American actress
POPULARITY
6 episodes with Amy Morton
2 episodes with Amy Morton
2 episodes with Amy Morton
2 episodes with Amy Morton
2 episodes with Amy Morton
2 episodes with Amy Morton
2 episodes with Amy Morton
2 episodes with Amy Morton
“Both [Cage] and George C. Scott [in Hardcore] share the same forehead sweat…” - Andrew On this week's very special episode, we're celebrating EPISODE 800 with a very sleaze-tastic conversation on Joel Schumacher's 8MM! How funny is it the screenwriter got upset that the content was toned down from his more hardcore vision? Was Cage's Tom Welles in over his head with this case or was he just the man for the job? How funny is that scene with Gandolfini trying to skip town carrying several boxes of pornography? How great is Joaquin in this performance as Max California? And how terrifying is that final showdown at Casa de Machine? PLUS: “Marc Maron” asks Machine who his guys are! 8MM stars Nicolas Cage, Joaquin Phoenix, James Gandolfini, Peter Stormare, Anthony Heald, Catherine Keener, Myra Carter, Amy Morton, and Chris Bauer as Machine; directed by Joel Schumacher. This episode is brought to you in part by Car Gurus! Buy or sell your next car today with Car Gurus at cargurus dot com. Go to cargurus dot com to make sure your big deal is the best deal. Tickets are going fast for our three-night residency during the Oxford Comedy Festival! We'll be doing six shows over three nights from July 18 through 20. Tickets are going fast—our shows on Quantum of Solace and Hellraiser are already SOLD OUT—so don't wait, snag your tix today! Throughout 2025, we'll be donating 100% of our earnings from our merch shop to the Center for Reproductive Rights. So head over and check out all these masterful designs and see what tickles your fancy! Shirts? Phone cases? Canvas prints? We got all that and more! Check it out and kick in for a good cause! Original cover art by Felipe Sobreiro.
Review phim ra rạp từ ngày 27/09/2024 TRANSFORMERS MỘT – T13 Đạo diễn: Josh Cooley Diễn viên: Chris Hemsworth; Brian Tyree Henry; Scarlett Johansson Thể loại: Hành Động, Hoạt Hình, Phiêu Lưu Câu chuyện về nguồn gốc chưa từng được hé lộ của Optimus Prime và Megatron. Hai nhân vật được biết đến như những kẻ thù truyền kiếp, nhưng cũng từng là những người anh em gắn bó, đã thay đổi vận mệnh của Cybertron mãi mãi. ĐỐ ANH CÒNG ĐƯỢC TÔI – T18 Đạo diễn: RYOO Seung-wan Diễn viên: HWANG Jung-min, JUNG Hae-in Thể loại: Hài, Hành Động Các thanh tra kỳ cựu nổi tiếng đã hoạt động trở lại! Thám tử Seo Do-cheol (HWANG Jung-min) và đội điều tra tội phạm nguy hiểm của anh không ngừng truy lùng tội phạm cả ngày lẫn đêm, đặt cược cả cuộc sống cá nhân của họ. Nhận một vụ án sát hại một giáo sư, đội thanh tra nhận ra những mối liên hệ với các vụ án trong quá khứ và nảy sinh những nghi ngờ về một kẻ giết người hàng loạt. Điều này đã khiến cả nước rơi vào tình trạng hỗn loạn. Khi đội thanh tra đi sâu vào cuộc điều tra, kẻ sát nhân đã chế nhạo họ bằng cách công khai tung ra một đoạn giới thiệu trực tuyến, chỉ ra nạn nhân tiếp theo và làm gia tăng sự hỗn loạn. Để giải quyết mối đe dọa ngày càng leo thang, nhóm đã kết nạp một sĩ quan tân binh trẻ Park Sun-woo (JUNG Hae-in), dẫn đến những khúc mắc và đầy rẫy bất ngờ trong vụ án. MINH HÔN – T18 Đạo diễn: Lee Se Won Diễn viên: Kong Jeong Hwan, Ji Dae Han,… Thể loại: Kinh Dị Sau khi mất vợ và con gái, Won Go Myeong – một pháp sư đầy hận thù đã phát hiện gã tài phiệt đã đứng sau cái chết gia đình ông. Với ma thuật đen, Go Myeong đã gọi hồn, triệu vong vạch trần sự thật và khiến gã tài phiệt đền mạng thế nhưng mọi chuyện chỉ là khởi đầu…. NƠI TÌNH YÊU KẾT THÚC – T16 Đạo diễn: Justin Baldoni Diễn viên: Blake Lively, Justin Baldoni, Jenny Slate, Hasan Minhaj, Amy Morton, and Brandon Sklenar Thể loại: Tâm Lý, Tình cảm IT ENDS WITH US, cuốn tiểu thuyết đầu tiên của Colleen Hoover được chuyển thể cho màn ảnh rộng, kể câu chuyện về Lily Bloom (Blake Lively), một người đã vượt qua tuổi thơ đau thương để bắt đầu cuộc sống mới ở Boston và theo đuổi giấc mơ khởi nghiệp của cô ấy. KẾT NỐI TỬ THẦN – T16 Đạo diễn: James Croke Diễn viên: Sasha Luss, Alexis Ren, Kelly B. Jones Thể loại: Khoa Học Viễn Tưởng, Kinh Dị Khi Hana, một game thủ chuyên nghiệp với chứng sợ không gian rộng, nhận 1 thiết bị giúp cải thiện trò chơi của mình, liệu nó có đang xâm chiếm tâm trí cô. Liệu những điều kinh hãi ấy chỉ xuất hiện trong thế giới ảo. Hắn: Ác Mộng Quỷ Dữ - T18 Đạo diễn:Yujiro Amano Diễn viên:Arisa Deguchi, Minehiro Kinomoto, Miu Suzuki Thể loại:Kinh dị Tại vùng nông thôn Nhật Bản, hàng loạt cái chết kỳ lạ đã xảy ra. Tất cả các nạn nhân đều có một điểm chung: trước khi chết, họ gặp một người đàn ông lạ mặt trong giấc mơ được biết đến với cái tên "This man ”. Và số phận của nữ chính Hana Yasaka cũng không ngoại lệ. Trước bi kịch, cô sống hạnh phúc bên chồng và con gái. Khi ngày càng có nhiều người thân chết, cô bắt đầu sợ ngủ. Cuối cùng, cô nhìn thấy "Người đàn ông" trong giấc mơ của mình... và cái kết tồi tệ nhất bắt đầu. CẬU BÉ CÁ HEO Đạo diễn: Mohammad Kheyrandish Diễn viên: Polina Avdeenko, Yuliya Rudina, Boris Khasanov Thể loại: Gia đình, Hoạt Hình Được giải cứu và nuôi dạy bởi đàn cá heo sau một vụ tai nạn máy bay trên biển, cậu bé Dolphin dần lớn lên với một cuộc sống vô tư dưới những con sóng biển êm đềm cho đến khi một con quái vật độc ác nắm quyền cai trị thế giới dưới nước. Bị đày trở lại đất liền, cậu bé được người thuyền trưởng tốt bụng nhận về nuôi. Với sự giúp đỡ của người bạn đồng hành mới, cậu bé dấn thân vào cuộc hành trình giải quyết bí ẩn về danh tính thực sự của mình.Với mỗi chiến thắng, họ tiến gần hơn đến việc làm sáng tỏ ý định độc ác của tên quái vật xấu xa và khôi phục lại sự cân bằng cho thế giới dưới nước. --- Support this podcast: https://podcasters.spotify.com/pod/show/kim-thanh-duong/support
As the highly anticipated Chicago Series returns, Neil Haley welcomes stars from Chicago Med, Chicago Fire, and Chicago PD to the show. Oliver Platt teases the explosive Season 10 premiere of Chicago Med, complete with new characters and intense drama. Daniel Kyri talks about the major shifts coming in Chicago Fire's 13th season, including fresh leadership and new dynamics. Amy Morton hints at surprises in Chicago PD Season 12, with new characters, romance, and unexpected promotions. Tune in to hear about behind-the-scenes moments, crossovers, and the incredible fan base that keeps these iconic shows thriving. Don't miss the premiere on September 25th—catch all the action on NBC and binge the past seasons on Peacock!
As the highly anticipated Chicago Series returns, Neil Haley welcomes stars from Chicago Med, Chicago Fire, and Chicago PD to the show. Oliver Platt teases the explosive Season 10 premiere of Chicago Med, complete with new characters and intense drama. Daniel Kyri talks about the major shifts coming in Chicago Fire's 13th season, including fresh leadership and new dynamics. Amy Morton hints at surprises in Chicago PD Season 12, with new characters, romance, and unexpected promotions. Tune in to hear about behind-the-scenes moments, crossovers, and the incredible fan base that keeps these iconic shows thriving. Don't miss the premiere on September 25th—catch all the action on NBC and binge the past seasons on Peacock!
