Podcast appearances and mentions of ada brown mather

“The effects of color and energy are presented in our daily lives and conditions the spirit “ - Mary Chang Mary Chang was born in lower Manhattan, New York, USA. She was raised in Fort Greene -Clinton Hill section of Brooklyn, where she continues to live with her family and work.  An interdisciplinary artist, painting, printmaking, theater and movement are her art forms.  Mary attended the School of Visual Arts,  and  worked with Master printers  Shelia Goloborotko and the late  Sheila Marbain. There was a pause in her work as a painter from the mid 1970’s to the late 1990’s. She spent this time raising her family and focusing on theater. In the mid 1980’s Mary began to study theater, perform and travel. Her theater experience includes: La Mama Experimental Theater in New York, touring Italy as part of the technical crew on Fragments of a Greek Trilogy, directed by Andrei Serban.  She was part of an ensemble group of four American actors and four Swiss actors who developed and co-wrote a play titled In-Ter-View which toured throughout New York area and Switzerland, directed by Walter Riedweg of the Werktheater of Basel Switzerland.  Mary was part of the Immigrant’s Theater Project directed Marcy Arlin where she co-wrote the play Immigration Office, The ensemble performed throughout New York area..  She also worked with director Amir Naderi on his first American film, Manhattan by Numbers shown at New Directors Film Festival (MoMA/Lincoln Center). Mary studied theater in New York with acting coach Anthony Abeson/mentor, Ada Brown Mather , Carol Rosenfeld of HB Studios,  The Barrow Group, and  Linklater coach  Bobby Troka. “My experience in theater and art has been an exploration leading me to discover that the line of distance between my process in theater and art are one and the same. My tools interchange."  In 1999 Mary returned to painting , invited to exhibit by friend and mentor Onnie MIllar artist /educator. Her work has since been exhibited at the Museum of Contemporary African Diasporan Arts (MoCADA), Robert Lehman Gallery at Urban Glass as well as various galleries and cultural centers throughout the  New York tri-state area, Massachusetts Brazil and The Netherlands.  Mary's recent exhibition “A New York State of Mind:Stories From The  Unusual Suspects, curated by Elise Tak and exhibited at De  Cacaofabriek, in the Netherlands September 2018  introduces 14 independent  American Artist from the United States and their Unique stories. American Dreamer 2018 48”x 48” Azure 2018 48”x48”

Directing Shakespeare: In May of 1988, esteemed Shakespearean acting teacher Ada Brown Mather discussed the bard's work with three of its contemporary master directors: Zoe Caldwell, Gerald Freedman, and Stuart Vaughn. Mather first introduces us to the work of the panelists, and then she begins a discussion framed by the questions "why do we get so excited about how Shakespeare is directed from age to age?" In this two-hour long session the audience gains access to insights on rehearsal practices, the directorial techniques and approaches of the panelists, and the debate on the American aptitude for producing good Shakespeare. We learn that there is one idea that unites the panelists, and perhaps all great technicians of Shakespeare, and it is to try at all costs to be true to his text. Originally recorded - May 1, 1988. Running Time - 1:21:13 © 1988 SDCF

Brian Murray: Days before the close of 1986's Tony Award winner for "Best Reproduction of a Play or Musical" Hay Fever, Director Brian Murray sat down with Ada Brown Mather to discuss Mr. Coward's return to Broadway. Murray brings to the conversation a simple, honest and eminently knowledgeable love of Noël Coward's work; a relationship he began as an eleven year old boy reading plays at the library. He speaks about how his direction of Hay Fever on Broadway, starring Rosemary Harris, and how it began with a sense of unfairness that this production of Coward's never got the New York City reception it deserved. Mather and Murray discuss early Coward as an artistic revolutionary whose naturalistic use of language bucked the trend of traditional high comedy. They explore Coward the musician and his incredible talents as a lyricist. Further, Murray tries to explain the delicate landscape of Coward's conversational rhythm and how integral it is to generating a laugh. These two Coward scholars debate which works of Coward should be considered satire, concluding that what defines a Coward comedy isn't its commentary on a single class or group, but the unifying characteristic of laughing at life in general. Originally recorded - March 2, 1986. Running Time - 1:16:01 ©1986 SDCF

Directing O'Neill: On April 27, 1986 frequent SDCF interviewer and legendary acting coach Ada Brown Mather sat down with director Sir Jonathan Miller to discuss Eugene O'Neill's work one day before his revival of Long Day's Journey Into Night opened on Broadway. In this conversation Sir Miller covers his career as a performer, his recommitment to working in the theatre despite a career as a doctor, his affinity for directing opera, the accidental manner in which he accepted the position as director on Long Day's Journey and how he tackles working on such a seminal piece of American theatre. Originally recorded - April 27, 1986. Running Time - 1:29:46 ©1986 SDCF

In May of 1988, esteemed Shakespearean acting teacher Ada Brown Mather discussed the bard's work with three of its contemporary master directors: Zoe Caldwell, Gerald Freedman, and Stuart Vaughn. Mather first introduces us to the work of the panelists, and then she begins a discussion framed by the questions "why do we get so excited about how Shakespeare is directed from age to age?" In this two-hour long session the audience gains access to insights on rehearsal practices, the directorial techniques and approaches of the panelists, and the debate on the American aptitude for producing good Shakespeare. We learn that there is one idea that unites the panelists, and perhaps all great technicians of Shakespeare, and it is to try at all costs to be true to his text.

Days before the close of 1986's Tony Award winner for "Best Reproduction of a Play or Musical" "Hay Fever", Director Brian Murray sat down with Ada Brown Mather to discuss Mr. Coward's return to Broadway. Murray brings to the conversation a simple, honest and eminently knowledgeable love of Noël Coward's work; a relationship he began as an eleven year old boy reading plays at the library. He speaks about how his direction of "Hay Fever" on Broadway, starring Rosemary Harris, and how it began with a sense of unfairness that this production of Coward's never got the New York City reception it deserved. Mather and Murray discuss early Coward as an artistic revolutionary whose naturalistic use of language bucked the trend of traditional high comedy. They explore Coward the musician and his incredible talents as a lyricist. Further, Murray tries to explain the delicate landscape of Coward's conversational rhythm and how integral it is to generating a laugh. These two Coward scholars debate which works of Coward should be considered satire, concluding that what defines a Coward comedy isn't its commentary on a single class or group, but the unifying characteristic of laughing at life in general.

On April 27, 1986 frequent SDCF interviewer and legendary acting coach Ada Brown Mather sat down with director Sir Jonathan Miller to discuss Eugene O'Neill's work one day before his revival of "Long Day's Journey Into Night" opened on Broadway. In this conversation Sir Miller covers his career as a performer, his recommitment to working in the theatre despite a career as a doctor, his affinity for directing opera, the accidental manner in which he accepted the position as director on "Long Day's Journey" and how he tackles working on such a seminal piece of American theatre.

In November of 1986, legendary acting coach Ada Brown Mather sat down with Roderick Cook at Westside Arts Theatre to discuss his affinity for acting, directing and presenting the words and work of Noël Coward. During this interview Cook covers his relationship with Coward the man, the unlikely circumstance under which Cook's hit "Oh Coward!" was developed and then revived, and the experience of directing Coward shows on and off-Broadway with entertainment giants like Peter O'Toole in his American debut in "Present Laughter".