each are marked with an indecipherable character, like a cross. “Hieroglyphic,” ms. t. calls them, as she shows them to davis’ father. Neither of them can decipher them, though, and davis is reluctant to explain her artistic choices. At one point she reveals only that her portraits connect to her memories of New Orleans, and that by committing them to paper, she is exorcising them from her body. This telling compartmentalization remains a mystery to her teacher and her father—until it doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13894019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-800x542.jpg\" alt=\"\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Marie Sharpe as leah and Jamella Cross as davis in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As davis, Jamella Cross deftly portrays a lanky, reserved teenager processing the physical and emotional trauma that both haunts her dreams and keeps her closed in on herself. Meanwhile, her sympathetic new friend leah (Anna Marie Sharpe) tries to teach her how to party South Side-style and diligently tutors her in algebra. Although neither actor is an actual teenager, they both manage to embody the spirit of teenhood in the easy cadence of their banter—the way they simultaneously appear to be sizing each other up and yet admiring what they see. Meanwhile Fredericks and Moye wear their mantles of adulthood with more gravity, but with no less grace. As ms. t., Fredericks draws careful boundaries around her that prove more permeable, less protective, than she’d like. Even her accumulated knowledge of African-American art history cannot completely block out her own complicated history, a fragile core that she tries desperately to keep hidden. And Moye, as ernest, carries worry etched on his face as stark as the mysterious hieroglyphs in davis’ drawings, even while he perpetuates his own cycles of careless harm. But what does not feel careless in the slightest is his deep concern for davis and his inability to pinpoint just what it is that she needs.\u003c/p>\n\u003cfigure id=\"attachment_13894016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled.jpg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khary L. Moye as ernest and Safiya Fredericks as ms. t. in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the play’s most dramatically surprising moments is a makeout session between Fredericks and Moye, not only because it takes an unfortunate turn, but because an onstage kiss feels like an act of sheer daring after a year of physically distanced theatre-making. In an article about the co-production \u003ca href=\"https://www.americantheatre.org/2021/03/11/a-heiroglyph-from-another-time-of-trauma/\">in \u003cem>American Theatre Magazine\u003c/em>\u003c/a>, San Francisco Playhouse’s artistic director Bill English describes the process for getting this kiss approved by Actor’s Equity, including a period of enforced solitary quarantine for the two actors involved, and filming their scene out of sequence before coming into contact with the other actors. The initial effect was as electrifying as if I’d just witnessed a scandalous ankle reveal in the Victorian era, so pent-up has my need for in-the-same-room performance been.\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>Under Margo Hall’s assured direction, none of the scenes feel out of sequence with another, or “filmed,” and each actor inhabits the space purposefully, as if it were a stage filled with bit players vying for their own moment in the spotlight. Having had to adapt the script to the unique production circumstances, Dickerson-Despenza gives even these off-stage characters lives of their own. And if occasionally a line telegraphs a message rather than an emotion, the actors still make their essence feel completely genuine. Lighting flourishes by Kevin Myrick and dramatic sound design by Everett Elton Bradman imbue the production with an extra layer of theatricality, and the savvy costume design by Regina Evans turns the clock back to 2005: white sneakers and fuzzy sweaters for the teenagers, chunky elegant jewelry and long tunics for ms. t.\u003c/p>\n\u003cfigure id=\"attachment_13894020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘[hieroglyph]’ with playwright Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This co-production between San Francisco Playhouse and the Lorraine Hansberry Theatre represents a momentous collaboration. It’s director Margo Hall’s first play as the \u003ca href=\"https://www.kqed.org/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future\">newly appointed artistic director\u003c/a> of the 40-year-old Lorraine Hansberry Theatre, and the company’s first foray into \u003cem>almost \u003c/em>post-pandemic producing. It merges the creative capacities of two notable theater district mainstays, with the additional twist of reuniting the Lorraine Hansberry Theatre with their short-held space at 450 Post (which they had to relinquish in 2010 after the unexpected deaths of both of their founders). It makes use of San Francisco Playhouse’s trialing of fully-filmed productions under a unique contract with Actor’s Equity. And it brings a richly evocative work about the Hurricane Katrina disaster to empathetic life, during a time when the failures of government to respond to the disasters that affect its most vulnerable populations is on full and constant display.\u003c/p>\n\u003cp>It shouldn’t need to take a global pandemic to underscore lessons we should already have learned about structural inequality and environmental racism. But at least with artistic documentation, such as Dickerson-Despenza’s plays, we can’t say we weren’t warned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘[hieroglyph]’ is available on-demand through April 3. \u003ca href=\"https://www.lhtsf.org\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894006/hieroglyph-lorraine-hansberry-san-francisco-playhouse-review","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_10278","arts_2335","arts_769","arts_1321","arts_1072"],"featImg":"arts_13894017","label":"arts_140"},"arts_13889584":{"type":"posts","id":"arts_13889584","meta":{"index":"posts_1591205157","site":"arts","id":"13889584","score":null,"sort":[1606258842000]},"guestAuthors":[],"slug":"margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future","title":"Margo Hall Set to Lead the Lorraine Hansberry Theatre Into an Exciting New Future","publishDate":1606258842,"format":"standard","headTitle":"Margo Hall Set to Lead the Lorraine Hansberry Theatre Into an Exciting New Future | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>For Margo Hall, growing up in Detroit, Michigan meant an early exposure to the arts. Enrolled from a young age in “every dance class” and “every choir,” she says, and influenced by her Motown-employed stepfather and his circle of musician friends, Hall gained a strong foundation in the arts—even before she knew that she’d wind up dedicating her life to them.\u003c/p>\n\u003cp>Recently announced as the new artistic director for the Lorraine Hansberry Theatre, Hall brings a lifetime of learning, skill, and dedication to the role. And as the first woman to hold the position in the company, she’s ready to implement her vision of a program dedicated to nurturing the voices of young, Black female and non-binary playwrights, a welcome homage to the theater’s namesake.\u003c/p>\n\u003cfigure id=\"attachment_13889585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli.jpg 1933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘Barbeque’ by Robert O’Hara at SF Playhouse. Margo Hall in red. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Described by biographers as a “force of nature,” Lorraine Hansberry’s legacy lives on, despite the playwright and activist’s tragically early death from pancreatic cancer at the age of 34. One of those legacies has been carried forward in the form of the Lorraine Hansberry Theatre, founded in 1981 by Stanley Williams and Quentin Easter, who were determined to build to build an artistic home for Black theater-makers. And while the theater has experienced a series of material setbacks over the years—losing its Sutter Street space in 2007, and its founders within weeks of each other in 2010—its influence as an incubator for Black artists has remained intact.