We are coming at you with another 'TWO Parter' @EchoChamberFP https://www.instagram.com/echochamberfp/ episode!!! In 'Part ONE' eOne Films, Tucker Tooley Entertainment & Lionsgate bring us a real life adventure, and there's trauma & romance with Wayfarer Studios & Sony Pictures Releasing. Comedy is due thanks to FilmNation Entertainment, Range Media Partners & Neon, while Blinding Edge Pictures & Warner Bros. Pictures look to catch criminals. THEN, Roth/Kirschenbaum Films, Feigco Entertainment, Summer House Pictures & Amazon MGM Studios have the money & action ticket! In 'Part One' we have: Arthur the King Watch Review: Here. https://youtu.be/XCUpT-TFvNA Theatrical Release Date: 15th March 2024 US Digital Release Date: 23rd April 2024 UK Digital Release Date: 9th August 2024 Director: Simon Cellan Jones Cast: Mark Wahlberg, Simu Liu, Juliet Rylance, Cece Valentina, Nathalie Emmanuel, Ali Suliman, Bear Grylls, Paul Guilfoyle, Rob Collins, Michael Landes, Alani Ilongwe, Roger Wasserman, Oscar Best, Ukai Running Time: 107 min Cert: 12a Trailer: Here. https://youtu.be/wjDJNEPghNY?si=qpRWraw34C-iyVEo Website: Here. https://www.arthurtheking.movie/ ------------ It Ends With Us Watch Review: Here. https://youtu.be/M5kKuGr-oKs Theatrical Release Date: 9th August 2024 Director: Justin Baldoni Cast: Blake Lively, Isabela Ferrer, Justin Baldoni, Brandon Sklenar, Alex Neustaedter, Jenny Slate, Hasan Minhaj, Amy Morton, Kevin McKidd, Robert Clohessy, Robin S. Walker, Emily Baldoni, Adam Mondschein, Caroline Siegrist, Robyn Lively, Megan Robinson Running Time: 130 min Cert: 15 Trailer: Here. https://www.youtube.com/watch?v=DLET_u31M4M Website: Here. https://www.itendswithus.movie/home/ ------------ Babes Watch Review: Here. https://youtu.be/rIP5B6FqSqM South by Southwest, World Premiere: 9th March 2024 US Theatrical Release Date: 17th May 2024 UK Theatrical Release Date: 9th August 2024 Director: Pamela Adlon Cast: Ilana Glazer, Michelle Buteau, John Carroll Lynch, Hasan Minhaj, Stephan James, Oliver Platt, Kenny Lucas, Keith Lucas, Sandra Bernhard, Caleb Mermelstein-Knox, Elena Ouspenskaia, Crystal Finn, Donna Glaesener, Katy Grenfell, Rosa Gilmore, Shola Adewusi, Susanna Guzman, Holly Chou, Simone Recasner, Darren Criss, Rebecca Rose Bulnes, Fareeha Khan, Kami Dimitrova, Marie Faustin Running Time: 104 min Cert: 15 Trailer: Here. https://youtu.be/E2ReABAgaDA?si=_OB_VtoAV5JjTiAL Website: Here. https://neonrated.com/films/babes ------------ Trap Watch Review: Here. https://youtu.be/N_hEjJ1DmXI Alice Tully Hall, New York City, World Premiere: 24th July 2024 US Theatrical Release Date: 2nd August 2024 UK Theatrical Release Date: 9th August 2024 Director: M. Night Shyamalan Cast: Josh Hartnett, Ariel Donoghue, Lochlan Miller, Alison Pill, Saleka Night Shyamalan, Hayley Mills, Jonathan Langdon, Mark Bacolcol, Marnie McPhail, Kid Cudi, Russ, Marcia Bennett, Vanessa Smythe, M. Night Shyamalan, Steve Boyle, David D'Lancy Wilson, James Gomez, Nadine Hyatt, Michael Brown, Hailey Summer, Olivia Barrett, Joseph Daly, Allison Ference, Harley Ruznisky Running Time: 105 min Cert: 15 Trailer: Here. https://youtu.be/hJiPAJKjUVg?si=deCuJ9vqvGJkNpA5 Website: Here. https://www.ladyravenmusic.com/ ------------ Jackpot! Watch Review: Here. https://youtu.be/giqN5lC84ac TCL Chinese Theater, World Premiere: 13th August 2024 UK Digital Release Date: 15th August 2024 Director: Paul Feig Cast: John Cena, Simu Liu, Ayden Mayeri, Seann William Scott, Dolly de Leon, Donald Elise Watkins, Holmes, Machine Gun Kelly, Adam Ray, Rylea Hendreschke, Sam Asghari, Michael Hitchcock, Taylor Ortega, Murray Hill Running Time: 104 min Cert: 15 Trailer: Here. https://youtu.be/IW7pIYtpp50?si=E_biCQ-kgErA-vhb Website: Here. https://press.amazonmgmstudios.com/us/en/original-movies/jackpot ---------------- *(Music) 'Da Joint' (Instrumental) by EPMD - 2020
Nur noch ein einziges Mal – It ends with us bekamen wir in der Sneak Preview. Das ist ein Liebesfilm/Drama von und mit Justin Baldoni und Blake Lively in der weiblichen Hauptrolle. In der Colleen-Hover-Romanverfilmung Nur noch ein einziges Mal - It ends with us findet eine Floristin den Mann ihrer Träume. Doch wie kann sie jemanden von sich überzeugen, der nicht an feste Beziehungen glaubt? Und wie kann sie verhindern, dass die Vergangenheit sich wiederholt? Nach diesem Romantik Schmachtfetzen brauchten wir etwas handfestere Action und sind am Mittwoch in die Vorpremiere von ALIEN: ROMULUS gegangen. Fede Alvarez hat die Regie übernommen und Ridley Scott fungiert als Produzent. Kann diese Wiederbelebung des Alien Franchises auf diese Weise gelingen? Bei uns erfahrt ihr es und auch, ob sich die neuen Kino D-BOX Sitze für diesen Film lohnen. Es gibt natürlich bei uns exklusiv die Stuttgarter Kinocharts, die Neustarts der Woche und zusätzlich noch ein paar Ankündigungen für die nächste Woche, u.a. GAMESCOM 2024. Ich hoffe euch gefällt unser Podcast und ihr könnt ihn mit 5 Sternen bewerten und weiterempfehlen. Vielen Dank! NUR NOCH EIN EINZIGES MAL – IT ENDS WITH US ist die erste Verfilmung eines Romans von Colleen Hoover für die große Leinwand und erzählt die mitreißende Geschichte von Lily Bloom (BLAKE LIVELY), einer Frau, die ihre traumatische Kindheit hinter sich lassen will, um in Boston ein neues Leben zu beginnen. Dort möchte sie ihren lebenslangen Traum verwirklichen und ihr eigenes Geschäft eröffnen. Bei einer zufälligen Begegnung mit dem charmanten Neurochirurgen Ryle Kincaid (JUSTIN BALDONI) fliegen zwischen den beiden sofort die Funken und sie fühlen eine tiefe Verbindung. Doch als sie sich Hals über Kopf ineinander verlieben, bemerkt Lily Seiten an Ryle, die sie an die Beziehung ihrer Eltern erinnern. Plötzlich taucht auch Lilys erste große Liebe Atlas Corrigan (BRANDON SKLENAR) wieder in ihrem Leben auf. Dadurch wird auch ihre Beziehung zu Ryle auf den Kopf gestellt. Lily erkennt, dass sie lernen muss, auf ihre eigenen Stärken zu vertrauen. Und sie muss eine überaus schwierige Entscheidung für ihre Zukunft treffen. Die Hauptrollen der Bestsellerverfilmung NUR NOCH EIN EINZIGES MAL – IT ENDS WITH US spielen Blake Lively, Justin Baldoni, Jenny Slate, Hasan Minhaj, Amy Morton und Brandon Sklenar. Justin Baldoni führte auch Regie, nach einem Drehbuch von Christy Hall, basierend auf dem Roman von Colleen Hoover. Produzenten sind Alex Saks, Jamey Heath und Christy Hall. Executive Producers sind Steve Sarowitz, Justin Baldoni, Andrew Calof, Blake Lively, Andrea Ajemian und Colleen Hoover. Alien: Romulus kehrt zu den Ursprüngen des Sci-Fi-Horror-Franchises zurück und konfrontiert eine Gruppe Weltraum-Siedler auf einer verlassenen Raumstation mit dem furchteinflößenden Wesen aus einer anderen Welt. Rain Carradine (Cailee Spaeny) gehört zu einer Gruppe junger Weltraumkolonisatoren, die in der Leere des Alls auf eine unbesetzte Raumstation stoßen: Romulus. Gemeinsam mit Kay (Isabela Merced), Tyler (Archie Renaux), Andy (David Jonsson), Navarro (Aileen Wu) und Bjorn (Spike Fearn) beschließt Rain, sich auf das fremde Schiff zu wagen, um vielleicht ein paar nützliche Sachen zu plündern. Doch auf Entdeckungstour an Bord der verlassenen Station muss die Gruppe schnell feststellen, dass sie nicht so allein sind wie ursprünglich angenommen. Ein ungemein tödlicher Gegner lauert in der Dunkelheit und der Überlebenskampf beginnt. Timecodes: 00:00:00 Nur noch ein Einziges Mal - It Ends with us 00:14:14 Tipps für die nächste Sneak Preview 00:16:56 ALIEN: ROMULUS 00:32:04 Kinocharts und Neustarts 00:33:59 Streaming Neustarts 00:34:40 Interne News und Ankündigung 00:35:26 Spotify Playlist
I'm back in your feed with another review. This time it's in the Romance department but it's a movie with a message. For this review, I brought along a special guest. My fiancee (and hopefully my future cohost) Latoya joined me and we had a robust conversation about It Ends With Us. Enjoy! 00:00 - 07:00 Intros 07:00 - 14:00 Movie background info 14:00 - 36:00 Non-Spoiler Conversation 36:00 - End Spoiler Conversation and Ratings Genre: Drama, Romance Starring: Blake Lively, Justin Baldoni (Jane the Virgin), Jenny Slate, Hasan Minhaj Additional Cast: Brandon Sklenar, Kevin McKidd, Amy Morton, Alex Neustadter (Colony), Isabela Ferrer Directed by: Justin Baldoni Written by: Christy Hall, Colleen Hoover Guests: Latoya Follow me on Twitter @BibsCorner and the show @HaveYouScenePod for more content! For written content, visit BibsCorner.com 5 Star Reviews on Spotify and Apple Podcasts are appreciated!
