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It touches on the way women’s health has been traditionally neglected by the medical community. It ponders gender roles and the ways women have been sidelined by patriarchal culture. It even quietly highlights the stoicism women develop because of the pain—both physical and emotional—that is inherent to living in a female body.\u003c/p>\n\u003cp>The play, which is based on real-life events, revolves around four characters. On one side there’s Nan, a conscientious cytologist in training, and her loving husband Ted, a minister who considers himself progressive but still puts his goals before hers. On the other there’s the quirky Dr. Papanicolaou, who has just developed the life-saving Pap smear, and his wife Mache, a bold woman who loves music, ouzo and delivering zingers.\u003c/p>\n\u003cfigure id=\"attachment_13916347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916347\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-800x594.png\" alt=\"A woman in a lilac dress sits at a dining table and speaks to another seated woman, wearing grey skirt and pink shirt. To her right is a young man wearing a grey suit. To her left, an older man in a grey suit pours a drink at the table. All are wearing period clothing from the 1950s. Behind them are shelves full of books and boardgames.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-800x594.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-1536x1141.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM.png 1898w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nan (Slissa Beth Stebbins) and Ted (Jeffrey Brian Adams) attend a dinner at the home of Dr. Papanicolaou (Christopher Daftsios) and Mache (Lisa Ramirez). \u003ccite>(Alessandra Mello/ Courtesy of TheatreWorks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four actors in these roles (Elissa Beth Stebbins, Jeffrey Brian Adams, Christopher Daftsios and Lisa Ramirez) have a sparkling chemistry that facilitates a surprising number of laugh-out-loud moments. That humor is key to getting \u003cem>Nan and the Lower Body\u003c/em>‘s many salient points across. (An ongoing joke about the way the word “vagina” makes certain people squirm is a particular joy.)\u003c/p>\n\u003cp>There are a number of moments in \u003cem>Nan\u003c/em> that shouldn’t work on the stage, but do: the pap smear that is performed on Nan towards the end of the play. The moment Mache angrily throws a box of slides (containing vaginal fluid) into the middle of an in-use dining table. The conversation between Dr. Papanicolaou and Ted about whether or not women are the superior sex. In the wrong hands, all would be awkward—even cringe-worthy. Instead, these scenes work because of sharp dialogue, the aforementioned cast chemistry and Sardelli’s masterful direction. It helps that the two sets—the lab where Dr. Papanicolaou and Nan work, and a multi-dimensional living room—are beautifully detailed and realistic.\u003c/p>\n\u003cfigure id=\"attachment_13916348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-800x538.png\" alt=\"A grey haired man and a young woman, both wearing white lab coats work in a lab. In front of them is a table with a microscope on it. Behind them a black board with diagrams of cells on it and shelves full of medical bottles.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM.png 1792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Papanicolaou and Nan working in the lab. \u003ccite>(Alessandra Mello/ Courtesy of TheatreWorks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plot hinges on two things: whether or not Nan will sacrifice her rewarding work to put her husband’s needs first, and her desire to find out where her chronic physical pain comes from. Neither ends up being the point of the play. Rather, \u003cem>Nan and the Lower Body\u003c/em>‘s greatest concerns are about how cis women’s lives are impacted by the bodies they’re born into.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13916175']While even seasoned feminists will walk away from the play with new philosophies to ponder, it’s essential to note that there is a tonal shift during the play’s finale that is deeply jarring. Playwright Jessica Dickey—the granddaughter of the real-life Nan—inserts her own story into the final five minutes in a way that jarringly shifts focus. It feels unnecessary, especially since Dickey also delivers her perspective on her grandmother’s work with a moving personal essay in the play’s program. A better ending would have been simply to allow Dr. Papanicolaou’s narration to sum up what happened in the rest of the characters’ lives.\u003c/p>\n\u003cp>That’s not to say that \u003cem>Nan and the Lower Body\u003c/em> isn’t worthy of your time. The vast majority of the play is an entertaining and effective exploration of women’s issues performed in an original and compelling context. One only wishes that an editor had been on hand to keep the focus unerringly on the fascinating woman at the center of the piece, Nan Day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nan and the Lower Body’ is at the Lucie Stern Theatre (1305 Middlefield Road, Palo Alto) through Aug. 7. \u003ca href=\"https://theatreworks.org/season51/nan-and-the-lower-body/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A play about the advent of the Pap smear may not sound terribly appealing, but sharp dialogue and humor elevate this compelling story. ","status":"publish","parent":0,"modified":1705006589,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":709},"headData":{"title":"Review: 'Nan and the Lower Body' at TheatreWorks Silicon Valley | KQED","description":"A play about the advent of the Pap smear may not sound terribly appealing, but sharp dialogue and humor elevate this compelling story. ","ogTitle":"Papsolutely Fabulous: ‘Nan and the Lower Body’ Brings Feminist Issues to the Stage","ogDescription":"","ogImgId":"","twTitle":"Papsolutely Fabulous: ‘Nan and the Lower Body’ Brings Feminist Issues to the Stage","twDescription":"","twImgId":"","socialTitle":"Review: 'Nan and the Lower Body' at TheatreWorks Silicon Valley %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13916195/papsolutely-fabulous-nan-and-the-lower-body-brings-feminist-issues-to-the-stage","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is no swift way to sum up the multitudes present in \u003cem>Nan and the Lower Body. \u003c/em>The play, written by \u003ca href=\"https://www.jessicadickey.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Dickey\u003c/a>, directed by \u003ca href=\"https://www.vineyardtheatre.org/giovanna-sardelli/\" target=\"_blank\" rel=\"noopener noreferrer\">Giovanna Sardelli\u003c/a> and presented onstage in Palo Alto by \u003ca href=\"https://theatreworks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreWorks Silicon Valley\u003c/a>, is an exploration of everything it means to be a woman. It touches on the way women’s health has been traditionally neglected by the medical community. It ponders gender roles and the ways women have been sidelined by patriarchal culture. It even quietly highlights the stoicism women develop because of the pain—both physical and emotional—that is inherent to living in a female body.