\u003c/p>\n\u003cp>One such artist is Hall, the Bay Area’s own force of nature. Although this will be her first time in the role of artistic director, it’s certainly not her first time creating and holding artistic space, a talent she’s cultivated over the course of many years—particularly with the long-running theater collective, Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1418.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall as Fe in ‘Stairway to Heaven,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with Campo Santo that Hall first made the leap from acting to directing, in a 1998 co-production with Word for Word. Although she was initially reluctant, her fellow company members (“my brothers,” she remarks fondly) talked her into it by telling her, “You tell us what to do all the time anyway, so you might as well just direct this play.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saying “yes” to unexpected opportunity—whether it’s been directing, teaching, or mentoring a new generation of artistic voices—has been a trademark of Hall’s multi-faceted career.\u003c/p>\n\u003cp>After the success of her directorial debut, Hall was determined to learn more about the craft, which she knew involved a lot more than the “hanging out,” as she refers to the process, with her Campo Santo family. This took the form of shadowing directors she admired, and learning the vocabulary of time management, and working with designers and production staff in bigger theaters.\u003c/p>\n\u003cp>“A lot of my directing aesthetic comes from being an actor and understanding how to work with actors,” she reflects. “I feel my strength is really pulling the work out of actors in a way that they feel appreciated.” Over the years she’s cultivated her skills in both, and her work has appeared in one capacity or another on pretty much every major Bay Area stage (as well as films like 2016’s \u003cem>Blindspotting\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in ‘Fences’ at California Shakespeare Theater. \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s common to refer to actors who also sing and dance as “triple threats,” and by extension, Hall could be considered a sextuple threat, at minimum: she also directs, teaches and writes. But artistic directorship has been one role she’s put off, even though this isn’t the first time over the past ten years that the Lorraine Hansberry has invited her to take it on. For one reason or another, she never felt the time was right.\u003c/p>\n\u003cp>“Even this time around, if you asked me six months ago if I thought I would be the artistic director of Lorraine Hansberry I would tell you no, that wasn’t my plan,” she admits. But her perspective shifted during the pandemic, causing her to reevaluate where she wanted to channel her energies. And so, this time when the company’s executive director Stephanie Shoffner offered her the position, she was ready to “once again…say yes to something I had no idea of what to do!”\u003c/p>\n\u003cp>While she’s still navigating the specifics of fundraising and day-to-day operations, she’s not short on artistic ideas. She hopes that the New Black Voices initiative for playwrights will eventually include full productions, and she’s eager to see a return to producing Black classics as well as contemporary, multi-disciplinary work, a particular strength of Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall in ‘Fe in the Desert,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a mentor and a leader, Hall exudes a self-possession instilled in her from a young age and honed over her long career.\u003c/p>\n\u003cp>“I grew up in a household where…being Black was the best thing ever,” she reminisces. “Not that we were better than anyone else, but that we were these powerful beings.” Learning to keep hold of her power, and “show up as herself” on every project has been a lifelong pursuit, and one with many levels and lessons. But now, she admits, she doesn’t know any other way.\u003c/p>\n\u003cp>“Just imagine if we all were confident in ourselves, and we came into a room together to create art in a collaborative way, with all of this confident powerful energy,” she enthuses. Having the opportunity to implement this vision of collaborative confidence at the Lorraine Hansberry Theatre is sure to be an inspiring legacy all its own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about the Lorraine Hansberry Theatre and Margo Hall can be found \u003ca href=\"https://www.lhtsf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A veteran of the Bay Area stage, Margo Hall will serve as the company's first female artistic director. ","status":"publish","parent":0,"modified":1705019809,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1063},"headData":{"title":"Margo Hall Set to Lead the Lorraine Hansberry Theatre Into an Exciting New Future | KQED","description":"A veteran of the Bay Area stage, Margo Hall will serve as the company's first female artistic director. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Margo Hall Set to Lead the Lorraine Hansberry Theatre Into an Exciting New Future","datePublished":"2020-11-24T23:00:42.000Z","dateModified":"2024-01-12T00:36:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Margo Hall, growing up in Detroit, Michigan meant an early exposure to the arts. Enrolled from a young age in “every dance class” and “every choir,” she says, and influenced by her Motown-employed stepfather and his circle of musician friends, Hall gained a strong foundation in the arts—even before she knew that she’d wind up dedicating her life to them.\u003c/p>\n\u003cp>Recently announced as the new artistic director for the Lorraine Hansberry Theatre, Hall brings a lifetime of learning, skill, and dedication to the role. And as the first woman to hold the position in the company, she’s ready to implement her vision of a program dedicated to nurturing the voices of young, Black female and non-binary playwrights, a welcome homage to the theater’s namesake.\u003c/p>\n\u003cfigure id=\"attachment_13889585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli.jpg 1933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘Barbeque’ by Robert O’Hara at SF Playhouse. Margo Hall in red. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Described by biographers as a “force of nature,” Lorraine Hansberry’s legacy lives on, despite the playwright and activist’s tragically early death from pancreatic cancer at the age of 34. One of those legacies has been carried forward in the form of the Lorraine Hansberry Theatre, founded in 1981 by Stanley Williams and Quentin Easter, who were determined to build to build an artistic home for Black theater-makers. And while the theater has experienced a series of material setbacks over the years—losing its Sutter Street space in 2007, and its founders within weeks of each other in 2010—its influence as an incubator for Black artists has remained intact.\u003c/p>\n\u003cp>One such artist is Hall, the Bay Area’s own force of nature. Although this will be her first time in the role of artistic director, it’s certainly not her first time creating and holding artistic space, a talent she’s cultivated over the course of many years—particularly with the long-running theater collective, Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1418.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall as Fe in ‘Stairway to Heaven,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with Campo Santo that Hall first made the leap from acting to directing, in a 1998 co-production with Word for Word. Although she was initially reluctant, her fellow company members (“my brothers,” she remarks fondly) talked her into it by telling her, “You tell us what to do all the time anyway, so you might as well just direct this play.”\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>Saying “yes” to unexpected opportunity—whether it’s been directing, teaching, or mentoring a new generation of artistic voices—has been a trademark of Hall’s multi-faceted career.\u003c/p>\n\u003cp>After the success of her directorial debut, Hall was determined to learn more about the craft, which she knew involved a lot more than the “hanging out,” as she refers to the process, with her Campo Santo family. This took the form of shadowing directors she admired, and learning the vocabulary of time management, and working with designers and production staff in bigger theaters.