The Equalizer Season 4 Episode 21: Endgame Aired on CBS: August 10, 1989 Directed by: Alan Metzger Written by : Coleman Luck Featuring: Elizabeth Berridge, Amy Morton, Lewis Van Bergen, Josef Sommer, Nick Bakay Penultimate episode! We all remember the gaming mastermind Leon from the 1980 movie Midnight Madness who set off five teams on an epic scavenger hunt just for his own whimsy. Similarly in Endgame, the Equalizer goes up against an old dude who is really into "war games" - which unfortunately are less about Matthew Broderick and Ally Sheedy, and more about an elaborate recreation of the Battle of Gettysburg with little toy soldiers in his office. And this old dude's fixation on strategic games has bled into a real life game of vengeance aimed at an attorney and her sister (who happen to be pretty messed up themselves). Not necessarily a top tier EQ episode, but Chris and Chuck are on the home stretch and still giving it everything they got, including perhaps the best On This Date segment yet as Chris shows us what he's made of with a heartfelt serenade. @equalizerspod equalizerspodcast at gmail dot com https://www.facebook.com/equalizerspodcast/
This week Gary and Iain review and discuss, Rookie of the Year (1993) by Director, Daniel Stern. Starring, Thomas Ian Nicholas, Gary Busey and Amy Morton. For more Off The Shelf Reviews: Merch: https://off-the-shelf-reviews.creator-spring.com https://www.youtube.com/channel/UChWxkAz-n2-5Nae-IDpxBZQ/join Podcasts: https://offtheshelfreviews.podbean.com/ Follow us on Twitter: https://twitter.com/@OTSReviews Youtube: https://www.youtube.com/c/OffTheShelfReviews Facebook: https://www.facebook.com/OffTheShelfReviews Support us: http://www.patreon.com/offtheshelfreviews Twitch: https://www.twitch.tv/offtheshelfreviews Discord: https://discord.gg/Dyw8ctf
LaNisa Renee Frederick is an award-winning actor, writer, content creator & voiceover artist based in Los Angeles. https://www.instagram.com/lanisafrederick/ The comedic powerhouse has exploded on the screen playing opposite Adam Samberg in BROOKLYN 99, YOUNG SHELDON, THE GOLDBERGS, and in the Emmy award-winning A BLACK LADY SKETCH SHOW. Frederick honed her craft in Chicago, working and training at The Second City Chicago, performing on stages across the country including, Goodman Theatre, Steppenwolf, and Woolly Mammoth. She has also worked on stages in Europe and Southeast Asia receiving international acclaim. LaNisa is the co-creator of Hashtag Booked. The groundbreaking Instagram sketch series which started in 2018 with co-creator Danielle Pinnock, examines the joys and heartaches of being an actress of color in the entertainment industry. Hashtag Booked's content has reached millions of views and has received national acclaim from media outlets including Forbes, Essence Magazine, and CNN. A commercial queen, Frederick has been in over 60 national commercials working alongside celebrities such as Kevin Hart, Queen Latifah, and Amy Poehler. In addition, she is the voice behind the mic on several animations including Nickelodeon's BABY SHARK, Netflix's ADA TWIST, and Apple TV's INTERUPTING CHICKEN. Her video game work includes LEAGUE OF LEGENDS, WALKING DEAD, and most notably voicing “Syd” in CALL OF DUTY-MODERN WARFARE. As a writer LaNisa has become the true multi-hyphenate. She is a writer on a new Disney JR. animation and is in development for several shows. Including an adult animation that she co-created and a semi-biographical TV show chronicling her time raised in a doomsday cult. Passionate about education, she has taught in both traditional and non-traditional education settings, curating arts-based programming for underserved student populations, including incarcerated students, recently-released youth, and students with severe cognitive disabilities. Frederick's training at the Steppenwolf Theatre exposed her to the guidance of industry powerhouses such as Amy Morton, Sheldon Patinkin, and K. Todd Freeman. She is moreover a proud graduate of Loyola University (Chicago, BA) and the University of Essex (UK, MA). --- Send in a voice message: https://podcasters.spotify.com/pod/show/bravemaker/message Support this podcast: https://podcasters.spotify.com/pod/show/bravemaker/support
Amy Morton has competed twice at the CrossFit Games, once in 2017 as part of a team, and most recently as a Individual Masters Athlete in the 35-39 age division. Listen in as we get to know Amy a bit better. https://www.conquerathlete.com/
Scott and Jamie checked in today, talked to some coaches and athletes as they prepare to cover the Age Group Athletes tomorrow on their first day at the Games.
The Equalizer Season 4 Episode 4: Eighteen with a Bullet Aired on CBS: November 16, 1988 Directed by: Richard Compton Written by : Bruce A. Taylor Featuring: Bruce Payne, Colleen Ann Fitzpatrick (Vitamin C), Amy Morton, and Ken Obert (Remote Control!) The Equalizer dives into the hollow amoral music industry. A slimy agent, Greg Rivers, is trying to take advantage of a new young talent, Beverly Heat, but is having difficulty because his previous protégé, Gina Rox, is defiantly standing up to Greg and the music industry that spat her out. Greg gets more and more erratic not least because EQ and Mickey are contuinually taunting him for about a week straight. Great episode and great view of the 80s music scene from EQ's viewpoint. @equalizerspod equalizerspodcast at gmail dot com https://www.facebook.com/equalizerspodcast/
Amy and Stu are two incredible athletes. They have both recently punched their respective tickets to the CrossFit Games as masters athletes. Amy took 2nd place in the Open within the 35-39 year old age group, and Stu outright won the Open within the 60-64 year old age group. The most impressive thing about these two is that they are not one dimensional. They both have very full schedules, and yet continue to find the time to train as elite athletes, making it to the absolute pinnacle of their sport. We know that you will enjoy this one! https://www.conquerathlete.com/
The Morton family has been in the restaurant business for four generations, with steakhouses, Hard Rock Cafes, burger bars and now Amy Morton's latest, the French-Moroccan spot LeTour in Evanston. In this episode, we talk to her about growing up in the family business, as well as recommendations from her and David Manilow with some hidden spots for unforgettable Korean comfort food in the northwest suburbs. Plus, Ally Marotti reports from the Crain's newsroom on the big expansion of Boka Restaurant Group. Born in Chicago 20 years ago, the group behind Girl & The Goat and more than 20 other restaurants now has spots in New York and Los Angeles — and is headed to Nashville
The MCU is a steamroller that will not stop and the newest installment in the form of Black Panther: Wakanda Forever sees Wakanda's struggle against the outside world become more real and, with the loss of it's king and protector, is failing to find diplomatic solutions to the growing hostilities. A darker chapter in the MCU with a few major problems to boot. Have a listen! 0:13:00 - Box Office and upcoming releases. 0:21:00 *** What's Streaming *** NETFLIX UP IN THE AIR, Dir. Jason Reitman - George Clooney, Vera Farimiga, Anna Kendrick, Jason Bateman, Amy Morton, Melanie Lynskey, J.K. Simmons, Sam Elliot, Danny McBride, Zach Galifianakis, Craig Robinson. 2009 THIS IS THE END, Dir. Evan Goldberg / Seth Rogen - James Franco, Jonah Hill, Seth Rogen, Jay Baruchel, Danny McBride, Emma Watson. 2013 THE BAD GUYS, Peter Peril - Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos, Zazie Beetz, Alex Borstein. 2022 0:24:00 - Trailers - SR. / EMPIRE OF LIGHT / MAGIS MIKE'S LAST DANCE 0:30:00 - BLACK PANTHER: WAKANDA FOREVER, Dir. Ryan Coogler ( Grayson 6 / Roger 6 / Chris 6 ) Hosted, produced and mixed by Grayson Maxwell and Roger Stillion. Guest appearance by Christopher Boughan. Music by Chad Wall. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions. Roger wears aviators! Please give a like and subscribe if you enjoy it. Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates. Rate, subscribe and leave a comment or two. Every Little bit helps. Send us an email to fortheloveofcinemapodcast@gmail.com
This week, we're discussing Chicago PD 4x03 “All Cylinders Firing” AKA the one where Amy Morton puts on an acting masterclass. Topics of discussion include just how underutilized Amy Morton/Trudy Platt is and why Voight thinks he can get away with accusing our favorites of crimes. We also pitch a couple of potential One Chicago spin-offs and prequels. Patron Shoutouts — 3:10 PD 4x03 — 5:16 As always, we want to hear what you think; make sure you are following us on Twitter (@meetusatmollys), or email us at meetusatmollys@gmail.com to continue the discussion. Our inbox is always open and a safe space for you all to share your thoughts and feelings.