\u003c/p>\n\u003cp>The play, which is based on real-life events, revolves around four characters. On one side there’s Nan, a conscientious cytologist in training, and her loving husband Ted, a minister who considers himself progressive but still puts his goals before hers. On the other there’s the quirky Dr. Papanicolaou, who has just developed the life-saving Pap smear, and his wife Mache, a bold woman who loves music, ouzo and delivering zingers.\u003c/p>\n\u003cfigure id=\"attachment_13916347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916347\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-800x594.png\" alt=\"A woman in a lilac dress sits at a dining table and speaks to another seated woman, wearing grey skirt and pink shirt. To her right is a young man wearing a grey suit. To her left, an older man in a grey suit pours a drink at the table. All are wearing period clothing from the 1950s. Behind them are shelves full of books and boardgames.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-800x594.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-1536x1141.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM.png 1898w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nan (Slissa Beth Stebbins) and Ted (Jeffrey Brian Adams) attend a dinner at the home of Dr. Papanicolaou (Christopher Daftsios) and Mache (Lisa Ramirez). \u003ccite>(Alessandra Mello/ Courtesy of TheatreWorks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four actors in these roles (Elissa Beth Stebbins, Jeffrey Brian Adams, Christopher Daftsios and Lisa Ramirez) have a sparkling chemistry that facilitates a surprising number of laugh-out-loud moments. That humor is key to getting \u003cem>Nan and the Lower Body\u003c/em>‘s many salient points across. (An ongoing joke about the way the word “vagina” makes certain people squirm is a particular joy.)\u003c/p>\n\u003cp>There are a number of moments in \u003cem>Nan\u003c/em> that shouldn’t work on the stage, but do: the pap smear that is performed on Nan towards the end of the play. The moment Mache angrily throws a box of slides (containing vaginal fluid) into the middle of an in-use dining table. The conversation between Dr. Papanicolaou and Ted about whether or not women are the superior sex. In the wrong hands, all would be awkward—even cringe-worthy. Instead, these scenes work because of sharp dialogue, the aforementioned cast chemistry and Sardelli’s masterful direction. It helps that the two sets—the lab where Dr. Papanicolaou and Nan work, and a multi-dimensional living room—are beautifully detailed and realistic.\u003c/p>\n\u003cfigure id=\"attachment_13916348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-800x538.png\" alt=\"A grey haired man and a young woman, both wearing white lab coats work in a lab. In front of them is a table with a microscope on it. Behind them a black board with diagrams of cells on it and shelves full of medical bottles.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM.png 1792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Papanicolaou and Nan working in the lab. \u003ccite>(Alessandra Mello/ Courtesy of TheatreWorks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plot hinges on two things: whether or not Nan will sacrifice her rewarding work to put her husband’s needs first, and her desire to find out where her chronic physical pain comes from. Neither ends up being the point of the play. Rather, \u003cem>Nan and the Lower Body\u003c/em>‘s greatest concerns are about how cis women’s lives are impacted by the bodies they’re born into.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916175","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While even seasoned feminists will walk away from the play with new philosophies to ponder, it’s essential to note that there is a tonal shift during the play’s finale that is deeply jarring. Playwright Jessica Dickey—the granddaughter of the real-life Nan—inserts her own story into the final five minutes in a way that jarringly shifts focus. It feels unnecessary, especially since Dickey also delivers her perspective on her grandmother’s work with a moving personal essay in the play’s program. A better ending would have been simply to allow Dr. Papanicolaou’s narration to sum up what happened in the rest of the characters’ lives.\u003c/p>\n\u003cp>That’s not to say that \u003cem>Nan and the Lower Body\u003c/em> isn’t worthy of your time. The vast majority of the play is an entertaining and effective exploration of women’s issues performed in an original and compelling context. One only wishes that an editor had been on hand to keep the focus unerringly on the fascinating woman at the center of the piece, Nan Day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nan and the Lower Body’ is at the Lucie Stern Theatre (1305 Middlefield Road, Palo Alto) through Aug. 7. \u003ca href=\"https://theatreworks.org/season51/nan-and-the-lower-body/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13916195/papsolutely-fabulous-nan-and-the-lower-body-brings-feminist-issues-to-the-stage","authors":["11242"],"categories":["arts_1","arts_967"],"tags":["arts_1962","arts_15812","arts_2323","arts_9325"],"featImg":"arts_13916198","label":"arts"},"arts_13879316":{"type":"posts","id":"arts_13879316","meta":{"index":"posts_1591205157","site":"arts","id":"13879316","score":null,"sort":[1588086040000]},"guestAuthors":[],"slug":"the-good-the-bad-and-the-glitchy-streaming-theater-during-shelter-in-place","title":"The Good, the Bad, and the Glitchy: Streaming Theater During Shelter-in-Place","publishDate":1588086040,"format":"standard","headTitle":"The Good, the Bad, and the Glitchy: Streaming Theater During Shelter-in-Place | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Normally, you wouldn’t be allowed to eat a bowl of caramel corn while watching a play. Even the most accommodating and hip theater companies don’t offer snacks that are so notably \u003cem>audible\u003c/em>—at least not to be eaten during the show. But that’s one of the secret silver linings of watching theater during the coronavirus crisis: kicking one’s snack game up a notch.\u003c/p>\n\u003cp>In fact, more often than not, my online theater watching coincides with my full dinner hour, an enjoyable combination that’s far less possible to pull off when a show is \u003cem>in situ\u003c/em>. Nor do I have to worry about an unpredictable BART delay making me late for curtain, since curtain can be whenever I decide, and perhaps most amazingly of all, intermission and bathroom breaks are whenever I want them.