'The Great Khan': A Better Superhero Origin Story than History Lesson
Dancing On Our Own: SF Playhouse’s 'Dance Nation' Leaves Audience in the Dark
Beyond 'Shrimp Boy': The Family Ties of Lauren Yee's 'King of the Yees'
'Non-Player Character' Puts Gamergate on the Theater Stage
For the Holidays, Two Plays Adapted From Movies — Plus One Winner
Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness
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European History, often taught as “de facto” history, frequently elides whole continents and accomplishments from its focus. Even so, you’ve probably heard of the Mongol leader Genghis Khan, who built an empire so large and so notable it simply refuses to be forgotten.\u003c/p>\n\u003cp>In Michael Gene Sullivan’s \u003cem>The Great Khan\u003c/em>, co-produced by San Francisco Playhouse and the San Francisco Mime Troupe, audiences not only get a kind of superhero origin story for Khan (played by an affable Brian Rivera), but a close encounter, as he pops in through the window to “hang out” with a teenager named Jayden (a thoroughly convincing Leon Jones). Not only has Jayden been assigned a school report on Khan, but in the process of doing so, he’s come to \u003cem>really\u003c/em> admire Khan’s facility for waging war. (Jayden’s own warrior skills have been mainly confined to his GameBoy, a device he eagerly introduces to Khan in an attempt at bonding.)\u003c/p>\n\u003cfigure id=\"attachment_13905146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905146\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/TheGreatKhan_LeonJones_BrianRivera_videogames_photocredit_JessicaPalopoli-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_LeonJones_BrianRivera_videogames_photocredit_JessicaPalopoli-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_LeonJones_BrianRivera_videogames_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_LeonJones_BrianRivera_videogames_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_LeonJones_BrianRivera_videogames_photocredit_JessicaPalopoli.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leon Jones introduces Genghis Khan to his video game collection in ‘The Great Khan’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Jayden has his own superhero origin story, having performed a fairly heroic act in his old neighborhood. It’s an act so bold and so brave that he’s been effectively forced to change schools, cut ties, and lay low. No wonder he’s drawn to the seemingly fearless Khan—so much so, he’s perhaps summoned him from the afterlife to play “Call of Duty,” and talk battle tactics. In his eyes, Khan represents the “baddest of the bad.” And if there’s one thing being the baddest will protect you from, it’s a schoolyard vendetta.\u003c/p>\n\u003cp>Meanwhile, Jayden’s overly enthusiastic history report partner Gao-Ming (Kina Kantor) has been busy researching Khan’s backstory for their class presentation. Gao-Ming pops in and out of the action to deliver a series of impassioned monologues: about Khan’s periods of imprisonment and exile, the violent murders of his parents, his admittedly swoon-y first love. True to the format, we get a high school report–level of mostly benign anecdotes, conveniently glossing over the reasons Gao-Ming’s mother might call him “just like Hitler,” and Jayden’s one moment of pushback on Khan’s own personal revisionism.\u003c/p>\n\u003cfigure id=\"attachment_13905147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/TheGreatKhan_KinaKantor_photocredit_JessicaPalopoli-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_KinaKantor_photocredit_JessicaPalopoli-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_KinaKantor_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_KinaKantor_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_KinaKantor_photocredit_JessicaPalopoli.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kina Kantor gives a presentation in ‘The Great Khan’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Genghis Khan’s exploits—triumphal or terrible—are beside the point, despite his being the play’s titular character. What’s more central to the plot is that Jayden is navigating a particularly tough year with as much equanimity as he can muster without succumbing entirely to depression and rage. Working on the class project with Gao-Ming occasionally helps bring him out of his defensive shell, as do abrupt, often antagonistic midnight visits from the equally pent-up Ant (Jamella Cross), his last connection to his old neighborhood and school. Cross and Kantor flesh out their roles with engaging energy and believable fluster, tempering teenage angst with humor and candor.\u003c/p>\n\u003cfigure id=\"attachment_13905148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/TheGreatKhan_JamellaCross_LeonJones_photocredit_JessicaPalopoli-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_JamellaCross_LeonJones_photocredit_JessicaPalopoli-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_JamellaCross_LeonJones_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_JamellaCross_LeonJones_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_JamellaCross_LeonJones_photocredit_JessicaPalopoli.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamella Cross and Leon Jones in ‘The Great Khan’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s when Jayden navigates his increasingly complicated relationship with his single mother, Crystal (Velina Brown), that his character really comes alive. The natural onstage chemistry between Jones and Brown is the play’s beating heart. Brown with her bear hugs and gentle teasing. Jones with his sulky teenage reticence and reluctant affection. The way they size each other up in the moment, each testing the boundaries of how far they can push each other, and how far they can reach out and hold tight. Director Darryl V. Jones gives them plenty of space to breathe, and their familial bond is stronger for it.\u003c/p>\n\u003cfigure id=\"attachment_13905150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/TheGreatKhan_VelinaBrown_LeonJones_photocredit_JessicaPalopoli-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_VelinaBrown_LeonJones_photocredit_JessicaPalopoli-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_VelinaBrown_LeonJones_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_VelinaBrown_LeonJones_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_VelinaBrown_LeonJones_photocredit_JessicaPalopoli.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Velina Brown and Leon Jones play video games in ‘The Great Khan’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Less strong is Jayden’s bond with his unexpected warlord guest, who never quite settles into the mundane rhythms of Jayden’s undercover life. No matter how often Khan reassures Jayden that they are “much the same,” as Jayden does his best to contextualize the contemporary Black experience for him, it never quite feels that they are on the same page, or even reading the same book. Sullivan stuffs his script with so many weighted histories—from the Mongols to MOVE—they start to blend into the background, adding detail but not depth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Overall, what Sullivan is best at is giving his teenage characters dimension and vulnerability in a way that never strikes a cloying note. They are moving into adulthood while still clinging on to the remnants of childhood. They are wise and witty and weird, and when the chips are down they frequently turn to technology: games, Youtube, Discord. I could see \u003cem>The Great Khan\u003c/em> as a great choice for high school students looking for scripts to read or to perform that speak more immediately to their lived experiences. It might not teach them everything there is to know about Genghis Khan—but it will definitely provide a lesson in self-acceptance and survival.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Great Khan’ runs through Nov. 13 at SF Playhouse. Vaccinations required. Tickets and details \u003ca href=\"https://www.sfplayhouse.org/sfph/2021-2022-season/the-great-khan/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Mongol leader hangs out with a present-day Black teenager in Michael Gene Sullivan’s new play at SF Playhouse. ","status":"publish","parent":0,"modified":1705007554,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":949},"headData":{"title":"'The Great Khan': A Better Superhero Origin Story than History Lesson | KQED","description":"The Mongol leader hangs out with a present-day Black teenager in Michael Gene Sullivan’s new play at SF Playhouse. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'The Great Khan': A Better Superhero Origin Story than History Lesson","datePublished":"2021-10-28T00:17:16.000Z","dateModified":"2024-01-11T21:12:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13905144/the-great-khan-a-better-superhero-origin-story-than-history-lesson","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may have read that history is “written by the winners”—those who conveniently leave whole populations out of their selective narratives, and turn their enemies into monsters. European History, often taught as “de facto” history, frequently elides whole continents and accomplishments from its focus. Even so, you’ve probably heard of the Mongol leader Genghis Khan, who built an empire so large and so notable it simply refuses to be forgotten.\u003c/p>\n\u003cp>In Michael Gene Sullivan’s \u003cem>The Great Khan\u003c/em>, co-produced by San Francisco Playhouse and the San Francisco Mime Troupe, audiences not only get a kind of superhero origin story for Khan (played by an affable Brian Rivera), but a close encounter, as he pops in through the window to “hang out” with a teenager named Jayden (a thoroughly convincing Leon Jones). Not only has Jayden been assigned a school report on Khan, but in the process of doing so, he’s come to \u003cem>really\u003c/em> admire Khan’s facility for waging war. (Jayden’s own warrior skills have been mainly confined to his GameBoy, a device he eagerly introduces to Khan in an attempt at bonding.)\u003c/p>\n\u003cfigure id=\"attachment_13905146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905146\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/TheGreatKhan_LeonJones_BrianRivera_videogames_photocredit_JessicaPalopoli-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_LeonJones_BrianRivera_videogames_photocredit_JessicaPalopoli-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_LeonJones_BrianRivera_videogames_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_LeonJones_BrianRivera_videogames_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_LeonJones_BrianRivera_videogames_photocredit_JessicaPalopoli.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leon Jones introduces Genghis Khan to his video game collection in ‘The Great Khan’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Jayden has his own superhero origin story, having performed a fairly heroic act in his old neighborhood. It’s an act so bold and so brave that he’s been effectively forced to change schools, cut ties, and lay low. No wonder he’s drawn to the seemingly fearless Khan—so much so, he’s perhaps summoned him from the afterlife to play “Call of Duty,” and talk battle tactics. In his eyes, Khan represents the “baddest of the bad.” And if there’s one thing being the baddest will protect you from, it’s a schoolyard vendetta.