We're headed to the Plains this week to discuss the 2013 movie adaptation of Tracy Letts' nuclear family meltdown "August: Osage County." It's the definition of a stacked cast, including Meryl Streep, Julia Roberts, Margo Martindale, Julianne Nicholson, Juliette Lewis, Chris Cooper and Ewan McGregor.We get into the differences between the play and the movie, some of the casting choices, and if this could have been Meryl's third Oscar. We also have A LOT to say about the CBS sitcom "The Millers" and Amy Morton, Amy Morton, Amy Morton. Inevitably we wrap things up with some Real Housewives recasting of the Weston family. Join us for the Best Supporting Aftershow AND get early access to main episodes on Patreon: www.patreon.com/bsapod Email: thebsapod@gmail.com Instagram: @bsapod Colin Drucker Instagram: @colindrucker_ Nick Kochanov Twitter: @nickkochanov Instagram: @nickkochanov
What are the oceans like on Enceladus? Neil deGrasse Tyson explores the oceans of other planets in the search for alien life with planetary scientist Kevin Hand, oceanographer Julie Huber, and comedians, Eugene Mirman, Ellie Kemper, and John Mulaney!NOTE: StarTalk+ Patrons can watch or listen to this entire episode commercial-free here: https://startalkmedia.com/show/extraterrestrial-oceans-startalk-live/Thanks to our Patrons Nate Gilman, Amy Morton, erika brennan, Rob Cordes, Tyler Pitts, Arya Menon, Jessie Desmond, Beth Leitch, Zach, and Karen Berthot for supporting us this week.Photo Credit: Pablo Carlos Budassi, CC BY-SA 4.0, via Wikimedia Commons
Mona Monsour ( Playwright) THE VAGRANT TRILOGY will make its New York City debut in April 2022 at the Public Theater, directed by Mark Wing-Davey; the production was in technical rehearsals in March 2020 and was postponed due to Covid-19. UNSEEN will have its West Coast debut at Oregon Shakespeare Festival in spring 2022, directed by Evren Odcikin. WE SWIM, WE TALK, WE GO TO WAR premiered at SF's Golden Thread in 2018 (dir. Odcikin). THE VAGRANT TRILOGY was presented at Mosaic Theater in June 2018, (dir. Wing-Davey.) Of the trilogy: THE HOUR OF FEELING (dir. Wing-Davey) premiered at the Humana Festival at Actors Theatre of Louisville, and an Arabic translation was presented at NYU Abu Dhabi, as part of its Arab Voices Festival in 2016. URGE FOR GOING: productions at the Public Theater (dir. Hal Brooks) and Golden Thread (dir. Odcikin). THE VAGRANT was commissioned by the Public and workshopped at the 2013 Sundance Theater Institute. THE WAY WEST: Labyrinth (dir. Mimi O'Donnell); Village Theater (dir. Christina Myatt); Steppenwolf (dir. Amy Morton); and Marin Theatre Company (dir. Hayley Finn). Other credits: IN THE OPEN, for Waterwell, directed by James Dean Palmer, and ACROSS THE WATER, written for third-year MFAs at NYU (dir. Scott Illingworth). Mona was a member of the Public Theater's Emerging Writers Group. With Tala Manassah she has written FALLING DOWN THE STAIRS, an EST/Sloan commission. Their play DRESSING is part OF FACING OUR TRUTHS: SHORT PLAYS ABOUT TRAYVON, RACE AND PRIVILEGE, commissioned by the New Black Festival. Commissions include Playwrights Horizons and La Jolla Playhouse. 2020 Helen Merrill Award, 2012 Whiting Award. 2014 Middle East America Playwright Award, MacDowell Colony 2018, New Dramatists Class of 2020. Mona writes for NBC's New Amsterdam and is creating series for FlipNarrative and AMC International. BEGINNING DAYS OF TRUE JUBILATION, directed by Scott Illingworth and conceived with her company SOCIETY, was part of New Ohio's Ice Factory Digital Festival in summer 2020. In September 2020, Mona received the prestigious Kesselring Prize, awarded by the National Arts Club to one playwright a year. She was nominated by Seattle Rep for her play THE HOUR OF FEELING. Learn more about your ad choices. Visit podcastchoices.com/adchoices
About the guestPainter Meron Engida creates vibrant tableaus that act as a vehicle for exploring the artist's personal experiences and Ethiopian cultural identity. Through trust in the mark-making process, Engida has developed a rich visual vocabulary which draws influence from the colors and narratives of ancient Ethiopian art. At the intersections of abstraction and figuration, Engida's works center a cast of expressive figures who together tell stories of vulnerability, empowerment, and resilience. Fusing memory and imagination, Engida layers tones, symbols, and motifs to construct emotive scenes intended to prompt dialogue about diversity and women's experiences. Engida's latest body of work illustrates the impacts of war and climate change upon everyday lives, honoring the experiences of women and children living amidst the ongoing Ethiopian War. With palettes of acrylic and oil pigment, the artist here employs a system of dots, used to symbolize water, earth and teff. In "Teff teffa", the artist gestures towards the growing inaccessibility of teff—the staple grain used to make injera—due to war, drought, and global demand, demonstrating these forces' impact on the foundations of Ethiopian cultural identity.Celebrating 12 years of placing exceptional contemporary art in global private and public collections.Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA's mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora. Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA's mobile gallery component which hosts temporary curated exhibitions nationally.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeMorton Fine ArtTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★
About the guest"My artwork is a visual representation of my hybridism: a fusion of my gender, ethnicity, cultural, and social experiences. I impose colors, imagery, and materials that evoke femininity and tranquility with the intent of transcending or balancing a specific form. I associate working with light, color, and energy as a positive means to focus on the healing power found in the creative process and within us all. It is my belief that colors have both feminine and masculine energies and each color represents a specific aspect of nature." - Amber Robles Gordon Celebrating 12 years of placing exceptional contemporary art in global private and public collections.Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA's mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora. Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA's mobile gallery component which hosts temporary curated exhibitions nationally.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeAmber Robles-Gordon's WebsiteMorton Fine ArtTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★
About the guestMy work's abstractions arise from the subjects I portray: ecological and geological cycles, processes of chemical corrosion and natural efflorescence. With roots in traditions of Chinese landscape painting, my monumentally sized paintings and installations evolve a fantastic, abstract vision of the natural world. My latest work confronts the challenge: the resuscitation of landscape painting in a world where "landscape" is represented and defined through an ever-widening field of digital, graphic, and visual forms. How can a painting capture flux, abundance, waste, fertility, and the collision and collusion of diverse forms? How can it respond to the pressure we place on our era's fragile ecosystem? My paintings explore both questions by sustaining tension between what is artificial and what is natural, between what is chemical and what is biological, between organic and inorganic. The paper on which I paint is not only a recognition of a tradition of Chinese painting; it is also a medium of vulnerability and expansiveness, susceptible to crease and tear as well as to collage and collation. My own role in the creation of the paintings strikes a balance between the purposive and the protective. I trust to process, chance, and change, but I encourage, direct, and facilitate all of these. In my most recent work, I hope to live in the tradition of landscape painting, experiencing it for what it has always been: an occasion for radical experimentation and confrontation with the world, in the broadest sense of the term that sustains us. - KATHERINE TZU-LAN MANN Celebrating 12 years of placing exceptional contemporary art in global private and public collections.Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA's mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora. Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA's mobile gallery component which hosts temporary curated exhibitions nationally.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeKatherine Tzu-Lan Mann's WebsiteMorton Fine ArtTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★
About the guestJenny Wu's sculptural paintings transform liquid paint into sculpture, a process derived from making oil on canvas paintings and discovering the many layers of oil paint beneath the surface. These layers embody linear time, repetitive process and material characteristics. WU pours a thick coat of latex paint one color at a time on a glass surface allowing each layer to dry completely and repeating the process many times. She then cuts the dried paint to reveal layers of cross-section, which are then assembled into sculptures on a flat surface. The cross-section juxtaposes order and chaos: the consistent order of paint from old to new, and the imperfection of subtle differences in thickness. Each piece follows a specific pattern, uniting differences to present a systemic imagery. These works question our basic assumptions about what paintings and sculptures can be. Her work acknowledges the sensational and perceptual properties of materiality, and then transforms the materials from their original forms and purpose to present them within new contexts. JENNY WU earned her MFA in Studio Art from American University in 2015 and her B.A. in Studio Art and Architectural Studies from William Smith College in 2012.Celebrating 12 years of placing exceptional contemporary art in global private and public collections.Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA's mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora. Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA's mobile gallery component which hosts temporary curated exhibitions nationally.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeJenny Wu's WebsiteMorton Fine ArtTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★
ABOUTCelebrating 12 years of placing exceptional contemporary art in global private and public collections.Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA's mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora. Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA's mobile gallery component which hosts temporary curated exhibitions nationally.★ Support this podcast ★
About the guestInfluenced by quilts used during the Underground Railroad to send hidden messages to the traveling slaves, the drawings in Godspeed document a journey of escapism for travelers in search of a better life, for themselves and for generations to come. Quilts are used as sign markers, shields, portals, and gateways to help secure safe passage towards an “Afrotopia.” Hip Hop music, African wax fabrics, and the quilts of Gee's Bend give form and guidance to the figures and patterns, encompassing African American history, culture, and mysticism.– MICHAEL A. BOOKER, 2020 Celebrating 12 years of placing exceptional contemporary art in global private and public collections.Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA's mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora. Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA's mobile gallery component which hosts temporary curated exhibitions nationally.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeMICHAEL BOOKER. WebsiteMorton Fine Art To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★