\u003c/p>\n\u003cfigure id=\"attachment_13879321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Ishida in 2011’s ‘Beardo,’ part of Shotgun Players’ Art in the Time of Corona screening series. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the last show I was able to review live, \u003ca href=\"http://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">\u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a> (which closed the morning after its March 11 opening night), I haven’t been able to attend any shows in person. But thanks to modern technology, recorded shows from the archives of notable companies from around the globe are now available to anyone with an internet connection. Being able to binge-watch my way around the world—from The National Theatre of London to Schaubühne Berlin to the Wooster Group from NYC—has been an instructive crash course in shows that, in some cases, haven’t been seen onstage in decades, and never in the Bay Area.\u003c/p>\n\u003cp>But catching up with the many works offered by local theaters online has been a wonderful way to fill in some recent gaps, as well as revisit old favorites. Theaters that are challenging for a non-driver such as myself to visit, such as Marin Theatre Company and TheatreWorks, are suddenly accessible, and closed-captioning options offer another important accommodation not generally available in a live setting. With a few exceptions, such as TheatreWorks live-streamed \u003cem>Pride and Prejudice\u003c/em>—which had a proscribed, universal “curtain time”—videos can be viewed when convenient for the viewer. This removes some of the ritual of live performance, to be sure, but increases access for people on unconventional timelines (quarantine-induced or otherwise).\u003c/p>\n\u003cfigure id=\"attachment_13879320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Marin Theatre Company’s ‘Love,’ the first show presented as part of their ongoing virtual programming. With Rebecca Schweitzer, Clea Alsip, and Bobak Cyrus Bakhtiari. \u003ccite>(Alessandra Mello/mellophoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A known hotbed of new works, the Bay Area premieres many shows that tend to be one-and-done, rarely performed again elsewhere. So what a rare joy it’s been to dive into Shotgun Players’ Art in the Time of Corona series online, where they’ve been posting two shows a week from their archives. Through May 8, you can check out the 2008 Glickman award-winning, Banana Bag & Bodice collaboration, \u003cem>Beowulf: A Thousand Years of Baggage\u003c/em>, as well as last year’s triumphal \u003cem>Three Sisters\u003c/em>-remix \u003cem>Kill the Debbie Downers! Kill Them! Kill Them! Kill Them Off!\u003c/em>, both of which defied conventional structures at their inception, and neither of which are likely to see another full production this side of the continent any time soon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enough time has passed for some companies to pivot to creating new made-for-digital content while sheltered-in-place, such as the San Francisco Neo-Futurists and Queer Cat Productions. Queer Cat’s quarantine-specific web series \u003cem>Felix B. Love is Not Alone\u003c/em>, available through April 30, stars Nic A. Sommerfeld as the somewhat bemused Felix, who deals with isolation by dropping in on exes and struggles with the quest for “closure”—all while in the company of Zoomed-in friends. I discover, in a group-chat breakout room, that the audience is watching from at least five different states. It’s one of my favorite revelations about the experience: here is an instance where not being under the same roof is actually connecting audience members for a ritual far better than would a conventional, location-specific production.\u003c/p>\n\u003cfigure id=\"attachment_13879318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1920x1277.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of ‘They Promised Her the Moon,’ by Lauren Ollstein, at TheatreWorks. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, even pre-recorded theater-in-place has had its challenges. A streamed version of A.C.T.’s \u003cem>Gloria\u003c/em>, which had opened on Feb. 13, kept pausing to rebuffer, derailing its fierce momentum and therefore its emotional impact. I couldn’t get the livestream of TheatreWorks’ \u003cem>Pride and Prejudice\u003c/em> to work at all, so I watched their curtailed production of \u003cem>They Promised Her the Moon\u003c/em>, by Laurel Ollstein instead. Sound and lighting issues plagued almost all of the videos. Because they were filmed for archival purposes rather than polished production values, certain effects simply didn’t translate to video the way they did onstage.\u003c/p>\n\u003cp>Overall, though, I’m grateful that in this moment, theater-lovers still have ways to satiate our craving for whatever part of the experience we can access safely. In the long term, theaters large and small will likely undergo a huge restructuring in order to accommodate the new normal—a formidable task. Which makes these archives of past productions seem especially valuable, even historic. Don’t miss your opportunity to check some of them out while you have the chance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more details, dates, and costs of online theater streams, see the \u003ca href=\"http://www.nationaltheatre.org.uk\">National Theatre\u003c/a>, \u003ca href=\"http://www.schaubuehne.de\">Schaubühne Berlin\u003c/a>, \u003ca href=\"http://thewoostergroup.org\">The Wooster Group\u003c/a>, \u003ca href=\"http://www.marintheatre.org\">Marin Theatre Company\u003c/a>, \u003ca href=\"https://theatreworks.org\">TheatreWorks\u003c/a>, \u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">A.C.T.\u003c/a>, \u003ca href=\"https://shotgunplayers.org\">Shotgun Players\u003c/a>, \u003ca href=\"http://www.sfneofuturists.org\">San Francisco Neo-Futurists\u003c/a>, or \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>—and don’t forget to check out your favorite local theater companies to see what online productions they may have available.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"It's never going to be as good as seeing a play live, but streamed theatre has plenty of upsides. ","status":"publish","parent":0,"modified":1705020845,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":993},"headData":{"title":"The Good, the Bad, and the Glitchy: Streaming Theater During Shelter-in-Place | KQED","description":"It's never going to be as good as seeing a play live, but streamed theatre has plenty of upsides. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13879316/the-good-the-bad-and-the-glitchy-streaming-theater-during-shelter-in-place","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Normally, you wouldn’t be allowed to eat a bowl of caramel corn while watching a play. Even the most accommodating and hip theater companies don’t offer snacks that are so notably \u003cem>audible\u003c/em>—at least not to be eaten during the show. But that’s one of the secret silver linings of watching theater during the coronavirus crisis: kicking one’s snack game up a notch.\u003c/p>\n\u003cp>In fact, more often than not, my online theater watching coincides with my full dinner hour, an enjoyable combination that’s far less possible to pull off when a show is \u003cem>in situ\u003c/em>. Nor do I have to worry about an unpredictable BART delay making me late for curtain, since curtain can be whenever I decide, and perhaps most amazingly of all, intermission and bathroom breaks are whenever I want them.\u003c/p>\n\u003cfigure id=\"attachment_13879321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Ishida in 2011’s ‘Beardo,’ part of Shotgun Players’ Art in the Time of Corona screening series. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the last show I was able to review live, \u003ca href=\"http://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">\u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a> (which closed the morning after its March 11 opening night), I haven’t been able to attend any shows in person. But thanks to modern technology, recorded shows from the archives of notable companies from around the globe are now available to anyone with an internet connection. Being able to binge-watch my way around the world—from The National Theatre of London to Schaubühne Berlin to the Wooster Group from NYC—has been an instructive crash course in shows that, in some cases, haven’t been seen onstage in decades, and never in the Bay Area.\u003c/p>\n\u003cp>But catching up with the many works offered by local theaters online has been a wonderful way to fill in some recent gaps, as well as revisit old favorites. Theaters that are challenging for a non-driver such as myself to visit, such as Marin Theatre Company and TheatreWorks, are suddenly accessible, and closed-captioning options offer another important accommodation not generally available in a live setting. With a few exceptions, such as TheatreWorks live-streamed \u003cem>Pride and Prejudice\u003c/em>—which had a proscribed, universal “curtain time”—videos can be viewed when convenient for the viewer. This removes some of the ritual of live performance, to be sure, but increases access for people on unconventional timelines (quarantine-induced or otherwise).\u003c/p>\n\u003cfigure id=\"attachment_13879320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Marin Theatre Company’s ‘Love,’ the first show presented as part of their ongoing virtual programming. With Rebecca Schweitzer, Clea Alsip, and Bobak Cyrus Bakhtiari. \u003ccite>(Alessandra Mello/mellophoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A known hotbed of new works, the Bay Area premieres many shows that tend to be one-and-done, rarely performed again elsewhere. So what a rare joy it’s been to dive into Shotgun Players’ Art in the Time of Corona series online, where they’ve been posting two shows a week from their archives. Through May 8, you can check out the 2008 Glickman award-winning, Banana Bag & Bodice collaboration, \u003cem>Beowulf: A Thousand Years of Baggage\u003c/em>, as well as last year’s triumphal \u003cem>Three Sisters\u003c/em>-remix \u003cem>Kill the Debbie Downers! Kill Them! Kill Them! Kill Them Off!\u003c/em>, both of which defied conventional structures at their inception, and neither of which are likely to see another full production this side of the continent any time soon.\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>Enough time has passed for some companies to pivot to creating new made-for-digital content while sheltered-in-place, such as the San Francisco Neo-Futurists and Queer Cat Productions. Queer Cat’s quarantine-specific web series \u003cem>Felix B. Love is Not Alone\u003c/em>, available through April 30, stars Nic A. Sommerfeld as the somewhat bemused Felix, who deals with isolation by dropping in on exes and struggles with the quest for “closure”—all while in the company of Zoomed-in friends. I discover, in a group-chat breakout room, that the audience is watching from at least five different states. It’s one of my favorite revelations about the experience: here is an instance where not being under the same roof is actually connecting audience members for a ritual far better than would a conventional, location-specific production.\u003c/p>\n\u003cfigure id=\"attachment_13879318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1920x1277.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of ‘They Promised Her the Moon,’ by Lauren Ollstein, at TheatreWorks. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, even pre-recorded theater-in-place has had its challenges. A streamed version of A.C.T.’s \u003cem>Gloria\u003c/em>, which had opened on Feb. 13, kept pausing to rebuffer, derailing its fierce momentum and therefore its emotional impact. I couldn’t get the livestream of TheatreWorks’ \u003cem>Pride and Prejudice\u003c/em> to work at all, so I watched their curtailed production of \u003cem>They Promised Her the Moon\u003c/em>, by Laurel Ollstein instead. Sound and lighting issues plagued almost all of the videos. Because they were filmed for archival purposes rather than polished production values, certain effects simply didn’t translate to video the way they did onstage.\u003c/p>\n\u003cp>Overall, though, I’m grateful that in this moment, theater-lovers still have ways to satiate our craving for whatever part of the experience we can access safely. In the long term, theaters large and small will likely undergo a huge restructuring in order to accommodate the new normal—a formidable task. Which makes these archives of past productions seem especially valuable, even historic. Don’t miss your opportunity to check some of them out while you have the chance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more details, dates, and costs of online theater streams, see the \u003ca href=\"http://www.nationaltheatre.org.uk\">National Theatre\u003c/a>, \u003ca href=\"http://www.schaubuehne.de\">Schaubühne Berlin\u003c/a>, \u003ca href=\"http://thewoostergroup.org\">The Wooster Group\u003c/a>, \u003ca href=\"http://www.marintheatre.org\">Marin Theatre Company\u003c/a>, \u003ca href=\"https://theatreworks.org\">TheatreWorks\u003c/a>, \u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">A.C.T.\u003c/a>, \u003ca href=\"https://shotgunplayers.org\">Shotgun Players\u003c/a>, \u003ca href=\"http://www.sfneofuturists.org\">San Francisco Neo-Futurists\u003c/a>, or \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>—and don’t forget to check out your favorite local theater companies to see what online productions they may have available.