\u003c/p>\n\u003cp>Meanwhile, Jayden’s overly enthusiastic history report partner Gao-Ming (Kina Kantor) has been busy researching Khan’s backstory for their class presentation. Gao-Ming pops in and out of the action to deliver a series of impassioned monologues: about Khan’s periods of imprisonment and exile, the violent murders of his parents, his admittedly swoon-y first love. True to the format, we get a high school report–level of mostly benign anecdotes, conveniently glossing over the reasons Gao-Ming’s mother might call him “just like Hitler,” and Jayden’s one moment of pushback on Khan’s own personal revisionism.\u003c/p>\n\u003cfigure id=\"attachment_13905147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/TheGreatKhan_KinaKantor_photocredit_JessicaPalopoli-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_KinaKantor_photocredit_JessicaPalopoli-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_KinaKantor_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_KinaKantor_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_KinaKantor_photocredit_JessicaPalopoli.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kina Kantor gives a presentation in ‘The Great Khan’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Genghis Khan’s exploits—triumphal or terrible—are beside the point, despite his being the play’s titular character. What’s more central to the plot is that Jayden is navigating a particularly tough year with as much equanimity as he can muster without succumbing entirely to depression and rage. Working on the class project with Gao-Ming occasionally helps bring him out of his defensive shell, as do abrupt, often antagonistic midnight visits from the equally pent-up Ant (Jamella Cross), his last connection to his old neighborhood and school. Cross and Kantor flesh out their roles with engaging energy and believable fluster, tempering teenage angst with humor and candor.\u003c/p>\n\u003cfigure id=\"attachment_13905148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/TheGreatKhan_JamellaCross_LeonJones_photocredit_JessicaPalopoli-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_JamellaCross_LeonJones_photocredit_JessicaPalopoli-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_JamellaCross_LeonJones_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_JamellaCross_LeonJones_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_JamellaCross_LeonJones_photocredit_JessicaPalopoli.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamella Cross and Leon Jones in ‘The Great Khan’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s when Jayden navigates his increasingly complicated relationship with his single mother, Crystal (Velina Brown), that his character really comes alive. The natural onstage chemistry between Jones and Brown is the play’s beating heart. Brown with her bear hugs and gentle teasing. Jones with his sulky teenage reticence and reluctant affection. The way they size each other up in the moment, each testing the boundaries of how far they can push each other, and how far they can reach out and hold tight. Director Darryl V. Jones gives them plenty of space to breathe, and their familial bond is stronger for it.\u003c/p>\n\u003cfigure id=\"attachment_13905150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/TheGreatKhan_VelinaBrown_LeonJones_photocredit_JessicaPalopoli-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_VelinaBrown_LeonJones_photocredit_JessicaPalopoli-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_VelinaBrown_LeonJones_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_VelinaBrown_LeonJones_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/TheGreatKhan_VelinaBrown_LeonJones_photocredit_JessicaPalopoli.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Velina Brown and Leon Jones play video games in ‘The Great Khan’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Less strong is Jayden’s bond with his unexpected warlord guest, who never quite settles into the mundane rhythms of Jayden’s undercover life. No matter how often Khan reassures Jayden that they are “much the same,” as Jayden does his best to contextualize the contemporary Black experience for him, it never quite feels that they are on the same page, or even reading the same book. Sullivan stuffs his script with so many weighted histories—from the Mongols to MOVE—they start to blend into the background, adding detail but not depth.\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>Overall, what Sullivan is best at is giving his teenage characters dimension and vulnerability in a way that never strikes a cloying note. They are moving into adulthood while still clinging on to the remnants of childhood. They are wise and witty and weird, and when the chips are down they frequently turn to technology: games, Youtube, Discord. I could see \u003cem>The Great Khan\u003c/em> as a great choice for high school students looking for scripts to read or to perform that speak more immediately to their lived experiences. It might not teach them everything there is to know about Genghis Khan—but it will definitely provide a lesson in self-acceptance and survival.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Great Khan’ runs through Nov. 13 at SF Playhouse. Vaccinations required. Tickets and details \u003ca href=\"https://www.sfplayhouse.org/sfph/2021-2022-season/the-great-khan/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13905144/the-great-khan-a-better-superhero-origin-story-than-history-lesson","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_10278","arts_2295","arts_585"],"featImg":"arts_13905149","label":"arts_140"},"arts_13867481":{"type":"posts","id":"arts_13867481","meta":{"index":"posts_1591205157","site":"arts","id":"13867481","score":null,"sort":[1570147229000]},"guestAuthors":[],"slug":"dancing-on-our-own-sf-playhouses-dance-nation-leaves-audience-in-the-dark","title":"Dancing On Our Own: SF Playhouse’s 'Dance Nation' Leaves Audience in the Dark","publishDate":1570147229,"format":"standard","headTitle":"Dancing On Our Own: SF Playhouse’s ‘Dance Nation’ Leaves Audience in the Dark | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Over the past few years, the theater world has seen the rise of fully human teenage protagonists, whose complexities and life experiences actively work against a popular narrative of female fragility.\u003c/p>\n\u003cp>Riding that wave is a whole subset of plays using athletic competition as a frame for the powerful fears and ambitions of their central characters. Ruby Ray Spiegel’s \u003cem>Dry Land\u003c/em> (\u003ca href=\"https://www.kqed.org/arts/13833611/ruby-rae-spiegels-dry-land-packs-a-punch-at-shotgun-players\" rel=\"noopener\" target=\"_blank\">produced last year\u003c/a> by Shotgun Players) belongs to this subset, as does Sarah DeLappe’s \u003cem>The Wolves \u003c/em>(currently playing at City Lights Theater Company) and the upcoming \u003cem>Test Match\u003c/em>, by Kate Atwell (to be performed at A.C.T.’s Strand Theater in November).\u003c/p>\n\u003cp>To this specific canon we can add Clare Barron’s 2018 \u003cem>Dance Nation\u003c/em>, currently receiving its Bay Area premiere at SF Playhouse.\u003c/p>\n\u003cfigure id=\"attachment_13867486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867486\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A feral moment in ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Liam Robertson, Mohana Rajagopal, Julia Brothers, Lauren Spencer, Indiia Wilmott. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set on the competitive dance circuit—which will seem familiar to anyone with a passing knowledge of the reality show \u003cem>Dance Moms\u003c/em>—\u003cem>Dance Nation\u003c/em> focuses on a troupe of tweens whose dream of making it to the nationals is just a few more wins away. Taking a page from other playwrights whose vision extends to non-traditional casting (Jaclyn Backhaus, Leah Nanako Winkler), Barron’s script was written for a cast of grown women of varying ages to play the 13-year-old squad members. This allowed her to write the kinds of monologues most teenagers would never dare to deliver of their own volition: a mature appraisal of one’s own “perfect ass,” a locker-room assertion that the true pleasure of masturbation lies in “mostly just thinking,” a passionate condemnation of male circumcision.\u003c/p>\n\u003cp>At certain moments, adult voices take over, as when Julia Brother’s teenage Maeve tells Krystle Piamonte’s Zuzu that she can fly, and then tells the audience, as adult Maeve, that she \u003cem>used\u003c/em> to be able to fly—but now she can’t even remember that she could. Onstage, it plays out as confusingly as it sounds. Whether by accident or design, it’s hard to keep track of who’s narrating each moment, or even why that moment needs narrating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And here we come to the problematic crux of SF Playhouse’s production.\u003c/p>\n\u003cfigure id=\"attachment_13867485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867485\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dance rehearsal victory in ‘Dance Nation.’ (L–R) Indiia Wilmott, Julia Brothers, Krystle Piamonte, Bryan Munar, Ash Malloy, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Becca Wolff’s ponderous direction, much of the humor of the script disappears. What might read on the page like transgressive satire becomes an earnest depiction of a \u003cem>notion\u003c/em> of teenagers that neither jibes with my own lived experience, nor of the play’s reputation as a dark comedy. These characters take themselves so seriously that you can’t even poke fun at their terminal seriousness. While there are flashes of levity, such as when they make a “magic potion” out of a cup of coffee and pass it around, the amusement as well as the teenage perspective is quickly subsumed by an adult voice ruminating on suicidal ideation.\u003c/p>\n\u003cp>A fantastically feral sequence of a dance rehearsal gone wild gets cut short by an occasionally hilarious, occasionally frightening monologue boldly voiced by Lauren Spencer that unfortunately fails to connect with the action before or after she delivers it. The dictatorial cliché that is Dance Teacher Pat (Liam Robertson) is just that—a cipher—who berates his charges, smacks them inappropriately on their perfect asses, and is generally a stand-in for the petty tyrants who dominate so much of a teenager’s life, real and imagined.\u003c/p>\n\u003cfigure id=\"attachment_13867483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867483\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A powerhouse assemblage for ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Julia Brothers, Indiia Wilmott, Lauren Spencer, Krystle Piamonte, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cast, a powerhouse assemblage of some of the Bay Area’s best talents, are further hampered by Angrette McCloskey’s set, an unwieldy structure of beams and struts placed on a revolving platform, which steals focus from the actors almost every time it’s pushed solemnly into place by the stage crew. It’s an especially egregious interruption between scenes that last just a few lines before the plodding revolution of the set pieces begins again. Any energy that might have built up from scene to scene is squandered and lost with every turn. \u003c/p>\n\u003cp>In fairness, I did attend a Sunday matinee performance. Without a critical mass of audience, it can be difficult to generate the requisite energy onstage to propel both performers and audience forward. There appeared to be a couple of moments where audience participation was being encouraged, but without being directly invited to participate, it was hard to tell.\u003c/p>\n\u003cp>Would those moments have played out differently on a Saturday night? Perhaps. But among the several walkouts was a young teenager who’d been sitting in front of me. I could see from her face as she left that she hadn’t seen her teenage self reflected in any of the characters onstage. And as an adult, I didn’t either.