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‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance
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But with Cutting Ball, the Bay Area loses something special: a deep commitment to experimentation, both in material presented and, in later years, in business structure, as the company shifted to a collectively run, non-hierarchical model.[aside postid='arts_13919459']\u003c/p>\n\u003cp>Founded in 1999 by Princeton graduates and married couple Rob Melrose and Paige Rogers, Cutting Ball quickly established itself as a company that challenged the parameters of what small theatres could produce. Cutting Ball’s productions were thoughtfully designed, rigorously rehearsed, and frequently challenging in terms of subject matter and in style.\u003c/p>\n\u003cp>A staple of Cutting Ball’s earlier seasons was the “Risk Is This… The Cutting Ball New Experimental Plays Festival,” a series of staged readings of cutting-edge works by mostly local playwrights. (Some of these became mainstage productions in later seasons, such as \u003cem>…and Jesus Moonwalks the Mississippi\u003c/em> by Marcus Gardley, and \u003cem>Tontlawald\u003c/em> by Eugenie Chan.)\u003c/p>\n\u003cfigure id=\"attachment_13853373\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon_credit_Cheshire-Issacs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon_credit_Cheshire-Issacs.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon and chair in Cutting Ball Theater’s 2019 production of ‘La Ronde.’ \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New translations of classic works — frequently translated by Melrose himself — were also a mainstay. Audiences were treated to wild reimaginings of plays such as \u003cem>Pelléas and Mélisande\u003c/em> by Maurice Maeterlinck and \u003cem>Woyzeck\u003c/em> by Georg Büchner. The excitement of experimentation was only heightened by the space’s intimacy: At its maximum capacity, the room seated between 70 and 80 people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In January 2023, the company transitioned to a collective model in which everyone in the organization had an equal vote and equal say in how the company was run. While the shift was initially suggested by then-Artistic Director Ariel Craft (who stepped away from the company in 2022), it immediately made sense to company members: Education Director Cathryn Cooper says prior to the change, the core members were essentially already operating as heads of their own “piece of the pie,” and working in a self-directed manner.\u003c/p>\n\u003cp>That said, the company spent months on the transition, even engaging the services of a consultant in order to develop their operational approach. “It wasn’t just a whim,” says Cooper, adding, “It is disheartening to hear that people believe we’re in a financial struggle because of our collective.”\u003c/p>\n\u003cp>Chris Steele, Cutting Ball’s curation director, agrees. “Institutionally, we’ve acknowledged the [traditional] model doesn’t work … if you ask any artistic director or executive director how many hours they work outside of their expected work hours, it’s a lot. That’s why we have so much burnout in this field. So it only makes sense to take that workload and spread it amongst the community.”\u003c/p>\n\u003cp>Steele and Cooper both say that, since the company split two board-allotted full-time executive salaries between seven collective members, the collective model of part-time workers didn’t increase overhead.\u003c/p>\n\u003cfigure id=\"attachment_13888112\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg\" alt=\"a zoom screen showing nine people acting out a play\" width=\"1000\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-672x372.jpg 672w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ensemble cast of Cutting Ball Theater’s ‘Utopia,’ by Charles Mee, in a virtual performance in 2020. Pandemic-related delays and postponements contributed to the company’s financial woes in recent years. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other factors led to increased expenses, including persistent pandemic-related delays and postponements of shows. Cutting Ball also went to great lengths to pay guest artists more equitably, such as compensating actors for \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sf-cutting-ball-theater-closure-18663641.php\">time spent running lines outside rehearsal\u003c/a>.\u003c/p>\n\u003cp>Still, insiders say \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/205270275\">the loss of grant money over the past few years\u003c/a> was the biggest contributor to Cutting Ball’s woes, as funding the company relied on for operational costs was greatly diminished. Specifically, major funders such as Grants for the Arts have moved away from providing “unrestricted” grant funding, which companies can use on quotidian expenses.\u003c/p>\n\u003cp>“Nobody is really funding the basic day-to-day work of making theater happen,” Steele says.\u003c/p>\n\u003cp>Coma Te, director of communications for the San Francisco Arts Commission, said the Cutting Ball Theater has received about $400,000 in grants from the City, including over $312,000 from the Grants for the Arts and $90,000 from the Arts Commission, over the last five years.\u003c/p>\n\u003cp>Speaking on behalf of the mayor’s office, Te added that “transforming Downtown into a leading arts, culture, and nightlife destination is one of the key revitalization strategies laid out in Mayor Breed’s Roadmap to San Francisco’s future.” But the link included in Te’s email — Mayor Breed’s proposal for \u003ca href=\"https://www.sf.gov/news/mayor-breed-proposes-creation-first-downtown-entertainment-zone-and-announces-grants-support\">a downtown “entertainment zone”\u003c/a> — makes no mention of either the existing or the recently shuttered small theatre venues in the area. In December 2024, when Cutting Ball’s lease on their venue space, EXIT on Taylor, is up, the company will become the ninth theatre closure in the area since 2022.\u003c/p>\n\u003cfigure id=\"attachment_13929122\" class=\"wp-caption aligncenter\" style=\"max-width: 1503px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929122\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg\" alt=\"two people in brightly dressed clothing on stage\" width=\"1503\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg 1503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-768x511.jpg 768w\" sizes=\"(max-width: 1503px) 100vw, 1503px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L–R) The burglar (Patricio Becerril) and Taki (Edna Raia) team up in fear of an even bigger threat — La Karen — in Cutting Ball Theater and IN THE MARGIN’s ‘Exhaustion Arroyo: Dancin’ Trees in the Ravine’ by W. Fran Astorga. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To many in the theatre community, leaving theatre out of the conversation about revitalization is a grave missetep. “Theatres are … economic cornerstones to the communities beyond their walls, bringing in investment through tourism, increased foot traffic, and community engagement,” said Art Quiñones, a spokesperson from the 50-year-old nonprofit Theatre Bay Area, in a statement, noting that each job in California’s performing arts scene \u003ca href=\"https://cdn.actorsequity.org/docs/Report%20on%20California%20Performing%20Arts.pdf\">brings in $13,287 in state and local tax revenue\u003c/a>. But “in San Francisco, skyrocketing costs and diminishing funding have kept small theatres in precarity. We need to ensure the theatres that are here can afford to stay.”[aside postid='arts_13928279']\u003c/p>\n\u003cp>For now, Cooper and Steele say there is much to celebrate as they wrap up their tenures with the company. For Cooper, her work building the community and education arm of the company from scratch — serving Tenderloin youth via workshops and theatre enrichment cohorts — has been personally and professionally rewarding. In a larger or more traditionally-structured organization, she says, she’d never have had the freedom she had in developing these programs.\u003c/p>\n\u003cp>For Steele, adapting and directing Karel Capek’s Rossum’s \u003cem>Universal Robots\u003c/em> on the mainstage to open this now-final season was an especially proud moment. “We had a really strong mix of established (theatre) veterans and people that were almost, if not truly, brand new to the stage,” recalls Steele. “And that dynamic was just so exciting and cool.”\u003c/p>\n\u003cp>Just having been a part of Cutting Ball’s story is an experience that both will treasure: a legacy of fearlessness over the course of a quarter-century.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If we don’t experiment, and we don’t take risks, we’ll never have anything worth it,” Steele says. “You have to risk in order to achieve.”\u003c/p>\n\n","blocks":[],"excerpt":"The 25-year-old Tenderloin company becomes the ninth small theatre to shutter in the area since 2022. ","status":"publish","parent":0,"modified":1721423841,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1269},"headData":{"title":"Farewell to Cutting Ball Theater, a Bastion of Fearless Experimentation | KQED","description":"The 25-year-old Tenderloin company becomes the ninth small theatre to shutter in the area since 2022. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Farewell to Cutting Ball Theater, a Bastion of Fearless Experimentation","datePublished":"2024-07-19T13:46:17-07:00","dateModified":"2024-07-19T14:17:21-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961349","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961349/farewell-to-cutting-ball-theater-a-bastion-of-fearless-experimentation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area theatre world was dealt a major blow this week when San Francisco’s Cutting Ball Theater — a bastion of experimental work for the last 25 years — \u003ca href=\"https://cuttingball.com/\">announced that it would be closing its doors for good\u003c/a>.\u003c/p>\n\u003cp>When Cutting Ball ceases operations at the end of 2024, it will hardly be alone; several of its fellow Tenderloin-based theatres have closed in the last two years. But with Cutting Ball, the Bay Area loses something special: a deep commitment to experimentation, both in material presented and, in later years, in business structure, as the company shifted to a collectively run, non-hierarchical model.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13919459","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Founded in 1999 by Princeton graduates and married couple Rob Melrose and Paige Rogers, Cutting Ball quickly established itself as a company that challenged the parameters of what small theatres could produce. Cutting Ball’s productions were thoughtfully designed, rigorously rehearsed, and frequently challenging in terms of subject matter and in style.\u003c/p>\n\u003cp>A staple of Cutting Ball’s earlier seasons was the “Risk Is This… The Cutting Ball New Experimental Plays Festival,” a series of staged readings of cutting-edge works by mostly local playwrights. (Some of these became mainstage productions in later seasons, such as \u003cem>…and Jesus Moonwalks the Mississippi\u003c/em> by Marcus Gardley, and \u003cem>Tontlawald\u003c/em> by Eugenie Chan.)\u003c/p>\n\u003cfigure id=\"attachment_13853373\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon_credit_Cheshire-Issacs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon_credit_Cheshire-Issacs.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon and chair in Cutting Ball Theater’s 2019 production of ‘La Ronde.’ \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New translations of classic works — frequently translated by Melrose himself — were also a mainstay. Audiences were treated to wild reimaginings of plays such as \u003cem>Pelléas and Mélisande\u003c/em> by Maurice Maeterlinck and \u003cem>Woyzeck\u003c/em> by Georg Büchner. The excitement of experimentation was only heightened by the space’s intimacy: At its maximum capacity, the room seated between 70 and 80 people.\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>In January 2023, the company transitioned to a collective model in which everyone in the organization had an equal vote and equal say in how the company was run. While the shift was initially suggested by then-Artistic Director Ariel Craft (who stepped away from the company in 2022), it immediately made sense to company members: Education Director Cathryn Cooper says prior to the change, the core members were essentially already operating as heads of their own “piece of the pie,” and working in a self-directed manner.\u003c/p>\n\u003cp>That said, the company spent months on the transition, even engaging the services of a consultant in order to develop their operational approach. “It wasn’t just a whim,” says Cooper, adding, “It is disheartening to hear that people believe we’re in a financial struggle because of our collective.”\u003c/p>\n\u003cp>Chris Steele, Cutting Ball’s curation director, agrees. “Institutionally, we’ve acknowledged the [traditional] model doesn’t work … if you ask any artistic director or executive director how many hours they work outside of their expected work hours, it’s a lot. That’s why we have so much burnout in this field. So it only makes sense to take that workload and spread it amongst the community.”\u003c/p>\n\u003cp>Steele and Cooper both say that, since the company split two board-allotted full-time executive salaries between seven collective members, the collective model of part-time workers didn’t increase overhead.\u003c/p>\n\u003cfigure id=\"attachment_13888112\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg\" alt=\"a zoom screen showing nine people acting out a play\" width=\"1000\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-672x372.jpg 672w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ensemble cast of Cutting Ball Theater’s ‘Utopia,’ by Charles Mee, in a virtual performance in 2020. Pandemic-related delays and postponements contributed to the company’s financial woes in recent years. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other factors led to increased expenses, including persistent pandemic-related delays and postponements of shows. Cutting Ball also went to great lengths to pay guest artists more equitably, such as compensating actors for \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sf-cutting-ball-theater-closure-18663641.php\">time spent running lines outside rehearsal\u003c/a>.\u003c/p>\n\u003cp>Still, insiders say \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/205270275\">the loss of grant money over the past few years\u003c/a> was the biggest contributor to Cutting Ball’s woes, as funding the company relied on for operational costs was greatly diminished. Specifically, major funders such as Grants for the Arts have moved away from providing “unrestricted” grant funding, which companies can use on quotidian expenses.\u003c/p>\n\u003cp>“Nobody is really funding the basic day-to-day work of making theater happen,” Steele says.\u003c/p>\n\u003cp>Coma Te, director of communications for the San Francisco Arts Commission, said the Cutting Ball Theater has received about $400,000 in grants from the City, including over $312,000 from the Grants for the Arts and $90,000 from the Arts Commission, over the last five years.\u003c/p>\n\u003cp>Speaking on behalf of the mayor’s office, Te added that “transforming Downtown into a leading arts, culture, and nightlife destination is one of the key revitalization strategies laid out in Mayor Breed’s Roadmap to San Francisco’s future.” But the link included in Te’s email — Mayor Breed’s proposal for \u003ca href=\"https://www.sf.gov/news/mayor-breed-proposes-creation-first-downtown-entertainment-zone-and-announces-grants-support\">a downtown “entertainment zone”\u003c/a> — makes no mention of either the existing or the recently shuttered small theatre venues in the area. In December 2024, when Cutting Ball’s lease on their venue space, EXIT on Taylor, is up, the company will become the ninth theatre closure in the area since 2022.