Intro: Should we take offense that it's Women's History month? (history has not exactly honored women.) Gina had a rough re-entry from vacation, the Disney enchantment, the expense of having kids, the pleasures of one on one time, Junipero Serra was also a monster, Whitey Bulger, networking. Let Me Run This By You: Is Drag Race sexist?, Sasha Velour, Interview: We talk to Rebecca Spence about Hendrix College, Phantom of the Opera with Linda Eder, Ricky Schroeder and Silver Spoons, Erin Gray, taking the Christmas pageant quite seriously, Syler Thomas, being the preacher's daughter, playing Adelaide in Guys and Dolls and the Stage Manager in Our Town, Tisch, Zelda Fichandler, Mary Beth Fisher, Carmen Roman, Deanna Dunagan, Ora Jones, Amy Morton, Steppenwolf, Goodman Theatre, Every Brilliant Thing, Cyrano at Milwaukee Rep, beauty privilege, aging as an actress, Linda Evangelista, how Rebecca sees herself in terms of the cultural shift in American theatre, the accessibility benefit of digital theatre.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina Pulice. We went to theater school1 (12s):Together. We survived it, but we didn't quite understand.2 (15s):And it's 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (22s):And you will too. Are we famous yet? February one, one month behind my friend one month by,2 (37s):Well, it's March 1st happy women's history month.1 (41s):I didn't even know that's how bad of a woman I am.2 (45s):Oh, well I was just thinking like, should we take offense that it's, you know, black history and women's history, like it's all in the past, you know, like why with both of those groups of people, we don't really want to be in the past.1 (1m 2s):Oh. And in fact there is a t-shirt that says that people love that. I have the same thought that says the future. Wait, the future of film is female. And I'm like, what about the present of film?2 (1m 17s):Right, right. Write1 (1m 19s):About like, I don't have a lot of time. I'm 46. Like what are you talking about the future? I mean, I can't be talking about the future. So I, I think the more we can get things in the present, the better off we are,2 (1m 33s):The better off we are now you're back. I'm back. I'm back. I'm back. I'm back. I did not want to come back. I did not leave my vacation. I did not wanna leave 80 degree weather and no responsibilities and fun all day. And it was our, a free entry1 (1m 53s):Monday, really? For everybody, just2 (1m 55s):You or well, for everybody. But for my part, it was getting in on a very late plane, not getting home till one 30 in the morning. It's two inches of ice on my driveway. So I'm like doing slapstick, trying to get my luggage to my door. My daughter's asleep. Oh my, I took the wrong key. I didn't have the right. I didn't have my house key. I don't know what the key is that I took. And so luckily, I mean, I guess I, nobody knows my address, but luckily we have a door that we often leave unlocked and it was unlocked.2 (2m 45s):So we got in and I got my daughter upstairs and I said, just go to sleep. I'll take care of everything. And she was like, yeah, of course, of course. I'm like, I'm not taking care of anything right now. So I remembered that we had some snow melt. I smelled, I go get it. And of course, when I walked into this door, that's usually unlocked. I immediately locked it saying like, we really shouldn't be leaving this open all the time. Oh my God. I know what's coming. I think, keep going, keep going though. And then I get my little ice smell and I go to the back and I closed the door because it's 20 degrees. And I don't want to let all the more mare out. And I happily salt my steps and get the luggage and bring it back up.2 (3m 30s):And the door was locked because the door was locked and I still don't have a key. And that my daughter is fast asleep. And not only is she slowly, I've already turned on the white noise machine. So if I ring the doorbell, if I had any chance of her hearing me, which it's pretty scant. And in any case, because she's a heavy sleeper, I've now masked the sound and it's cold, it's cold. And you, I immediately would be like, I have to eat this ice melt. That's not sane. That did not occur to me. Here's what occurred to me. I'm wearing leggings a t-shirt and a thin sweatshirt because I was just in 80 degree weather and sneakers.2 (4m 12s):I have no hat. I have no code. I have no gloves. I don't even have a key to the car. That's in the driveway because it's my husband's car. And why would I have a key to that? And we do have a garage code that has been broken for like a year. So I guess I should fix that for next time. I'm in this situation. Yeah. And I just tried ringing the doorbell and I tried yelling her name, you know, from down to like I'm in Romeo and Juliet, just yelling up to her window to the family in Utah. They weren't back. Oh my God.2 (4m 55s):I'm like, what the hell am I going to do? Walk to my neighbors at two in the morning and, and do what use, oh, and I didn't mind my phone was inside of, oh my God. Even if I had my phone, what am I going to do? Call my daughter. She doesn't have a cellphone. So I was in a real quandary. I was, I was in a pickle. So here's what I'd come to. I'm going to throw a heavy Boulder through our glass door so that I could get in. And then I'm going to tape it up with cardboard because I must get inside of my house. And then I remembered that another security breach we have is that our window in our dining room that goes directly onto our porch is never locked and very easy to climb through.2 (5m 43s):So that's what I did. And I didn't get to sleep until 3:00 AM. And that's just, that was just like, that was just, of course that was my reentry. Like there could have been no other reentry because ending your vacation sucks, sucks,1 (5m 60s):Bad. It2 (6m 0s):Really sucks. The greatest period of time is like the two weeks before your vacation, when you're getting psyched and then your vacation. And then for me, about two days before it's over, I'm like, oh God, I have to go.1 (6m 12s):I, I, I mean, you know, we're, I am really bad at transitions. Like I remember as an actor being told that to like, and I remember thinking that, and I remember thinking that's perfect. Like that, that makes perfect sense. I'm not shocked. And it makes perfect sense. I, there were no transitions in my childhood. It was like, you're being thrown here and then you're being thrown it. And so this all makes sense. And also it to be fair, your vacation did look fucking brilliant.2 (6m 43s):Like my vacation was like a1 (6m 46s):Dream.2 (6m 47s):It was like a dream come true. Honestly, like I kept being like, why is this so amazing? And I, I do. I do think, I, I think I understand now why Disney has the stranglehold on everybody's wallets that it does. It's because for many people, it is a place where your childhood is openly defended and encouraged and people don't get that. You know, and most people don't get that in other realms of their life. And you know, there's a lot of adult, only groups of people at Disney.2 (7m 28s):Like I even read a review of our hotel that was complaining about the number of children there. It's a, it's a, it's a, it's called the all star movies. It's like the it's 101 Dalmatian themed and toy story and Fantasia. And I'm thinking, wow, this couple went here thinking, oh,1 (7m 50s):People visionary tear like they without no, no, no. There are. Yeah, no, you're right on eighties. I think you've really, really hit the nail on the head. When you said that it's people's childhood encouraged, like, are you kidding me? Like senior pictures. I was like, oh, I'm going there. And I don't care if I go alone. Like, I don't give a fuck. You're going to see me alone. Wandering through Disneyland. Happy as a fucking clam.2 (8m 19s):Do you like rollercoasters? No. Oh, you don't like roller coasters. I was going to say, well, let's go together because I didn't get to ride one single roller coaster.1 (8m 25s):I will go with you. I would go if I trusted the person, I'm always just like, because I'm so neurotic. I'm like, do I want to die with this person? If I'm with some weird, like, you know, whatever. No I would go with you.2 (8m 40s):Well, let me tell you that. I don't know when the last time you went to like a six flags was, but the difference between your run of the mill amusement park and Disney is like the difference between coach on spirit, airline and first class Emirates. Yeah, exactly. It's just, they really, they really curate the experience for you. And I'm so fascinated by all of the work that has gone into just that, like all of the work that has gone into, and we, we had a classmate at the theater school who worked at Disney before she went to theater school and I'm drawing a blank on her name, blonde blonde hair.2 (9m 23s):And she told us about some of the rules. They have rules about how long your fingernails could be. And they had rules about your earrings and they had rules. I think some of those rules have changed because I'm pretty sure you didn't used to be able to show tattoos. I think you couldn't have dreadlocks before. Like it was a whole thing. It was a whole thing. So, so they've put a lot of effort into preserving the magic, right? Like you can't, there's this underground tunnel system. So you don't see the characters in there. Cause my daughter kept saying, oh, it was so sweet. She said, there's this hotel that's right near the park. And she said, why didn't we stay at that hotel? And I said, because it's like $3,000 a night. And she said, oh, I bet that's where the princess is live.2 (10m 7s):And I said, yeah, maybe. And I, and it was, as you recall, we went through this whole Santa's Easter bunny thing and she's she's hip to that. So I didn't challenge her assumption, but a couple of days later she did. And she said, well, they're not really princesses. They're really people who put on princess dresses. So they probably don't live here. I said, yeah, they probably don't. She said, where do I live? And I said, in an apartment, and I just saw the look on her face, like imagining, you know, Ariel living in her studio in like Florida. Right. And I live in Orlando having gone to theater school and then like, what am I doing? But you know what she's doing? She's fucking making dreams come fucking true is what she's done is like, honestly, it's the Lauren's work.2 (10m 53s):I felt like because they have these opportunities for you to meet the princesses, you know? And these people know their characters so well to the point that I can never hear Cinderella, she talks so quietly. I can never hear what she's saying. The, the girl, the woman who plays Rapunzel, that character talked a million miles an hour, she talks a million miles an hour. They read and they just know the ins and outs of their movies, such that they're constantly referencing. Like when, when we met Jasmine, she said, have you seen my monkey?2 (11m 35s):A pu I mean, and Clarissa was like, no, is she around here? Like, we'll, we'll go look for him. They really draw you in to the world. Do they are master storytellers? That's what they are Disney is. And these people, their whole,1 (11m 54s):I know people that go on Disney cruises that are like, I would live on this boat