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13879316/the-good-the-bad-and-the-glitchy-streaming-theater-during-shelter-in-place","authors":["11497"],"categories":["arts_1","arts_967"],"tags":["arts_10126","arts_10318","arts_2360","arts_6427","arts_1072","arts_2323"],"featImg":"arts_13879319","label":"arts"},"arts_13849359":{"type":"posts","id":"arts_13849359","meta":{"index":"posts_1591205157","site":"arts","id":"13849359","score":null,"sort":[1548512158000]},"guestAuthors":[],"slug":"theatreworks-delivers-a-frost-nixon-freshly-relevant-in-this-political-moment","title":"TheatreWorks Delivers a 'Frost/Nixon' Freshly Relevant in This Political Moment","publishDate":1548512158,"format":"audio","headTitle":"TheatreWorks Delivers a ‘Frost/Nixon’ Freshly Relevant in This Political Moment | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In a time when we rarely hear politicians apologize, the power of a public apology takes on an almost mythic quality. For the play \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" target=\"_blank\" rel=\"noopener\">\u003ci>Frost/Nixon\u003c/i>\u003c/a>, on now in Mountain View, a real life apology serves as the climax of an epic struggle between a disgraced former president and his interviewer.\u003c/p>\n\u003cp>What took down President Richard Nixon? \u003ca href=\"https://www.pbs.org/newshour/tag/the-watergate-hearings-40-years-later\" target=\"_blank\" rel=\"noopener\">Watergate\u003c/a>, the scandal over his coverup of a botched break-in to Democratic Party headquarters in Washington DC. Nixon resigned before he could be impeached. But the \u003ci>apology\u003c/i> came three years later, in a \u003cspan style=\"font-weight: 400\">history-making interview with TV journalist David Frost\u003c/span>.\u003c/p>\n\u003cp>“I let down my friends. I let down the country. I let down our system of government and the dreams of all these young people that ought to get into government but think it’s all too corrupt and the rest,” Nixon said.\u003c/p>\n\u003cp>Then, “I let the American people down. And I have to carry that burden with me for the rest of my life.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0604948/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Peter Morgan \u003c/a>(“The Crown,” “The Last King of Scotland”), a gifted interpreter of the political stage, wrote the play \u003cem>Frost/Nixon\u003c/em> based on those tapes. The piece debuted in London in 2006. Its Broadway premiere the next year garnered a Tony for actor Frank Langella for his performance as Nixon, and led to a \u003ca href=\"https://www.youtube.com/watch?v=ls_QEg9JZKE\" target=\"_blank\" rel=\"noopener\">Hollywood adaptation\u003c/a> with the same cast. That the play still seems fresh today is a tribute to Morgan’s talent for spotting the epic moments in the endless day-to-day of ancient news headlines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=nQA15_HdxVs]\u003cbr>\nWhile Morgan takes a few liberties with the facts, he doesn’t take nearly as many as Nixon did himself. That late-night phone call a drunk Nixon makes to Frost in the play? Didn’t happen.\u003c/p>\n\u003cp>Also, in real life, David Frost\u003ca href=\"https://www.c-span.org/video/?296328-1/sir-david-frost-oral-history-interview\" target=\"_blank\" rel=\"noopener\"> wasn’t really a lightweight\u003c/a> talk show host. He and his team went into the studio heavily armed with research. In particular, \u003ca href=\"http://www.restonbooks.com\" target=\"_blank\" rel=\"noopener\">James Reston Jr.\u003c/a>, the son of the legendary \u003ci>New York Times\u003c/i> reporter, found scores of transcripts of the White House tapes that prosecutors had seen but never used in court. They were in the public record, but somehow other reporters failed to notice them.\u003c/p>\n\u003cp>In the play though, Frost is trying to restore his professional reputation in a parallel fashion to Nixon. That makes for a juicier role for actor \u003ca href=\"https://www.imdb.com/name/nm0916151/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Jeremy Webb\u003c/a>, who plays Frost in the TheatreWorks production now on in Mountain View.\u003c/p>\n\u003cp>He also serves as an excellent stand in for the rest of us, especially those of us who “can’t recall” the original history, only the echoes rippling through modern day politics. Webb says, “I was born June 10, 1972, and Watergate’s June 17,” Webb said. “So I don’t have a recollection, but probably some of the first words I was taught were, ‘We hate Richard Nixon.’ ”\u003c/p>\n\u003cp>The original conversations took place over nearly 29 hours during 12 days in 1977, shot near Nixon’s estate in San Clemente. The footage was then condensed into four 90-minute segments for broadcast.\u003c/p>\n\u003cp>Watching even a fraction of that is rough sledding for viewers who didn’t live through the Nixon administration. There are so many details, and Nixon does his practiced best to hide in those details. Unfortunately for him, Frost had done his homework and matched the president point for point.\u003c/p>\n\u003cp>Why did Nixon agree to the grilling? Money, for one thing. But also, as \u003ca href=\"https://www.youtube.com/watch?v=8fpYu36q_tQ\" target=\"_blank\" rel=\"noopener\">Frost told Mike Wallace\u003c/a> of \u003cem>60 Minutes\u003c/em>, “Television is a more powerful medium than a book. If he has … told the truth on television, millions and billions of people will have seen that. If he misses this opportunity, no one’s going to buy the book anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13849361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg\" alt='Richard Nixon (Allen McCullough) reacts to his interviews with Frost in \"Frost/Nixon,\" presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10.' width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Nixon (Allen McCullough) reacts to his interviews with Frost in “Frost/Nixon,” presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10. \u003ccite>(Courtesy Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, we watch Nixon gradually let go of his justifications over a more digestible 100 minutes, and finally admit to failure, if not illegal acts.\u003c/p>\n\u003cp>The former president comes off as tragic, says \u003ca href=\"https://www.allenmccullough.com\" target=\"_blank\" rel=\"noopener\">Allen McCullough\u003c/a>, who plays Nixon in the TheatreWorks production in Mountain View. Does McCullough fear restoring Nixon’s reputation with modern audiences? No.\u003c/p>\n\u003cp>“If the audience says, ‘Richard Nixon is a schmuck and he’s going to stay a schmuck,’ there is no play. Many people have come to me who said, ‘I remember him. I hated him. You really made me feel differently about him.’ Then I’ve done my job.”\u003c/p>\n\u003cp>But we still gets a gripping history lesson on Nixon’s insecure, open hatred of the press, and his arrogance about the law. Nixon says at one point — in the original interview, mind you, as well as the play — “When the President does it, that means it is not illegal.”