\u003c/p>\n\u003cfigure id=\"attachment_13929122\" class=\"wp-caption aligncenter\" style=\"max-width: 1503px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929122\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg\" alt=\"two people in brightly dressed clothing on stage\" width=\"1503\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg 1503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-768x511.jpg 768w\" sizes=\"(max-width: 1503px) 100vw, 1503px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L–R) The burglar (Patricio Becerril) and Taki (Edna Raia) team up in fear of an even bigger threat — La Karen — in Cutting Ball Theater and IN THE MARGIN’s ‘Exhaustion Arroyo: Dancin’ Trees in the Ravine’ by W. Fran Astorga. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To many in the theatre community, leaving theatre out of the conversation about revitalization is a grave missetep. “Theatres are … economic cornerstones to the communities beyond their walls, bringing in investment through tourism, increased foot traffic, and community engagement,” said Art Quiñones, a spokesperson from the 50-year-old nonprofit Theatre Bay Area, in a statement, noting that each job in California’s performing arts scene \u003ca href=\"https://cdn.actorsequity.org/docs/Report%20on%20California%20Performing%20Arts.pdf\">brings in $13,287 in state and local tax revenue\u003c/a>. But “in San Francisco, skyrocketing costs and diminishing funding have kept small theatres in precarity. We need to ensure the theatres that are here can afford to stay.”\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928279","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For now, Cooper and Steele say there is much to celebrate as they wrap up their tenures with the company. For Cooper, her work building the community and education arm of the company from scratch — serving Tenderloin youth via workshops and theatre enrichment cohorts — has been personally and professionally rewarding. In a larger or more traditionally-structured organization, she says, she’d never have had the freedom she had in developing these programs.\u003c/p>\n\u003cp>For Steele, adapting and directing Karel Capek’s Rossum’s \u003cem>Universal Robots\u003c/em> on the mainstage to open this now-final season was an especially proud moment. “We had a really strong mix of established (theatre) veterans and people that were almost, if not truly, brand new to the stage,” recalls Steele. “And that dynamic was just so exciting and cool.”\u003c/p>\n\u003cp>Just having been a part of Cutting Ball’s story is an experience that both will treasure: a legacy of fearlessness over the course of a quarter-century.\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>“If we don’t experiment, and we don’t take risks, we’ll never have anything worth it,” Steele says. “You have to risk in order to achieve.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961349/farewell-to-cutting-ball-theater-a-bastion-of-fearless-experimentation","authors":["11497"],"categories":["arts_1","arts_967"],"tags":["arts_10331","arts_1414","arts_907","arts_10278","arts_1020"],"featImg":"arts_13929121","label":"arts"},"arts_13961106":{"type":"posts","id":"arts_13961106","meta":{"index":"posts_1716263798","site":"arts","id":"13961106","score":null,"sort":[1720811944000]},"guestAuthors":[],"slug":"sing-sing-movie-review-colman-domingo-prison-theater-program","title":"‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison","publishDate":1720811944,"format":"standard","headTitle":"‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s crucial, and foreboding, that \u003cem>Sing Sing\u003c/em> begins on a stage during a stirring performance of \u003cem>A Midsummer Night’s Dream\u003c/em>. John “Divine G” Whitfield (\u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>) recites the play’s final lines to rapturous applause, in a production that’s been fully realized with lighting, costumes, and props. The cast is a group of lively and committed actors who also happen to be incarcerated at the notorious New York maximum-security prison. It quickly becomes clear this isn’t a dream or a flashback, it’s sometime in the 2000s — and Sing Sing’s Rehabilitation Through the Arts (RTA) program has already bore nurturing fruit for its participants for some time now. Before we see anything else, Divine G and his other incarcerated castmates are introduced as creative spirits.\u003c/p>\n\u003cp>[aside postid='arts_13960599']The easy way to tell a story of finding hope in even the bleakest of circumstances has been done many times over: Milk the despair; swoop in with a savior; heal the wayward souls through the power of arts, sports, etc. These narratives may mean well, but such a neatly curated dramatic arc is typically reductive and pathologizing of the very people it purports to humanize.\u003c/p>\n\u003cp>Director Greg Kwedar’s \u003cem>Sing Sing\u003c/em> is, mercifully and beautifully, different. Co-written with Clint Bentley but very much a collaborative effort with input from participants and alumni of the prison’s RTA program, the poignant drama avoids the well-trodden path at nearly every turn. It doesn’t ignore the despair, but it doesn’t wallow in it, either. And it understands that joining a character in the middle of their journey can be an even more compelling and truthful artistic exercise than mining the agonizing details of their origin story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3dXc6P3zH8\u003c/p>\n\u003cp>On screen, under the energetic direction of RTA volunteer Brent Buell (Paul Raci), the crew is close-knit, a refuge from the harsher realities of life within Sing Sing’s walls. In fact, the program has been so well-received that there’s a waiting list of would-be thespians eager to join the ensemble for its next production. Playwright and novelist Divine G, the group’s de facto heart and soul, decides to recruit Clarence “Divine Eye” Maclin, another incarcerated person he’s been observing around the block. Divine Eye is a tough and prickly loner who’s dealing drugs within the jail, but he’s also really into Shakespeare, and is receptive to — if a little wary of — getting in on the program. (The formerly incarcerated Maclin, an absorbing presence, plays a version of himself here, as do several other colorful \u003cem>Sing Sing \u003c/em>performers. The real-life inspiration for Domingo’s character has a small cameo early in the film.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13957481']By its own design, \u003cem>Sing Sing \u003c/em>presents multiple complex thematic threads and then unspools them with specificity and tenderness. A lighthearted “let’s put on a show” attitude courses throughout, as the cast rehearses an original comedic play, \u003cem>Breakin’ the Mummy’s Code\u003c/em>, sprung from their own vivid imaginations. (It’s a wacky time-traveling epic starring a hodge-podge of pop culture figures, including Captain Hook, Hamlet, and … Freddy Krueger.) Divine Eye’s arrival shakes up the group’s dynamic a bit, and a fascinating dilemma arises when Divine G, like any diligent artist who’s protective of their craft, finds himself having to check his ego for the good of the group.\u003c/p>\n\u003cfigure id=\"attachment_13961109\" class=\"wp-caption aligncenter\" style=\"max-width: 1784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png\" alt=\"Five men gather at the back of the room, each watching something off-camera. Three of the men are laughing. \" width=\"1784\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png 1784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1020x616.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1536x928.png 1536w\" sizes=\"(max-width: 1784px) 100vw, 1784px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci, Sean San José, Colman Domingo, Sean ‘Dino’ Johnson, and Mosi Eagle. \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, minor frustrations behind the collaborative art process are complicated by unusually high stakes. RTA operates as a lifeline for these men — a way, as one of them puts it, for them to “become human again” within the confines of a place deliberately structured to strip them of their humanity. The film takes time to clearly communicate this often; it’s especially effectively rendered during an exercise where volunteer director Brent prompts each performer to imagine a favorite memory or place, and then describe it aloud.\u003c/p>\n\u003cp>But Kwedar and Bentley are careful to not give in to mawkish trappings, and just when it seems as though the movie might be veering close to “\u003ca href=\"https://www.youtube.com/watch?v=j64SctPKmqk\">O Captain, my Captain!\u003c/a>” territory, it reins itself back in. It helps that \u003cem>Sing Sing \u003c/em>is unafraid to acknowledge art’s limitations as a vessel for those who are incarcerated, even as it celebrates the joys art can produce — not everyone in the group is able to access their happy place during that exercise. It’s also buoyed by the collective strength of the performances which make each character, even those we learn just a few details about, distinctive and memorable. Domingo and Maclin in particular share a special kinetic energy that oscillates as any friendship can over time.\u003c/p>\n\u003cp>[aside postid='arts_13956038']For decades a movement opposed to the country’s mass incarceration epidemic has been gaining momentum, and \u003cem>Sing Sing \u003c/em>comes at an interesting time. In 2024, two of the summer’s biggest movies — \u003cem>Bad Boys: Ride or Die \u003c/em>and \u003cem>Beverly Hills Cop: Axel F —\u003c/em> continue the grand Hollywood tradition of dramatizing the pursuit and capture of “bad guys” by law enforcement. Dick Wolf’s \u003cem>Law & Order \u003c/em>franchise is still going strong, too. Kwedar’s film, on the other hand, isn’t especially interested in designating “bad” or “good” guys, and the offenses the characters have been accused and convicted of aren’t all that important to the story. The main exception is Divine G, seeking clemency for a wrongful murder conviction based on evidence that clearly exonerates him — and perhaps some audiences will find this to be a little too convenient as a narrative conceit.\u003c/p>\n\u003cp>But Divine G’s story is true-to-life. And to borrow from a different play entirely: It’s all-too \u003ca href=\"https://www.youtube.com/watch?v=U45CzgrLE9s\">easy to be hard\u003c/a>. \u003cem>Sing Sing\u003c/em>, and its characters, gamely seek out the more challenging work of excavating authentic compassion and empathy for those who rarely receive it.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sing Sing’ opens in New York and Los Angeles on July 12 and is released nationwide on Aug. 2, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Colman Domingo leads a dynamic ensemble in a stirring dramatization of Sing Sing prison's arts rehabilitation program.","status":"publish","parent":0,"modified":1720811944,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1094},"headData":{"title":"‘Sing Sing’ Movie Review: An Authentic, Compassionate True Story | KQED","description":"Colman Domingo leads a dynamic ensemble in a stirring dramatization of Sing Sing prison's arts rehabilitation program.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘Sing Sing’ Movie Review: An Authentic, Compassionate True Story %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison","datePublished":"2024-07-12T12:19:04-07:00","dateModified":"2024-07-12T12:19:04-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Aisha Harris, NPR","nprStoryId":"nx-s1-5029356","nprHtmlLink":"https://www.npr.org/2024/07/11/nx-s1-5029356/sing-sing-review-colman-domingo","nprRetrievedStory":"1","nprPubDate":"2024-07-12T07:00:00-04:00","nprStoryDate":"2024-07-12T07:00:00-04:00","nprLastModifiedDate":"2024-07-12T07:01:02.625-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13961106/sing-sing-movie-review-colman-domingo-prison-theater-program","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s crucial, and foreboding, that \u003cem>Sing Sing\u003c/em> begins on a stage during a stirring performance of \u003cem>A Midsummer Night’s Dream\u003c/em>. John “Divine G” Whitfield (\u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>) recites the play’s final lines to rapturous applause, in a production that’s been fully realized with lighting, costumes, and props. The cast is a group of lively and committed actors who also happen to be incarcerated at the notorious New York maximum-security prison. It quickly becomes clear this isn’t a dream or a flashback, it’s sometime in the 2000s — and Sing Sing’s Rehabilitation Through the Arts (RTA) program has already bore nurturing fruit for its participants for some time now. Before we see anything else, Divine G and his other incarcerated castmates are introduced as creative spirits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960599","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The easy way to tell a story of finding hope in even the bleakest of circumstances has been done many times over: Milk the despair; swoop in with a savior; heal the wayward souls through the power of arts, sports, etc. These narratives may mean well, but such a neatly curated dramatic arc is typically reductive and pathologizing of the very people it purports to humanize.\u003c/p>\n\u003cp>Director Greg Kwedar’s \u003cem>Sing Sing\u003c/em> is, mercifully and beautifully, different. Co-written with Clint Bentley but very much a collaborative effort with input from participants and alumni of the prison’s RTA program, the poignant drama avoids the well-trodden path at nearly every turn. It doesn’t ignore the despair, but it doesn’t wallow in it, either. And it understands that joining a character in the middle of their journey can be an even more compelling and truthful artistic exercise than mining the agonizing details of their origin story.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/j3dXc6P3zH8'\n title='//www.youtube.com/embed/j3dXc6P3zH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On screen, under the energetic direction of RTA volunteer Brent Buell (Paul Raci), the crew is close-knit, a refuge from the harsher realities of life within Sing Sing’s walls. In fact, the program has been so well-received that there’s a waiting list of would-be thespians eager to join the ensemble for its next production. Playwright and novelist Divine G, the group’s de facto heart and soul, decides to recruit Clarence “Divine Eye” Maclin, another incarcerated person he’s been observing around the block. Divine Eye is a tough and prickly loner who’s dealing drugs within the jail, but he’s also really into Shakespeare, and is receptive to — if a little wary of — getting in on the program. (The formerly incarcerated Maclin, an absorbing presence, plays a version of himself here, as do several other colorful \u003cem>Sing Sing \u003c/em>performers. The real-life inspiration for Domingo’s character has a small cameo early in the film.)\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_13957481","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>By its own design, \u003cem>Sing Sing \u003c/em>presents multiple complex thematic threads and then unspools them with specificity and tenderness. A lighthearted “let’s put on a show” attitude courses throughout, as the cast rehearses an original comedic play, \u003cem>Breakin’ the Mummy’s Code\u003c/em>, sprung from their own vivid imaginations. (It’s a wacky time-traveling epic starring a hodge-podge of pop culture figures, including Captain Hook, Hamlet, and … Freddy Krueger.) Divine Eye’s arrival shakes up the group’s dynamic a bit, and a fascinating dilemma arises when Divine G, like any diligent artist who’s protective of their craft, finds himself having to check his ego for the good of the group.\u003c/p>\n\u003cfigure id=\"attachment_13961109\" class=\"wp-caption aligncenter\" style=\"max-width: 1784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png\" alt=\"Five men gather at the back of the room, each watching something off-camera. Three of the men are laughing. \" width=\"1784\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png 1784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1020x616.