\u003c/p>\n\u003cp>“A lot of my directing aesthetic comes from being an actor and understanding how to work with actors,” she reflects. “I feel my strength is really pulling the work out of actors in a way that they feel appreciated.” Over the years she’s cultivated her skills in both, and her work has appeared in one capacity or another on pretty much every major Bay Area stage (as well as films like 2016’s \u003cem>Blindspotting\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in ‘Fences’ at California Shakespeare Theater. \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s common to refer to actors who also sing and dance as “triple threats,” and by extension, Hall could be considered a sextuple threat, at minimum: she also directs, teaches and writes. But artistic directorship has been one role she’s put off, even though this isn’t the first time over the past ten years that the Lorraine Hansberry has invited her to take it on. For one reason or another, she never felt the time was right.\u003c/p>\n\u003cp>“Even this time around, if you asked me six months ago if I thought I would be the artistic director of Lorraine Hansberry I would tell you no, that wasn’t my plan,” she admits. But her perspective shifted during the pandemic, causing her to reevaluate where she wanted to channel her energies. And so, this time when the company’s executive director Stephanie Shoffner offered her the position, she was ready to “once again…say yes to something I had no idea of what to do!”\u003c/p>\n\u003cp>While she’s still navigating the specifics of fundraising and day-to-day operations, she’s not short on artistic ideas. She hopes that the New Black Voices initiative for playwrights will eventually include full productions, and she’s eager to see a return to producing Black classics as well as contemporary, multi-disciplinary work, a particular strength of Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall in ‘Fe in the Desert,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a mentor and a leader, Hall exudes a self-possession instilled in her from a young age and honed over her long career.\u003c/p>\n\u003cp>“I grew up in a household where…being Black was the best thing ever,” she reminisces. “Not that we were better than anyone else, but that we were these powerful beings.” Learning to keep hold of her power, and “show up as herself” on every project has been a lifelong pursuit, and one with many levels and lessons. But now, she admits, she doesn’t know any other way.\u003c/p>\n\u003cp>“Just imagine if we all were confident in ourselves, and we came into a room together to create art in a collaborative way, with all of this confident powerful energy,” she enthuses. Having the opportunity to implement this vision of collaborative confidence at the Lorraine Hansberry Theatre is sure to be an inspiring legacy all its own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about the Lorraine Hansberry Theatre and Margo Hall can be found \u003ca href=\"https://www.lhtsf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future","authors":["11497"],"categories":["arts_1","arts_967"],"tags":["arts_2139","arts_2335","arts_1146","arts_1072"],"featImg":"arts_13889586","label":"arts"},"arts_13883619":{"type":"posts","id":"arts_13883619","meta":{"index":"posts_1591205157","site":"arts","id":"13883619","score":null,"sort":[1595430046000]},"guestAuthors":[],"slug":"in-the-mission-performers-marga-gomez-and-campo-santo-stay-resilient","title":"In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient","publishDate":1595430046,"format":"standard","headTitle":"In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n challenging times, it’s tales of resilience that resonate most. And the tellers of those tales shine all the brighter, as inspiring beacons against the gloom.\u003c/p>\n\u003cp>In San Francisco, some of our most consistently resilient performers are those who built their reputations not in the “traditional” performance spaces downtown, but in their own neighborhoods, creating work by, for, and of the communities that inspired them and called them their own. One neighborhood that’s long been a bastion for these community-rooted artists is the Mission District, and two of its long-term survivors—Marga Gomez and Campo Santo—are not letting the pandemic slow them down.\u003c/p>\n\u003cp>One part comedian, one part solo performer, one part consummate host and all parts wholly original, Marga Gomez is resilience personified. Holding it down in a liminal space straddling the Castro and the Mission District since the early 1980s, her resume is a wild ride through some of San Francisco’s most memorable cultural highlights. From taking the stage at the first-ever Folsom Street Fair (then called “Megahood”) to working with the long-running San Francisco Mime Troupe, and then being pulled into the first incarnation of Latinx comedy supergroup Culture Clash by Rene Yanez, Gomez has continued to make her mark by always evolving her craft to fit the circumstances.\u003c/p>\n\u003cp>“A lot of my career has been accidents…opportunities…that I adapted to,” she admits with her signature, gap-toothed smile.\u003c/p>\n\u003cfigure id=\"attachment_13883622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez performs in her 12th solo show, ‘Latin Standards.’ \u003ccite>(Fabian Echevarria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even being shut down on opening night for her 13th solo show—\u003cem>The Spanking Machine\u003c/em>, at Brava Theater Center—couldn’t dim Gomez’ creative spark. Within two weeks of the shutdown, Gomez had already launched the first of many virtual comedy shows, the format of which she’s tweaked with each subsequent edition. First there were midday comedy brunches, then afternoon “high tea,” a Cinco de Mayo bash, a birthday party doubling as a political fundraiser, and, most recently, 30-minute “queer quickies” with co-host, the fabulous Jesús U. BettaWork. And finally, at long last, live-streamed performances of \u003cem>The Spanking Machine\u003c/em>, running through July 25.\u003c/p>\n\u003cfigure id=\"attachment_13883623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez and her signature smile. \u003ccite>(Courtesy of Marga Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reminiscing about her truncated run at Brava, Gomez ruefully recalls wishing that she wouldn’t “have to perform on Friday the 13th,” a wish that came all too true with the shutdown. Now scheduled as part of Dixon Place’s long-running LQBTQ+ HOT! Festival, Gomez takes the virtual stage from home. Combining clips from her invited dress rehearsal at Brava with live performance, telling a story of a long-lost friend, and a dark secret from the past. Like her other solo shows, it’s intensely personal, often hilarious, and paints a vivid picture of Gomez’ particular experience: an out-gay, Latinx comic, living a life brimming with equal measures of serendipity and struggle. And though she longs to perform in public spaces again, for the moment, Gomez is glad to be able to innovate from home.\u003c/p>\n\u003cp>“These projects are keeping me sane! I’ll do the show, and if the camera freezes for a minute, guess what? This is a pleasure, this is a\u003cem> respite\u003c/em>,” she emphasizes. Resilience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>ar from a solo act, the incomparable Campo Santo, a company prioritizing Bay Area-born voices and people of color, has created work as a tight-knit ensemble since 1996. More than a “writers” theater, Campo Santo has nonetheless cultivated a pantheon of great writers, from Luís Saguar to Luis Alfaro, Chinaka Hodge to Star Finch. More than an “actors” theater, Campo Santo has embraced the plurality of its community, and created opportunities for first-time performers and professionals alike. To be a member of Campo Santo might take years of exploring where you fit in, the ability to transform and grow in new directions. A journey embodied by ten-year veteran of the company A.M. Smiley, whose artistic evolution from production manager to featured playwright can be tied specifically to the support offered by the Campo Santo \u003cem>familia.