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance Nation’ runs through Nov. 9 at SF Playhouse. \u003ca href=\"https://www.sfplayhouse.org/sfph/2019-2020-season/dance-nation/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The latest in a trend of plays centered on young women in extreme physical competition, 'Dance Nation' comes up short.","status":"publish","parent":0,"modified":1705022038,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":900},"headData":{"title":"Dancing On Our Own: SF Playhouse’s 'Dance Nation' Leaves Audience in the Dark | KQED","description":"The latest in a trend of plays centered on young women in extreme physical competition, 'Dance Nation' comes up short.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dancing On Our Own: SF Playhouse’s 'Dance Nation' Leaves Audience in the Dark","datePublished":"2019-10-04T00:00:29.000Z","dateModified":"2024-01-12T01:13:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13867481/dancing-on-our-own-sf-playhouses-dance-nation-leaves-audience-in-the-dark","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past few years, the theater world has seen the rise of fully human teenage protagonists, whose complexities and life experiences actively work against a popular narrative of female fragility.\u003c/p>\n\u003cp>Riding that wave is a whole subset of plays using athletic competition as a frame for the powerful fears and ambitions of their central characters. Ruby Ray Spiegel’s \u003cem>Dry Land\u003c/em> (\u003ca href=\"https://www.kqed.org/arts/13833611/ruby-rae-spiegels-dry-land-packs-a-punch-at-shotgun-players\" rel=\"noopener\" target=\"_blank\">produced last year\u003c/a> by Shotgun Players) belongs to this subset, as does Sarah DeLappe’s \u003cem>The Wolves \u003c/em>(currently playing at City Lights Theater Company) and the upcoming \u003cem>Test Match\u003c/em>, by Kate Atwell (to be performed at A.C.T.’s Strand Theater in November).\u003c/p>\n\u003cp>To this specific canon we can add Clare Barron’s 2018 \u003cem>Dance Nation\u003c/em>, currently receiving its Bay Area premiere at SF Playhouse.\u003c/p>\n\u003cfigure id=\"attachment_13867486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867486\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A feral moment in ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Liam Robertson, Mohana Rajagopal, Julia Brothers, Lauren Spencer, Indiia Wilmott. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set on the competitive dance circuit—which will seem familiar to anyone with a passing knowledge of the reality show \u003cem>Dance Moms\u003c/em>—\u003cem>Dance Nation\u003c/em> focuses on a troupe of tweens whose dream of making it to the nationals is just a few more wins away. Taking a page from other playwrights whose vision extends to non-traditional casting (Jaclyn Backhaus, Leah Nanako Winkler), Barron’s script was written for a cast of grown women of varying ages to play the 13-year-old squad members. This allowed her to write the kinds of monologues most teenagers would never dare to deliver of their own volition: a mature appraisal of one’s own “perfect ass,” a locker-room assertion that the true pleasure of masturbation lies in “mostly just thinking,” a passionate condemnation of male circumcision.\u003c/p>\n\u003cp>At certain moments, adult voices take over, as when Julia Brother’s teenage Maeve tells Krystle Piamonte’s Zuzu that she can fly, and then tells the audience, as adult Maeve, that she \u003cem>used\u003c/em> to be able to fly—but now she can’t even remember that she could. Onstage, it plays out as confusingly as it sounds. Whether by accident or design, it’s hard to keep track of who’s narrating each moment, or even why that moment needs narrating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And here we come to the problematic crux of SF Playhouse’s production.\u003c/p>\n\u003cfigure id=\"attachment_13867485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867485\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dance rehearsal victory in ‘Dance Nation.’ (L–R) Indiia Wilmott, Julia Brothers, Krystle Piamonte, Bryan Munar, Ash Malloy, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Becca Wolff’s ponderous direction, much of the humor of the script disappears. What might read on the page like transgressive satire becomes an earnest depiction of a \u003cem>notion\u003c/em> of teenagers that neither jibes with my own lived experience, nor of the play’s reputation as a dark comedy. These characters take themselves so seriously that you can’t even poke fun at their terminal seriousness. While there are flashes of levity, such as when they make a “magic potion” out of a cup of coffee and pass it around, the amusement as well as the teenage perspective is quickly subsumed by an adult voice ruminating on suicidal ideation.\u003c/p>\n\u003cp>A fantastically feral sequence of a dance rehearsal gone wild gets cut short by an occasionally hilarious, occasionally frightening monologue boldly voiced by Lauren Spencer that unfortunately fails to connect with the action before or after she delivers it. The dictatorial cliché that is Dance Teacher Pat (Liam Robertson) is just that—a cipher—who berates his charges, smacks them inappropriately on their perfect asses, and is generally a stand-in for the petty tyrants who dominate so much of a teenager’s life, real and imagined.\u003c/p>\n\u003cfigure id=\"attachment_13867483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867483\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A powerhouse assemblage for ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Julia Brothers, Indiia Wilmott, Lauren Spencer, Krystle Piamonte, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cast, a powerhouse assemblage of some of the Bay Area’s best talents, are further hampered by Angrette McCloskey’s set, an unwieldy structure of beams and struts placed on a revolving platform, which steals focus from the actors almost every time it’s pushed solemnly into place by the stage crew. It’s an especially egregious interruption between scenes that last just a few lines before the plodding revolution of the set pieces begins again. Any energy that might have built up from scene to scene is squandered and lost with every turn. \u003c/p>\n\u003cp>In fairness, I did attend a Sunday matinee performance. Without a critical mass of audience, it can be difficult to generate the requisite energy onstage to propel both performers and audience forward. There appeared to be a couple of moments where audience participation was being encouraged, but without being directly invited to participate, it was hard to tell.\u003c/p>\n\u003cp>Would those moments have played out differently on a Saturday night? Perhaps. But among the several walkouts was a young teenager who’d been sitting in front of me. I could see from her face as she left that she hadn’t seen her teenage self reflected in any of the characters onstage. And as an adult, I didn’t either.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance Nation’ runs through Nov. 9 at SF Playhouse. \u003ca href=\"https://www.sfplayhouse.org/sfph/2019-2020-season/dance-nation/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13867481/dancing-on-our-own-sf-playhouses-dance-nation-leaves-audience-in-the-dark","authors":["11497"],"categories":["arts_967"],"tags":["arts_879","arts_769","arts_2295"],"featImg":"arts_13867484","label":"arts"},"arts_13850094":{"type":"posts","id":"arts_13850094","meta":{"index":"posts_1591205157","site":"arts","id":"13850094","score":null,"sort":[1549569626000]},"guestAuthors":[],"slug":"beyond-shrimp-boy-the-family-ties-of-lauren-yees-king-of-the-yees","title":"Beyond 'Shrimp Boy': The Family Ties of Lauren Yee's 'King of the Yees'","publishDate":1549569626,"format":"standard","headTitle":"Beyond ‘Shrimp Boy’: The Family Ties of Lauren Yee’s ‘King of the Yees’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Is there anything more exasperating than a proud parent? In Lauren Yee’s \u003cem>King of the Yees\u003c/em>—a meta-theatrical mashup of family dynamics, Chinatown power plays, and model ancestors—Lauren’s father Larry Yee takes his moment in the spotlight and runs with it to the farthest extreme, all while extolling the talents of his ambivalent daughter, who hadn’t invited him in the first place.\u003c/p>\n\u003cp>But there Lauren’s dad is anyway, bearing a giant poster of her face, along with another poster of politician Leland Yee (no relation) for whom he’s been a longtime volunteer. As a longtime member of the Yee Fung Toy Family Association, an “obsolescent family association” on Waverly Street, Larry is obsessed with all things Yee. So much so that he’s invaded the stage of his daughter’s play to talk about them.\u003c/p>\n\u003cfigure id=\"attachment_13850102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A two-hander becomes a cast of hundreds (with Jomar Tagatac, Francis Jue, Krystle Piamonte, Rinabeth Apostal, and Will Dao). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, though Lauren (played empathetically by Krystale Piamonte) has originally conceived of the play as a “two-hander” between actors “2” and “1” (Rinabeth Apostal and Jomar Tagatac), the unexpected arrival of her “real” father (the superlative Francis Jue) causes the play to fracture into a cacophony of players set loose on the stage. Meanwhile, her complicated feelings for her complicated father—and the Chinatown milieu he represents—add emotional resonance to what could easily have been a mere madcap romp. (\u003cem>King of the Yees\u003c/em> runs at SF Playhouse through March 2.)\u003c/p>\n\u003cp>For Lauren, certain truths are unalienable. Her father, the “super volunteer,” is being used by Leland Yee; Chinatown is a dump; she might not have children. For Larry, “being used” is synonymous with “being useful”; Chinatown is a community rich with nuance and history; the Yee line is 36 generations strong and should not be allowed to die out.\u003c/p>\n\u003cp>The more the father and daughter talk over each other, the more distance they establish between themselves, even as their mutual fondness seeps through. But before they resolve their differences of opinion, a new crisis emerges. State Senator Leland Yee has been arrested on charges of corruption, and Larry has already been name-checked on the four o’clock news as a key supporter. With an ominous rumble of Mikhail Fiksel’s sound design and a flicker of Wen-Ling Liao’s lighting, Larry exits the stage, and the chase is on.\u003c/p>\n\u003cfigure id=\"attachment_13850099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Yee (Krystle Piamonte) on her quest to find her father, in King of the Yees. \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Joshua Kahan Brody’s direction, the first act displays definite lags in pace (though no more than what one can expect anytime a playwright’s proud papa commandeers the stage with voter registration forms and a wealth of historical anecdotes). But by the second act, the production settles into an almost extravagant groove, as Lauren embarks on a hero’s quest to find her father through the alleyways and storefronts of Chinatown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along the way, she encounters the outrageously-attired racketeer Raymond “Shrimp Boy” Chow (Jomar Tagatac), the enigmatic “elders of Lum” who hang out in Portsmouth Square and subsist on fortune cookies, and a shopkeeper who has a stash of “good, cheap” whiskey that Lauren must convince to give her for free. There are lion dancers who boogie to Michael Jackson, FBI agents who dirty-dance their way to oblivion, and a “model” ancestor in heels (Will Dao) who speaks with the flamboyant patter of a queen gunning for a spot on \u003cem>RuPaul’s Drag Race\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13850100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A special appearance by Raymond “Shrimp Boy” Chow (Jomar Tagatac). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shifting characters quickly, Apostal, Tagatac, and Dao make the stage seem as crowded as Stockton Street on a weekend. And the family bond between Jue and Piamonte is so skillfully interpreted, you’ll find yourself rooting for them to find each other again, no matter what the cost. Ratcheting up the stakes with creative staging (actors wandering out into the middle of the audience, a luridly-lit slo-mo fight scene, a Bill English-designed Chinatown doorway with a mind of its own), the cast and crew create an energetically absurd spectacle that still grabs hard at the heart.\u003c/p>\n\u003cfigure id=\"attachment_13850097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinatown shopkeeper realness (with Rinabeth Apostal and Krystle Piamonte). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Lauren Yee, her desire to detach herself from the Yees of Chinatown by creating a play about them has forced her instead to examine her heritage from the inside out. It may smack at times of a self-conscious attempt to justify her own path away from the Chinatown of her San Francisco childhood. But it also evinces her need to build a bridge between her family’s ambitions for her and her dreams for herself.\u003c/p>\n\u003cp>Above all, even at its weirdest, \u003cem>King of the Yees\u003c/em> feels like a true labor of love on Lauren’s part, and a genuine desire to crown her father—the irrepressible Larry Yee—king for a day.\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>‘King of the Yees’ runs through Saturday, March 2, at San Francisco Playhouse. \u003ca href=\"https://www.sfplayhouse.org/sfph/2018-2019-season/king-of-the-yees/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\n","blocks":[],"excerpt":"'King of the Yees' is a meta-theatrical mashup of family dynamics, Chinatown, and model ancestors.","status":"publish","parent":0,"modified":1705026637,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":899},"headData":{"title":"Beyond 'Shrimp Boy': The Family Ties of Lauren Yee's 'King of the Yees' | KQED","description":"'King of the Yees' is a meta-theatrical mashup of family dynamics, Chinatown, and model ancestors.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Beyond 'Shrimp Boy': The Family Ties of Lauren Yee's 'King of the Yees'","datePublished":"2019-02-07T20:00:26.000Z","dateModified":"2024-01-12T02:30:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13850094/beyond-shrimp-boy-the-family-ties-of-lauren-yees-king-of-the-yees","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Is there anything more exasperating than a proud parent? In Lauren Yee’s \u003cem>King of the Yees\u003c/em>—a meta-theatrical mashup of family dynamics, Chinatown power plays, and model ancestors—Lauren’s father Larry Yee takes his moment in the spotlight and runs with it to the farthest extreme, all while extolling the talents of his ambivalent daughter, who hadn’t invited him in the first place.\u003c/p>\n\u003cp>But there Lauren’s dad is anyway, bearing a giant poster of her face, along with another poster of politician Leland Yee (no relation) for whom he’s been a longtime volunteer. As a longtime member of the Yee Fung Toy Family Association, an “obsolescent family association” on Waverly Street, Larry is obsessed with all things Yee. So much so that he’s invaded the stage of his daughter’s play to talk about them.\u003c/p>\n\u003cfigure id=\"attachment_13850102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A two-hander becomes a cast of hundreds (with Jomar Tagatac, Francis Jue, Krystle Piamonte, Rinabeth Apostal, and Will Dao). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, though Lauren (played empathetically by Krystale Piamonte) has originally conceived of the play as a “two-hander” between actors “2” and “1” (Rinabeth Apostal and Jomar Tagatac), the unexpected arrival of her “real” father (the superlative Francis Jue) causes the play to fracture into a cacophony of players set loose on the stage. Meanwhile, her complicated feelings for her complicated father—and the Chinatown milieu he represents—add emotional resonance to what could easily have been a mere madcap romp. (\u003cem>King of the Yees\u003c/em> runs at SF Playhouse through March 2.)\u003c/p>\n\u003cp>For Lauren, certain truths are unalienable. Her father, the “super volunteer,” is being used by Leland Yee; Chinatown is a dump; she might not have children. For Larry, “being used” is synonymous with “being useful”; Chinatown is a community rich with nuance and history; the Yee line is 36 generations strong and should not be allowed to die out.\u003c/p>\n\u003cp>The more the father and daughter talk over each other, the more distance they establish between themselves, even as their mutual fondness seeps through. But before they resolve their differences of opinion, a new crisis emerges. State Senator Leland Yee has been arrested on charges of corruption, and Larry has already been name-checked on the four o’clock news as a key supporter. With an ominous rumble of Mikhail Fiksel’s sound design and a flicker of Wen-Ling Liao’s lighting, Larry exits the stage, and the chase is on.\u003c/p>\n\u003cfigure id=\"attachment_13850099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Yee (Krystle Piamonte) on her quest to find her father, in King of the Yees. \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Joshua Kahan Brody’s direction, the first act displays definite lags in pace (though no more than what one can expect anytime a playwright’s proud papa commandeers the stage with voter registration forms and a wealth of historical anecdotes). But by the second act, the production settles into an almost extravagant groove, as Lauren embarks on a hero’s quest to find her father through the alleyways and storefronts of Chinatown.\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>Along the way, she encounters the outrageously-attired racketeer Raymond “Shrimp Boy” Chow (Jomar Tagatac), the enigmatic “elders of Lum” who hang out in Portsmouth Square and subsist on fortune cookies, and a shopkeeper who has a stash of “good, cheap” whiskey that Lauren must convince to give her for free. There are lion dancers who boogie to Michael Jackson, FBI agents who dirty-dance their way to oblivion, and a “model” ancestor in heels (Will Dao) who speaks with the flamboyant patter of a queen gunning for a spot on \u003cem>RuPaul’s Drag Race\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13850100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A special appearance by Raymond “Shrimp Boy” Chow (Jomar Tagatac). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shifting characters quickly, Apostal, Tagatac, and Dao make the stage seem as crowded as Stockton Street on a weekend. And the family bond between Jue and Piamonte is so skillfully interpreted, you’ll find yourself rooting for them to find each other again, no matter what the cost. Ratcheting up the stakes with creative staging (actors wandering out into the middle of the audience, a luridly-lit slo-mo fight scene, a Bill English-designed Chinatown doorway with a mind of its own), the cast and crew create an energetically absurd spectacle that still grabs hard at the heart.\u003c/p>\n\u003cfigure id=\"attachment_13850097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinatown shopkeeper realness (with Rinabeth Apostal and Krystle Piamonte). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Lauren Yee, her desire to detach herself from the Yees of Chinatown by creating a play about them has forced her instead to examine her heritage from the inside out. It may smack at times of a self-conscious attempt to justify her own path away from the Chinatown of her San Francisco childhood. But it also evinces her need to build a bridge between her family’s ambitions for her and her dreams for herself.\u003c/p>\n\u003cp>Above all, even at its weirdest, \u003cem>King of the Yees\u003c/em> feels like a true labor of love on Lauren’s part, and a genuine desire to crown her father—the irrepressible Larry Yee—king for a day.\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>‘King of the Yees’ runs through Saturday, March 2, at San Francisco Playhouse. \u003ca href=\"https://www.sfplayhouse.org/sfph/2018-2019-season/king-of-the-yees/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13850094/beyond-shrimp-boy-the-family-ties-of-lauren-yees-king-of-the-yees","authors":["11497"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1118","arts_596","arts_769","arts_2295","arts_1072"],"featImg":"arts_13850345","label":"arts_140"},"arts_13825717":{"type":"posts","id":"arts_13825717","meta":{"index":"posts_1591205157","site":"arts","id":"13825717","score":null,"sort":[1519747208000]},"guestAuthors":[],"slug":"non-player-character-puts-gamergate-on-the-theater-stage","title":"'Non-Player Character' Puts Gamergate on the Theater Stage","publishDate":1519747208,"format":"image","headTitle":"‘Non-Player Character’ Puts Gamergate on the Theater Stage | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Over the past week, teenage survivors of a mass shooting, perpetrated by a former classmate, were attacked online by self-proclaimed patriots; Russian twitter-bots were purged by the thousands; and social media pile-ons continued to rule the public discourse — all scenarios foreshadowed by the roiling 2014 controversy that was Gamergate.\u003c/p>\n\u003cp>Ostensibly a movement decrying “access journalism” between video-game developers and video-game reporters, Gamergate first focused on one female developer, Zoë Quinn, whose relationship with a journalist fueled suspicion that she’d gained favorable coverage for her games during the course of said relationship (a claim which later proved to be untrue). But it quickly spiraled outward, far beyond the gaming community, becoming an object lesson in both the act of online trolling and in the combating of same.\u003c/p>\n\u003cp>That’s an awful lot of baggage for one play to unpack, particularly a play written before the election of our Troller-in-Chief, so if Walt McGough’s San Francisco Playhouse premiere \u003cem>Non-Player Character\u003c/em> doesn’t quite empty the suitcase, it doesn’t feel like a deliberate omission. At its core, \u003cem>Non-Player Character\u003c/em> is just one of many possible stories that might illuminate the unintended consequences of revenge gone viral.\u003c/p>\n\u003cfigure id=\"attachment_13825728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7750-2-800x533.jpg\" alt=\"Katja (Emily Radosevich, left) shows Naomi (Charisse Loriaux) the game she is creating.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katja (Emily Radosevich, left) shows Naomi (Charisse Loriaux) the game she is creating. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the theater, the audience encounters a simple yet effective stage designed by Jacquelyn Scott, reminiscent of an old Atari game console: a glowing perspective grid delineates the floorspace, stretching into a flat where a single portal gapes; ambient 8-bit music blooping softly in the background.