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1536x928.png 1536w\" sizes=\"(max-width: 1784px) 100vw, 1784px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci, Sean San José, Colman Domingo, Sean ‘Dino’ Johnson, and Mosi Eagle. \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, minor frustrations behind the collaborative art process are complicated by unusually high stakes. RTA operates as a lifeline for these men — a way, as one of them puts it, for them to “become human again” within the confines of a place deliberately structured to strip them of their humanity. The film takes time to clearly communicate this often; it’s especially effectively rendered during an exercise where volunteer director Brent prompts each performer to imagine a favorite memory or place, and then describe it aloud.\u003c/p>\n\u003cp>But Kwedar and Bentley are careful to not give in to mawkish trappings, and just when it seems as though the movie might be veering close to “\u003ca href=\"https://www.youtube.com/watch?v=j64SctPKmqk\">O Captain, my Captain!\u003c/a>” territory, it reins itself back in. It helps that \u003cem>Sing Sing \u003c/em>is unafraid to acknowledge art’s limitations as a vessel for those who are incarcerated, even as it celebrates the joys art can produce — not everyone in the group is able to access their happy place during that exercise. It’s also buoyed by the collective strength of the performances which make each character, even those we learn just a few details about, distinctive and memorable. Domingo and Maclin in particular share a special kinetic energy that oscillates as any friendship can over time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956038","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For decades a movement opposed to the country’s mass incarceration epidemic has been gaining momentum, and \u003cem>Sing Sing \u003c/em>comes at an interesting time. In 2024, two of the summer’s biggest movies — \u003cem>Bad Boys: Ride or Die \u003c/em>and \u003cem>Beverly Hills Cop: Axel F —\u003c/em> continue the grand Hollywood tradition of dramatizing the pursuit and capture of “bad guys” by law enforcement. Dick Wolf’s \u003cem>Law & Order \u003c/em>franchise is still going strong, too. Kwedar’s film, on the other hand, isn’t especially interested in designating “bad” or “good” guys, and the offenses the characters have been accused and convicted of aren’t all that important to the story. The main exception is Divine G, seeking clemency for a wrongful murder conviction based on evidence that clearly exonerates him — and perhaps some audiences will find this to be a little too convenient as a narrative conceit.\u003c/p>\n\u003cp>But Divine G’s story is true-to-life. And to borrow from a different play entirely: It’s all-too \u003ca href=\"https://www.youtube.com/watch?v=U45CzgrLE9s\">easy to be hard\u003c/a>. \u003cem>Sing Sing\u003c/em>, and its characters, gamely seek out the more challenging work of excavating authentic compassion and empathy for those who rarely receive it.\u003c/p>\n\u003chr>\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>‘Sing Sing’ opens in New York and Los Angeles on July 12 and is released nationwide on Aug. 2, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961106/sing-sing-movie-review-colman-domingo-prison-theater-program","authors":["byline_arts_13961106"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_74","arts_75","arts_967"],"tags":["arts_22214","arts_22085","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13961107","label":"arts_140"},"arts_13960422":{"type":"posts","id":"arts_13960422","meta":{"index":"posts_1716263798","site":"arts","id":"13960422","score":null,"sort":[1719603567000]},"guestAuthors":[],"slug":"lifespan-of-a-fact-review-aurora-theatre-berkeley-fact-checking","title":"Bringing the Fact-Checker to a Play About Fact-Checking","publishDate":1719603567,"format":"standard","headTitle":"Bringing the Fact-Checker to a Play About Fact-Checking | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In the world of journalism, a fact-checker performs invisible work. No one, save the writer or editor of a story, really notices it. And yet at the country’s top magazines on down to its remaining newspapers, copy desks engage in that tireless task of reviewing stories for a paramount goal: accuracy.\u003c/p>\n\u003cp>Bringing this work to the literal spotlight is \u003cem>The Lifespan of a Fact\u003c/em>, a 90-minute play running through July 21 at Berkeley’s Aurora Theatre. In it, a magazine writer, fact-checker and editor quarrel over an essay’s tiny details, and how they do, or do not, affect the resonance of its bigger themes. It’s essentially a question about the old Mark Twain maxim, writ large: Should you ever let the truth get in the way of a good story?\u003c/p>\n\u003cfigure id=\"attachment_13960484\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file.jpg\" alt=\"A blonde woman in blue sits atop a sofa, while staring at the table along with a bearded man in a grubby T-shirt and a young man sitting at a table.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Paff, Elijah Alexander and Hernán Angulo in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Linda Houser doesn’t think so. As a 24-year veteran of the \u003cem>San Francisco Chronicle\u003c/em>’s copy desk who fact-checks stories daily, her life is a trifecta of clarity, consistency and accuracy. Which I why I decided to bring her along to see \u003cem>The Lifespan of a Fact\u003c/em>. Who better to “review” the play than the copy chief at the Bay Area’s newspaper of record? (I knew I’d brought the right person when, just before curtain, Houser mused aloud if “lifespan” should be one word or two.)\u003c/p>\n\u003cp>\u003cem>The Lifespan of a Fact\u003c/em> opened on Broadway in 2018, and is based on the real-life disputes between writer John D’Agata (played here by Elijah Alexander) and fact-checker Jim Fingal (Hernán Angulo) over a magazine story about a teen suicide. With Carrie Paff as editor Emily Penrose, and directed by Jessica Holt, the play \u003ca href=\"https://datebook.sfchronicle.com/theater/aurora-lifespan-of-a-fact-review-19513552\">takes some liberties\u003c/a> while raising broad questions about human nature.\u003c/p>\n\u003cp>After opening night, Houser and I posted up on Shattuck Avenue in downtown Berkeley to talk about it. Our conversation has been edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13960481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file.jpg\" alt=\"\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hernán Angulo in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: First things first. Did you like the play? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Linda Houser\u003c/strong>: I did like the play! I kind of liked and hated a couple of the characters, by turns, and so it was very thought-provoking.\u003c/p>\n\u003cp>\u003cstrong>How true would you say it is to the work that you do, of fact-checking?\u003c/strong>\u003c/p>\n\u003cp>At a newspaper, we wouldn’t have something quite so scandalous. In the play, the writer’s an essay guy, a magazine guy, and he’s basically writing fiction. We wouldn’t even check some those details, because it would never occur to a daily newspaper journalist to not have the facts right, or to blatantly disregard them, like he does.\u003c/p>\n\u003cp>\u003cstrong>So the very granular detail of fact-checking in this play — that doesn’t come up at a daily newspaper?\u003c/strong>\u003c/p>\n\u003cp>I mean, we do check. But usually when we’re checking, it’s a math error, where people maybe forget about a leap year. Was the date wrong, or was the number of days wrong? Was one of those numbers a typo? Adding is a big part of the job. That’s a lot of what we do, and we hammer that out very easily. There’s no arguing, or flying to Vegas.\u003c/p>\n\u003cfigure id=\"attachment_13960480\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file.jpg\" alt=\"\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Paff as magazine editor Emily Penrose in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there any part of the play that best illustrated the work that you’ve done for the past 24 years? Where you went, “Yes! That’s what I do!”\u003c/strong>\u003c/p>\n\u003cp>I didn’t like the kid at first, the fact-checker, because it seemed like he was really trying to make the story about himself. But then he would make a great catch, and find something really important.\u003c/p>\n\u003cp>We had a freelance writer a few years ago who filed a feature story. They were quoting an excerpt of something at the beginning, and they said it was Emily Dickinson, or someone like that. And it just didn’t sound right. I checked and it was a Prince lyric. It was the oddest thing ever! We had a good laugh about that one. Like, is it April 1? Because that is ridiculous.\u003c/p>\n\u003cp>\u003cstrong>Was there an aspect of the play that was off to you? That made you say, “Oh, come on, it’s not like that at all”?\u003c/strong>\u003c/p>\n\u003cp>Well, you know, there were the Triscuits.\u003c/p>\n\u003cp>\u003cstrong>Right, the fact-checker really wanted to know if they were actually eating Triscuits. \u003c/strong>\u003c/p>\n\u003cp>I don’t know how much of it is the kid going to Harvard. I’ve known some people who went to Harvard and are not that annoying. But I don’t think the Triscuits matter at all, you know?\u003c/p>\n\u003cp>\u003cstrong>That’s the central tension in this play, the debate over whether or not to let facts and accuracy get in the way of a larger truth. And I was a little convinced at times that some details didn’t matter as much as the story’s rhythm, or pacing. \u003c/strong>\u003c/p>\n\u003cp>I will say, I feel like the writer didn’t really \u003cem>need\u003c/em> all the numbers that he seemed to need. Even his own editor thought there was something special about the number four.\u003c/p>\n\u003cfigure id=\"attachment_13960485\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file.jpg\" alt=\"\" width=\"1277\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file-1022x1536.jpg 1022w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Elijah Alexander as writer John D’Agata in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have there ever been times when you’ve taken a fact out of a story because it seemed incidental or unimportant, and then regretted it later?\u003c/strong>\u003c/p>\n\u003cp>No. We did have an editor once on the city desk. His motto was “when in doubt, take it out.” I wouldn’t always loop him in, because sometimes there are things that are nice to have in the story, and he would take it out if it didn’t matter.\u003c/p>\n\u003cp>\u003cstrong>What about additions? The true story that this play is based on, the fact-checking process went on for seven years, partly because new facts came to light. Have you ever had a stop-the-presses moment over new facts that emerged at the last minute that fundamentally changed the story?\u003c/strong>\u003c/p>\n\u003cp>No, but I did get to kill a story once. I was slotting it, which means the editor had read it, and then the rim copy editor had read it. And this freelancer, a good writer and a respected writer, was writing about someone who’d died. It was this writer’s idea that clearly the wife had done it. They cited some vague facts, and then leapt to a conclusion. They did not talk to the wife, or the police.\u003c/p>\n\u003cp>And it was very juicy for a minute. I was like, “Oh my gosh, she totally did it.” Of course, that’s everyone’s first impression. But then I was like, I know we are the features section, but this is perhaps too much. I checked with my people on the city desk who deal with crime and legal issues all the time. And they said, “Linda, no! We cannot put that in the paper.” So we plugged it with a different story.\u003c/p>\n\u003cfigure id=\"attachment_13960483\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960483\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file.jpg\" alt=\"\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Elijah Alexander and Carrie Paff in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We live in an age of proliferating disinformation. Obviously, most of it is out of your personal control. But do you see your job, in its small way, as protecting truth, and by extension, protecting the importance of truth? \u003c/strong>\u003c/p>\n\u003cp>Well, we certainly try, but it’s crazy. You can just repeat things, and so many people believe them. You can have AI magnify them and make them bigger. And people, when they see it so much, they’re like, “Well, of course it’s true.” They don’t even know what they’re reading, but it looks legitimate and they believe it, and it isn’t. And then they distrust us because people say, “Oh, the \u003cem>media\u003c/em>. The \u003cem>mainstream media\u003c/em>.” Like, maybe we are the mainstream media because we have gone to college, and we’ve studied, and we try hard. But they don’t care.\u003c/p>\n\u003cp>\u003cstrong>Bring back gatekeepers!\u003c/strong>\u003c/p>\n\u003cp>Yikes.\u003c/p>\n\u003cp>\u003cstrong>I’m not just pantomiming what you’re saying, I actually think we should bring back gatekeepers. \u003c/strong>\u003c/p>\n\u003cp>It’d be nice.\u003c/p>\n\u003cfigure id=\"attachment_13960479\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file.jpg\" alt=\"\" width=\"1277\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file-1022x1536.jpg 1022w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Hernán Angulo and Elijah Alexander in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Near the end of this play, the young fact-checker is warning the older editor and writer about this new online paradigm, where you can’t just make things up or fudge facts, because people on Reddit and 4Chan and Twitter will seize upon it and publicize that it’s wrong, and it will be a giant scandal. And I had this very depressing feeling that, while that may have been true at the time, it’s not now. A hundred people could correct the facts online and it would not matter. \u003c/strong>\u003c/p>\n\u003cp>Yeah. I liked the fact-checker. He was very eager. I thought he was too eager, but he was right.\u003c/p>\n\u003cp>\u003cstrong>Last question: No one really sees the work you do. What would you like people to understand about your job as a copy editor and fact-checker?\u003c/strong>\u003c/p>\n\u003cp>Really, I’m just reading the newspaper. It’s a little different now with the website, but back in the day, I got to read the paper before people could read the paper. And I’m really just another reader. If something looks iffy to me, it will look iffy to the audience we have. And I want to fix that before it gets out there. There’s less of us now, of course. We have the shrinking staff that everybody has. So it’s a lot of pressure, and maybe it’s underappreciated, but it is important.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Lifespan of a Fact’ runs through July 21 at Aurora Theatre in Berkeley. \u003ca href=\"https://www.auroratheatre.org/index.php/shows-events/20232024-season/the-lifespan-of-a-fact\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In 'The Lifespan of a Fact,' truth and accuracy are blurred. What does a real-life fact-checker think?","status":"publish","parent":0,"modified":1719626100,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":38,"wordCount":1768},"headData":{"title":"A Fact-Checker Reviews 'Lifespan of a Fact' at Aurora Theatre in Berkeley | KQED","description":"In 'The Lifespan of a Fact,' truth and accuracy are blurred. What does a real-life fact-checker think?","ogTitle":"Bringing the Fact-Checker to a Play About Fact-Checking","ogDescription":"","ogImgId":"","twTitle":"Bringing the Fact-Checker to a Play About Fact-Checking","twDescription":"","twImgId":"","socialTitle":"A Fact-Checker Reviews 'Lifespan of a Fact' at Aurora Theatre in Berkeley %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bringing the Fact-Checker to a Play About Fact-Checking","datePublished":"2024-06-28T12:39:27-07:00","dateModified":"2024-06-28T18:55:00-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13960422","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960422/lifespan-of-a-fact-review-aurora-theatre-berkeley-fact-checking","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the world of journalism, a fact-checker performs invisible work. No one, save the writer or editor of a story, really notices it. And yet at the country’s top magazines on down to its remaining newspapers, copy desks engage in that tireless task of reviewing stories for a paramount goal: accuracy.