\u003c/em>\u003c/p>\n\u003cp>While the company experiments with ways to create on digital platforms—promising more information on new shows soon—they’ve programmed a series of screenings of past shows for an enthusiastic online audience. At a recent showing of \u003cem>Ethos de Masquerade\u003c/em>—a work that combined powerful text mourning black lives lost to violence with the ceremonial power of a modern-day Masquerade dance ritual—the audience participation via chat was hundreds of messages long by the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13883624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883624\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg\" alt=\"\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1536x856.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Saenz, Britney Frazier and Delina Patrice Brooks in ‘Superheroes,’ by Sean San Jose. \u003ccite>(Joan Osato)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even in a Zoom interview with several core members of the company, the chat box continued to light up throughout with affirmations, such as when resident playwright Star Finch spoke to the ongoing reckoning at many theater institutions in regards to distribution of power, and pervasive racial inequities encoded in policy and practice.\u003c/p>\n\u003cp>“BOOM!” wrote Margo Hall, followed immediately by a “say that shit!” from Sean San Jose, who also punctuated the interview with snaps and hand signals whenever someone landed a particularly powerful point.\u003c/p>\n\u003cp>What comes through most indelibly is each member’s passion for their artistic home, and their recognition of its significance in their own practice.\u003c/p>\n\u003cp>“A big shock for me…is when I started doing shows outside of Campo Santo and I didn’t know that actors could do shows that they didn’t love,” actor and DJ (as Wonway Posibul) Juan Amador interjected at one point.\u003c/p>\n\u003cp>“Campo Santo gave me foundation that I would never be able to get anywhere else,” reflected co-founder Margo Hall. “Everything I learned in Campo Santo fueled me to be able to be the best and be myself at these other theaters. I learned to be able to walk in the door with myself, 100% authentic.”\u003c/p>\n\u003cfigure id=\"attachment_13883625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Milan Williams (foreground) and Michael Wayne Turner III in Star Finch’s ‘H.O.M.E.’ \u003ccite>(D'wana Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still writing new chapters in their decades-long saga, Campo Santo has been long accustomed to making do with limited resources. For them, the shift from physical space to a digital one has been no more abrupt than their earlier shifts from Valencia Street to the Chronicle Building downtown to traveling, unrooted, from space to space. Times are hard and the current conditions are challenging, but when all is said and done, the fact that they have each other’s backs is a blessing and a boon. Resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Marga Gomez’ \u003cem>The Spanking Machine\u003c/em> runs through July 25. \u003ca href=\"http://dixonplace.org/performances/spanking-machine-2020/\">Details here.\u003c/a> Campo Santo’s virtual throwback series and show announcements are \u003ca href=\"http://www.facebook.com/camposantosf/\">available here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Two of the Mission District's long-term survivors refuse to the pandemic slow them down.","status":"publish","parent":0,"modified":1705020395,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1186},"headData":{"title":"In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient | KQED","description":"Two of the Mission District's long-term survivors refuse to the pandemic slow them down.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient","datePublished":"2020-07-22T15:00:46.000Z","dateModified":"2024-01-12T00:46:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13883619/in-the-mission-performers-marga-gomez-and-campo-santo-stay-resilient","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n challenging times, it’s tales of resilience that resonate most. And the tellers of those tales shine all the brighter, as inspiring beacons against the gloom.\u003c/p>\n\u003cp>In San Francisco, some of our most consistently resilient performers are those who built their reputations not in the “traditional” performance spaces downtown, but in their own neighborhoods, creating work by, for, and of the communities that inspired them and called them their own. One neighborhood that’s long been a bastion for these community-rooted artists is the Mission District, and two of its long-term survivors—Marga Gomez and Campo Santo—are not letting the pandemic slow them down.\u003c/p>\n\u003cp>One part comedian, one part solo performer, one part consummate host and all parts wholly original, Marga Gomez is resilience personified. Holding it down in a liminal space straddling the Castro and the Mission District since the early 1980s, her resume is a wild ride through some of San Francisco’s most memorable cultural highlights. From taking the stage at the first-ever Folsom Street Fair (then called “Megahood”) to working with the long-running San Francisco Mime Troupe, and then being pulled into the first incarnation of Latinx comedy supergroup Culture Clash by Rene Yanez, Gomez has continued to make her mark by always evolving her craft to fit the circumstances.\u003c/p>\n\u003cp>“A lot of my career has been accidents…opportunities…that I adapted to,” she admits with her signature, gap-toothed smile.\u003c/p>\n\u003cfigure id=\"attachment_13883622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez performs in her 12th solo show, ‘Latin Standards.’ \u003ccite>(Fabian Echevarria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even being shut down on opening night for her 13th solo show—\u003cem>The Spanking Machine\u003c/em>, at Brava Theater Center—couldn’t dim Gomez’ creative spark. Within two weeks of the shutdown, Gomez had already launched the first of many virtual comedy shows, the format of which she’s tweaked with each subsequent edition. First there were midday comedy brunches, then afternoon “high tea,” a Cinco de Mayo bash, a birthday party doubling as a political fundraiser, and, most recently, 30-minute “queer quickies” with co-host, the fabulous Jesús U. BettaWork. And finally, at long last, live-streamed performances of \u003cem>The Spanking Machine\u003c/em>, running through July 25.\u003c/p>\n\u003cfigure id=\"attachment_13883623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez and her signature smile. \u003ccite>(Courtesy of Marga Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reminiscing about her truncated run at Brava, Gomez ruefully recalls wishing that she wouldn’t “have to perform on Friday the 13th,” a wish that came all too true with the shutdown. Now scheduled as part of Dixon Place’s long-running LQBTQ+ HOT! Festival, Gomez takes the virtual stage from home. Combining clips from her invited dress rehearsal at Brava with live performance, telling a story of a long-lost friend, and a dark secret from the past. Like her other solo shows, it’s intensely personal, often hilarious, and paints a vivid picture of Gomez’ particular experience: an out-gay, Latinx comic, living a life brimming with equal measures of serendipity and struggle. And though she longs to perform in public spaces again, for the moment, Gomez is glad to be able to innovate from home.\u003c/p>\n\u003cp>“These projects are keeping me sane! I’ll do the show, and if the camera freezes for a minute, guess what? This is a pleasure, this is a\u003cem> respite\u003c/em>,” she emphasizes. Resilience.\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>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>ar from a solo act, the incomparable Campo Santo, a company prioritizing Bay Area-born voices and people of color, has created work as a tight-knit ensemble since 1996. More than a “writers” theater, Campo Santo has nonetheless cultivated a pantheon of great writers, from Luís Saguar to Luis Alfaro, Chinaka Hodge to Star Finch. More than an “actors” theater, Campo Santo has embraced the plurality of its community, and created opportunities for first-time performers and professionals alike. To be a member of Campo Santo might take years of exploring where you fit in, the ability to transform and grow in new directions. A journey embodied by ten-year veteran of the company A.M. Smiley, whose artistic evolution from production manager to featured playwright can be tied specifically to the support offered by the Campo Santo \u003cem>familia.