\u003c/p>\n\u003cp>From the first moment of the play, under the direction of Lauren English, we’re immersed in the world of Katja (Emily Radosevich), an aspiring video-game developer. She draws with a stylus into thin air, and on the “computer” screen behind her (projections and sound both superbly designed by Theodore J.H. Hulsker), a digital tree grows — the first of many iterations she’ll work on during the course of the play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She breaks her design session to spend virtual time with an old high school buddy, Trent (Devin O’Brien). They haven’t really hung out in person in years, but they make regular dates to play role-playing computer games online. The playfulness of their relationship is further enhanced by their Ren Faire-worthy “quest” attire (courtesy of Leandra Watson) and their mock battle moves, as they sashay across the stage taking out virtual enemies by the dozens.\u003c/p>\n\u003cp>You don’t have to be a video-game aficionado to pick up on the basics: they’re good at this game, and equally good at the game of banter. They thrust and parry with their words, letting drop bits about their personal lives — hers in Seattle, his “stuck” in Lancaster, PA — then nimbly deflecting the other’s attempts to dig deeper. It’s an awkwardly familiar dance for anyone who’s ever outgrown a childhood friend, and both Radosevich and O’Brien play it with nuanced believability.\u003c/p>\n\u003cfigure id=\"attachment_13825727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7784-2-800x533.jpg\" alt=\"The in-game avatars of Trent (Devin O’Brien), Morwyn (Annemaria Rajala), Feldrick (Tyler McKenna), and Katja (Emily Radosevich).\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The in-game avatars of Trent (Devin O’Brien), Morwyn (Annemaria Rajala), Feldrick (Tyler McKenna), and Katja (Emily Radosevich). \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much less nuanced are the other characters populating this mostly virtual world, in particular a blustering barbarian named Feldrick (Tyler McKenna), who is by turns sexist, violent, and willfully obtuse, and seemingly without any redeeming characteristics. In game-speak, a non-player character is a character written into the game and not controlled by any player, but rather by the programming; in theatrical parlance, it’s a character written solely to advance the storyline.\u003c/p>\n\u003cp>In McGough’s play, the non-player character is definitely Feldrick, whose misogynistic jargon and childish impatience fuels Trent’s sudden transformation from an introvert with an unrequited crush to a remorseless cyberbully who sets out to humiliate Katja, and sabotage her reputation with her new game-industry connections, accusing her via video feed, in possibly the most unintentionally hilarious line of the play, of being a “serial careerist.”\u003c/p>\n\u003cp>This sets a Gamergate-style situation into motion, in which Katja is stalked, doxxed, and threatened by a relentless mob of anonymous harassers. This wasn’t Trent’s intention, as he struggles to explain in subsequent videos. He only wanted things to be “fair,” but it’s too late to take it all back.\u003c/p>\n\u003cfigure id=\"attachment_13825729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7684-2-800x533.jpg\" alt=\"Katja (Emily Radosevich) is taunted over video chat.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katja (Emily Radosevich) is taunted over video chat. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more frustrating for Katja is that from the moment Trent turns on her, she’s never given a chance to confront him, or even her now-complicated memories of him, and when she’s at last given an outraged speech of her own, she delivers it to the one character whose actions are merely pathetic rather than outright contemptible, sapping it of much of its impact. To those who followed the 4chan-fueled death threats made to feminist commentators like Anita Sarkeesian during Gamergate’s zenith, this will all seem too familiar. \u003c/p>\n\u003cp>Fortunately the play ends on a more transformative note, but it’s not transformative enough to entirely make up for the script’s reliance on a support system of two-dimensional characters without backstories, who undermine the creatively multi-layered world-building that dominates the first half of the piece.\u003c/p>\n\u003cp>As a part of SF Playhouse’s Sandbox series, a program designed to give new works an extra development push, \u003cem>Non-Player Character\u003c/em> displays a lot of potential. But the best plays, like the best video games, can take a number of iterations to get just right, and McGough’s feels like it could use a bit more beta-testing before it breaks out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Non-Player Character’ runs through Saturday, March 3, at the Creativity Theater in San Francisco. \u003ca href=\"https://www.sfplayhouse.org/sfph/2017-2018-season/non-player-character/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Yes, there's a play about Gamergate, examining the pitfalls of being a woman in the video game world.","status":"publish","parent":0,"modified":1705028407,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1009},"headData":{"title":"'Non-Player Character' Puts Gamergate on the Theater Stage | KQED","description":"Yes, there's a play about Gamergate, examining the pitfalls of being a woman in the video game world.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Non-Player Character' Puts Gamergate on the Theater Stage","datePublished":"2018-02-27T16:00:08.000Z","dateModified":"2024-01-12T03:00:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Nicole Gluckstern","path":"/arts/13825717/non-player-character-puts-gamergate-on-the-theater-stage","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past week, teenage survivors of a mass shooting, perpetrated by a former classmate, were attacked online by self-proclaimed patriots; Russian twitter-bots were purged by the thousands; and social media pile-ons continued to rule the public discourse — all scenarios foreshadowed by the roiling 2014 controversy that was Gamergate.\u003c/p>\n\u003cp>Ostensibly a movement decrying “access journalism” between video-game developers and video-game reporters, Gamergate first focused on one female developer, Zoë Quinn, whose relationship with a journalist fueled suspicion that she’d gained favorable coverage for her games during the course of said relationship (a claim which later proved to be untrue). But it quickly spiraled outward, far beyond the gaming community, becoming an object lesson in both the act of online trolling and in the combating of same.\u003c/p>\n\u003cp>That’s an awful lot of baggage for one play to unpack, particularly a play written before the election of our Troller-in-Chief, so if Walt McGough’s San Francisco Playhouse premiere \u003cem>Non-Player Character\u003c/em> doesn’t quite empty the suitcase, it doesn’t feel like a deliberate omission. At its core, \u003cem>Non-Player Character\u003c/em> is just one of many possible stories that might illuminate the unintended consequences of revenge gone viral.\u003c/p>\n\u003cfigure id=\"attachment_13825728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7750-2-800x533.jpg\" alt=\"Katja (Emily Radosevich, left) shows Naomi (Charisse Loriaux) the game she is creating.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7750-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katja (Emily Radosevich, left) shows Naomi (Charisse Loriaux) the game she is creating. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the theater, the audience encounters a simple yet effective stage designed by Jacquelyn Scott, reminiscent of an old Atari game console: a glowing perspective grid delineates the floorspace, stretching into a flat where a single portal gapes; ambient 8-bit music blooping softly in the background.\u003c/p>\n\u003cp>From the first moment of the play, under the direction of Lauren English, we’re immersed in the world of Katja (Emily Radosevich), an aspiring video-game developer. She draws with a stylus into thin air, and on the “computer” screen behind her (projections and sound both superbly designed by Theodore J.H. Hulsker), a digital tree grows — the first of many iterations she’ll work on during the course of the 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>She breaks her design session to spend virtual time with an old high school buddy, Trent (Devin O’Brien). They haven’t really hung out in person in years, but they make regular dates to play role-playing computer games online. The playfulness of their relationship is further enhanced by their Ren Faire-worthy “quest” attire (courtesy of Leandra Watson) and their mock battle moves, as they sashay across the stage taking out virtual enemies by the dozens.\u003c/p>\n\u003cp>You don’t have to be a video-game aficionado to pick up on the basics: they’re good at this game, and equally good at the game of banter. They thrust and parry with their words, letting drop bits about their personal lives — hers in Seattle, his “stuck” in Lancaster, PA — then nimbly deflecting the other’s attempts to dig deeper. It’s an awkwardly familiar dance for anyone who’s ever outgrown a childhood friend, and both Radosevich and O’Brien play it with nuanced believability.\u003c/p>\n\u003cfigure id=\"attachment_13825727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7784-2-800x533.jpg\" alt=\"The in-game avatars of Trent (Devin O’Brien), Morwyn (Annemaria Rajala), Feldrick (Tyler McKenna), and Katja (Emily Radosevich).\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7784-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The in-game avatars of Trent (Devin O’Brien), Morwyn (Annemaria Rajala), Feldrick (Tyler McKenna), and Katja (Emily Radosevich). \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much less nuanced are the other characters populating this mostly virtual world, in particular a blustering barbarian named Feldrick (Tyler McKenna), who is by turns sexist, violent, and willfully obtuse, and seemingly without any redeeming characteristics. In game-speak, a non-player character is a character written into the game and not controlled by any player, but rather by the programming; in theatrical parlance, it’s a character written solely to advance the storyline.\u003c/p>\n\u003cp>In McGough’s play, the non-player character is definitely Feldrick, whose misogynistic jargon and childish impatience fuels Trent’s sudden transformation from an introvert with an unrequited crush to a remorseless cyberbully who sets out to humiliate Katja, and sabotage her reputation with her new game-industry connections, accusing her via video feed, in possibly the most unintentionally hilarious line of the play, of being a “serial careerist.”\u003c/p>\n\u003cp>This sets a Gamergate-style situation into motion, in which Katja is stalked, doxxed, and threatened by a relentless mob of anonymous harassers. This wasn’t Trent’s intention, as he struggles to explain in subsequent videos. He only wanted things to be “fair,” but it’s too late to take it all back.\u003c/p>\n\u003cfigure id=\"attachment_13825729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/048A7684-2-800x533.jpg\" alt=\"Katja (Emily Radosevich) is taunted over video chat.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/048A7684-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katja (Emily Radosevich) is taunted over video chat. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more frustrating for Katja is that from the moment Trent turns on her, she’s never given a chance to confront him, or even her now-complicated memories of him, and when she’s at last given an outraged speech of her own, she delivers it to the one character whose actions are merely pathetic rather than outright contemptible, sapping it of much of its impact. To those who followed the 4chan-fueled death threats made to feminist commentators like Anita Sarkeesian during Gamergate’s zenith, this will all seem too familiar. \u003c/p>\n\u003cp>Fortunately the play ends on a more transformative note, but it’s not transformative enough to entirely make up for the script’s reliance on a support system of two-dimensional characters without backstories, who undermine the creatively multi-layered world-building that dominates the first half of the piece.\u003c/p>\n\u003cp>As a part of SF Playhouse’s Sandbox series, a program designed to give new works an extra development push, \u003cem>Non-Player Character\u003c/em> displays a lot of potential. But the best plays, like the best video games, can take a number of iterations to get just right, and McGough’s feels like it could use a bit more beta-testing before it breaks out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Non-Player Character’ runs through Saturday, March 3, at the Creativity Theater in San Francisco. \u003ca href=\"https://www.sfplayhouse.org/sfph/2017-2018-season/non-player-character/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13825717/non-player-character-puts-gamergate-on-the-theater-stage","authors":["byline_arts_13825717"],"categories":["arts_967"],"tags":["arts_1118","arts_596","arts_769","arts_2295"],"featImg":"arts_13825725","label":"arts"},"arts_13816631":{"type":"posts","id":"arts_13816631","meta":{"index":"posts_1591205157","site":"arts","id":"13816631","score":null,"sort":[1512694826000]},"guestAuthors":[],"slug":"for-the-holidays-two-plays-adapted-from-movies-plus-one-winner","title":"For the Holidays, Two Plays Adapted From Movies — Plus One Winner","publishDate":1512694826,"format":"image","headTitle":"For the Holidays, Two Plays Adapted From Movies — Plus One Winner | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>I’m guessing here, but one of the main reasons \u003cem>A Christmas Carol\u003c/em> and \u003cem>It’s a Wonderful Life\u003c/em> are such great works of art is that their heroes are shattered, and they must put themselves back together in the coldest time of the year. As the days fall shorter in 2017, these classics are a sharp reminder that winter is brutal when your mind is ripped to pieces.\u003c/p>\n\u003cp>And so we should be thankful for Keith Hennessy’s dance-theater-circus shocker, \u003cem>Sink\u003c/em>. It’s full of Christmas spirit — not just a sense of redemption and hope for the future, but also a rage at what the world and we have become. At the Joe Goode Studio until Dec. 9th, it’s not really a holiday show, yet in that grand tradition it confronts injustice with wild bursts of sentimentality and moments of savage beauty and grace. In Hennessy, we have an unlikely and true heir to Dickens and Capra.\u003c/p>\n\u003cp>But before slipping into the world of \u003cem>Sink\u003c/em>, two major holiday shows, \u003cem>A Christmas Story: The Musical\u003c/em> and \u003cem>Shakespeare in Love\u003c/em> opened this week at the SF Playhouse and the Marin Theatre Company. Both shows are based on well-regarded, overrated movies. And both are hindered by a desire to please, rather than taking on the vast and gnarled emotions of the season.\u003c/p>\n\u003ch2>‘A Christmas Story: The Musical’\u003c/h2>\n\u003cfigure id=\"attachment_13816646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg\" alt=\"Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We should all be wary of shows that take the title of a popular property, slap a colon behind it, and announce that it is “The Musical.” Whatever benefits singing might bring to a story, these additions are almost always more about business than art.\u003c/p>\n\u003cp>The story of nine-year-old Ralphie’s desperate and imaginative attempts to get a Red Ryder B.B. gun for Christmas has its charms, especially in the movie’s less hurried and more meandering aesthetic. We’re caught in the whirlwind of a boy’s dreams, willing to go along in his quest that is in many ways as tangled and vexing as Odysseus’ path home. For a child, everything is an epic journey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a case to be made that musical numbers could bring Ralphie’s story to greater life, that the best showtunes catch the split between the vibrant force of dreams and the bitter consolations of reality. The problem is that \u003cem>A Christmas Story: The Musical \u003c/em>isn’t so much interested in Ralphie as it is our memories of the movie about him.\u003c/p>\n\u003cp>The result is a vehicle and production that feels amped up for no discernible reasons. As the narrator, Christopher Reber delivers his lines with a forced jolliness that belies the off-key nature of the material. Ralphie’s simple wish often gets lost in production numbers that are overblown and indifferently staged. Even the ornate set, which includes a slide, seems out of focus, messy, and unfinished.\u003c/p>\n\u003cp>You want the piece and the production to relax, to give us a chance to feel Ralphie’s dreams on our own terms. But \u003cem>Christmas Story: The Musical\u003c/em> has an aggressive spirit that demands that we succumb to its ideas of fun and frivolity. I think even a child might want to resist that.\u003c/p>\n\u003ch2>‘Shakespeare in Love’\u003c/h2>\n\u003cfigure id=\"attachment_13816648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg\" alt=\"William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was always something vaguely distasteful about Harvey Weinstein’s ability to muscle \u003cem>Shakespeare in Love\u003c/em> into a 1999 Best Picture Oscar, and now we can excise the “vaguely” part. The film has high-minded aspirations — Shakespeare, literary trivia, Judi Dench, the noteworthy presence of dramatist and screenwriter Tom Stoppard — but ultimately it’s less a movie to enjoy than to get behind.\u003c/p>\n\u003cp>So it’s a bit of a surprise that there’s some life to Lee Hall’s stage adaption. It’s certainly not the absurd premise, that Shakespeare is suffering from writer’s block while writing the supposedly lost-to-history \u003cem>Romeo and Ethel, The Pirate’s Daughter.\u003c/em> It’s that every once and a while, the backstage drama springs to life, and you get a sense of what it must have felt like to produce a play in the Elizabethan age.\u003c/p>\n\u003cp>Still, those are scant and fleeting pleasures. Our only true sense of what it means to live and experience the era comes from Megan Trout’s constantly surprising and committed performance as Viola de Lesseps, Shakespeare’s love interest and eventual muse (in the play, not reality).\u003c/p>\n\u003cp>Trout hurls herself around the stage with an athlete’s abandon and seems to be acting in an entirely different piece, as if any of this mattered. You feel the spirit of the season in her performance, and at times that’s enough to hold this professional, though uninspired, play and production aloft.\u003c/p>\n\u003cp>Nonetheless, I do wish that considering the Marin Theater Company’s adventurous 2017-18 season (plays by Thomas Bradshaw, Young Jean Lee, and Jordan Harrison), they had challenged our sense of holiday spirit, rather than pandering to its most mundane and well-worn concerns. Why should winter be bereft of ideas and revolution?\u003c/p>\n\u003ch2>‘Sink’\u003c/h2>\n\u003cfigure id=\"attachment_13816644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816644 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg\" alt=\"Keith Hennessy slow dances with himself in 'Sink' at the Joe Goode Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy slow-dances with himself in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keith Hennessey begins ‘Sink’ in a white Robert Cavalli sweatsuit and a goofy blond wig, while slowly dancing on a stool. In voiceover we hear a litany of his ideas, thoughts, and observations — “People who have been surprised by Trump haven’t read the comments section,” “What does it mean that Colin Kaepernick isn’t registered to vote?” It’s at this point that we’re invited — at first 10 volunteers, and then the rest of the audience — to step behind the makeshift curtain into what turns out to be a different kind of world.\u003c/p>\n\u003cp>Curtains are becoming increasingly rare in contemporary theater and dance. When Hennessey asks us to join him on the other side, you wonder both what’s there and what’s been missing — in all these other performances where curtains have vanished.\u003c/p>\n\u003cfigure id=\"attachment_13816642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" class=\"size-medium wp-image-13816642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy jumps and jumps and jumps in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sink\u003c/em> is rather obliquely about the Las Vegas and Orlando mass shootings and, like the beginning of those tragedies, we make a choice: We walk behind a curtain, we enter a space, and we join a community. Among Hennessey’s many strange talents is his ability to talk us into a set of relations, something that feels real and of the world. He explains to us what is happening, makes us comfortable, and only then does he perform.\u003c/p>\n\u003cp>So if you have ever wanted to see a white shadow; the eruption of a pagan god dancing in the air before you; or a man falling through a Christmas tree of deformed disco balls, then \u003cem>Sink\u003c/em> is the gift you need. It is a clarion call for justice, the miracle of surviving, and an amazing journey that embraces a volcano of everyday emotions, especially the ones of December.\u003c/p>\n\u003cp>Here is a winter present worth unwrapping.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sink’ runs through Saturday, Dec. 9, at the Joe Goode Studio in San Francisco. For tickets and information, \u003ca href=\"http://circozero.org/current#/sink/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A Christmas Story: The Musical’ runs through Saturday, Jan. 13, at the SF Playhouse. For tickets and information, \u003ca href=\"https://www.sfplayhouse.org/sfph/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Shakespeare in Love’ runs through Saturday, Dec. 23, at the Marin Theater Company in Mill Valley. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'A Christmas Story' and 'Shakespeare in Love' hit Bay Area stages this month — but it's Keith Hennessey's 'Sink' that, in 2017, strikes the right holiday spirit.","status":"publish","parent":0,"modified":1705028942,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1331},"headData":{"title":"For the Holidays, Two Plays Adapted From Movies — Plus One Winner | KQED","description":"'A Christmas Story' and 'Shakespeare in Love' hit Bay Area stages this month — but it's Keith Hennessey's 'Sink' that, in 2017, strikes the right holiday spirit.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"For the Holidays, Two Plays Adapted From Movies — Plus One Winner","datePublished":"2017-12-08T01:00:26.000Z","dateModified":"2024-01-12T03:09:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13816631/for-the-holidays-two-plays-adapted-from-movies-plus-one-winner","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m guessing here, but one of the main reasons \u003cem>A Christmas Carol\u003c/em> and \u003cem>It’s a Wonderful Life\u003c/em> are such great works of art is that their heroes are shattered, and they must put themselves back together in the coldest time of the year. As the days fall shorter in 2017, these classics are a sharp reminder that winter is brutal when your mind is ripped to pieces.