\u003c/p>\n\u003cp>Bringing this work to the literal spotlight is \u003cem>The Lifespan of a Fact\u003c/em>, a 90-minute play running through July 21 at Berkeley’s Aurora Theatre. In it, a magazine writer, fact-checker and editor quarrel over an essay’s tiny details, and how they do, or do not, affect the resonance of its bigger themes. It’s essentially a question about the old Mark Twain maxim, writ large: Should you ever let the truth get in the way of a good story?\u003c/p>\n\u003cfigure id=\"attachment_13960484\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file.jpg\" alt=\"A blonde woman in blue sits atop a sofa, while staring at the table along with a bearded man in a grubby T-shirt and a young man sitting at a table.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13941-file-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Paff, Elijah Alexander and Hernán Angulo in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Linda Houser doesn’t think so. As a 24-year veteran of the \u003cem>San Francisco Chronicle\u003c/em>’s copy desk who fact-checks stories daily, her life is a trifecta of clarity, consistency and accuracy. Which I why I decided to bring her along to see \u003cem>The Lifespan of a Fact\u003c/em>. Who better to “review” the play than the copy chief at the Bay Area’s newspaper of record? (I knew I’d brought the right person when, just before curtain, Houser mused aloud if “lifespan” should be one word or two.)\u003c/p>\n\u003cp>\u003cem>The Lifespan of a Fact\u003c/em> opened on Broadway in 2018, and is based on the real-life disputes between writer John D’Agata (played here by Elijah Alexander) and fact-checker Jim Fingal (Hernán Angulo) over a magazine story about a teen suicide. With Carrie Paff as editor Emily Penrose, and directed by Jessica Holt, the play \u003ca href=\"https://datebook.sfchronicle.com/theater/aurora-lifespan-of-a-fact-review-19513552\">takes some liberties\u003c/a> while raising broad questions about human nature.\u003c/p>\n\u003cp>After opening night, Houser and I posted up on Shattuck Avenue in downtown Berkeley to talk about it. Our conversation has been edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13960481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file.jpg\" alt=\"\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13937-file-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hernán Angulo in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: First things first. Did you like the play? \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>Linda Houser\u003c/strong>: I did like the play! I kind of liked and hated a couple of the characters, by turns, and so it was very thought-provoking.\u003c/p>\n\u003cp>\u003cstrong>How true would you say it is to the work that you do, of fact-checking?\u003c/strong>\u003c/p>\n\u003cp>At a newspaper, we wouldn’t have something quite so scandalous. In the play, the writer’s an essay guy, a magazine guy, and he’s basically writing fiction. We wouldn’t even check some those details, because it would never occur to a daily newspaper journalist to not have the facts right, or to blatantly disregard them, like he does.\u003c/p>\n\u003cp>\u003cstrong>So the very granular detail of fact-checking in this play — that doesn’t come up at a daily newspaper?\u003c/strong>\u003c/p>\n\u003cp>I mean, we do check. But usually when we’re checking, it’s a math error, where people maybe forget about a leap year. Was the date wrong, or was the number of days wrong? Was one of those numbers a typo? Adding is a big part of the job. That’s a lot of what we do, and we hammer that out very easily. There’s no arguing, or flying to Vegas.\u003c/p>\n\u003cfigure id=\"attachment_13960480\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file.jpg\" alt=\"\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13929-file-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Paff as magazine editor Emily Penrose in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there any part of the play that best illustrated the work that you’ve done for the past 24 years? Where you went, “Yes! That’s what I do!”\u003c/strong>\u003c/p>\n\u003cp>I didn’t like the kid at first, the fact-checker, because it seemed like he was really trying to make the story about himself. But then he would make a great catch, and find something really important.\u003c/p>\n\u003cp>We had a freelance writer a few years ago who filed a feature story. They were quoting an excerpt of something at the beginning, and they said it was Emily Dickinson, or someone like that. And it just didn’t sound right. I checked and it was a Prince lyric. It was the oddest thing ever! We had a good laugh about that one. Like, is it April 1? Because that is ridiculous.\u003c/p>\n\u003cp>\u003cstrong>Was there an aspect of the play that was off to you? That made you say, “Oh, come on, it’s not like that at all”?\u003c/strong>\u003c/p>\n\u003cp>Well, you know, there were the Triscuits.\u003c/p>\n\u003cp>\u003cstrong>Right, the fact-checker really wanted to know if they were actually eating Triscuits. \u003c/strong>\u003c/p>\n\u003cp>I don’t know how much of it is the kid going to Harvard. I’ve known some people who went to Harvard and are not that annoying. But I don’t think the Triscuits matter at all, you know?\u003c/p>\n\u003cp>\u003cstrong>That’s the central tension in this play, the debate over whether or not to let facts and accuracy get in the way of a larger truth. And I was a little convinced at times that some details didn’t matter as much as the story’s rhythm, or pacing. \u003c/strong>\u003c/p>\n\u003cp>I will say, I feel like the writer didn’t really \u003cem>need\u003c/em> all the numbers that he seemed to need. Even his own editor thought there was something special about the number four.\u003c/p>\n\u003cfigure id=\"attachment_13960485\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file.jpg\" alt=\"\" width=\"1277\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13933-file-1022x1536.jpg 1022w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Elijah Alexander as writer John D’Agata in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have there ever been times when you’ve taken a fact out of a story because it seemed incidental or unimportant, and then regretted it later?\u003c/strong>\u003c/p>\n\u003cp>No. We did have an editor once on the city desk. His motto was “when in doubt, take it out.” I wouldn’t always loop him in, because sometimes there are things that are nice to have in the story, and he would take it out if it didn’t matter.\u003c/p>\n\u003cp>\u003cstrong>What about additions? The true story that this play is based on, the fact-checking process went on for seven years, partly because new facts came to light. Have you ever had a stop-the-presses moment over new facts that emerged at the last minute that fundamentally changed the story?\u003c/strong>\u003c/p>\n\u003cp>No, but I did get to kill a story once. I was slotting it, which means the editor had read it, and then the rim copy editor had read it. And this freelancer, a good writer and a respected writer, was writing about someone who’d died. It was this writer’s idea that clearly the wife had done it. They cited some vague facts, and then leapt to a conclusion. They did not talk to the wife, or the police.\u003c/p>\n\u003cp>And it was very juicy for a minute. I was like, “Oh my gosh, she totally did it.” Of course, that’s everyone’s first impression. But then I was like, I know we are the features section, but this is perhaps too much. I checked with my people on the city desk who deal with crime and legal issues all the time. And they said, “Linda, no! We cannot put that in the paper.” So we plugged it with a different story.\u003c/p>\n\u003cfigure id=\"attachment_13960483\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960483\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file.jpg\" alt=\"\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13939-file-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Elijah Alexander and Carrie Paff in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We live in an age of proliferating disinformation. Obviously, most of it is out of your personal control. But do you see your job, in its small way, as protecting truth, and by extension, protecting the importance of truth? \u003c/strong>\u003c/p>\n\u003cp>Well, we certainly try, but it’s crazy. You can just repeat things, and so many people believe them. You can have AI magnify them and make them bigger. And people, when they see it so much, they’re like, “Well, of course it’s true.” They don’t even know what they’re reading, but it looks legitimate and they believe it, and it isn’t. And then they distrust us because people say, “Oh, the \u003cem>media\u003c/em>. The \u003cem>mainstream media\u003c/em>.” Like, maybe we are the mainstream media because we have gone to college, and we’ve studied, and we try hard. But they don’t care.\u003c/p>\n\u003cp>\u003cstrong>Bring back gatekeepers!\u003c/strong>\u003c/p>\n\u003cp>Yikes.\u003c/p>\n\u003cp>\u003cstrong>I’m not just pantomiming what you’re saying, I actually think we should bring back gatekeepers. \u003c/strong>\u003c/p>\n\u003cp>It’d be nice.\u003c/p>\n\u003cfigure id=\"attachment_13960479\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file.jpg\" alt=\"\" width=\"1277\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/file-13934-file-1022x1536.jpg 1022w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Hernán Angulo and Elijah Alexander in ‘The Lifespan of a Fact’ at Aurora Theatre in Berkeley. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Near the end of this play, the young fact-checker is warning the older editor and writer about this new online paradigm, where you can’t just make things up or fudge facts, because people on Reddit and 4Chan and Twitter will seize upon it and publicize that it’s wrong, and it will be a giant scandal. And I had this very depressing feeling that, while that may have been true at the time, it’s not now. A hundred people could correct the facts online and it would not matter. \u003c/strong>\u003c/p>\n\u003cp>Yeah. I liked the fact-checker. He was very eager. I thought he was too eager, but he was right.\u003c/p>\n\u003cp>\u003cstrong>Last question: No one really sees the work you do. What would you like people to understand about your job as a copy editor and fact-checker?\u003c/strong>\u003c/p>\n\u003cp>Really, I’m just reading the newspaper. It’s a little different now with the website, but back in the day, I got to read the paper before people could read the paper. And I’m really just another reader. If something looks iffy to me, it will look iffy to the audience we have. And I want to fix that before it gets out there. There’s less of us now, of course. We have the shrinking staff that everybody has. So it’s a lot of pressure, and maybe it’s underappreciated, but it is important.\u003c/p>\n\u003chr>\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>‘The Lifespan of a Fact’ runs through July 21 at Aurora Theatre in Berkeley. \u003ca href=\"https://www.auroratheatre.org/index.php/shows-events/20232024-season/the-lifespan-of-a-fact\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960422/lifespan-of-a-fact-review-aurora-theatre-berkeley-fact-checking","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_21925","arts_10278","arts_769","arts_4689","arts_585"],"featImg":"arts_13960478","label":"arts_140"},"arts_13960254":{"type":"posts","id":"arts_13960254","meta":{"index":"posts_1716263798","site":"arts","id":"13960254","score":null,"sort":[1719338966000]},"guestAuthors":[],"slug":"review-mother-road-berkeley-rep-octavio-solis","title":"A Bumpy Return Trip to Oklahoma for Tom Joad’s Descendants","publishDate":1719338966,"format":"standard","headTitle":"A Bumpy Return Trip to Oklahoma for Tom Joad’s Descendants | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There is a searing urgency to the lyrical poetry and luscious prose of playwright Octavio Solis. In his Berkeley Repertory Theatre debut production of \u003cem>Mother Road\u003c/em>, each character has a mission to “dale gas,” a Spanish phrase that urges a firm pedal to the metal.\u003c/p>\n\u003cp>Despite some storytelling that veers into quizzical directions, it’s that very urgency that provides \u003cem>Mother Road\u003c/em> with its sharpest moments, informed by one of literature’s most decorated novels. \u003c/p>\n\u003cp>John Steinbeck’s Pultizer- and Nobel-winning \u003cem>The Grapes of Wrath\u003c/em> provides the texture for this modern sequel, borne of Solis’ grand imagination and brought to the stage via David Mendizábal’s sharp direction. The 1939 novel’s flawed yet virtuous hero Tom Joad is heavily present in \u003cem>Mother Road\u003c/em>, as his bloodline runs deep inside his descendant, Martín Jodes (Emilio Garcia-Sanchez). \u003c/p>\n\u003cfigure id=\"attachment_13960264\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13960264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cher Álvarez (Amelia), James Carpenter (William Joad), and Emilio Garcia-Sanchez (Martín Jodes) in ‘Mother Road,’ by Octavio Solis, at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martín doesn’t have much going for himself in California. He struggles to make ends meet as a migrant farmworker, moving from crop to crop. A marriage engagement to Amelia (Cher Álvarez) has gone kaput. So when a man named William Joad (James Carpenter) arrives with a mysterious proposition to bequeath 2,000 acres of Oklahoma land to Joad descendant Martín, the young man joins his older relative in a return trip to Oklahoma on Route 66, which Steinbeck dubbed “The Mother Road.”\u003c/p>\n\u003cp>That legendary stretch of highway, which held so much peril for the Joad clan, offered the false and cruel hopes of a California where golden crops and crisp bills grew everywhere. While the Dust Bowl caused tenant farmers to flee Oklahoma in the 1930s due to economic hardship, drought and agricultural shifts, Martín, despite seeing the state as less than desirable, sees it giving his fortunes a massive boost. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That boost is not just reserved to these two road-trip compatriots, with Martín hopeful and William battling life-threatening health issues. The newfound power of Martín means hiring his passion-fueled cousin Mo (Lindsay Rico), who provides a burst of energy essential to any good road trip story.\u003c/p>\n\u003cfigure id=\"attachment_13960265\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13960265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Duque-Estrada (Abelardo), Lindsay Rico (Mo), and Emilio Garcia-Sanchez (Martín Jodes) in ‘Mother Road,’ by Octavio Solis, at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joyous moments come as the trio barrels down Route 66 in their beat-up pickup truck. (The truck itself is one of the stars of the show, with many bells and whistles — even a restaurant complete with neon sign, inside the vehicle — designed by Tanya Orellana.) Yet the road is still filled with the dangers of modern society, especially when a brown man and queer brown woman are riding in a sketchy vehicle through unwelcoming locales.\u003c/p>\n\u003cp>Anyone who loves \u003cem>The Grapes of Wrath\u003c/em> will be pleased to engage in this adaptation. Several Easter eggs recall the harrowing nature of the Joad family. As in the novel, the dream of acquiring land and the role of protectors expanding in this modern universe is ever-present. There is a luscious excitement in connecting the brutal parallels of Tom and Martín, with each tasked to deliver critical oration that punctuates the story. (Sound by Jake Rodriguez and original music by Ritmos Tropicosmos provide scintillating texture.)