\u003c/em>\u003c/p>\n\u003cp>While the company experiments with ways to create on digital platforms—promising more information on new shows soon—they’ve programmed a series of screenings of past shows for an enthusiastic online audience. At a recent showing of \u003cem>Ethos de Masquerade\u003c/em>—a work that combined powerful text mourning black lives lost to violence with the ceremonial power of a modern-day Masquerade dance ritual—the audience participation via chat was hundreds of messages long by the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13883624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883624\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg\" alt=\"\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1536x856.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Saenz, Britney Frazier and Delina Patrice Brooks in ‘Superheroes,’ by Sean San Jose. \u003ccite>(Joan Osato)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even in a Zoom interview with several core members of the company, the chat box continued to light up throughout with affirmations, such as when resident playwright Star Finch spoke to the ongoing reckoning at many theater institutions in regards to distribution of power, and pervasive racial inequities encoded in policy and practice.\u003c/p>\n\u003cp>“BOOM!” wrote Margo Hall, followed immediately by a “say that shit!” from Sean San Jose, who also punctuated the interview with snaps and hand signals whenever someone landed a particularly powerful point.\u003c/p>\n\u003cp>What comes through most indelibly is each member’s passion for their artistic home, and their recognition of its significance in their own practice.\u003c/p>\n\u003cp>“A big shock for me…is when I started doing shows outside of Campo Santo and I didn’t know that actors could do shows that they didn’t love,” actor and DJ (as Wonway Posibul) Juan Amador interjected at one point.\u003c/p>\n\u003cp>“Campo Santo gave me foundation that I would never be able to get anywhere else,” reflected co-founder Margo Hall. “Everything I learned in Campo Santo fueled me to be able to be the best and be myself at these other theaters. I learned to be able to walk in the door with myself, 100% authentic.”\u003c/p>\n\u003cfigure id=\"attachment_13883625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Milan Williams (foreground) and Michael Wayne Turner III in Star Finch’s ‘H.O.M.E.’ \u003ccite>(D'wana Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still writing new chapters in their decades-long saga, Campo Santo has been long accustomed to making do with limited resources. For them, the shift from physical space to a digital one has been no more abrupt than their earlier shifts from Valencia Street to the Chronicle Building downtown to traveling, unrooted, from space to space. Times are hard and the current conditions are challenging, but when all is said and done, the fact that they have each other’s backs is a blessing and a boon. Resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Marga Gomez’ \u003cem>The Spanking Machine\u003c/em> runs through July 25. \u003ca href=\"http://dixonplace.org/performances/spanking-machine-2020/\">Details here.\u003c/a> Campo Santo’s virtual throwback series and show announcements are \u003ca href=\"http://www.facebook.com/camposantosf/\">available here\u003c/a>.\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13883619/in-the-mission-performers-marga-gomez-and-campo-santo-stay-resilient","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_967"],"tags":["arts_1252","arts_2139","arts_549","arts_10278","arts_2335","arts_1257","arts_1072","arts_585"],"featImg":"arts_13883621","label":"arts_140"},"arts_13856506":{"type":"posts","id":"arts_13856506","meta":{"index":"posts_1591205157","site":"arts","id":"13856506","score":null,"sort":[1556905516000]},"guestAuthors":[],"slug":"toni-morrisons-jazz-comes-to-life-at-marin-theatre-co","title":"Toni Morrison's 'Jazz' Comes to Life at Marin Theatre Co.","publishDate":1556905516,"format":"standard","headTitle":"Toni Morrison’s ‘Jazz’ Comes to Life at Marin Theatre Co. | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Transferring the poetry and detail of Toni Morrison’s ‘Jazz’ to the stage could seem like a daunting process, but at Marin Theatre Co., a West Coast premiere of Nambi E. Kelley’s adaptation makes it look easy. Morrison’s words dance around the stage like fireflies, and the action under director Awoye Timpo is dream-like and surreal. At moments, it feels like jazz itself.\u003c/p>\n\u003cp>Violet (C. Kelly Wright) has been done wrong by her man, Joe (Michael Gene Sullivan), and is haunted by the vision of his paramour, Dorcas (Dezi Soléy), whose ghost watches over much of the proceedings from a thin veil. As Violet and Joe move from the country to big city life in New York (“where water come to you, and not you to it”), a certain menace grows and grows. We get foreshadowings of a tragedy caused by jazz music (“Just hearin’ it is like violatin’ the law”), but the blame ultimately falls on human nature.\u003c/p>\n\u003cfigure id=\"attachment_13856514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg\" alt=\"Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.'s production of 'Jazz.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13856514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.’s production of ‘Jazz.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actors here are all good, especially \u003ca href=\"https://www.kqed.org/news/11685814/blindspotting-actor-considers-damaging-effects-of-white-voice\" rel=\"noopener\" target=\"_blank\">Margo Hall\u003c/a> (filmgoers may recognize her as Daveed Diggs’ character’s mom in \u003cem>Blindspotting\u003c/em>), even when the pacing is a little off. The music by Bay Area jazz treasure \u003ca href=\"https://www.kqed.org/arts/10135150/bassist-marcus-shelby-finding-freedoms-message-in-the-music\" rel=\"noopener\" target=\"_blank\">Marcus Shelby\u003c/a> underpins Morrison’s story with a bubbling eeriness, even when it’s joyful, as in country dances and Harlem nightclub scenes choreographed by \u003ca href=\"https://www.kqed.org/arts/13842165/a-dance-tribute-to-bayview-hunters-points-history\" rel=\"noopener\" target=\"_blank\">Joanna Haigood\u003c/a>. For all of the antiquated markers in \u003cem>Jazz\u003c/em>, with its overalls, cotton fields, fedoras, field hollers and spirituals, its themes aren’t going away anytime soon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Jazz’ runs through May 19 at Marin Theatre Company in Mill Valley. \u003ca href=\"https://www.marintheatre.org/productions/jazz\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[ad=floatright]\u003c/p>\n\n","blocks":[],"excerpt":"A stage adaptation of Morrison's woman-done-wrong story makes its West Coast premiere.","status":"publish","parent":0,"modified":1705026244,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":316},"headData":{"title":"Toni Morrison's 'Jazz' Comes to Life at Marin Theatre Co. | KQED","description":"A stage adaptation of Morrison's woman-done-wrong story makes its West Coast premiere.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Toni Morrison's 'Jazz' Comes to Life at Marin Theatre Co.","datePublished":"2019-05-03T17:45:16.000Z","dateModified":"2024-01-12T02:24:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13856506/toni-morrisons-jazz-comes-to-life-at-marin-theatre-co","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Transferring the poetry and detail of Toni Morrison’s ‘Jazz’ to the stage could seem like a daunting process, but at Marin Theatre Co., a West Coast premiere of Nambi E. Kelley’s adaptation makes it look easy. Morrison’s words dance around the stage like fireflies, and the action under director Awoye Timpo is dream-like and surreal. At moments, it feels like jazz itself.\u003c/p>\n\u003cp>Violet (C. Kelly Wright) has been done wrong by her man, Joe (Michael Gene Sullivan), and is haunted by the vision of his paramour, Dorcas (Dezi Soléy), whose ghost watches over much of the proceedings from a thin veil. As Violet and Joe move from the country to big city life in New York (“where water come to you, and not you to it”), a certain menace grows and grows. We get foreshadowings of a tragedy caused by jazz music (“Just hearin’ it is like violatin’ the law”), but the blame ultimately falls on human nature.