\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Frost/Nixon\u003c/strong> put on by Theatreworks runs through February 10, 2019 at the Mountain View Center for the Performing Arts. For more information, click \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"\"Frost/Nixon,\" presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10.","status":"publish","parent":0,"modified":1705026699,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":900},"headData":{"title":"TheatreWorks Delivers a 'Frost/Nixon' Freshly Relevant in This Political Moment | KQED","description":""Frost/Nixon," presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/01/MyrowFrostNixon.mp3","sticky":false,"audioTrackLength":110,"path":"/arts/13849359/theatreworks-delivers-a-frost-nixon-freshly-relevant-in-this-political-moment","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a time when we rarely hear politicians apologize, the power of a public apology takes on an almost mythic quality. For the play \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" target=\"_blank\" rel=\"noopener\">\u003ci>Frost/Nixon\u003c/i>\u003c/a>, on now in Mountain View, a real life apology serves as the climax of an epic struggle between a disgraced former president and his interviewer.\u003c/p>\n\u003cp>What took down President Richard Nixon? \u003ca href=\"https://www.pbs.org/newshour/tag/the-watergate-hearings-40-years-later\" target=\"_blank\" rel=\"noopener\">Watergate\u003c/a>, the scandal over his coverup of a botched break-in to Democratic Party headquarters in Washington DC. Nixon resigned before he could be impeached. But the \u003ci>apology\u003c/i> came three years later, in a \u003cspan style=\"font-weight: 400\">history-making interview with TV journalist David Frost\u003c/span>.\u003c/p>\n\u003cp>“I let down my friends. I let down the country. I let down our system of government and the dreams of all these young people that ought to get into government but think it’s all too corrupt and the rest,” Nixon said.\u003c/p>\n\u003cp>Then, “I let the American people down. And I have to carry that burden with me for the rest of my life.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0604948/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Peter Morgan \u003c/a>(“The Crown,” “The Last King of Scotland”), a gifted interpreter of the political stage, wrote the play \u003cem>Frost/Nixon\u003c/em> based on those tapes. The piece debuted in London in 2006. Its Broadway premiere the next year garnered a Tony for actor Frank Langella for his performance as Nixon, and led to a \u003ca href=\"https://www.youtube.com/watch?v=ls_QEg9JZKE\" target=\"_blank\" rel=\"noopener\">Hollywood adaptation\u003c/a> with the same cast. That the play still seems fresh today is a tribute to Morgan’s talent for spotting the epic moments in the endless day-to-day of ancient news headlines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nQA15_HdxVs'\n title='//www.youtube.com/embed/nQA15_HdxVs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nWhile Morgan takes a few liberties with the facts, he doesn’t take nearly as many as Nixon did himself. That late-night phone call a drunk Nixon makes to Frost in the play? Didn’t happen.\u003c/p>\n\u003cp>Also, in real life, David Frost\u003ca href=\"https://www.c-span.org/video/?296328-1/sir-david-frost-oral-history-interview\" target=\"_blank\" rel=\"noopener\"> wasn’t really a lightweight\u003c/a> talk show host. He and his team went into the studio heavily armed with research. In particular, \u003ca href=\"http://www.restonbooks.com\" target=\"_blank\" rel=\"noopener\">James Reston Jr.\u003c/a>, the son of the legendary \u003ci>New York Times\u003c/i> reporter, found scores of transcripts of the White House tapes that prosecutors had seen but never used in court. They were in the public record, but somehow other reporters failed to notice them.\u003c/p>\n\u003cp>In the play though, Frost is trying to restore his professional reputation in a parallel fashion to Nixon. That makes for a juicier role for actor \u003ca href=\"https://www.imdb.com/name/nm0916151/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Jeremy Webb\u003c/a>, who plays Frost in the TheatreWorks production now on in Mountain View.\u003c/p>\n\u003cp>He also serves as an excellent stand in for the rest of us, especially those of us who “can’t recall” the original history, only the echoes rippling through modern day politics. Webb says, “I was born June 10, 1972, and Watergate’s June 17,” Webb said. “So I don’t have a recollection, but probably some of the first words I was taught were, ‘We hate Richard Nixon.’ ”\u003c/p>\n\u003cp>The original conversations took place over nearly 29 hours during 12 days in 1977, shot near Nixon’s estate in San Clemente. The footage was then condensed into four 90-minute segments for broadcast.\u003c/p>\n\u003cp>Watching even a fraction of that is rough sledding for viewers who didn’t live through the Nixon administration. There are so many details, and Nixon does his practiced best to hide in those details. Unfortunately for him, Frost had done his homework and matched the president point for point.\u003c/p>\n\u003cp>Why did Nixon agree to the grilling? Money, for one thing. But also, as \u003ca href=\"https://www.youtube.com/watch?v=8fpYu36q_tQ\" target=\"_blank\" rel=\"noopener\">Frost told Mike Wallace\u003c/a> of \u003cem>60 Minutes\u003c/em>, “Television is a more powerful medium than a book. If he has … told the truth on television, millions and billions of people will have seen that. If he misses this opportunity, no one’s going to buy the book anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13849361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg\" alt='Richard Nixon (Allen McCullough) reacts to his interviews with Frost in \"Frost/Nixon,\" presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10.' width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Nixon (Allen McCullough) reacts to his interviews with Frost in “Frost/Nixon,” presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10. \u003ccite>(Courtesy Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, we watch Nixon gradually let go of his justifications over a more digestible 100 minutes, and finally admit to failure, if not illegal acts.\u003c/p>\n\u003cp>The former president comes off as tragic, says \u003ca href=\"https://www.allenmccullough.com\" target=\"_blank\" rel=\"noopener\">Allen McCullough\u003c/a>, who plays Nixon in the TheatreWorks production in Mountain View. Does McCullough fear restoring Nixon’s reputation with modern audiences? No.\u003c/p>\n\u003cp>“If the audience says, ‘Richard Nixon is a schmuck and he’s going to stay a schmuck,’ there is no play. Many people have come to me who said, ‘I remember him. I hated him. You really made me feel differently about him.’ Then I’ve done my job.”\u003c/p>\n\u003cp>But we still gets a gripping history lesson on Nixon’s insecure, open hatred of the press, and his arrogance about the law. Nixon says at one point — in the original interview, mind you, as well as the play — “When the President does it, that means it is not illegal.”\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Frost/Nixon\u003c/strong> put on by Theatreworks runs through February 10, 2019 at the Mountain View Center for the Performing Arts. For more information, click \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13849359/theatreworks-delivers-a-frost-nixon-freshly-relevant-in-this-political-moment","authors":["251"],"categories":["arts_1","arts_235","arts_967"],"tags":["arts_1118","arts_2640","arts_596","arts_5826","arts_4642","arts_5618","arts_2323"],"featImg":"arts_13849360","label":"arts"},"arts_13819982":{"type":"posts","id":"arts_13819982","meta":{"index":"posts_1591205157","site":"arts","id":"13819982","score":null,"sort":[1516848614000]},"guestAuthors":[],"slug":"on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","title":"On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018","publishDate":1516848614,"format":"audio","headTitle":"On the Air: Cy and Ariana’s Do List Picks for Jan. 26, 2018 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"KQED's Cy Musiker and Do List co-host Ariana Proehl talk record album art, a play about auto workers, Brittany Howard's new band and more.","status":"publish","parent":0,"modified":1705028697,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":223},"headData":{"title":"On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018 | KQED","description":"KQED's Cy Musiker and Do List co-host Ariana Proehl talk record album art, a play about auto workers, Brittany Howard's new band and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2018/02/TDL20180126.mp3","sticky":false,"path":"/arts/13819982/on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819982/on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_966","arts_69","arts_1003","arts_75","arts_967","arts_70"],"tags":["arts_3713","arts_2991","arts_1118","arts_3740","arts_3649","arts_2520","arts_1006","arts_3716","arts_3727","arts_2335","arts_596","arts_1072","arts_2323","arts_20228"],"featImg":"arts_13819896","label":"arts_140"},"arts_13819939":{"type":"posts","id":"arts_13819939","meta":{"index":"posts_1591205157","site":"arts","id":"13819939","score":null,"sort":[1516844016000]},"guestAuthors":[],"slug":"a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant","title":"A Skeleton Crew Battles for a Future in a Detroit Auto Plant","publishDate":1516844016,"format":"standard","headTitle":"A Skeleton Crew Battles for a Future in a Detroit Auto Plant | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Dominique Morisseau has written three plays about her native Detroit. Her most recent features employees at Detroit’s last auto plant with a lot to lose, as the recession hits and auto companies face bankruptcy in 2008.\u003c/p>\n\u003cp>The play got great reviews when it first opened in Detroit, and won an Obie Award after moving to New York City. We got a taste of Morisseau’s work recently: she did the book for the Temptations musical \u003cem>Ain’t Too Proud to Beg\u003c/em>, a hit at Berkeley Rep. That show wasn’t great drama —jukebox musicals are a tough assignment — so I’m far more excited about this production, especially with the talented Margo Hall, Lance Gardner and Tristan Cunningham in the cast.\u003c/p>\n\u003cp>This production also represents a rare collaboration between two regional theater companies. Marin Theatre Company in Mill Valley gets the Bay Area premiere this month, and then Theatreworks in Palo Alto does the show in March. Details for the Marin production (Jan 25–Feb. 18) are \u003ca href=\"http://www.marintheatre.org/productions/skeleton-crew\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Theatreworks (March 7–April 1), look \u003ca href=\"https://theatreworks.org/201718-season/201718-season/skeleton-crew/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/251877952\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"In a new play by Dominique Morisseau, a skeleton crew at the last Detroit auto plant tries to keep their dreams for a future alive.","status":"publish","parent":0,"modified":1705028708,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":193},"headData":{"title":"A Skeleton Crew Battles for a Future in a Detroit Auto Plant | KQED","description":"In a new play by Dominique Morisseau, a skeleton crew at the last Detroit auto plant tries to keep their dreams for a future alive.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13819939/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dominique Morisseau has written three plays about her native Detroit. Her most recent features employees at Detroit’s last auto plant with a lot to lose, as the recession hits and auto companies face bankruptcy in 2008.\u003c/p>\n\u003cp>The play got great reviews when it first opened in Detroit, and won an Obie Award after moving to New York City. We got a taste of Morisseau’s work recently: she did the book for the Temptations musical \u003cem>Ain’t Too Proud to Beg\u003c/em>, a hit at Berkeley Rep. That show wasn’t great drama —jukebox musicals are a tough assignment — so I’m far more excited about this production, especially with the talented Margo Hall, Lance Gardner and Tristan Cunningham in the cast.\u003c/p>\n\u003cp>This production also represents a rare collaboration between two regional theater companies. Marin Theatre Company in Mill Valley gets the Bay Area premiere this month, and then Theatreworks in Palo Alto does the show in March. Details for the Marin production (Jan 25–Feb. 18) are \u003ca href=\"http://www.marintheatre.org/productions/skeleton-crew\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Theatreworks (March 7–April 1), look \u003ca href=\"https://theatreworks.org/201718-season/201718-season/skeleton-crew/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"251877952"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819939/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant","authors":["32"],"categories":["arts_967"],"tags":["arts_1237","arts_1006","arts_596","arts_1072","arts_2323"],"featImg":"arts_13819949","label":"arts"},"arts_13807572":{"type":"posts","id":"arts_13807572","meta":{"index":"posts_1591205157","site":"arts","id":"13807572","score":null,"sort":[1504754457000]},"guestAuthors":[],"slug":"on-the-air-cy-and-jeffreys-do-list-picks-for-sept-8-2017","title":"On the Air: Cy and Jeffrey's Do List Picks for Sept. 8, 2017","publishDate":1504754457,"format":"audio","headTitle":"On the Air: Cy and Jeffrey’s Do List Picks for Sept. 8, 2017 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>This week we welcome \u003cem>SF Weekly\u003c/em> theater columnist Jeffrey Edalatpour for a preview of the fall’s most intriguing plays, many of which tackle issues of race, sexuality, and religion. The list includes Taylor’s Mac’s epic “radical faerie” take on American history, as well as a play so violent it comes with trigger warnings and a world premiere musical about what may be the greatest soul band ever, The Temptations.