\u003c/p>\n\u003cp>What Garcia-Sanchez’s performance lacks in variety is made up for by his brooding intensity. Paired with Carpenter, a veteran of the highest order, their chemistry can sometimes be hit-or-miss. They craft a bond that isn’t always fluid, but their willingness to engage and share each of their character’s vulnerabilities pushes the story toward a satisfying, powerful denouement.\u003c/p>\n\u003cfigure id=\"attachment_13960263\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13960263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Michael Moreland Milligan (Roger), Benny Wayne Sully (Curtis), Emilio Garcia-Sanchez (Martín Jodes), Courtney Walsh (Ivy), and Branden Davon Lindsay (James) in ‘Mother Road,’ by Octavio Solis, at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The multiple characterizations of the cast are highlighted beautifully by Álvarez, who lets her various characters breathe inside some powerful discoveries. Solis emphasizes multiple stylings and humor in his narrative; one of the most effective moments comes when Álvarez delivers some critical words in Spanish. Rico’s Mo offers up laughs in some nice setups, while in one embattled moment, her range powerfully comes into play.\u003c/p>\n\u003cp>While \u003cem>Mother Road\u003c/em> could use a bit of trimming to tighten its narrative, the story still has a gripping power, coming from some of the greatest source material in literature. Solis handles his inspiration from Steinbeck with aplomb, and \u003cem>Mother Road\u003c/em> accentuates one devastating fact consistently: In a world that has always offered more danger than respite to its most marginalized, sometimes the best thing to do is hit the pavement hard and “dale gas,” no matter what.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mother Road’ runs through Sunday, July 21 at Berkeley Repertory Theatre. \u003ca href=\"https://www.berkeleyrep.org/shows/mother-road/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘Mother Road,’ Octavio Solis’ modern sequel to ‘The Grapes of Wrath,’ takes some quizzical turns. ","status":"publish","parent":0,"modified":1719348443,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":856},"headData":{"title":"Review: 'Mother Road' at Berkeley Rep Is a Bumpy Steinbeck Road Trip | KQED","description":"Octavio Solis’ modern sequel to ‘The Grapes of Wrath’ takes some quizzical turns.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Review: 'Mother Road' at Berkeley Rep Is a Bumpy Steinbeck Road Trip %%page%% %%sep%% KQED","socialDescription":"Octavio Solis’ modern sequel to ‘The Grapes of Wrath’ takes some quizzical turns.","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Bumpy Return Trip to Oklahoma for Tom Joad’s Descendants","datePublished":"2024-06-25T11:09:26-07:00","dateModified":"2024-06-25T13:47:23-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13960254","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960254/review-mother-road-berkeley-rep-octavio-solis","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a searing urgency to the lyrical poetry and luscious prose of playwright Octavio Solis. In his Berkeley Repertory Theatre debut production of \u003cem>Mother Road\u003c/em>, each character has a mission to “dale gas,” a Spanish phrase that urges a firm pedal to the metal.\u003c/p>\n\u003cp>Despite some storytelling that veers into quizzical directions, it’s that very urgency that provides \u003cem>Mother Road\u003c/em> with its sharpest moments, informed by one of literature’s most decorated novels. \u003c/p>\n\u003cp>John Steinbeck’s Pultizer- and Nobel-winning \u003cem>The Grapes of Wrath\u003c/em> provides the texture for this modern sequel, borne of Solis’ grand imagination and brought to the stage via David Mendizábal’s sharp direction. The 1939 novel’s flawed yet virtuous hero Tom Joad is heavily present in \u003cem>Mother Road\u003c/em>, as his bloodline runs deep inside his descendant, Martín Jodes (Emilio Garcia-Sanchez). \u003c/p>\n\u003cfigure id=\"attachment_13960264\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13960264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_074-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cher Álvarez (Amelia), James Carpenter (William Joad), and Emilio Garcia-Sanchez (Martín Jodes) in ‘Mother Road,’ by Octavio Solis, at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martín doesn’t have much going for himself in California. He struggles to make ends meet as a migrant farmworker, moving from crop to crop. A marriage engagement to Amelia (Cher Álvarez) has gone kaput. So when a man named William Joad (James Carpenter) arrives with a mysterious proposition to bequeath 2,000 acres of Oklahoma land to Joad descendant Martín, the young man joins his older relative in a return trip to Oklahoma on Route 66, which Steinbeck dubbed “The Mother Road.”\u003c/p>\n\u003cp>That legendary stretch of highway, which held so much peril for the Joad clan, offered the false and cruel hopes of a California where golden crops and crisp bills grew everywhere. While the Dust Bowl caused tenant farmers to flee Oklahoma in the 1930s due to economic hardship, drought and agricultural shifts, Martín, despite seeing the state as less than desirable, sees it giving his fortunes a massive boost. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That boost is not just reserved to these two road-trip compatriots, with Martín hopeful and William battling life-threatening health issues. The newfound power of Martín means hiring his passion-fueled cousin Mo (Lindsay Rico), who provides a burst of energy essential to any good road trip story.\u003c/p>\n\u003cfigure id=\"attachment_13960265\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13960265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_104-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Duque-Estrada (Abelardo), Lindsay Rico (Mo), and Emilio Garcia-Sanchez (Martín Jodes) in ‘Mother Road,’ by Octavio Solis, at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joyous moments come as the trio barrels down Route 66 in their beat-up pickup truck. (The truck itself is one of the stars of the show, with many bells and whistles — even a restaurant complete with neon sign, inside the vehicle — designed by Tanya Orellana.) Yet the road is still filled with the dangers of modern society, especially when a brown man and queer brown woman are riding in a sketchy vehicle through unwelcoming locales.\u003c/p>\n\u003cp>Anyone who loves \u003cem>The Grapes of Wrath\u003c/em> will be pleased to engage in this adaptation. Several Easter eggs recall the harrowing nature of the Joad family. As in the novel, the dream of acquiring land and the role of protectors expanding in this modern universe is ever-present. There is a luscious excitement in connecting the brutal parallels of Tom and Martín, with each tasked to deliver critical oration that punctuates the story. (Sound by Jake Rodriguez and original music by Ritmos Tropicosmos provide scintillating texture.)\u003c/p>\n\u003cp>What Garcia-Sanchez’s performance lacks in variety is made up for by his brooding intensity. Paired with Carpenter, a veteran of the highest order, their chemistry can sometimes be hit-or-miss. They craft a bond that isn’t always fluid, but their willingness to engage and share each of their character’s vulnerabilities pushes the story toward a satisfying, powerful denouement.\u003c/p>\n\u003cfigure id=\"attachment_13960263\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13960263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/MTR_137-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Michael Moreland Milligan (Roger), Benny Wayne Sully (Curtis), Emilio Garcia-Sanchez (Martín Jodes), Courtney Walsh (Ivy), and Branden Davon Lindsay (James) in ‘Mother Road,’ by Octavio Solis, at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The multiple characterizations of the cast are highlighted beautifully by Álvarez, who lets her various characters breathe inside some powerful discoveries. Solis emphasizes multiple stylings and humor in his narrative; one of the most effective moments comes when Álvarez delivers some critical words in Spanish. Rico’s Mo offers up laughs in some nice setups, while in one embattled moment, her range powerfully comes into play.\u003c/p>\n\u003cp>While \u003cem>Mother Road\u003c/em> could use a bit of trimming to tighten its narrative, the story still has a gripping power, coming from some of the greatest source material in literature. Solis handles his inspiration from Steinbeck with aplomb, and \u003cem>Mother Road\u003c/em> accentuates one devastating fact consistently: In a world that has always offered more danger than respite to its most marginalized, sometimes the best thing to do is hit the pavement hard and “dale gas,” no matter what.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mother Road’ runs through Sunday, July 21 at Berkeley Repertory Theatre. \u003ca href=\"https://www.berkeleyrep.org/shows/mother-road/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960254/review-mother-road-berkeley-rep-octavio-solis","authors":["11905"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1237","arts_10278","arts_22192","arts_22193","arts_769"],"featImg":"arts_13960262","label":"arts_140"},"arts_13959654":{"type":"posts","id":"arts_13959654","meta":{"index":"posts_1716263798","site":"arts","id":"13959654","score":null,"sort":[1718233420000]},"guestAuthors":[],"slug":"sanctuary-play-san-francisco-black-queer-joy-church-dance-mission-theater","title":"New Ways of Expressing Black Queer Joy In the Church","publishDate":1718233420,"format":"aside","headTitle":"New Ways of Expressing Black Queer Joy In the Church | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13959660\" class=\"wp-caption aligncenter\" style=\"max-width: 1228px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13959660 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09%E2%80%AFAM.png\" alt=\"Singer and thespian, 3LISE, with a fierce black church hat and purple fan.\" width=\"1228\" height=\"1628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM.png 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-800x1061.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-1020x1352.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-768x1018.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-1159x1536.png 1159w\" sizes=\"(max-width: 1228px) 100vw, 1228px\">\u003cfigcaption class=\"wp-caption-text\">Singer and thespian 3LISE is the music director and songwriter for the play, ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a performance at The Chapel a couple years ago, singer ASTU was in the middle of performing the song “\u003ca href=\"https://www.youtube.com/watch?v=EOaSD7_vlAU\">G4U\u003c/a>” when their band broke into a gospel melody. Still in performance mode, ASTU called folks to the front of the venue — and the crowd responded.\u003c/p>\n\u003cp>“We had all these Black gay girls twerking to gospel music,” ASTU reflects, on a recent phone call. “I’m like, ‘This is church, \u003cem>literally\u003c/em>.’ People were just totally free. It was an incredible feeling.”\u003c/p>\n\u003cfigure id=\"attachment_13959663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13959663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29%E2%80%AFAM-800x1066.png\" alt=\"Jaz on Drums at a rehearsal for the play, Sanctuary. \" width=\"800\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-800x1066.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-1020x1359.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-768x1023.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-1153x1536.png 1153w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM.png 1234w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jaz on Drums at a rehearsal for the play ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling inspired the new play ‘\u003cem>\u003ca href=\"https://www.eventbrite.com/e/sanctuary-tickets-available-for-friday-june-14th-saturday-june-15th-tickets-893723831037?\">Sanctuary\u003c/a>\u003c/em>,’ a musical journey through church and spirituality that’s steeped in Afro-fantasy and queer joy. The story, written by \u003ca href=\"https://www.instagram.com/astu.music/\" target=\"_blank\" rel=\"noopener\">ASTU\u003c/a> and \u003ca href=\"https://www.instagram.com/isntshelovey/\">Lovey\u003c/a> and made possible by a grant from the \u003ca href=\"https://18thstreet.org/californiacreativecorps/#ASTU\">18th Street Arts Center\u003c/a> and support from \u003ca href=\"https://www.sfcenter.org/\">SF LGBT Center\u003c/a>, features original music from ASTU, \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/\">AroMa\u003c/a> and \u003ca href=\"https://www.instagram.com/3lisemusic/\">3LISE\u003c/a>\u003c/p>\n\u003cp>“The message,” ASTU says, “is that we start in victory. On top, in the church.” Part of reimagining spirituality through the church, they explain, is uplifting the idea of coming from abundance, not from a deficit. And with that, the ways in which we connect with the divine can shift.\u003c/p>\n\u003cp>[aside postID='arts_13825157']“In the Black church,” says ASTU, “music has been something that has saved us, across the diaspora.” As a former preacher who stepped away from the family practice to pursue their own dream, ASTU says they still enjoy the music — they will literally throw their hands in the air while dancing to gospel. “It just frees you,” ASTU says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And they’re clear that showing a new way to express joy in the church — like twerking — might ruffle some feathers. But that’s not going to stop them from doing it. “To reclaim that space as a gay Black femme person, there’s something incredible about that,” says ASTU.\u003c/p>\n\u003cfigure id=\"attachment_13959665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13959665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53%E2%80%AFAM-800x596.png\" alt=\"A behind the scenes shot of Wesley Leonx, Mia Pixley, and Chanelle Ignant rehearsing for the play 'Sanctuary.' \" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-800x596.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1020x760.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1536x1145.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-2048x1527.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1920x1431.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A behind-the-scenes shot of Wesley Leonx, Mia Pixley and Chanelle Ignant rehearsing for the play ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, as in life, there will be moments of both pain and joy. But what matters in the end is surrendering to ourselves, finding peace and honoring all of the parts of ourselves, says ASTU: “That’s kind of the journey we go on throughout the play.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sanctuary’ runs Friday and Saturday, June 14 and 15, at \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a> in San Francisco. Admission is free. \u003ca href=\"https://dancemissiontheater.org/2024/04/18/june-14-15-sanctuary/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Sanctuary,' a musical journey through the Black church, reimagines the spiritual experience.","status":"publish","parent":0,"modified":1718238111,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":460},"headData":{"title":"'Sanctuary' Explores New Expressions of Black Queer Joy In the Church | KQED","description":"'Sanctuary,' a musical journey through the Black church, reimagines the spiritual experience.","ogTitle":"New Ways of Expressing Black Queer Joy In the Church","ogDescription":"","ogImgId":"","twTitle":"New Ways of Expressing Black Queer Joy In the Church","twDescription":"","twImgId":"","socialTitle":"'Sanctuary' Explores New Expressions of Black Queer Joy In the Church %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"New Ways of Expressing Black Queer Joy In the Church","datePublished":"2024-06-12T16:03:40-07:00","dateModified":"2024-06-12T17:21:51-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13959654","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959654/sanctuary-play-san-francisco-black-queer-joy-church-dance-mission-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959660\" class=\"wp-caption aligncenter\" style=\"max-width: 1228px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13959660 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09%E2%80%AFAM.png\" alt=\"Singer and thespian, 3LISE, with a fierce black church hat and purple fan.