if I could.2 (12m 2s):Yeah, man. It's so enticing. It, it really is. And I, and I found myself being like, okay, this is like a museum product. It's a vacation. Like, but I think it made it harder to leave Mo a lot of times I have to say, especially since having kids, no offense to my kids. A lot of times when I come back from vacations, I'm like so relieved for it to be over because I've had to do so much work. I mean, traveling with one kid, who's pretty, self-sufficient was very easy to put a whole new spin on a family vacation.1 (12m 38s):It's my new thing, which is one-on-one time. So what I noticed in your pictures and social media was that when it's one-on-one time and I just had my niece here, right? Yes. I want to hear all about that. One-on-one time is so much different than family time. And I never had one-on-one time with either of my parents. Not that I really wanted it, but like, it was always trying to force groups or other families with our family. And I think one-on-one time people don't like to do because it's so intimate. And I, and I get that. But I also think when I saw your pictures, what I noticed was a genuine happiness and a knot in your face and your daughter's face, but also like a fun, it looked like fun.1 (13m 27s):And a lot of times when you see family fucking pictures, everyone looks miserable, miserable, miserable, miserable, miserable, and it's no one's fault, but that is the jam. It is miserable to be in a group.2 (13m 37s):It is miserable. And actually, as we were walking around, she kept saying, why is that? Dad's screaming at his kid? Like there was a moment where somebody was, I didn't observe it, but there was a baby crying. And how she reported it to me was that this mother told the baby to stop crying. And I said, well, you know, we're not having that experience because you're not a baby. And because we're not all together, but we've had a lot of experiences like that. You know, I'm glad that you don't necessarily think, look at that and say, oh, that's just like our family. But that is just like our family when we're all together,1 (14m 17s):It's a dynamic. So this is my whole, my whole like new way of seeing things. Not new way. But like w what helps me get through situation is like, oh, this is a dynamic problem. It is, it is a energetic, interpersonal problem. It's not one, one person's fault. But like, I now will never, I said to my niece, like, I only want to do one on one time with, with each of you. Great2 (14m 45s):Idea. Great idea. So how did that whole thing1 (14m 47s):Come to be? So I really wanted to, so each I have taken my nephew and my niece, the oldest one on solo trips, right. To two different places. But the youngest has never been, and then the pandemic hit. And so I was like, wait a second. This isn't fair. Not that life is fair, but I like to keep things kind of like, I don't want her being like, what the hell? I'm the youngest? Cause I was the youngest. I get it. So I was like, all right, I want a lease to come out here. But by herself, without my sister, without the kids, without George, like, no, no, no, no, no. Also our place is so small. Only one person could fit in it. Right. So a small person.1 (15m 28s):And so I said to my sister for her 13th birthday, which was Sunday, I want to fly Elise out. And so that's what I did. And she, she had president's day, right? So she, she missed one day of school because me and Mr. Davis school to do something with my sister and at least came and we had a blast one-on-one man, I'm all about trying to help the dynamic, not be unmanageable for myself and for others, but I'm really thinking about myself. Like2 (15m 60s):Probably so appreciated the attention she got. Right. Because I'm sure there's not much opportunity for her to get individual attention.1 (16m 8s):It's not practical. It just doesn't happen. There's so much going on. And you know, and, and so we had a blast. Now look, one thing that I was telling my therapist yesterday, I was like, oh, this is what I realized about children. They're fucking a lot of energy, even one brilliant child, right. That is, is just being a child. That's turning 13, no problems. Still, a lot of energy goes out cause she's, you know, and they're fucking expensive. So I don't care. I mean, I don't, I know nothing about, I know 100th of what the costs would be, but I'm like, oh my God.1 (16m 48s):And we weren't even doing crazy shit. We were so like, for people to say like, oh, a family of four or five can live on 50,000, $50,000. I'm like, are you, I spent like $50,000 in three days that I don't have, what are you talking about?2 (17m 3s):This is why, I mean, I have avoided saying miss in the past, but this is why we make so much money and have nothing. I mean, we have our house, we have a house, we own a house and we own cars. Yeah. But we have nothing else. We have nothing else. We have no savings. We have nothing else because 100% of our money goes to this very expensive thing we've chosen to do, which is1 (17m 28s):Yeah. And, and I have so much, I'm like, oh my God. Just even light. Yeah. Just life. Just not even buying. I mean, we didn't go crazy. We didn't go to Beverly Hills. We're not like living. Okay. So we went to, she got in really late Friday night and we went to, then we slept in a little bit. And then we went to the beach, went to my favorite beach, which is a unibrow beach who I found out was a terrible ruler that killed a lot of indigenous people, which is sad. But anyway, yeah. Paradise, Sarah that bad, bad, bad, bad, bad, man. I thought he was a Franciscan monk. I don't know my okay. I don't know.1 (18m 9s):Anyway. So it was like, oh, you know, he killed a bunch of indigenous people. I'm like, oh, that's great. Anyway. So we went to that beach in long beach, my favorite beach. Cause it's super chill. It's not a scene. It's not like Malibu. It's not like it's like down home. I love long beach. Right. And I also have an affinity to long beach because my ex lived there who passed away. So I like long beach, a lot. I have like special memories of that. And so we did that. We went, we ate like I now, because we moved to the pandemic. I had no reference for good food in my, in my neighborhood, in Pasadena, in LA none. So I was like, all right, we're gonna use this as an opportunity to explore dude, look, it has no, it doesn't hold a candle to Chicago.1 (18m 55s):Cause that's just how, you know, Chicago. I always tell people like Chicago is the best food and you'll die of a heart attack, but like, you'll eat the best food. We found great restaurants that we ate at. We, so we did a lot of eating. We did a lot of walking, walking around. We did some walks, some hikes. She obsessed with my dog Doris. And she was really, really good with her. Like trained her. Like she's really, she and her brother are both really into training dogs. So she did a lot of training with Torres, which I kept up zero. And then I just, I just don't care. And then I just don't, that's the truth. And we just really spent time together talking about life and about, you know, her, her life as a 13 year old and teenage stuff.1 (19m 42s):And, but it was, it was only, it was like she got in Friday night, she was here Saturday, all day, Sunday, all day, Monday, all day. She left Tuesday afternoon. I was so exhausted. I was like, I don't know. I have. So again, I have so much respect for her parents and people who are engaged with their kids. That's what I'll say. Like people who actually are trying to fucking be engaged. It's it's insane. I don't know how anyone has time to do anything else. Let me run this by, You know, I go into my little phases with the content I'm consuming and right now I'm really deep into con reconsider.1 (20m 31s):This is an old love that I kind of got away from drag race. Oh, right. Yeah. And I never had this thought before and I'm not, I don't have a judgment about it really either way. It's truly just a curiosity.2 (20m 47s):Curious to know what your thoughts are. Did you ever watch1 (20m 49s):That show? So I watched it a long time ago when it first came out. Did they remounted like, is there's different incarnations?2 (20m 57s):Yeah. They're on like season 13 or something like that. Yeah.1 (21m 0s):I watched it at the beginning when I also got into project runway and I got into America's next top model and all that stuff. Yeah. I, I, it wasn't my thing. It just didn't, it didn't compel me. Like I wanted it to love it and I, it's not, what is it about me? It is that, or the show. It's not my type of reality show in that. I just don't care enough. It's you know, about fat, like the fashion, the fashion. I, I'm more interested in the psychological component and at least at the beginning, it wasn't a huge part of the show.2 (21m 45s):Yeah. Well, for me it is the clue. Remember on star search when they used to have acting that acting component and it was so boring to watch, you know, because it's just not the same as singing and dancing. Right. Even I, as a little kid was like, this is boring. I didn't want to watch the acting part of star search. So we don't have an acting reality competition show. Drag race is the closest thing we have to because drag is theater, you know, it's creating character it's it's and, and there, the art has elevated to such a degree that the people who are really killing it are doing things that you would not imagine are drag and they're not wearing breastplates and they're not, they're just there.2 (22m 37s):And it's part of this whole concept of gender fluidity, which I'm really interested in. But my, my question is, is it inherently sexist that these men are doing female impersonations, right? Because, and a big part of it is the humor. And I just had this mode of being like, wait, is the fundamental conceit here that we're laughing at men being women, because why would you be a woman when you can be a man? I just, yeah, it may not be. And, and many, many drag artists may be feminists may consider themselves feminist.2 (23m 22s):I think RuPaul is not necessarily a feminist and he's not, he's not necessarily anti-racist. I mean, I think he's problematic in his own way, but it just occurred to me like, what am I laughing at this idea about just being a woman? Are we, are we trivializing? And we're making it frivolous.1 (23m 43s):It's so interesting. Like, I mean, think that it goes, what comes to mind is also like, how do the artists identify? Like, do they identify as, as, as non, you know, non-conforming or, or, or, or how, how did they feel?2 (23m 60s):Right. That's been an interesting evolution in the show actually from the first season. I think they they've had, they had at least one person who through the course of doing, it said, actually, I'm not, I don't really want to do drag. I want to be a woman. I am a woman. There's, there's been that. And I haven't really followed it closely, but there has been some controversy about like, well, if you have a woman, a trans woman on the show, then is it still drag? Right. So there's all these questions. I don't really know where that debate sits at the present moment, but I do know that very many people who consider themselves drag artists don't consider themselves men in any way.1 (24m 43s):So it's like, right. I, so that, that then leads me to be super curious about yes, like can cat it become one. It reminded me of Shakespeare when she experienced time pretending to be women. And it was always, you know, women weren't allowed to be actors or whatever, and they, and they also like, you know, they would make fun