>> a lot a ton with the community and we say to ourselves, there is this one and this one. we all compartmentalize them, we have our own agenda.

our agenda is to create great work. if you are interested in that, you are part of our community. >> hello and welcome to brava theater. >> we are trying to figure out a way to make a space where theater and presentation of live work is something that you think of the same way that you think of going to the movies. of course, it has been complex in terms of economics, as it is for everyone now. artistically, we have done over 35 projects in four seasons, from producing dance, theater, presenting music, having a full- scale education program, and having more than 50,000 visitors in the building almost every year. a lot of our emerging artists to generate their first projects here, which is great.

then we continue to try to support figuring out where those works can go. we have been blessed to have that work produced in new york, going on to the edinburgh festival, the warsaw theater festival. to me, those are great things when you can watch artists who think there is nowhere else that might be interested in you being a woman of color and telling your story and then getting excited about it. that is our biggest accomplishment. having artists have become better artists. what is. sheri coming back to brava, here you have this establish, amazing writer who has won a clue -- slew of awards. now she gets to director and work. even though she is this amazing, established writer, the truth is, she is being nurtured as a director and is being given some space to direct.

>> the play is described as ceremony and -- where ceremony and theater me. in the indigenous tradition, when you turn 52, it is like the completion of an important era. the importance of the ceremony is to say, you are 52. whenever you have been caring for the first 52 years, it is time to let it go. really, here, they have given me carte blanche to do this. i think it is nice for me, in the sense of coming back 25 years later and seeing personally my own evolution as an artist and thinker. the whole effort to put the chicano or indigenous woman's experience on center stage is, in itself, for euro-american

theaters, a radical position. because of the state of theater, it is a hard roll to hold up in institution. it is a hard road. i am looking at where we are 25 years later in the bay area, looking at how hard it is for us to strive to keep our theater is going, etc. i like to think that i'm not struggling quite as hard, personally, but what i mean by that, the intention, the commitment. particularly, to produce works that would not be produced in other places, and also to really nurture women of color artists. i think that is something that has not shifted for me in those 25 years, and it is good to see that brava remains committed to that kind of work. ♪

>> when people talk about the reflection of the community, we can only go from what we have on our staff. we have a south asian managing director, south african artistic director, latino community out rich person. aside from the staff, the other people, artists that we work with being a reflection of us, yes, the community is changing, but brava has always tried to be ahead of that trend. when i came in, i tried to make it about the work that shows the eclectic mission district, as well as serving the mission. those are the types of things that i feel build one brava is

doing a special series about staying safe. let's look at issues of water and sewer. we are here at the san francisco

urban center on mission street in san francisco and i'm joined today by marrielen from puc and talk about water and sewer issues. what are things we should be concerned about water. >> you want to be prepared for that scenario and the recommendation is to have stored 1 gallon per person per day that you are out of water. we recommend that you have at least 3-5 days for each person and also keep in consideration storage needs for your pets and think about the size of your pets and how much water they consume. >> the storage which is using tap water which you are going to encourage. >> right. of course at the puc we recommend that you store our wonderful delicious tap water. it's free. it comes out of the tap and you can store it in any plastic container, a clean

plastic container for up to 6 months. so find a container, fill it with water and label it and rotate it out. i use it to water my garden. >> of course everyone has plastic bottles which we are not really promoting but it is a common way to store it. >> yes. it's an easy way to pick up bottles to store it. just make sure you check the label. this one says june 2013. so convenient you have an end date on it. >> and there are other places where people have water stored in their houses. >> sure. if you have a water heater or access to the water heater to your house, you can drink that water and you can also drink the water that the in the tank of your toilet. ; not the bowl but in your tank. in any case if you are not totally sure about the age of

your water or if you are not sure about it being totally clean, you can treat your water at home. there is two ways that you can treat your water at home and one is to use basic household bleach. the recommendation is 8 drops of bleach for ever gallon of water. you add 8 drops of bleach into the water and it needs to sit for 30 minutes. the other option is to boil water. you need to boil water for 5-10 minutes. after an earthquake that may not be an option as gas maybe turned off and we may not have power. the other thing is that puc will provide information as quickly as possible about recommendations about whether the water is okay to drink or need to treat it. we have a number of twice get information

from the puc through twitter and facebook and our website sf water.org. >> people should not drink water from pools or spas. but they could use it to flush their toilets if their source are not broken. let's look at those issues. >> sanitation is another issue and something people don't usually or like to think about it but it's the reality. very likely that without water you can't flush and the sewer system can be impeded or affected during an earthquake. you need to think about sanitation. the options are simple. we recommend a set up if you are able to stay in your building or house to make sure that you have heavy duty trash bags available. you can set this up within your existing toilet bowl and once it's used.

you take a little bit of our bleach. we talked about it earlier from the water. you seal the bag completely. you make sure you mark the bag as human waste and set it aside and wait for instruction about how to dispose of it. be very aware of cleanliness and make sure you have wipes so folks are able to wash up when dealing with the sanitation issue. >> thank you so much,