\" width=\"1228\" height=\"1628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM.png 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-800x1061.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-1020x1352.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-768x1018.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-1159x1536.png 1159w\" sizes=\"(max-width: 1228px) 100vw, 1228px\">\u003cfigcaption class=\"wp-caption-text\">Singer and thespian 3LISE is the music director and songwriter for the play, ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a performance at The Chapel a couple years ago, singer ASTU was in the middle of performing the song “\u003ca href=\"https://www.youtube.com/watch?v=EOaSD7_vlAU\">G4U\u003c/a>” when their band broke into a gospel melody. Still in performance mode, ASTU called folks to the front of the venue — and the crowd responded.\u003c/p>\n\u003cp>“We had all these Black gay girls twerking to gospel music,” ASTU reflects, on a recent phone call. “I’m like, ‘This is church, \u003cem>literally\u003c/em>.’ People were just totally free. It was an incredible feeling.”\u003c/p>\n\u003cfigure id=\"attachment_13959663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13959663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29%E2%80%AFAM-800x1066.png\" alt=\"Jaz on Drums at a rehearsal for the play, Sanctuary. \" width=\"800\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-800x1066.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-1020x1359.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-768x1023.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-1153x1536.png 1153w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM.png 1234w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jaz on Drums at a rehearsal for the play ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling inspired the new play ‘\u003cem>\u003ca href=\"https://www.eventbrite.com/e/sanctuary-tickets-available-for-friday-june-14th-saturday-june-15th-tickets-893723831037?\">Sanctuary\u003c/a>\u003c/em>,’ a musical journey through church and spirituality that’s steeped in Afro-fantasy and queer joy. The story, written by \u003ca href=\"https://www.instagram.com/astu.music/\" target=\"_blank\" rel=\"noopener\">ASTU\u003c/a> and \u003ca href=\"https://www.instagram.com/isntshelovey/\">Lovey\u003c/a> and made possible by a grant from the \u003ca href=\"https://18thstreet.org/californiacreativecorps/#ASTU\">18th Street Arts Center\u003c/a> and support from \u003ca href=\"https://www.sfcenter.org/\">SF LGBT Center\u003c/a>, features original music from ASTU, \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/\">AroMa\u003c/a> and \u003ca href=\"https://www.instagram.com/3lisemusic/\">3LISE\u003c/a>\u003c/p>\n\u003cp>“The message,” ASTU says, “is that we start in victory. On top, in the church.” Part of reimagining spirituality through the church, they explain, is uplifting the idea of coming from abundance, not from a deficit. And with that, the ways in which we connect with the divine can shift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13825157","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“In the Black church,” says ASTU, “music has been something that has saved us, across the diaspora.” As a former preacher who stepped away from the family practice to pursue their own dream, ASTU says they still enjoy the music — they will literally throw their hands in the air while dancing to gospel. “It just frees you,” ASTU says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And they’re clear that showing a new way to express joy in the church — like twerking — might ruffle some feathers. But that’s not going to stop them from doing it. “To reclaim that space as a gay Black femme person, there’s something incredible about that,” says ASTU.\u003c/p>\n\u003cfigure id=\"attachment_13959665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13959665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53%E2%80%AFAM-800x596.png\" alt=\"A behind the scenes shot of Wesley Leonx, Mia Pixley, and Chanelle Ignant rehearsing for the play 'Sanctuary.' \" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-800x596.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1020x760.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1536x1145.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-2048x1527.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1920x1431.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A behind-the-scenes shot of Wesley Leonx, Mia Pixley and Chanelle Ignant rehearsing for the play ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, as in life, there will be moments of both pain and joy. But what matters in the end is surrendering to ourselves, finding peace and honoring all of the parts of ourselves, says ASTU: “That’s kind of the journey we go on throughout the play.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sanctuary’ runs Friday and Saturday, June 14 and 15, at \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a> in San Francisco. Admission is free. \u003ca href=\"https://dancemissiontheater.org/2024/04/18/june-14-15-sanctuary/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959654/sanctuary-play-san-francisco-black-queer-joy-church-dance-mission-theater","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_967"],"tags":["arts_22187","arts_21905","arts_585"],"featImg":"arts_13959732","label":"arts_140"},"arts_13959524":{"type":"posts","id":"arts_13959524","meta":{"index":"posts_1716263798","site":"arts","id":"13959524","score":null,"sort":[1718204456000]},"guestAuthors":[],"slug":"biko-eisen-martin-3rd-and-palou-bayview-ruth-williams-opera-house-juneteenth","title":"Biko Eisen-Martin’s New Play Grapples With a 1966 Uprising in Hunters Point","publishDate":1718204456,"format":"standard","headTitle":"Biko Eisen-Martin’s New Play Grapples With a 1966 Uprising in Hunters Point | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>While the Vietnam War raged in 1966, and the onset of California’s prison industrial complex began to ravage Black and low-income communities in a dreadfully systematic way, San Francisco’s Hunters Point residents were hurled onto the frontlines of their own conflict. On Sept. 27 of that year, the Third Street Riot (or \u003ca href=\"https://www.foundsf.org/index.php?title=Hunters_Point_Uprising\">Hunters Point Uprising\u003c/a>) ignited after an SFPD officer killed Matthew “Peanut” Johnson — a neighborhood teenager the police were pursuing after a crime.\u003c/p>\n\u003cp>Johnson’s violent — and presumably racially motivated — death ignited a series of community actions that crescendoed with a citywide outbreak of demands for justice. Though largely overlooked in modern history (despite being \u003ca href=\"https://www.blackpast.org/african-american-history/hunter-s-point-san-francisco-uprising-1966/\">the largest riot in San Francisco history at the time\u003c/a>), the event offers a critical look at San Francisco’s decades-long struggles with racial segregation, police brutality and community neglect.\u003c/p>\n\u003cfigure id=\"attachment_13959620\" class=\"wp-caption alignright\" style=\"max-width: 727px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5.jpeg\" alt=\"Black-and-white headshot of man with facial hair\" width=\"727\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5.jpeg 727w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5-160x209.jpeg 160w\" sizes=\"(max-width: 727px) 100vw, 727px\">\u003cfigcaption class=\"wp-caption-text\">Biko Eisen-Martin. \u003ccite>(Jeremiah Cumberbatch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For local actor and filmmaker \u003ca href=\"https://www.instagram.com/saybiko/?hl=en\">Biko Eisen-Martin\u003c/a>, it’s an essential chapter of San Francisco’s past that has yet to be fully excavated by the public. For him, growing up in San Francisco and listening to his family members and elders speak about the revolutionary time inspired Eisen-Martin to write and direct \u003ca href=\"https://www.bikoeisenmartin.com/3rd-palou\">\u003ci>3rd and Palou\u003c/i>\u003c/a> — a community-centered performance premiering as a staged reading at the historic \u003ca href=\"https://rwoh.org/#\">Ruth Williams Opera House\u003c/a> (also known as the Bayview Opera House) on the night of Juneteenth.\u003c/p>\n\u003cp>“This is based on community testimonies. Right now, there isn’t a pipeline for these stories. This isn’t stuff that is readily available; it hasn’t been properly archived,” Eisen-Martin says. “But it happened right here on Third Street. There were tanks rolling down the streets of San Francisco. There are still bullet holes in the Bayview Opera House from it all. That’s why I wanted to make [the Opera House] ground zero and activate the community.”\u003c/p>\n\u003cp>Directly inspired by Eisen-Martin’s godmother, Ida McCrae — who was a teenager navigating issues of patriarchy, racism and rising incarceration at the time — the play is a semi-biographical coming-of-age tale that focuses deeply on one woman’s experience, rather than trying to abstractly retell the story of the entire uprising itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[McCrae] is a revolutionary with a long, rich story,” says Eisen-Martin. “This is just a clip of it all. One year before the riots, the Youth Authority opened, \u003ca href=\"https://ojp.gov/pdffiles1/Digitization/14214NCJRS.pdf\">a huge prison\u003c/a> where Bay Area youth were sent. Ida was a victim of that.”\u003c/p>\n\u003cp>As a theatrical performance, \u003ci>3rd & Palou\u003c/i> is a dramatized depiction that takes creative liberties. But the core of McCrae’s story — who Eisen-Martin interviewed extensively while scripting his play — is central to much larger truths about Northern California’s Black communities, going far beyond just Hunters Point (the riots eventually spilled into other Black neighborhoods around San Francisco).\u003c/p>\n\u003cfigure id=\"attachment_13959621\" class=\"wp-caption aligncenter\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4.jpeg\" alt=\"Black-and-white photograph of police crouched in street with guns while people stand in doorway of building \" width=\"618\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4.jpeg 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4-160x104.jpeg 160w\" sizes=\"(max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">The Bayview-Hunters Point Community Center under siege during the 1966 uprising. \u003ccite>(Photo by Jean-Antony Du Lac; Courtesy San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a moment in time but it’s also a microcosm of what we still see today,” he continues. “At the time, learning about imperialism was at the forefront of popular consciousness. Reading political magazines was a day to day thing, not just a subculture. [During the testimonies], I really could see the love the community had for each other back then. We need an entire curriculum, films, books about this. I’m just trying to be a spark; it’s a big, old oven full of stuff, and this is just the preheating.”\u003c/p>\n\u003cp>[aside postID='arts_13958706']Additional research on Eisen-Martin’s part included correspondence with Stanford PhD candidate \u003ca href=\"https://history.stanford.edu/people/aliyah-dunn-salahuddin\">Aliyah Dunn-Salahuddin\u003c/a> — who was formerly the head of the African American Studies department at the City College of San Francisco. Her dissertation, “A Forgotten Community, A Forgotten History: San Francisco’s 1966 Uprising” was excerpted in \u003ci>\u003ca href=\"https://nyupress.org/9781479820337/the-strange-careers-of-the-jim-crow-north/\">The Strange Careers of the Jim Crow North: Segregation and Struggle Outside of the South\u003c/a>\u003c/i>, which Eisen-Martin heavily referenced while weaving together various threads for his own work.\u003c/p>\n\u003cp>A former teacher at Berkeley High School and a product of the Bay Area’s \u003ca href=\"https://youthspeaks.org/\">Youth Speaks\u003c/a> program for rising poets, Eisen-Martin has been comfortable with standing in front of an audience since he was able to walk. His mother, Arlene Eisen, was active in exposing Biko’s (as well as his older brother, San Francisco’s Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\">Tongo Eisen-Martin\u003c/a>) to the Bay Area’s diverse tapestry of arts, activism and community organizing. Offering free acting classes and directly asking for the community’s feedback is a part of Biko’s everyday existence as a writer and actor with generational ties to Frisco’s Black histories.\u003c/p>\n\u003cp>In both San Francisco and New York City — where the artist splits his time working and performing — Eisen-Martin is all too familiar with the erasure of not just the arts, but the deep-seated stories in communities who have long fostered them.\u003c/p>\n\u003cp>“It’s a great feeling to do a show off Broadway, being in New York and spilling out into the street with all the big lights, but there’s something to being in your own community and activating the future of your community with a craft you love and watching others fall in love with it, too,” says Eisen-Martin. “We don’t need the big lights, they need us. Some of the work gets shine, some doesn’t; but the work is what has a lasting impression.”\u003c/p>\n\u003cp>Eisen-Martin makes clear that he doesn’t have any answers. But, as poets and artists in times of struggle often do, he’s willing to ask questions in search of catharsis and healing.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘3rd & Palou’ takes place as a free staged reading at the \u003ca href=\"https://rwoh.org/#\">Ruth Williams Opera House\u003c/a> (4705 Third St., San Francisco) on June 19, 2024 at 7 p.m.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Community testimonies inform this free, staged reading on Juneteenth at the Ruth Williams Opera House.","status":"publish","parent":0,"modified":1718218786,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1045},"headData":{"title":"‘3rd & Palou’: Biko Eisen-Martin’s New Play About a 1966 Uprising | KQED","description":"Community testimonies inform this free, staged reading on Juneteenth at the Ruth Williams Opera House.","ogTitle":"Biko Eisen-Martin’s New Play Grapples With a 1966 Uprising in Hunters Point","ogDescription":"","ogImgId":"","twTitle":"Biko Eisen-Martin’s New Play Grapples With a 1966 Uprising in Hunters Point","twDescription":"","twImgId":"","socialTitle":"‘3rd & Palou’: Biko Eisen-Martin’s New Play About a 1966 Uprising %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Biko Eisen-Martin’s New Play Grapples With a 1966 Uprising in Hunters Point","datePublished":"2024-06-12T08:00:56-07:00","dateModified":"2024-06-12T11:59:46-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13959524","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959524/biko-eisen-martin-3rd-and-palou-bayview-ruth-williams-opera-house-juneteenth","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the Vietnam War raged in 1966, and the onset of California’s prison industrial complex began to ravage Black and low-income communities in a dreadfully systematic way, San Francisco’s Hunters Point residents were hurled onto the frontlines of their own conflict. On Sept. 27 of that year, the Third Street Riot (or \u003ca href=\"https://www.foundsf.org/index.php?title=Hunters_Point_Uprising\">Hunters Point Uprising\u003c/a>) ignited after an SFPD officer killed Matthew “Peanut” Johnson — a neighborhood teenager the police were pursuing after a crime.