\u003c/p>\n\u003cfigure id=\"attachment_13856514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg\" alt=\"Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.'s production of 'Jazz.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13856514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.’s production of ‘Jazz.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actors here are all good, especially \u003ca href=\"https://www.kqed.org/news/11685814/blindspotting-actor-considers-damaging-effects-of-white-voice\" rel=\"noopener\" target=\"_blank\">Margo Hall\u003c/a> (filmgoers may recognize her as Daveed Diggs’ character’s mom in \u003cem>Blindspotting\u003c/em>), even when the pacing is a little off. The music by Bay Area jazz treasure \u003ca href=\"https://www.kqed.org/arts/10135150/bassist-marcus-shelby-finding-freedoms-message-in-the-music\" rel=\"noopener\" target=\"_blank\">Marcus Shelby\u003c/a> underpins Morrison’s story with a bubbling eeriness, even when it’s joyful, as in country dances and Harlem nightclub scenes choreographed by \u003ca href=\"https://www.kqed.org/arts/13842165/a-dance-tribute-to-bayview-hunters-points-history\" rel=\"noopener\" target=\"_blank\">Joanna Haigood\u003c/a>. For all of the antiquated markers in \u003cem>Jazz\u003c/em>, with its overalls, cotton fields, fedoras, field hollers and spirituals, its themes aren’t going away anytime soon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Jazz’ runs through May 19 at Marin Theatre Company in Mill Valley. \u003ca href=\"https://www.marintheatre.org/productions/jazz\" rel=\"noopener\" target=\"_blank\">Details 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\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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13856506/toni-morrisons-jazz-comes-to-life-at-marin-theatre-co","authors":["185"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1118","arts_3584","arts_2335","arts_2331","arts_769","arts_6713"],"featImg":"arts_13856515","label":"arts_140"},"arts_13823621":{"type":"posts","id":"arts_13823621","meta":{"index":"posts_1591205157","site":"arts","id":"13823621","score":null,"sort":[1518206417000]},"guestAuthors":[],"slug":"skeleton-crew-tries-to-capture-the-corpse-of-an-american-tragedy","title":"'Skeleton Crew' Tries to Capture the Corpse of an American Tragedy","publishDate":1518206417,"format":"standard","headTitle":"‘Skeleton Crew’ Tries to Capture the Corpse of an American Tragedy | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>There are scenes in Dominique Morisseau’s \u003cem>Skeleton Crew\u003c/em>, currently receiving its Bay Area premiere at the Marin Theatre Company under Jade King Carroll’s assured direction, that belong in a terrific play about Detroit auto workers.\u003c/p>\n\u003cp>The most striking of these is when Reggie, a foreman proud of his ascension to middle management (another fantastic Lance Gardner performance), becomes so angered and infuriated by his company’s inhumane polices that he can’t remember whether he’s committed an act of violence or not. When it becomes clear that he hasn’t, it’s also clear just how much he wishes he had — and how significant the idea is, for him, of lashing out.\u003c/p>\n\u003cp>For Reggie and the other workers he supervises, the auto plant has become a mystery. It’s 2008. They can feel the precarious nature of the local and national economies. Everyone is in flux, and they’re all navigating an increasingly precarious future.\u003c/p>\n\u003cfigure id=\"attachment_13823626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823626\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-800x450.jpg\" alt=\"Faye (Margo Hall) and Reggie (Lance Gardner) try to figure out how to navigate a tough situation in 'The Skeleton Crew' at the Marin Theatre Compa\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye (Margo Hall) and Reggie (Lance Gardner) try to navigate a tough situation in ‘Skeleton Crew’ at the Marin Theatre Company. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Faye, a longtime employee, cancer survivor, and union rep, has less than a year to get a full-benefits package; Dez, young, hardworking, and angry, is plotting his way to opening his own garage; and Shanita, incredibly talented and committed to her job, is pregnant and single. Morisseau catches in these characters the way work is intimately connected to the soul, and the natural resting place of dreams. (Or here, fractured dreams.)\u003c/p>\n\u003cp>What’s fascinating about this up-and-down play is how much more effective it is when Morisseau forgets the bigger themes and sticks with the granular details of life in an auto plant. Reggie and Dez argue about protocol; Dez and Shanita share a particularly tasty dish of potatoes; Faye struggles over when to reveal inside information about the plant closing. Without explanation or adornment, we understand everything.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The problem is that Morriseau doesn’t leave it at that. An audience can sense whole worlds in just a few details, but rather than letting us follow the natural course of everyday life and coming to hard conclusions about the economic and political conditions of America, Morriseau too often indulges in poetic flourishes that strain for significance.\u003c/p>\n\u003cfigure id=\"attachment_13823624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823624\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-800x450.jpg\" alt=\"Shanita (Tristan Cunningham) starts to realize the full scope of the situation in 'The Skeleton Crew' at the Marin Theatre Company.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanita (Tristan Cunningham) starts to realize the full scope of the situation in ‘Skeleton Crew’ at the Marin Theatre Company. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shanita tells Faye that her Big Mama “used to say dreams from a pregnant woman actually more like prophecies,” and then recounts one that includes an “empty space with nothin’ in it [and] dust covering everything.” As she calls out to people who “don’t answer,” a strong wind comes and the “dust is scrambled in a group of letters that don’t spell nothin’.”\u003c/p>\n\u003cp>It’s at moments like these (there’s a second act speech about traffic that operates in the same way) that the play loses its bite. Shanita’s speech is an artistic effect, rather than an interrogation of what happens to people under intense economic pressures. It stands apart from the play’s concerns and draws our attention away from the real drama: a war over money, resources, and civic responsibility.\u003c/p>\n\u003cp>Morisseau knows that there’s a problem in Detroit — in its auto plants, in the way race informs economic decisions, and in the way corporations pretend that plant closures are abstract rather than human decisions. But she, along with much of the mainstream of American theater, hasn’t figured out how to give these insights voice outside of the most limited artistic choices.\u003c/p>\n\u003cfigure id=\"attachment_13823628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-800x450.jpg\" alt=\"Dez (Christian Thompson) and Faye (Margo Hall) engage in a little workplace banter during a game of cards in 'The Skeleton Crew' at the Marin Theater Company.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dez (Christian Thompson) and Faye (Margo Hall) engage in a little workplace banter during a game of cards in ‘Skeleton Crew’ at the Marin Theater Company. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are elements of the crime thriller in\u003cem> Skeleton Crew\u003c/em>, but the genre it leans on the most is the workplace sitcom. When the play moves away from direct conflict over economic issues, which is when it is at its best, the action invariably falls back into comic bits: menopause jokes, nicotine patch jokes, baby-naming jokes, boss jokes, sexual harassment jokes.\u003c/p>\n\u003cp>Humor is crucial to art and social change, but its deployment here dulls our political senses. In the familiar patter and setup of punchlines, we’re caught in the soothing rhythms of network television. And that keeps us at a distance from understanding what this particular situation, the Detroit auto crisis, should demand of us.