\u003c/p>\n\u003cp>And so we should be thankful for Keith Hennessy’s dance-theater-circus shocker, \u003cem>Sink\u003c/em>. It’s full of Christmas spirit — not just a sense of redemption and hope for the future, but also a rage at what the world and we have become. At the Joe Goode Studio until Dec. 9th, it’s not really a holiday show, yet in that grand tradition it confronts injustice with wild bursts of sentimentality and moments of savage beauty and grace. In Hennessy, we have an unlikely and true heir to Dickens and Capra.\u003c/p>\n\u003cp>But before slipping into the world of \u003cem>Sink\u003c/em>, two major holiday shows, \u003cem>A Christmas Story: The Musical\u003c/em> and \u003cem>Shakespeare in Love\u003c/em> opened this week at the SF Playhouse and the Marin Theatre Company. Both shows are based on well-regarded, overrated movies. And both are hindered by a desire to please, rather than taking on the vast and gnarled emotions of the season.\u003c/p>\n\u003ch2>‘A Christmas Story: The Musical’\u003c/h2>\n\u003cfigure id=\"attachment_13816646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg\" alt=\"Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We should all be wary of shows that take the title of a popular property, slap a colon behind it, and announce that it is “The Musical.” Whatever benefits singing might bring to a story, these additions are almost always more about business than art.\u003c/p>\n\u003cp>The story of nine-year-old Ralphie’s desperate and imaginative attempts to get a Red Ryder B.B. gun for Christmas has its charms, especially in the movie’s less hurried and more meandering aesthetic. We’re caught in the whirlwind of a boy’s dreams, willing to go along in his quest that is in many ways as tangled and vexing as Odysseus’ path home. For a child, everything is an epic journey.\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>There’s a case to be made that musical numbers could bring Ralphie’s story to greater life, that the best showtunes catch the split between the vibrant force of dreams and the bitter consolations of reality. The problem is that \u003cem>A Christmas Story: The Musical \u003c/em>isn’t so much interested in Ralphie as it is our memories of the movie about him.\u003c/p>\n\u003cp>The result is a vehicle and production that feels amped up for no discernible reasons. As the narrator, Christopher Reber delivers his lines with a forced jolliness that belies the off-key nature of the material. Ralphie’s simple wish often gets lost in production numbers that are overblown and indifferently staged. Even the ornate set, which includes a slide, seems out of focus, messy, and unfinished.\u003c/p>\n\u003cp>You want the piece and the production to relax, to give us a chance to feel Ralphie’s dreams on our own terms. But \u003cem>Christmas Story: The Musical\u003c/em> has an aggressive spirit that demands that we succumb to its ideas of fun and frivolity. I think even a child might want to resist that.\u003c/p>\n\u003ch2>‘Shakespeare in Love’\u003c/h2>\n\u003cfigure id=\"attachment_13816648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg\" alt=\"William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was always something vaguely distasteful about Harvey Weinstein’s ability to muscle \u003cem>Shakespeare in Love\u003c/em> into a 1999 Best Picture Oscar, and now we can excise the “vaguely” part. The film has high-minded aspirations — Shakespeare, literary trivia, Judi Dench, the noteworthy presence of dramatist and screenwriter Tom Stoppard — but ultimately it’s less a movie to enjoy than to get behind.\u003c/p>\n\u003cp>So it’s a bit of a surprise that there’s some life to Lee Hall’s stage adaption. It’s certainly not the absurd premise, that Shakespeare is suffering from writer’s block while writing the supposedly lost-to-history \u003cem>Romeo and Ethel, The Pirate’s Daughter.\u003c/em> It’s that every once and a while, the backstage drama springs to life, and you get a sense of what it must have felt like to produce a play in the Elizabethan age.\u003c/p>\n\u003cp>Still, those are scant and fleeting pleasures. Our only true sense of what it means to live and experience the era comes from Megan Trout’s constantly surprising and committed performance as Viola de Lesseps, Shakespeare’s love interest and eventual muse (in the play, not reality).\u003c/p>\n\u003cp>Trout hurls herself around the stage with an athlete’s abandon and seems to be acting in an entirely different piece, as if any of this mattered. You feel the spirit of the season in her performance, and at times that’s enough to hold this professional, though uninspired, play and production aloft.\u003c/p>\n\u003cp>Nonetheless, I do wish that considering the Marin Theater Company’s adventurous 2017-18 season (plays by Thomas Bradshaw, Young Jean Lee, and Jordan Harrison), they had challenged our sense of holiday spirit, rather than pandering to its most mundane and well-worn concerns. Why should winter be bereft of ideas and revolution?\u003c/p>\n\u003ch2>‘Sink’\u003c/h2>\n\u003cfigure id=\"attachment_13816644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816644 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg\" alt=\"Keith Hennessy slow dances with himself in 'Sink' at the Joe Goode Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy slow-dances with himself in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keith Hennessey begins ‘Sink’ in a white Robert Cavalli sweatsuit and a goofy blond wig, while slowly dancing on a stool. In voiceover we hear a litany of his ideas, thoughts, and observations — “People who have been surprised by Trump haven’t read the comments section,” “What does it mean that Colin Kaepernick isn’t registered to vote?” It’s at this point that we’re invited — at first 10 volunteers, and then the rest of the audience — to step behind the makeshift curtain into what turns out to be a different kind of world.\u003c/p>\n\u003cp>Curtains are becoming increasingly rare in contemporary theater and dance. When Hennessey asks us to join him on the other side, you wonder both what’s there and what’s been missing — in all these other performances where curtains have vanished.\u003c/p>\n\u003cfigure id=\"attachment_13816642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" class=\"size-medium wp-image-13816642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy jumps and jumps and jumps in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sink\u003c/em> is rather obliquely about the Las Vegas and Orlando mass shootings and, like the beginning of those tragedies, we make a choice: We walk behind a curtain, we enter a space, and we join a community. Among Hennessey’s many strange talents is his ability to talk us into a set of relations, something that feels real and of the world. He explains to us what is happening, makes us comfortable, and only then does he perform.\u003c/p>\n\u003cp>So if you have ever wanted to see a white shadow; the eruption of a pagan god dancing in the air before you; or a man falling through a Christmas tree of deformed disco balls, then \u003cem>Sink\u003c/em> is the gift you need. It is a clarion call for justice, the miracle of surviving, and an amazing journey that embraces a volcano of everyday emotions, especially the ones of December.\u003c/p>\n\u003cp>Here is a winter present worth unwrapping.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sink’ runs through Saturday, Dec. 9, at the Joe Goode Studio in San Francisco. For tickets and information, \u003ca href=\"http://circozero.org/current#/sink/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A Christmas Story: The Musical’ runs through Saturday, Jan. 13, at the SF Playhouse. For tickets and information, \u003ca href=\"https://www.sfplayhouse.org/sfph/\">see 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\u003cp>\u003cem>‘Shakespeare in Love’ runs through Saturday, Dec. 23, at the Marin Theater Company in Mill Valley. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13816631/for-the-holidays-two-plays-adapted-from-movies-plus-one-winner","authors":["8668"],"categories":["arts_966","arts_1003","arts_967"],"tags":["arts_3388","arts_879","arts_1118","arts_2331","arts_596","arts_2295"],"featImg":"arts_13817026","label":"arts"},"arts_13806766":{"type":"posts","id":"arts_13806766","meta":{"index":"posts_1591205157","site":"arts","id":"13806766","score":null,"sort":[1504656058000]},"guestAuthors":[],"slug":"premieres-from-sf-playhouse-and-ubuntu-jolt-our-sense-of-goodness","title":"Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness","publishDate":1504656058,"format":"standard","headTitle":"Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Just as the summer is winding down, along come two plays — strange fever dreams that jolt our sense of the good and the bad.\u003c/p>\n\u003cp>These world premieres — Kirsten Greenidge’s \u003cem>Zenith\u003c/em>, under the auspices of the SF Playhouse’s Sandbox series, and noted Bay Area playwright Philip Kan Gotanda’s \u003cem>Rashomon\u003c/em>, produced by the always-resourceful Ubuntu Theater Project — are welcome reminders that dread is a special emotion that should never be underestimated, even in the waning days of our brightest season.\u003c/p>\n\u003ch2>\u003cem>Zenith\u003c/em>: A no-escape tragedy\u003c/h2>\n\u003cfigure id=\"attachment_13806771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg\" alt=\"Angela (Atim Udoffia) caught in the haunted guise of a failed saint.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674.jpg 997w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela (Atim Udoffia) caught in the haunted guise of a failed saint. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Zenith\u003c/em> is a no-escape tragedy whose brutality is a function of increasing knowledge. The play begins with Angela (a remarkable Atim Udoffia), a woman who is overcome with terror when she gets a glimpse of one of those majestic baby chairs that the Whole Foods class loves. You know right away that things are going to end badly and that knowledge shades every moment that follows.\u003c/p>\n\u003cp>Angela turns out to be Aunt Angela, and she’s trying to convince her uptight and wealthier sister-in-law, Hazel, that what Hazel’s three girls need is a camping trip with their fun-loving, freedom-inspiring aunt. The hidden jabs of privilege and class slip through what should be a light-hearted conversation between two African-American women. After all, they’ve both managed to secure some part of what we might still call the American dream.\u003c/p>\n\u003cp>When Hazel panics at Angela giving her daughters knives, Angela’s response is an odd mix of concern, moral certainty, and aggression: “You cannot baby them you can not,” the character says. “My dad had us using those things when we were four. I told the girls we’ll bust them out first thing, so they’re getting them.” There it is, the first hint of pride that will destroy our hero, a woman who has lived a life of unparalleled goodness, a saint of sacrifice and shepherd of hope.\u003c/p>\n\u003cfigure id=\"attachment_13806773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg\" alt=\"Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun.\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-960x530.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-375x207.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-520x287.