>> hi. i am cory with san francisco and we're doing stay safe and we're going to talk about what shelter in place or safe enough to stay in your

home means. we're here at the urban center on mission street in san francisco and joined by carla, the deputy director of spur and one of the persons who pushed this shelter in place and safe enough to stay concept and we want to talk about what it means and why it's important to san francisco. >> as you know the bay area as 63% chance of having a major earthquake and it's serious and going to impact a lot of people and particularly people in san francisco because we live on a major fault so what does this mean for us? part of what it means is that potentially 25% of san francisco's building stock

will be uninhibit tabl and people can't stay in their homes after an earthquake. they may have to go to shelters or leave entirely and we don't want that to happen. >> we want a building stock to encourage them to stay in the homes and encourage them to stay and not relocate to other locations and shelters. >> that's right so that means the housing needs to be safe enough to stay and we have been focused in trying to define what that means and you as a former building official knows better than anybody the code says if an earthquake happens it won't kill you but doesn't necessarily say that can you stay in your home and we set out to define what

that might mean and you know because you built this house we're in now and this shows what it's like to be in a place safe enough to stay. it's not going to be perfect. there maybe cracks in the walls and not have gas or electricity within a while but can you essentially camp out within your unit. what's it going to take to get the housing stock up to this standard? we spent time talking about this and one of the building types we talk about was soft story buildings and the ground floor is vulnerable because there are openings for garages or windows and during the earthquake we saw in the marina they went right over and those are -- >> very vulnerable buildings. >> very and there are a lot of apartment buildings in san that

that are like that. >> and time to. >> >> retrofit the buildings so people can stay in them after the earthquake. >> what do they need? do they need information? do they need incentives? mandates? >> that's a good question. i think it starts with information. people think that new buildings are earthquake proof and don't understand the performance the building will have so we want a transparent of letting people know is my building going to be safe in it after an earthquake? is my building so dangers i should be afraid of being injured? so developing a ranking system for buildings would be very important and i think for some of the larger apartment buildings that are soft story

we need a mandatory program to fix the buildings, not over night and not without financial help or incentive, but a phased program over time that is reasonable so we can fix those buildings, and for the smaller soft story buildings and especially in san francisco and the houses over garages we need information and incentives and coaxing the people along and each of the owners want their house to be safe enough. >> we want the system and not just mandate everybody. >> that's right. >> i hear about people talking about this concept of resiliency. as you're fixing your knowledge you're adding to the city wide resiliency. >> >> what does that mean? >> that's a great question. what spur has done is look at that in terms of recovery and

in new orleans with katrina and lost many of the people, hasn't recovered the building stock. it's not a good situation. i think we can agree and in san we want to rebuild well and quickly after a major disaster so we have defined what that means for our life lines. how do we need the gasolines to perform and water perform after an earthquake and the building stock as well, so we have the goal of 95% of our homes to be ready for shelter in place after a major earthquake, and that way people can stay within the city. we don't lose our work force. we don't lose the people that make san francisco so special. we keep everybody here and that allow us to recover our economy, and everything because it's so interdependent. >> so that is a difficult goal but i think we can achieve it

over the long time so thank you very much for hosting us and hosting this great exhibit, and hank you very much for joining

(clapping.) ♪ ♪ ♪ ♪ ♪ i think we have more companies anywhere in the united states it's at the amazing statement we're not trying to be flashy or shocking just trying to create something new and original were >> one of the things about the conduct our you enter and turn

your your back and just so the orchestra. the most contrary composer of this time if you accountability his music you would think he's a camera come important he become ill and it was crazy he at the end of his life and pushed the boundary to think we're not acceptable at this point for sure it had a great influence he was a great influence on the harmonic language on the contemporary up to now. i thought it would be interesting because they have e he was contemporary we use him on this and his life was you kill our wife you get poisons

all those things are great stories for on opera. i was leaving behind a little bit which those collaborative dancers i was really trying to focus on opera. a friend of mine said well, what would you really want to do i said opera what is it not opera parallel. why isn't it are that i have the support now we can do that. i realized that was something that wasn't being done in san francisco no other organization was doing this as opposed to contemporary we are very blessed in san francisco to have

organizations well, i thought that was going to be our speciality >> you create a conceptual idea for setting the opera and you spear ahead and work with the other sdierndz to create an overview vision that's the final product felt opera. ♪ ♪ ♪ ♪ >> i was very inspired to work with him because the way he looked at the key is the way i looked at sports looking at the daily. >> so much our mandate is to try to enter disis particular work there's great dancers and theatre actresses and choirs we've worked with and great video artists is a great place

to collect and collaborate. i had a model they have a professionally music yes, ma'am assemble and as a student i benefited from being around this professional on and on soccer ball and as a conductor i'd be able to work with them and it's helped my growth i had a dream of having a professional residential on and on soccer ball to be an imperial >> it operates as a laboratory we germ a national the ideas technically and work with activity artists and designers and video all over the on any given project to further the way we tell stories to improve our ability to tell stories on

stage. that's part of the opera lab >> i was to investigate that aspect of renaissance and new work so that's why this piece it is important it was a renaissance composer. >> there were young people that are not interested in seeing traditional opera and like the quality and it's different it has a story telling quality every little detail is integrated and helps to capture the imagination and that's part of the opera how we can use those colors into the language of today. >> so one of the great things of the stories of opera and story

combined with opera music it allows people to let go and be entertained and enjoy the music instead of putting on headphones. >> that's what is great about art sometimes everyone loves it because you have to, you know, really great you have to have both some people don't like it and some people do we're concerned about that. >> it's about thirty something out there that's risky. you know, disliked by someone torn apart and that's the whole point of what we're drying to do >> you never take this for granted you make sure it is the best if