\u003c/p>\n\u003cp>Johnson’s violent — and presumably racially motivated — death ignited a series of community actions that crescendoed with a citywide outbreak of demands for justice. Though largely overlooked in modern history (despite being \u003ca href=\"https://www.blackpast.org/african-american-history/hunter-s-point-san-francisco-uprising-1966/\">the largest riot in San Francisco history at the time\u003c/a>), the event offers a critical look at San Francisco’s decades-long struggles with racial segregation, police brutality and community neglect.\u003c/p>\n\u003cfigure id=\"attachment_13959620\" class=\"wp-caption alignright\" style=\"max-width: 727px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5.jpeg\" alt=\"Black-and-white headshot of man with facial hair\" width=\"727\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5.jpeg 727w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5-160x209.jpeg 160w\" sizes=\"(max-width: 727px) 100vw, 727px\">\u003cfigcaption class=\"wp-caption-text\">Biko Eisen-Martin. \u003ccite>(Jeremiah Cumberbatch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For local actor and filmmaker \u003ca href=\"https://www.instagram.com/saybiko/?hl=en\">Biko Eisen-Martin\u003c/a>, it’s an essential chapter of San Francisco’s past that has yet to be fully excavated by the public. For him, growing up in San Francisco and listening to his family members and elders speak about the revolutionary time inspired Eisen-Martin to write and direct \u003ca href=\"https://www.bikoeisenmartin.com/3rd-palou\">\u003ci>3rd and Palou\u003c/i>\u003c/a> — a community-centered performance premiering as a staged reading at the historic \u003ca href=\"https://rwoh.org/#\">Ruth Williams Opera House\u003c/a> (also known as the Bayview Opera House) on the night of Juneteenth.\u003c/p>\n\u003cp>“This is based on community testimonies. Right now, there isn’t a pipeline for these stories. This isn’t stuff that is readily available; it hasn’t been properly archived,” Eisen-Martin says. “But it happened right here on Third Street. There were tanks rolling down the streets of San Francisco. There are still bullet holes in the Bayview Opera House from it all. That’s why I wanted to make [the Opera House] ground zero and activate the community.”\u003c/p>\n\u003cp>Directly inspired by Eisen-Martin’s godmother, Ida McCrae — who was a teenager navigating issues of patriarchy, racism and rising incarceration at the time — the play is a semi-biographical coming-of-age tale that focuses deeply on one woman’s experience, rather than trying to abstractly retell the story of the entire uprising itself.\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>“[McCrae] is a revolutionary with a long, rich story,” says Eisen-Martin. “This is just a clip of it all. One year before the riots, the Youth Authority opened, \u003ca href=\"https://ojp.gov/pdffiles1/Digitization/14214NCJRS.pdf\">a huge prison\u003c/a> where Bay Area youth were sent. Ida was a victim of that.”\u003c/p>\n\u003cp>As a theatrical performance, \u003ci>3rd & Palou\u003c/i> is a dramatized depiction that takes creative liberties. But the core of McCrae’s story — who Eisen-Martin interviewed extensively while scripting his play — is central to much larger truths about Northern California’s Black communities, going far beyond just Hunters Point (the riots eventually spilled into other Black neighborhoods around San Francisco).\u003c/p>\n\u003cfigure id=\"attachment_13959621\" class=\"wp-caption aligncenter\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4.jpeg\" alt=\"Black-and-white photograph of police crouched in street with guns while people stand in doorway of building \" width=\"618\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4.jpeg 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4-160x104.jpeg 160w\" sizes=\"(max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">The Bayview-Hunters Point Community Center under siege during the 1966 uprising. \u003ccite>(Photo by Jean-Antony Du Lac; Courtesy San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a moment in time but it’s also a microcosm of what we still see today,” he continues. “At the time, learning about imperialism was at the forefront of popular consciousness. Reading political magazines was a day to day thing, not just a subculture. [During the testimonies], I really could see the love the community had for each other back then. We need an entire curriculum, films, books about this. I’m just trying to be a spark; it’s a big, old oven full of stuff, and this is just the preheating.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958706","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Additional research on Eisen-Martin’s part included correspondence with Stanford PhD candidate \u003ca href=\"https://history.stanford.edu/people/aliyah-dunn-salahuddin\">Aliyah Dunn-Salahuddin\u003c/a> — who was formerly the head of the African American Studies department at the City College of San Francisco. Her dissertation, “A Forgotten Community, A Forgotten History: San Francisco’s 1966 Uprising” was excerpted in \u003ci>\u003ca href=\"https://nyupress.org/9781479820337/the-strange-careers-of-the-jim-crow-north/\">The Strange Careers of the Jim Crow North: Segregation and Struggle Outside of the South\u003c/a>\u003c/i>, which Eisen-Martin heavily referenced while weaving together various threads for his own work.\u003c/p>\n\u003cp>A former teacher at Berkeley High School and a product of the Bay Area’s \u003ca href=\"https://youthspeaks.org/\">Youth Speaks\u003c/a> program for rising poets, Eisen-Martin has been comfortable with standing in front of an audience since he was able to walk. His mother, Arlene Eisen, was active in exposing Biko’s (as well as his older brother, San Francisco’s Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\">Tongo Eisen-Martin\u003c/a>) to the Bay Area’s diverse tapestry of arts, activism and community organizing. Offering free acting classes and directly asking for the community’s feedback is a part of Biko’s everyday existence as a writer and actor with generational ties to Frisco’s Black histories.\u003c/p>\n\u003cp>In both San Francisco and New York City — where the artist splits his time working and performing — Eisen-Martin is all too familiar with the erasure of not just the arts, but the deep-seated stories in communities who have long fostered them.\u003c/p>\n\u003cp>“It’s a great feeling to do a show off Broadway, being in New York and spilling out into the street with all the big lights, but there’s something to being in your own community and activating the future of your community with a craft you love and watching others fall in love with it, too,” says Eisen-Martin. “We don’t need the big lights, they need us. Some of the work gets shine, some doesn’t; but the work is what has a lasting impression.”\u003c/p>\n\u003cp>Eisen-Martin makes clear that he doesn’t have any answers. But, as poets and artists in times of struggle often do, he’s willing to ask questions in search of catharsis and healing.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘3rd & Palou’ takes place as a free staged reading at the \u003ca href=\"https://rwoh.org/#\">Ruth Williams Opera House\u003c/a> (4705 Third St., San Francisco) on June 19, 2024 at 7 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959524/biko-eisen-martin-3rd-and-palou-bayview-ruth-williams-opera-house-juneteenth","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_967"],"tags":["arts_4018","arts_4017","arts_7465","arts_1146","arts_1072","arts_585"],"featImg":"arts_13959619","label":"arts_140"},"arts_13959026":{"type":"posts","id":"arts_13959026","meta":{"index":"posts_1716263798","site":"arts","id":"13959026","score":null,"sort":[1717444131000]},"guestAuthors":[],"slug":"innocence-sf-opera-review-san-francisco-school-shooting-kaija-saariaho","title":"‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting","publishDate":1717444131,"format":"standard","headTitle":"‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n","blocks":[],"excerpt":"Probing the lasting agony caused by a school shooting, ‘Innocence’ is an unforgettable triumph.","status":"publish","parent":0,"modified":1717539906,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1010},"headData":{"title":"‘Innocence’ at SF Opera: A Masterwork About a School Shooting | KQED","description":"Probing the lasting agony caused by a school shooting, ‘Innocence’ is an unforgettable triumph.","ogTitle":"‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting","ogDescription":"","ogImgId":"","twTitle":"‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting","twDescription":"","twImgId":"","socialTitle":"‘Innocence’ at SF Opera: A Masterwork About a School Shooting %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Innocence’ at SF Opera: An Astonishing Masterwork About a School Shooting","datePublished":"2024-06-03T12:48:51-07:00","dateModified":"2024-06-04T15:25:06-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13959026","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959026/innocence-sf-opera-review-san-francisco-school-shooting-kaija-saariaho","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959026/innocence-sf-opera-review-san-francisco-school-shooting-kaija-saariaho","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_967"],"tags":["arts_1312","arts_10278","arts_3081","arts_1146","arts_22172","arts_3316","arts_585","arts_22171"],"featImg":"arts_13959110","label":"arts_140"},"arts_13958910":{"type":"posts","id":"arts_13958910","meta":{"index":"posts_1716263798","site":"arts","id":"13958910","score":null,"sort":[1717178730000]},"guestAuthors":[],"slug":"the-lehman-trilogy-review-san-francisco-act","title":"‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance","publishDate":1717178730,"format":"standard","headTitle":"‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>The Lehman Trilogy\u003c/em>, which opened at A.C.T. Wednesday in San Francisco, is a three-and-a-half hour tour de force of impeccable acting talent. On Broadway, it won five Tony Awards, including Best Play. It is a thrill to watch. It will also evaporate your faith in this country’s financial system, and the willingness of theater to challenge its abuses.\u003c/p>\n\u003cp>A chronological telling of the Lehman Brothers as both a family and a company, the play opens in 1844, when Henry Lehman arrives in New York from Bavaria. Filled with reverence for the promise of America, he moves to Montgomery, Alabama, and is soon joined by his brothers Emanuel and Mayer, who help run the Lehman general store.\u003c/p>\n\u003cfigure id=\"attachment_13958916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), and Howard W. Overshown (Emanuel Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over three acts, the Lehmans serve as a proxy for a history of U.S. finance. Slavery, the Civil War, various tragedies and downturns — the Lehmans, as middlemen, find a way to profit from all of it. They go from buying and selling commodities to investing their millions into industry, technology and, ultimately, the intangible concept of investing itself. (As one character bellows: “Money is a ghost! Money is numbers! Money is air!”)\u003c/p>\n\u003cp>Every actor on stage delivers jaw-dropping performances. In \u003cem>The Lehman Trilogy\u003c/em>’s masterclass, actors John Hefferman, Aaron Krohn and Howard W. Overshown play their roles, narrate the action, occupy new characters and impersonate others, often in the same 10-second span. With exact pacing from famed director Sam Mendes, and a taut script by Stefano Massini, these are experts at their craft. The set design by Es Devlin is similarly dazzling — a plain office of boxes and furniture on a turntable, constantly and imaginatively transformed against a semicircle of projected backdrops.\u003c/p>\n\u003cfigure id=\"attachment_13958919\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), and Aaron Krohn (Mayer Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the end of each act, I had to ask myself: Where is any sort of indictment for the Lehmans’ rampant greed and exploitation?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a Horatio Alger story of the opportunity of America, \u003cem>The Lehman Trilogy\u003c/em> too often lionizes rather than criticizes the firm that played a leading role in the financial collapse and subsequent Great Recession. It jumps from the 1960s to 2008 in a short matter of minutes, skipping entirely over the Reagan era, deregulation, the repeal of the Glass-Steagall Act, adjustable rate mortgages, credit default swaps, foreclosed homes and the many who suffered and died at the hands of Wall Street run amok.\u003c/p>\n\u003cfigure id=\"attachment_13958918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), Aaron Krohn (Mayer Lehman), and John Heffernan (Henry Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I repeat: the acting is astonishing. But while the play’s final image on stage is mesmerizing, after three and a half hours of humanizing the Lehman Brothers firm, the play doesn’t present its bankruptcy and collapse as comeuppance so much as a sad loss of one family’s American dream.\u003c/p>\n\u003cp>Thousands of other American families, meanwhile, would like a word.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lehman Trilogy’ runs through June 23 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/the-lehman-trilogy/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With top-notch acting, this glowing history of the global finance firm overlooks many of its abuses.","status":"publish","parent":0,"modified":1717365255,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":589},"headData":{"title":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance | KQED","description":"With top-notch acting, this glowing history of the global finance firm overlooks many of its abuses.","ogTitle":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance","ogDescription":"","ogImgId":"","twTitle":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance","twDescription":"","twImgId":"","socialTitle":"Review: 'The Lehman Trilogy' in San Francisco Is Too Kind to Finance %%page%% %%sep%% KQED","socialDescription":"With top-notch acting, this glowing history of the global finance firm overlooks many of its abuses.","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘The Lehman Trilogy’ at ACT: Phenomenal Acting, But Too Kind to Finance","datePublished":"2024-05-31T11:05:30-07:00","dateModified":"2024-06-02T14:54:15-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958910","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958910/the-lehman-trilogy-review-san-francisco-act","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Lehman Trilogy\u003c/em>, which opened at A.C.T. Wednesday in San Francisco, is a three-and-a-half hour tour de force of impeccable acting talent. On Broadway, it won five Tony Awards, including Best Play. It is a thrill to watch. It will also evaporate your faith in this country’s financial system, and the willingness of theater to challenge its abuses.\u003c/p>\n\u003cp>A chronological telling of the Lehman Brothers as both a family and a company, the play opens in 1844, when Henry Lehman arrives in New York from Bavaria. Filled with reverence for the promise of America, he moves to Montgomery, Alabama, and is soon joined by his brothers Emanuel and Mayer, who help run the Lehman general store.\u003c/p>\n\u003cfigure id=\"attachment_13958916\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_112-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), and Howard W. Overshown (Emanuel Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over three acts, the Lehmans serve as a proxy for a history of U.S. finance. Slavery, the Civil War, various tragedies and downturns — the Lehmans, as middlemen, find a way to profit from all of it. They go from buying and selling commodities to investing their millions into industry, technology and, ultimately, the intangible concept of investing itself. (As one character bellows: “Money is a ghost! Money is numbers! Money is air!”)