in a higher sort of, even a intellectual way. They were making fun of the, the weaker sex, whatever. So, yes, I think there's a part of it that we're just laughing at the horror show that is being a woman. And then the other thing that I was thinking about was I think you're onto something when, if we can transform it from being about that, to being about elevating art too.1 (25m 29s):Like when you said things that you wouldn't that piques my interest, wouldn't consider quote, drag. That is like, where I think we're headed in theater, right?2 (25m 38s):Like, oh yes, we must be. I mean, if we are to survive, we must be headed in that way.1 (25m 44s):Can you give me an example of like what, what you wouldn't consider drag that is like,2 (25m 50s):I got there's this drag artists named Sasha Valore and sh I'm right now, I'm on season. I forget if it's eight or nine, it might be nine. And she Sasha the lore does L well, first of all, and I think he identifies as a man. He does his art is political and intellectual. And he's one of these people who doesn't wear fake breasts. He does, he, what he does is he covers his nipples with pastries and, and, but builds the most beautiful garments around a look around an idea blend.2 (26m 31s):And, and it's rough. What I love is when it's referencing so many different things, when he explains his outfit later, he's like, well, this is a reference to Marlena Dietrich. And this is, this is a reference to, you know, the, how the gay culture in Russia exists because it's, you know, it's illegal to dress in drag there and, and homosexuality is not outright illegal, but it's, you know, obviously not a way that you want to go around presenting yourself. It's just this elevated conversation. I mean, the first time I ever saw actual drag was in Las Vegas at a show, I was a teenager and I couldn't believe I'd never seen it before.2 (27m 15s):I couldn't believe how much this man looked like a woman. And that's what the drag was. It was all about pretty much straight forward, like glamor looking as feminine as possible. And it has just come a long way since then. And now it's about, it's really just about embodying characters.1 (27m 34s):So yeah, you love storytelling. So this is what I'm getting at from the Disney thing. And from this is that you love detailed nuance, researched and referenced storytelling. Totally. That is your jam. So2 (27m 51s):It was my mind when, when all of these disparate things can come together into one cohesive piece of art. That's what I like in plays. That's what I like in books. That's what I like him.1 (28m 1s):So that's really interesting to know. Like, I think also like, yeah, for me, what I like is yes, super detailed, specific thought out things like I remember my favorite thing as a kid was pop-up books that had teeny little hidden parts that you wouldn't expect to have a tab that have it. That was my fucking jam. I was like, that is what I like about television is when there's callbacks or references or little Easter eggs, or like where you're like, oh my God, oh my God. Oh my God. Did you notice that the, you know, like I get into that because it means ultimately that people fucking care what they're doing.1 (28m 45s):Yeah,2 (28m 46s):Yeah, yeah. Oh, yes. That's what really gets you. That people care Today on the podcast we are talking to Rebecca, Rebecca is an actor. And if you live in Chicago and see theater, there's a very good chance that you've seen her on more than one occasion in more than one brilliant star Trek. She also does film and television. She's got actually a television series, 61st street. She's in Candyman, that's out in theaters right now.2 (29m 26s):She was in one of my favorite shows, easy, which featured a lot of great Chicago actors. We didn't really talk about any of that. We talked about her as dying love for Chicago theater and her absolute respect for the actors that make it happen. So please enjoy our with Rebecca Spence3 (29m 52s):Podcast or a voiceover.2 (29m 55s):What's the matter with you? Why don't you get with it podcast or be a professional podcast? It's so easy. Honestly, you just break right into the market. You get tons of downloads. And3 (30m 9s):This is what I hear. It's amazing that I haven't jumped on this bandwagon yet. I don't know.2 (30m 14s):I will say the number, the apex of active podcasts or podcasts that were downloadable in the pandemic was 2 million up from 750,000 before the pandemic.3 (30m 29s):I absolutely2 (30m 30s):Believe it's trending back down because I think people realize like it's kind of a lot of work to maintain something every week. So, you know, we're just hoping to get back into that sweet spot. Maybe even less people will do it and we'll get down to like half a million. So then we'll really have a chance. Anyway, congratulations, Rebecca Spence, you survived theater school. Wait, wait. You're, you're looking, you're looking like you don't agree with me.3 (30m 59s):I, I I'd like to reframe it a little bit. I, I survived a theater major. I did not survive the grad school audition process. I Did not into the theater school.2 (31m 18s):We've often said we should call it. We should really call this. I survived my desire to be famous, whether you became famous or not, you know, like you have to contend with your, with your desire for us,1 (31m 29s):Never went to grad school for you went to undergrad and you got a theater major, and then you, and then you went to you, you auditioned for grad schools and didn't get it. What, how could Rebecca Spence that fucking get into grad school? Are you kidding me?3 (31m 43s):No. What I was doing, I didn't have a clue what I was doing. So I, but I can say that my audition process for grad school is what brought me to Chicago and, and made me fall in love with Chicago. And ultimately helps me choose Chicago as a home base, which is where I've had my education. I, my entire education in theater has been through observing and watching people very, very, very good at what they do. And2 (32m 15s):Just observing or asking people. I mean, you said you didn't know what you were doing when you were auditioning, but3 (32m 21s):Yeah, I went to my, I had, I don't know anything to compare it to. I think I had a great theater experience in, at my tiny little school. We had a three professor department and they were wonderful. I, I looked at some conservatories for undergrad and I just wasn't entirely sure if that was what I wanted to do. Cause I didn't know anything about professional theater, not a thing I grew up in, in, in Texas. I had, I think I saw maybe one professional production.3 (33m 2s):I had a friend whose parents were into musicals and they gifted me with an evening to go see Phantom of the opera with Linda ETR of all people. So I'm like, if you're going to get an experience seeing it, that was great. But I knew I wasn't a musical person. I didn't have that kind of gift. And I didn't know what, like I never had seen regional theater. I had never gone to1 (33m 29s):Like a play3 (33m 30s):Play. No, I think my parents took me to a community college production of glass, menagerie,1 (33m 39s):Light fodder for a child have to say like, what is coming forward for me when you're talking about, you're not the first person to say like a musical with the first introduction to any kind of acting and they get a bad rap, sometimes musicals, but they're a gateway for so many kiddos. It's like magic. I'm like obsessed with musicals now.3 (34m 7s):Yeah. I I'm the youngest of three girls by a large margin. My sisters are nine and 11 years older than I am. And so they would put on plays and then stick me in them. So I was kind of dressed up a lot and they'd be like, go say this. And I would do that. And I've got1 (34m 27s):Actors now. What's that? Are3 (34m 29s):They actors now? Okay. No, not at all. No. We just had very active imaginations. And so I, but I loved it. I, I always wanted to be, I had a very active imagination and, and wanted to, I knew I wanted to act like I, I want it to be on silver spoons. Oh,1 (34m 50s):Well, here we are facing. I always, I always thought that the line was here. We are faced to face a Comella silver spoons. Somehow someone informed me that Kamala, wasn't a real word. You guys. And so I was like, wait, what do you, they were like, what did you just say? They're like, say it again. And they were like, you know, that's not the line, but anyway, you want it to be in silver. Did you want to be on like, Ricky's like sister or anything? Like you just wanted to be in that world?3 (35m 26s):Oh no. I had a whole, I had a whole plot line. Oh yeah, no. I was also going to be adopted into the family. Oh yeah. They were, I, I was also going to be adopted into the family, but then of course we were going to become love interest. Of course it's very twisted. I was, I was quite convinced. I, you know, Aaron Gray was going to be my mother. Oh. I also loved buck Rogers. So it was a big club look, Roger. So I kind of followed Erin gray. I thought she was quite possibly the most glamorous woman I'd ever seen. And that's not true.3 (36m 6s):Doris Day was, but I wanted to be parented by1 (36m 13s):Yes. I mean, that's like me and like my modern day telling Brian Cox, I wanted him to be my new father. Right. And that didn't, he was like, people have told me that before. It was actually, it's a real thing. So like, okay, so you, you want it to be that. And then how did that translate Rebecca into like actually studying it? Because like, how did you know? It was a thing3 (36m 37s):I started doing a lot of plays in church. I did a lot of church. Like I was married about 12 times. It feels like, and I remember taking, I remember my like little, my first like actual play. I remember, I think I had been four and I was married and I took it really seriously. And the little boy who was playing Joseph, who also happened to be named Joey was not taking it seriously. And he kept taking his little robe and throwing it over his head. And I remember being livid, absolutely livid. I just was, I was so disappointed because I really felt like I was giving off as many, like holy maternal vibes as I possibly could.3 (37m 26s):And he, he wasn't up to the task.1 (37m 28s):Did you find it, did he get fired or like, did he get recast recast?3 (37m 33s):I I, no. No, no. I mean, my memory is being up in front of the, I don't remember any group kind of rehearsal process. I just remember being up there and holding my little baby doll and feeling very pious Over. And Joey was like screwing with a shepherd.1 (37m 54s):That's fantastic. I am Joey, by the way, I would be the Joey. I'd be like doing dance moves and they'd be like this one, but here's the thing3 (38m 3s):Laughing. And that's why it was because people were laughing and they, you know, he was drawing attention and laughing. And I was like, I don't remember this being a comedy. This is a comment1 (38m 19s):Here's, what's interesting about that story for me is that you w I've never worked with you as an actor, but I know from being around you and seeing you work, that you are not enough, and this is not, well, I'll just say it like, you are like a consummate per actor. Like you, you take this shit seriously, which I adore, which I actually learned from people like that. But like, you are very kind and lovely, but you also are a fucking professional actor. And there is like, I know that sounds so obvious, but you know what I mean? Like there are people like Joey that fuck around at age four, which is fine. He's four. But like the fact that you didn't