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenidge understands that a life of good deeds is just as likely to end in total havoc as it will in graceful thanks and warm testimonials. At times her vision of Angela’s fall feels over-determined in the play’s headlong rush to tragedy, but at its best moments \u003cem>Zenith\u003c/em> bristles with a disarming naturalism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can feel it in the way the exceptionally talented cast seems to live calmly on the edge of disaster, as if their characters never quite imagine the dangers we so easily intuit. And then when the world comes crashing down, that quality is still there in the off-handed way they express great and lasting loss. It’s a languid, horrid vision of everyday despair and a primer on what happens when your most trusted saint cracks and fails.\u003c/p>\n\u003ch2>\u003cem>Rashomon\u003c/em>: A slippery treatise on the power of lying\u003c/h2>\n\u003cfigure id=\"attachment_13806802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg\" alt=\"The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620.jpg 1899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again. \u003ccite>(Photo:)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akira Kurosowa’s \u003cem>Rashomon\u003c/em> has become cultural shorthand for the notion that everyone has a different take on the truth. Phillip Kan Gotanda’s adaptation of the famous 1950 what’s-actually-going-on-here crime film suggests that everyone lies to protect the truth and that the lies keep us from the disaster of total revelation. Or, flipped upside down, lies are the paradise we wish to preserve — and everything else, true or not, is filigree, a bit of honey, butter, and fancy flourishes to keep us going.\u003c/p>\n\u003cp>Like Kurosawa’s film, Gotanda gives us two sets of narrators — a priest, a woodcutter, and a wigmaker who tell the story of another set of narrators — a bandit, a samurai, and the samurai’s wife. The supposed questions are: who killed the samurai and why is everyone eager, including the dead samurai, to take the credit?\u003c/p>\n\u003cp>We also get another narrator, a writer, Akutagawa, an odd young man overly invested in these stories. He exists outside the main timeframe, might even be the creator of everything before us. Or for reasons undetermined, the samurai’s death might be overtaking him. Whatever the case, he’s fun. He mumbles the lines at the edge of the stage, comments on the action, finds some things gross, others enticing. He gets a kick out of the lies, and because he does, so do we.\u003c/p>\n\u003cfigure id=\"attachment_13807318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807318\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg\" alt=\"The Samurai (Jomar Tagatac) is pensive and should be in 'Rashomon' by Phillip Kan Gotanda.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Samurai (Jomar Tagatac) is pensive and should be in ‘Rashomon’ by Phillip Kan Gotanda. \u003ccite>(Photo: Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gotanda can be a vexing writer, capable of graceful bits of daring and clunky exposition within the same scene. His \u003cem>Rashomon\u003c/em> jumps off the rails at least five times and then jumps right back on with equal force and vision. Michael Socrates Moran’s visually astute direction and a strong cast mute some of the play’s imperfections, but what carries the day is Gotanda’s outrage at a world of venal storytellers.\u003c/p>\n\u003cp>That their lies are also glorious, intoxicating, and kind of fun is more than a bit disquieting. It was the way of the world then, and it is the way of the world now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Zenith’ runs through Sunday, Sept. 10 at the Costume Shop in San Francisco. For tickets and information \u003ca href=\"https://www.sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rashomon’ runs through Sunday, Sept. 17 at Brooklyn Grove in Oakland. For tickets and information \u003ca href=\"http://www.ubuntutheaterproject.com/rashomon/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Kirsten Greenidge’s 'Zenith' and Philip Kan Gotanda’s 'Rashomon' are welcome reminders that dread is a special emotion that should never be underestimated.","status":"publish","parent":0,"modified":1705029614,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":977},"headData":{"title":"Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness | KQED","description":"Kirsten Greenidge’s 'Zenith' and Philip Kan Gotanda’s 'Rashomon' are welcome reminders that dread is a special emotion that should never be underestimated.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness","datePublished":"2017-09-06T00:00:58.000Z","dateModified":"2024-01-12T03:20:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13806766/premieres-from-sf-playhouse-and-ubuntu-jolt-our-sense-of-goodness","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just as the summer is winding down, along come two plays — strange fever dreams that jolt our sense of the good and the bad.\u003c/p>\n\u003cp>These world premieres — Kirsten Greenidge’s \u003cem>Zenith\u003c/em>, under the auspices of the SF Playhouse’s Sandbox series, and noted Bay Area playwright Philip Kan Gotanda’s \u003cem>Rashomon\u003c/em>, produced by the always-resourceful Ubuntu Theater Project — are welcome reminders that dread is a special emotion that should never be underestimated, even in the waning days of our brightest season.\u003c/p>\n\u003ch2>\u003cem>Zenith\u003c/em>: A no-escape tragedy\u003c/h2>\n\u003cfigure id=\"attachment_13806771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg\" alt=\"Angela (Atim Udoffia) caught in the haunted guise of a failed saint.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674.jpg 997w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela (Atim Udoffia) caught in the haunted guise of a failed saint. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Zenith\u003c/em> is a no-escape tragedy whose brutality is a function of increasing knowledge. The play begins with Angela (a remarkable Atim Udoffia), a woman who is overcome with terror when she gets a glimpse of one of those majestic baby chairs that the Whole Foods class loves. You know right away that things are going to end badly and that knowledge shades every moment that follows.\u003c/p>\n\u003cp>Angela turns out to be Aunt Angela, and she’s trying to convince her uptight and wealthier sister-in-law, Hazel, that what Hazel’s three girls need is a camping trip with their fun-loving, freedom-inspiring aunt. The hidden jabs of privilege and class slip through what should be a light-hearted conversation between two African-American women. After all, they’ve both managed to secure some part of what we might still call the American dream.\u003c/p>\n\u003cp>When Hazel panics at Angela giving her daughters knives, Angela’s response is an odd mix of concern, moral certainty, and aggression: “You cannot baby them you can not,” the character says. “My dad had us using those things when we were four. I told the girls we’ll bust them out first thing, so they’re getting them.” There it is, the first hint of pride that will destroy our hero, a woman who has lived a life of unparalleled goodness, a saint of sacrifice and shepherd of hope.\u003c/p>\n\u003cfigure id=\"attachment_13806773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg\" alt=\"Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun.\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-960x530.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-375x207.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-520x287.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenidge understands that a life of good deeds is just as likely to end in total havoc as it will in graceful thanks and warm testimonials. At times her vision of Angela’s fall feels over-determined in the play’s headlong rush to tragedy, but at its best moments \u003cem>Zenith\u003c/em> bristles with a disarming naturalism.\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>You can feel it in the way the exceptionally talented cast seems to live calmly on the edge of disaster, as if their characters never quite imagine the dangers we so easily intuit. And then when the world comes crashing down, that quality is still there in the off-handed way they express great and lasting loss. It’s a languid, horrid vision of everyday despair and a primer on what happens when your most trusted saint cracks and fails.\u003c/p>\n\u003ch2>\u003cem>Rashomon\u003c/em>: A slippery treatise on the power of lying\u003c/h2>\n\u003cfigure id=\"attachment_13806802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg\" alt=\"The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620.jpg 1899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again. \u003ccite>(Photo:)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akira Kurosowa’s \u003cem>Rashomon\u003c/em> has become cultural shorthand for the notion that everyone has a different take on the truth. Phillip Kan Gotanda’s adaptation of the famous 1950 what’s-actually-going-on-here crime film suggests that everyone lies to protect the truth and that the lies keep us from the disaster of total revelation. Or, flipped upside down, lies are the paradise we wish to preserve — and everything else, true or not, is filigree, a bit of honey, butter, and fancy flourishes to keep us going.\u003c/p>\n\u003cp>Like Kurosawa’s film, Gotanda gives us two sets of narrators — a priest, a woodcutter, and a wigmaker who tell the story of another set of narrators — a bandit, a samurai, and the samurai’s wife. The supposed questions are: who killed the samurai and why is everyone eager, including the dead samurai, to take the credit?\u003c/p>\n\u003cp>We also get another narrator, a writer, Akutagawa, an odd young man overly invested in these stories. He exists outside the main timeframe, might even be the creator of everything before us. Or for reasons undetermined, the samurai’s death might be overtaking him. Whatever the case, he’s fun. He mumbles the lines at the edge of the stage, comments on the action, finds some things gross, others enticing. He gets a kick out of the lies, and because he does, so do we.\u003c/p>\n\u003cfigure id=\"attachment_13807318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807318\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg\" alt=\"The Samurai (Jomar Tagatac) is pensive and should be in 'Rashomon' by Phillip Kan Gotanda.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Samurai (Jomar Tagatac) is pensive and should be in ‘Rashomon’ by Phillip Kan Gotanda. \u003ccite>(Photo: Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gotanda can be a vexing writer, capable of graceful bits of daring and clunky exposition within the same scene. His \u003cem>Rashomon\u003c/em> jumps off the rails at least five times and then jumps right back on with equal force and vision. Michael Socrates Moran’s visually astute direction and a strong cast mute some of the play’s imperfections, but what carries the day is Gotanda’s outrage at a world of venal storytellers.\u003c/p>\n\u003cp>That their lies are also glorious, intoxicating, and kind of fun is more than a bit disquieting. It was the way of the world then, and it is the way of the world now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Zenith’ runs through Sunday, Sept. 10 at the Costume Shop in San Francisco. For tickets and information \u003ca href=\"https://www.sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rashomon’ runs through Sunday, Sept. 17 at Brooklyn Grove in Oakland. For tickets and information \u003ca href=\"http://www.ubuntutheaterproject.com/rashomon/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13806766/premieres-from-sf-playhouse-and-ubuntu-jolt-our-sense-of-goodness","authors":["8668"],"categories":["arts_235","arts_967"],"tags":["arts_1118","arts_977","arts_596","arts_769","arts_2295"],"featImg":"arts_13806770","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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