\u003c/p>\n\u003cp>Margo Hall’s Faye is perhaps indicative of the many tensions here. There are moments where Hall gives a searing and controlled performance. You look into her eyes and you see a woman who, at 50, has just had it, and is ready to let the world destroy her. But too often what we get is a performance of a performance.\u003c/p>\n\u003cp>There’s a scene where Faye, who is living in the plant, gets dressed for work as she listens to an Aretha Franklin song. Nothing quite goes right, from fastening her bra strap to applying deodorant. As a bit, it’s a slick audience-pleasing piece of comic acting, but it tells us nothing of Faye’s life or the factory.\u003c/p>\n\u003cfigure id=\"attachment_13823630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-800x450.jpg\" alt=\"Faye (Margo Hall) interrupts a heated argument between Dez (Christian Thompson) and Reggie (Lance Gardner) in 'The Skeleton Crew' at the Marin Theatre Company.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye (Margo Hall) interrupts a heated argument between Dez (Christian Thompson) and Reggie (Lance Gardner) in ‘The Skeleton Crew’ at the Marin Theatre Company. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it manifests in a poetic speech or a comic routine, there’s a lack of verve and focus to Morisseau’s vision of American industry. At moments, you can see her talent for depicting the political and economic forces that are destroying whole communities, and her care for the subject material is obvious. But like so many socially concerned, contemporary American dramas,\u003cem> Skeleton Crew\u003c/em> has no clear purpose. That it ends both sentimentally and ironically is an indictment of a play that should have been a direct indictment of a grotesque economic and human failure in Detroit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Skeleton Crew’ runs through Sunday, Feb. 18, at Marin Theatre Co. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1705028549,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1067},"headData":{"title":"'Skeleton Crew' Tries to Capture the Corpse of an American Tragedy | KQED","description":"There are scenes in Dominique Morisseau’s Skeleton Crew, currently receiving its Bay Area premiere at the Marin Theatre Company under Jade King Carroll’s assured direction, that belong in a terrific play about Detroit auto workers. The most striking of these is when Reggie, a foreman proud of his ascension to middle management (another fantastic Lance","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Skeleton Crew' Tries to Capture the Corpse of an American Tragedy","datePublished":"2018-02-09T20:00:17.000Z","dateModified":"2024-01-12T03:02:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13823621/skeleton-crew-tries-to-capture-the-corpse-of-an-american-tragedy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are scenes in Dominique Morisseau’s \u003cem>Skeleton Crew\u003c/em>, currently receiving its Bay Area premiere at the Marin Theatre Company under Jade King Carroll’s assured direction, that belong in a terrific play about Detroit auto workers.\u003c/p>\n\u003cp>The most striking of these is when Reggie, a foreman proud of his ascension to middle management (another fantastic Lance Gardner performance), becomes so angered and infuriated by his company’s inhumane polices that he can’t remember whether he’s committed an act of violence or not. When it becomes clear that he hasn’t, it’s also clear just how much he wishes he had — and how significant the idea is, for him, of lashing out.\u003c/p>\n\u003cp>For Reggie and the other workers he supervises, the auto plant has become a mystery. It’s 2008. They can feel the precarious nature of the local and national economies. Everyone is in flux, and they’re all navigating an increasingly precarious future.\u003c/p>\n\u003cfigure id=\"attachment_13823626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823626\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-800x450.jpg\" alt=\"Faye (Margo Hall) and Reggie (Lance Gardner) try to figure out how to navigate a tough situation in 'The Skeleton Crew' at the Marin Theatre Compa\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Hall_Gardner_HiRes-e1517646793849.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye (Margo Hall) and Reggie (Lance Gardner) try to navigate a tough situation in ‘Skeleton Crew’ at the Marin Theatre Company. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Faye, a longtime employee, cancer survivor, and union rep, has less than a year to get a full-benefits package; Dez, young, hardworking, and angry, is plotting his way to opening his own garage; and Shanita, incredibly talented and committed to her job, is pregnant and single. Morisseau catches in these characters the way work is intimately connected to the soul, and the natural resting place of dreams. (Or here, fractured dreams.)\u003c/p>\n\u003cp>What’s fascinating about this up-and-down play is how much more effective it is when Morisseau forgets the bigger themes and sticks with the granular details of life in an auto plant. Reggie and Dez argue about protocol; Dez and Shanita share a particularly tasty dish of potatoes; Faye struggles over when to reveal inside information about the plant closing. Without explanation or adornment, we understand everything.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The problem is that Morriseau doesn’t leave it at that. An audience can sense whole worlds in just a few details, but rather than letting us follow the natural course of everyday life and coming to hard conclusions about the economic and political conditions of America, Morriseau too often indulges in poetic flourishes that strain for significance.\u003c/p>\n\u003cfigure id=\"attachment_13823624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823624\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-800x450.jpg\" alt=\"Shanita (Tristan Cunningham) starts to realize the full scope of the situation in 'The Skeleton Crew' at the Marin Theatre Company.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Cunningham2_HiRes-e1517646365804.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanita (Tristan Cunningham) starts to realize the full scope of the situation in ‘Skeleton Crew’ at the Marin Theatre Company. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shanita tells Faye that her Big Mama “used to say dreams from a pregnant woman actually more like prophecies,” and then recounts one that includes an “empty space with nothin’ in it [and] dust covering everything.” As she calls out to people who “don’t answer,” a strong wind comes and the “dust is scrambled in a group of letters that don’t spell nothin’.”\u003c/p>\n\u003cp>It’s at moments like these (there’s a second act speech about traffic that operates in the same way) that the play loses its bite. Shanita’s speech is an artistic effect, rather than an interrogation of what happens to people under intense economic pressures. It stands apart from the play’s concerns and draws our attention away from the real drama: a war over money, resources, and civic responsibility.\u003c/p>\n\u003cp>Morisseau knows that there’s a problem in Detroit — in its auto plants, in the way race informs economic decisions, and in the way corporations pretend that plant closures are abstract rather than human decisions. But she, along with much of the mainstream of American theater, hasn’t figured out how to give these insights voice outside of the most limited artistic choices.\u003c/p>\n\u003cfigure id=\"attachment_13823628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-800x450.jpg\" alt=\"Dez (Christian Thompson) and Faye (Margo Hall) engage in a little workplace banter during a game of cards in 'The Skeleton Crew' at the Marin Theater Company.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_HiRes-e1517647189753.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dez (Christian Thompson) and Faye (Margo Hall) engage in a little workplace banter during a game of cards in ‘Skeleton Crew’ at the Marin Theater Company. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are elements of the crime thriller in\u003cem> Skeleton Crew\u003c/em>, but the genre it leans on the most is the workplace sitcom. When the play moves away from direct conflict over economic issues, which is when it is at its best, the action invariably falls back into comic bits: menopause jokes, nicotine patch jokes, baby-naming jokes, boss jokes, sexual harassment jokes.