\u003c/p>\n\u003cp>Every actor on stage delivers jaw-dropping performances. In \u003cem>The Lehman Trilogy\u003c/em>’s masterclass, actors John Hefferman, Aaron Krohn and Howard W. Overshown play their roles, narrate the action, occupy new characters and impersonate others, often in the same 10-second span. With exact pacing from famed director Sam Mendes, and a taut script by Stefano Massini, these are experts at their craft. The set design by Es Devlin is similarly dazzling — a plain office of boxes and furniture on a turntable, constantly and imaginatively transformed against a semicircle of projected backdrops.\u003c/p>\n\u003cfigure id=\"attachment_13958919\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_053-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), and Aaron Krohn (Mayer Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at the end of each act, I had to ask myself: Where is any sort of indictment for the Lehmans’ rampant greed and exploitation?\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>As a Horatio Alger story of the opportunity of America, \u003cem>The Lehman Trilogy\u003c/em> too often lionizes rather than criticizes the firm that played a leading role in the financial collapse and subsequent Great Recession. It jumps from the 1960s to 2008 in a short matter of minutes, skipping entirely over the Reagan era, deregulation, the repeal of the Glass-Steagall Act, adjustable rate mortgages, credit default swaps, foreclosed homes and the many who suffered and died at the hands of Wall Street run amok.\u003c/p>\n\u003cfigure id=\"attachment_13958918\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LEH_236-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Howard W. Overshown (Emanuel Lehman), Aaron Krohn (Mayer Lehman), and John Heffernan (Henry Lehman) in ‘The Lehman Trilogy’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I repeat: the acting is astonishing. But while the play’s final image on stage is mesmerizing, after three and a half hours of humanizing the Lehman Brothers firm, the play doesn’t present its bankruptcy and collapse as comeuppance so much as a sad loss of one family’s American dream.\u003c/p>\n\u003cp>Thousands of other American families, meanwhile, would like a word.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lehman Trilogy’ runs through June 23 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/the-lehman-trilogy/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958910/the-lehman-trilogy-review-san-francisco-act","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1238","arts_1175","arts_10278","arts_769","arts_22168"],"featImg":"arts_13958920","label":"arts_140"},"arts_13958337":{"type":"posts","id":"arts_13958337","meta":{"index":"posts_1716263798","site":"arts","id":"13958337","score":null,"sort":[1716489206000]},"guestAuthors":[],"slug":"soroche-brava-theater-play-cuentero-productions-horror","title":"‘Soroche’ Brings High-Altitude Latin American Horror to SF’s Brava Theater","publishDate":1716489206,"format":"standard","headTitle":"‘Soroche’ Brings High-Altitude Latin American Horror to SF’s Brava Theater | KQED","labelTerm":{},"content":"\u003cp>There’s a certain beauty in translating literature from other languages — a delicate art of re-interpretation that requires a fusing of author and translator to create a third voice. Even more intricate is when a translation undergoes another level of filtration as it’s adapted from the written word into a stage performance.\u003c/p>\n\u003cp>That’s exactly what happened when the notable Ecuadorian writer \u003ca href=\"https://www.instagram.com/monaojedaf/?hl=en\">Mónica Ojeda\u003c/a>’s short story “Soroche” was picked up for translation by San Francisco’s \u003ca href=\"https://www.instagram.com/twolinespress/\">Two Lines Press\u003c/a>, then morphed into a live stage adaptation by \u003ca href=\"https://www.cuenteroproductions.com/cuentos/soroche\">Cuentero Productions\u003c/a> and the \u003ca href=\"https://www.catranslation.org/\">Center for the Art of Translation\u003c/a>.\u003c/p>\n\u003cp>Initially translated from Spanish to English by Sarah Booker and Noelle de la Paz, the story — which details the dizzying erosion of social relationships during a group trip gone wrong in the Andes — was first included in a short story collection titled \u003ca href=\"https://www.catranslation.org/shop/book/through-the-night-like-a-snake-2/\">\u003ci>Through the Night Like a Snake: Latin American Horror Stories\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Rather than taking on the trope of an external monster, Ojeda explores the psychological horrors of flawed friendships and everyday hypocrisies that lurk beneath the surface of our relationships. Under pressure, these are the fissures that can disastrously combust. Fueled by the dissolution of a sex scandal, broken trust and an abusive partner — and told through the alternating perspectives of a group of women friends — the story exposes the horrors of inescapable humiliation and social isolation in the modern world.\u003c/p>\n\u003cp>The sonically and psychologically layered performance is slated for one-night only at San Francisco’s Brava Theater on Thursday, June 6 at 7 p.m. The play stars Catalina Plata Guevara, MJ García, Claudia Andrea Escobar and Laura Ubaté.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Camilo Garzón is spearheading the story’s stage adaptation — with a keen focus on cinematic sound design. Garzón appreciates the story’s setting as a rich backdrop for the characters’ emotional and mental fracturing, and fully aims to bring the characters’ psychological dimensions to life with a suggestive, indirect touch.\u003c/p>\n\u003cp>“The story is horrifying. We don’t want to retraumatize people [since] it gravitates around revenge porn and an abusive relationship,” Garzón, a former NPR radio producer, says. “Instead, we emphasize the mountains, the wind. How can you feel like you’re in the Andes? How does the heartbeat go faster? The audience is smart, and we can use the power of suggestion. It’s about being immersed in an insidious, under your skin way. The soundscapes can transport you there.”\u003c/p>\n\u003cp>As a Colombian who was born and raised in the Andes, Garzón is in many ways the ideal candidate to create a theatrical experience about Latin Americans navigating the high-altitude environment. He mentions the story’s namesake, soroche (an indigenous Quechuan term referring to altitude sickness), or “mal de montaña,” a kind of physical distress that can occur in your lungs when adjusting to the shortage of oxygen.\u003c/p>\n\u003cp>“How do you take the air out of a room?” Garzón contemplates. As another kind of effect, one of the story’s characters will not appear physically on stage, and will instead only operate as a voice through the theater’s speakers. “We want to make it ghostly,” he says. “When a voice is disembodied and talking about how disembodied they’ve felt, it feels even more intrusive and creates the horror of this story.”\u003c/p>\n\u003cp>In thinking through the many layers of translation and adaptation — including cultural, literary and physical — Garzón emphasizes the collaborative efforts required, particularly as a man working on a story about the experiences of women. He takes care to shout out Laura Ubaté and Catherine Girardeau, who helped create the sonic landscape and consulted on audio adaptation. Fellow Andean Colombians Daniel Murcia and composer María Linares worked on the project as sound designer and composer, respectively.\u003c/p>\n\u003cp>Despite the challenges of reworking the story for the stage, Garzón hopes that the heaviest themes in Ojeda’s writing — the everyday terrors that women experience — are conveyed.\u003c/p>\n\u003cp>“Altitude sickness in this story is a metaphor for condescension and looking down on someone, but condescension and sexism are part of all of our lives,” he says. “Patriarchy is part of our lives. These are the kind of horrors that happen often and aren’t in your face, and because of that they’re the most important to dismantle. It can just be one more unsaid thing in a larger cycle of abuse.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Soroche’ takes place at Brava Theater (2781 24th St., San Francisco) on June 6, 2024 at 7 p.m. \u003ca href=\"https://www.instagram.com/medicinefornightmares/\">Medicine for Nightmares\u003c/a> will host a book sale before and after the performance. A Q&A session with translators Sarah Booker and Noelle de la Paz, and Two Lines Press editor Sarah Coolidge, will take place after the show. Tickets are available \u003ca href=\"https://www.eventbrite.com/e/two-lines-press-cuentero-productions-present-soroche-live-at-the-brava-tickets-891297594097?aff=oddtdtcreator\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"An Ecuadorian author’s short story gets a stage adaptation for a one-night-only performance.","status":"publish","parent":0,"modified":1718400065,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":864},"headData":{"title":"‘Soroche’ Brings High-Altitude Horror to Brava Theater | KQED","description":"An Ecuadorian author’s short story gets a stage adaptation for a one-night-only performance.","ogTitle":"‘Soroche’ Brings High-Altitude Latin American Horror to SF’s Brava Theater","ogDescription":"","ogImgId":"","twTitle":"‘Soroche’ Brings High-Altitude Latin American Horror to SF’s Brava Theater","twDescription":"","twImgId":"","socialTitle":"‘Soroche’ Brings High-Altitude Horror to Brava Theater %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Soroche’ Brings High-Altitude Latin American Horror to SF’s Brava Theater","datePublished":"2024-05-23T11:33:26-07:00","dateModified":"2024-06-14T14:21:05-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Do List","sourceUrl":"https://www.kqed.org/thedolist","sticky":false,"nprStoryId":"kqed-13958337","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958337/soroche-brava-theater-play-cuentero-productions-horror","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a certain beauty in translating literature from other languages — a delicate art of re-interpretation that requires a fusing of author and translator to create a third voice. Even more intricate is when a translation undergoes another level of filtration as it’s adapted from the written word into a stage performance.\u003c/p>\n\u003cp>That’s exactly what happened when the notable Ecuadorian writer \u003ca href=\"https://www.instagram.com/monaojedaf/?hl=en\">Mónica Ojeda\u003c/a>’s short story “Soroche” was picked up for translation by San Francisco’s \u003ca href=\"https://www.instagram.com/twolinespress/\">Two Lines Press\u003c/a>, then morphed into a live stage adaptation by \u003ca href=\"https://www.cuenteroproductions.com/cuentos/soroche\">Cuentero Productions\u003c/a> and the \u003ca href=\"https://www.catranslation.org/\">Center for the Art of Translation\u003c/a>.\u003c/p>\n\u003cp>Initially translated from Spanish to English by Sarah Booker and Noelle de la Paz, the story — which details the dizzying erosion of social relationships during a group trip gone wrong in the Andes — was first included in a short story collection titled \u003ca href=\"https://www.catranslation.org/shop/book/through-the-night-like-a-snake-2/\">\u003ci>Through the Night Like a Snake: Latin American Horror Stories\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Rather than taking on the trope of an external monster, Ojeda explores the psychological horrors of flawed friendships and everyday hypocrisies that lurk beneath the surface of our relationships. Under pressure, these are the fissures that can disastrously combust. Fueled by the dissolution of a sex scandal, broken trust and an abusive partner — and told through the alternating perspectives of a group of women friends — the story exposes the horrors of inescapable humiliation and social isolation in the modern world.\u003c/p>\n\u003cp>The sonically and psychologically layered performance is slated for one-night only at San Francisco’s Brava Theater on Thursday, June 6 at 7 p.m. The play stars Catalina Plata Guevara, MJ García, Claudia Andrea Escobar and Laura Ubaté.\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>Camilo Garzón is spearheading the story’s stage adaptation — with a keen focus on cinematic sound design. Garzón appreciates the story’s setting as a rich backdrop for the characters’ emotional and mental fracturing, and fully aims to bring the characters’ psychological dimensions to life with a suggestive, indirect touch.\u003c/p>\n\u003cp>“The story is horrifying. We don’t want to retraumatize people [since] it gravitates around revenge porn and an abusive relationship,” Garzón, a former NPR radio producer, says. “Instead, we emphasize the mountains, the wind. How can you feel like you’re in the Andes? How does the heartbeat go faster? The audience is smart, and we can use the power of suggestion. It’s about being immersed in an insidious, under your skin way. The soundscapes can transport you there.”\u003c/p>\n\u003cp>As a Colombian who was born and raised in the Andes, Garzón is in many ways the ideal candidate to create a theatrical experience about Latin Americans navigating the high-altitude environment. He mentions the story’s namesake, soroche (an indigenous Quechuan term referring to altitude sickness), or “mal de montaña,” a kind of physical distress that can occur in your lungs when adjusting to the shortage of oxygen.\u003c/p>\n\u003cp>“How do you take the air out of a room?” Garzón contemplates. As another kind of effect, one of the story’s characters will not appear physically on stage, and will instead only operate as a voice through the theater’s speakers. “We want to make it ghostly,” he says. “When a voice is disembodied and talking about how disembodied they’ve felt, it feels even more intrusive and creates the horror of this story.”\u003c/p>\n\u003cp>In thinking through the many layers of translation and adaptation — including cultural, literary and physical — Garzón emphasizes the collaborative efforts required, particularly as a man working on a story about the experiences of women. He takes care to shout out Laura Ubaté and Catherine Girardeau, who helped create the sonic landscape and consulted on audio adaptation. Fellow Andean Colombians Daniel Murcia and composer María Linares worked on the project as sound designer and composer, respectively.\u003c/p>\n\u003cp>Despite the challenges of reworking the story for the stage, Garzón hopes that the heaviest themes in Ojeda’s writing — the everyday terrors that women experience — are conveyed.\u003c/p>\n\u003cp>“Altitude sickness in this story is a metaphor for condescension and looking down on someone, but condescension and sexism are part of all of our lives,” he says. “Patriarchy is part of our lives. These are the kind of horrors that happen often and aren’t in your face, and because of that they’re the most important to dismantle. It can just be one more unsaid thing in a larger cycle of abuse.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Soroche’ takes place at Brava Theater (2781 24th St., San Francisco) on June 6, 2024 at 7 p.m. \u003ca href=\"https://www.instagram.com/medicinefornightmares/\">Medicine for Nightmares\u003c/a> will host a book sale before and after the performance. A Q&A session with translators Sarah Booker and Noelle de la Paz, and Two Lines Press editor Sarah Coolidge, will take place after the show. Tickets are available \u003ca href=\"https://www.eventbrite.com/e/two-lines-press-cuentero-productions-present-soroche-live-at-the-brava-tickets-891297594097?aff=oddtdtcreator\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958337/soroche-brava-theater-play-cuentero-productions-horror","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_967"],"tags":["arts_928","arts_1252","arts_5087","arts_14801","arts_1072","arts_585"],"featImg":"arts_13958359","label":"source_arts_13958337"}},"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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You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. 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