\u003c/p>\n\u003cp>\u003cstrong>Sept. 15–27:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVYZ\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac brings his epic \u003cem>24-Decade History of Popular Music\u003c/em> back to the Bay Area.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZ5\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Bradshaw’s \u003cem>Thomas and Sally\u003c/em> at the Marin Theatre Company goes under the covers with our founding fathers and their bedmates in a world premiere.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 26–Nov. 11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZB\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Playhouse presents Robert O’Hara’s \u003cem>Barbecue\u003c/em>, a play about a family intervention and race\u003cb>.\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 8–23: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZO\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Fringe Festival showcases more than 30 plays from the silly to serious.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–Oct. 7:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW0K\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Chen’s \u003cem>A Tale of Autumn\u003c/em> tells a tale of corporate succession recalling Shakespeare and Game of Thrones\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 21–Oct. 22:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW12\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blasted\u003c/em> at Shotgun Players takes us into a horrifying bedroom in the midst of a war zone. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 12–Oct. 8:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW0B\" target=\"_blank\" rel=\"noopener noreferrer\"> Adapting \u003cem>An American in Paris\u003c/em> for the stage and getting it right. Maybe.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–Nov. 5: \u003c/strong>\u003ca href=\"https://theatreworks.org/201718-season/201718-season/prince-of-egypt/\" target=\"_blank\" rel=\"noopener noreferrer\">The Exodus story as imagined by Dreamworks and adapted into a stage musical.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 31–-Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW08\" target=\"_blank\" rel=\"noopener noreferrer\">The story of the greatest soul band ever at Berkeley Rep.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"KQED's Cy Musiker and Jeffrey Edalatpour preview the best in Bay Area theater for the fall.","status":"publish","parent":0,"modified":1705029592,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":279},"headData":{"title":"On the Air: Cy and Jeffrey's Do List Picks for Sept. 8, 2017 | KQED","description":"KQED's Cy Musiker and Jeffrey Edalatpour preview the best in Bay Area theater for the fall.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2017/09/TDL20170908.mp3","sticky":false,"path":"/arts/13807572/on-the-air-cy-and-jeffreys-do-list-picks-for-sept-8-2017","audioDuration":528000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week we welcome \u003cem>SF Weekly\u003c/em> theater columnist Jeffrey Edalatpour for a preview of the fall’s most intriguing plays, many of which tackle issues of race, sexuality, and religion. The list includes Taylor’s Mac’s epic “radical faerie” take on American history, as well as a play so violent it comes with trigger warnings and a world premiere musical about what may be the greatest soul band ever, The Temptations.\u003c/p>\n\u003cp>\u003cstrong>Sept. 15–27:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVYZ\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac brings his epic \u003cem>24-Decade History of Popular Music\u003c/em> back to the Bay Area.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZ5\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Bradshaw’s \u003cem>Thomas and Sally\u003c/em> at the Marin Theatre Company goes under the covers with our founding fathers and their bedmates in a world premiere.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 26–Nov. 11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZB\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Playhouse presents Robert O’Hara’s \u003cem>Barbecue\u003c/em>, a play about a family intervention and race\u003cb>.\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 8–23: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZO\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Fringe Festival showcases more than 30 plays from the silly to serious.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–Oct. 7:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW0K\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Chen’s \u003cem>A Tale of Autumn\u003c/em> tells a tale of corporate succession recalling Shakespeare and Game of Thrones\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 21–Oct. 22:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW12\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blasted\u003c/em> at Shotgun Players takes us into a horrifying bedroom in the midst of a war zone. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 12–Oct. 8:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW0B\" target=\"_blank\" rel=\"noopener noreferrer\"> Adapting \u003cem>An American in Paris\u003c/em> for the stage and getting it right. Maybe.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–Nov. 5: \u003c/strong>\u003ca href=\"https://theatreworks.org/201718-season/201718-season/prince-of-egypt/\" target=\"_blank\" rel=\"noopener noreferrer\">The Exodus story as imagined by Dreamworks and adapted into a stage musical.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 31–-Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW08\" target=\"_blank\" rel=\"noopener noreferrer\">The story of the greatest soul band ever at Berkeley Rep.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807572/on-the-air-cy-and-jeffreys-do-list-picks-for-sept-8-2017","authors":["32"],"programs":["arts_140"],"categories":["arts_968","arts_966","arts_69","arts_235","arts_967"],"tags":["arts_2308","arts_1118","arts_1006","arts_2331","arts_596","arts_2360","arts_2309","arts_626","arts_1072","arts_2323"],"featImg":"arts_13807576","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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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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