\u003c/p>\n\u003cp>Humor is crucial to art and social change, but its deployment here dulls our political senses. In the familiar patter and setup of punchlines, we’re caught in the soothing rhythms of network television. And that keeps us at a distance from understanding what this particular situation, the Detroit auto crisis, should demand of us.\u003c/p>\n\u003cp>Margo Hall’s Faye is perhaps indicative of the many tensions here. There are moments where Hall gives a searing and controlled performance. You look into her eyes and you see a woman who, at 50, has just had it, and is ready to let the world destroy her. But too often what we get is a performance of a performance.\u003c/p>\n\u003cp>There’s a scene where Faye, who is living in the plant, gets dressed for work as she listens to an Aretha Franklin song. Nothing quite goes right, from fastening her bra strap to applying deodorant. As a bit, it’s a slick audience-pleasing piece of comic acting, but it tells us nothing of Faye’s life or the factory.\u003c/p>\n\u003cfigure id=\"attachment_13823630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-800x450.jpg\" alt=\"Faye (Margo Hall) interrupts a heated argument between Dez (Christian Thompson) and Reggie (Lance Gardner) in 'The Skeleton Crew' at the Marin Theatre Company.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Thompson_Hall_Gardner_HiRes-e1517647447834.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faye (Margo Hall) interrupts a heated argument between Dez (Christian Thompson) and Reggie (Lance Gardner) in ‘The Skeleton Crew’ at the Marin Theatre Company. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it manifests in a poetic speech or a comic routine, there’s a lack of verve and focus to Morisseau’s vision of American industry. At moments, you can see her talent for depicting the political and economic forces that are destroying whole communities, and her care for the subject material is obvious. But like so many socially concerned, contemporary American dramas,\u003cem> Skeleton Crew\u003c/em> has no clear purpose. That it ends both sentimentally and ironically is an indictment of a play that should have been a direct indictment of a grotesque economic and human failure in Detroit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Skeleton Crew’ runs through Sunday, Feb. 18, at Marin Theatre Co. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13823621/skeleton-crew-tries-to-capture-the-corpse-of-an-american-tragedy","authors":["8668"],"categories":["arts_967"],"tags":["arts_2335","arts_1072"],"featImg":"arts_13823623","label":"arts"},"arts_13819982":{"type":"posts","id":"arts_13819982","meta":{"index":"posts_1591205157","site":"arts","id":"13819982","score":null,"sort":[1516848614000]},"guestAuthors":[],"slug":"on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","title":"On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018","publishDate":1516848614,"format":"audio","headTitle":"On the Air: Cy and Ariana’s Do List Picks for Jan. 26, 2018 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"KQED's Cy Musiker and Do List co-host Ariana Proehl talk record album art, a play about auto workers, Brittany Howard's new band and more.","status":"publish","parent":0,"modified":1705028697,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":223},"headData":{"title":"On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018 | KQED","description":"KQED's Cy Musiker and Do List co-host Ariana Proehl talk record album art, a play about auto workers, Brittany Howard's new band and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018","datePublished":"2018-01-25T02:50:14.000Z","dateModified":"2024-01-12T03:04:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2018/02/TDL20180126.mp3","sticky":false,"path":"/arts/13819982/on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\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>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819982/on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_966","arts_69","arts_1003","arts_75","arts_967","arts_70"],"tags":["arts_3713","arts_2991","arts_1118","arts_3740","arts_3649","arts_2520","arts_1006","arts_3716","arts_3727","arts_2335","arts_596","arts_1072","arts_2323","arts_20228"],"featImg":"arts_13819896","label":"arts_140"},"arts_13807623":{"type":"posts","id":"arts_13807623","meta":{"index":"posts_1591205157","site":"arts","id":"13807623","score":null,"sort":[1504752846000]},"guestAuthors":[],"slug":"a-family-intervention-in-black-and-white","title":"A Family Intervention in Black and White","publishDate":1504752846,"format":"standard","headTitle":"A Family Intervention in Black and White | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cstrong>Sept. 26-Nov. 11: \u003c/strong>Robert O’Hara plays a theater game here with what works out to be a big payoff. In this San Francisco Playhouse production, O’Hara presents an intervention at a family barbecue, first with a white family playing out their dysfunctional relationships, and then a black family in the same setting and situation.\u003c/p>\n\u003cfigure id=\"attachment_13807630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-800x450.jpg\" alt=\"Halili Knox and Adrian Roberts star in the SF Playhouse production of 'Barbecue'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox and Adrian Roberts star in the SF Playhouse production of ‘Barbecue.’ \u003ccite>(Photo: Ken Levin/SF Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>O’Hara, a gay, black playwright, is always good at upending our prejudices and preconceptions about family and race, and this structure should give him lots of room to make audiences squirm. Bay Area theater veteran Margo Hall does a terrific job playing a role and directing the dual casts, It’s funny and touching, and very real. \u003ca href=\"https://www.sfplayhouse.org/sfph/2017-2018-season/barbecue/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/239897633\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A family intervention looks very different depending on whether the family is black or white.","status":"publish","parent":0,"modified":1705029603,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":148},"headData":{"title":"A Family Intervention in Black and White | KQED","description":"A family intervention looks very different depending on whether the family is black or white.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Family Intervention in Black and White","datePublished":"2017-09-07T02:54:06.000Z","dateModified":"2024-01-12T03:20:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13807623/a-family-intervention-in-black-and-white","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Sept. 26-Nov. 11: \u003c/strong>Robert O’Hara plays a theater game here with what works out to be a big payoff. In this San Francisco Playhouse production, O’Hara presents an intervention at a family barbecue, first with a white family playing out their dysfunctional relationships, and then a black family in the same setting and situation.\u003c/p>\n\u003cfigure id=\"attachment_13807630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-800x450.jpg\" alt=\"Halili Knox and Adrian Roberts star in the SF Playhouse production of 'Barbecue'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox and Adrian Roberts star in the SF Playhouse production of ‘Barbecue.’ \u003ccite>(Photo: Ken Levin/SF Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>O’Hara, a gay, black playwright, is always good at upending our prejudices and preconceptions about family and race, and this structure should give him lots of room to make audiences squirm. Bay Area theater veteran Margo Hall does a terrific job playing a role and directing the dual casts, It’s funny and touching, and very real. \u003ca href=\"https://www.sfplayhouse.org/sfph/2017-2018-season/barbecue/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"239897633"},"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/13807623/a-family-intervention-in-black-and-white","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_235","arts_75","arts_967"],"tags":["arts_1118","arts_1006","arts_2335","arts_596","arts_1321","arts_2334","arts_626"],"featImg":"arts_13807631","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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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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