fuck around as Mary at age four, I think is actually an important thing in your, in your history because you take this shit seriously.1 (39m 7s):Also. You're like you work all the time, which is fantastic, which I don't think there's a coincidence there. That's all I'm saying. That's all. Yeah.3 (39m 19s):Thank you. I mean, I knew I wanted to do, I played a lot alone. I mean, I was alone all the time. So I was constantly like perfecting different personalities. I mean, because I moved as much as I did, we moved every two and a half to three years. I had like an opportunity to like, be put into different scenarios. And that was just like a playground for me to, to, well, first of all, it was survival. It was trying to figure out where am I? How do I fit in? How do I make friends? What what's like that group of people doing and how do I sort of evolve and adapt. So that they'll speak to me.1 (39m 57s):Did you move because of your family? Were you a military situation?3 (40m 2s):God's military? My, my father was an Episcopal priest, tiny segue. I listened to your podcasts and I'm the one that, that I just delighted and was listening to Siler. Thomas. I knew Siler Thomas from church camp. I had no idea Seiler Thomas. Wasn't cool. We, I grew up sort of adjacent to, to him. He's older than I am. So he was in a much like cooler hipper, older church crap. And, but we went to like all of the same, like regional functional things.3 (40m 47s):Cause my father was an Episcopal priest. And so he was very active in youth stuff. And so I went with him. That's how I know Seiler camp counselor. And I was a camper and I had no clue that he was a theater person. No, I can't2 (41m 5s):Wait to tell him. I can't wait to tell him3 (41m 7s):We reconnected sort of over Facebook, but I haven't seen him, but I listened to his entire podcast and I, I, I got really, I got really excited.2 (41m 15s):Yeah. Yeah. He's, he's fantastic. What I would have done if I had to move every couple of years is I would have pretended that I was British. When I came to a new school. Did you ever adopt new, like a really different3 (41m 31s):Personality? No, I couldn't. We were always sort of presented, like we were kind of presented as a family so that wouldn't have ever worked out for me. I did have a friend though in the sixth grade, my friend, Susan. And it was the first time we in, I was in Waco, Texas, and we went to all the sixth graders, went to one school for me, entire city were busted into a sixth grade center and we would rotate classes and she, and I would come up with like each class that we were in. We would have completely different personalities. We would like today where the really loud Rawkus girls and today were very shy and reserved, but today where the pranksters.3 (42m 17s):And1 (42m 18s):So you did go to theater school cause that's all we did. So there2 (42m 23s):Starting at four years old, you started your year to school3 (42m 25s):Training.2 (42m 28s):Yeah. So when you finally, when it was time for college, you were considering conservatories, but decided not to. How did you pick the school that you went to Hendrix?3 (42m 41s):I picked Hendricks because they had a theater program and my parents said that I had to be within a day's drive. And so they said, we can, you can go to school, but we have to be able to be able to drive to you within 12 hours, if anything happens. So I went 10 and a half hours away to two Hendricks college in Arkansas and had a pretty campus. And I, I knew, I, I knew I wanted to do theater. I had started doing more professional place, not professional, but, but really high quality plays in high school.3 (43m 21s):And I knew that I wanted to keep doing that. I really loved it. I just sort of disappeared into that. And that was, that was a safe way to build quick family, you know, do you found your people really fast? And I, I, that, that felt good to me. So I really enjoyed it. And2 (43m 41s):Were they known for having a great theater department?3 (43m 45s):No, but they built, so I did my freshman year, we moved in the middle of my eighth grade year and I had one freshman year in a, in a really small, small town in Southeast Texas or S yeah, it was near the coast and that didn't, that didn't go so well for me. And I ended up being sent to boarding school.1 (44m 13s):What did you do? Were you depressed?3 (44m 15s):Very poor choices and trying to, in trying to, to fit in, what is it,1 (44m 21s):Does that mean? What does that mean? Did you smoke cigarettes or like kill people? What happened like3 (44m 27s):In the middle? No, I, I had some substance stuff happened. I found the substances are pretty early in like, like an eighth grade. Yeah, yeah, yeah, no. I mean, we, we lived in the town that I lived in was known for grass farming and rodeo, and we didn't have anything to do. There was no, there was no movie theater. We didn't have a Walmart. We didn't have a skating rink there. It was,1 (44m 57s):It's like Footloose the toast.3 (44m 60s):So what we did is we went out to fields and drank like, that's true. That was what you did. So I, I, I wanted to do that. So I drank a lot and then I got caught a lot. And so my parents had a panic and sent me to boarding school in Austin, which they had a, really a growing theater department. And by the time I graduated, they had built this huge complex. So my senior year was the first year they sort of became an art school. So I kind of said goodbye. I mean, our first production was like, I remember they flew in some flats from Las Vegas.3 (45m 42s):I want to say we did guys and dolls, but we had like actual professional flats. And it was like my senior year. I was like, oh my God1 (45m 51s):Star, were you the star Rebecca? I was3 (45m 53s):Adelaide Adelaide. And then I got to be the stage manager in our town. So that was, but of course I, I didn't know what that meant. I wanted to be Emily,1 (46m 5s):Emily, of course. And then there were3 (46m 7s):Like stage manager and I was like, what? I'm stage managing the play? Like, I clearly hadn't read the whole play. I just read what I was like. I didn't know that that meant I had more to do. And it ended up being like a really, really meaningful, beautiful experience.2 (46m 24s):And just getting back to like the making. Cause I, I really love talking about making bad decisions. Would you say that you kind of did the, there is a trope of a preacher's daughter getting in to trouble? Is that what happened to you? Yeah, it was a rebellion against,3 (46m 43s):I mean, I, I just, you know, is there either the really, really good girl or the really, really bad girl and I, I, I didn't want to be the really, really,1 (46m 56s):Really hard position to be like, I can't imagine, like, even if your parents are like the nicest people there, again, there's a status thing that happens when there's someone in the community is touted as a certain thing. Like it's like royalty a little bit in America. Like we don't have, you know, so it's like you it's like, and then you're expected to behave a certain way. And as much as I had, like, I would say very little care and guidance in some ways I also didn't have a lot of pressure to be a certain way because we were all just like, there was no title. Like my parents didn't do anything. So it's, it's a tricky situation. But what I'm, what I'm also noticing is that the, the poor decision making and the drinking and they're getting caught actually was, it led to some really good fucking theater like that.1 (47m 46s):You went to Austin and you got to do like really good acting work. So it worked. I mean, you know, it wasn't a, it wasn't an all a bad thing. So you were like, yes,3 (47m 58s):I have learned more from my, my failures than I have ever learned from my successes. And I've had a lot of failures. I've had a lot of,1 (48m 8s):You know, something that I can speak to from being in like an insider in Chicago or formerly, and now in California, but being at a Chicago actor is like, everybody, I want to talk about the pressure in Chicago. So you are one of those people in Chicago that everyone's like, oh, Rebecca Spence books, everything. And I know it's not, I listen. I'm not saying it's true. This is what I'm saying. Let's get to the heart of the thing that I want to ask, which is from being on the I'm now on the outside looking in. Right. So what is it like? Cause that's always something that I heard and it has actually very little to do with you with other people's shit.1 (48m 48s):Right? It's not, I'm not saying you are doing anything, but what I'm asking as a woman and a performer, what is it like? And it's easy for me to do now because I'm in LA. So I don't give a, you know, like it's like, what does it feel like to have that kind of pressure of people, first of all, are you aware of it? That people are like Rebecca spins, books, everything. And then how does that affect you? And do you want to tell them to go fuck off? Or are you like, I work really hard.3 (49m 14s):Well, this, if this I'll take it two steps back, because this is a Testament to how much I, I love and admire Chicago theater. My understanding, I, I didn't get into theater school because I sabotage my auditions because I didn't know what kind of an actor I wanted to be. I actually, I choked. I freaked out because I thought that if you wanted to be an actor that meant that you wanted to be famous. And, and so I went to NYU, I came to Chicago to audition for theater school that I did the errata and auditioned for NYU Tisch.3 (49m 56s):And then I crashed the Harvard art. I didn't know you could crash. And somebody said you did. So I just got in line and I crashed the Harvard auditions. I made it to the final rounds of, of Tish. And I flew to New York and had a solid panic attack. I just, I didn't know anything about New York. I had, I came from tiny town in Texas. I had never been to Chicago. I had never been to New York. I didn't have a smartphone. I didn't know how to get around. I, I met Zelda. I met, you know, I did all the stuff. I was like, I can't afford this. I don't, I don't know what this is. I don't know what I'm doing. And I, I P I straight up chokes and, and really sabotage my own audition.3 (50m 40s):But I liked Chicago and my husband got a job here and we moved here and then somebody said, you know, I needed to find a job. I didn't even know. They were like, what about the Goodman theater? And I, I was like, I don't even know what that is. And I didn't know what, like actual regional theater was. And I ended up getting a job in development at, at the Goodman theater, because I was too scared to act. Cause I thought I don't actually know what I'm doing. I didn't know how to do like prepare a monologue very well. I had done that my senior year in college. Like we prepared one monologue. I didn't know like how to go through that whole process. But I started working at the Goodman. I started watching, I saw Chicago actors come on stage.3 (51m 24s):And it was people like Mary Beth Fisher, people like Carmen, Roman people like Deanna Dunnigan. Like people, people like Ora Jones. Like that was when I started hearing when they were like, oh, oh, oh my God. Or Jones is going to be on say, oh my God, Amy Morton. I'm like, who wait, who are these people who wait, who are these people? And like, people that I started hanging out like the theater crowd, when they started speaking about these people and their work ethic, I was like, that's what I want. I want to be a well-respected name in a medium sized town.3 (52m 5s):That's that to me is how I know I've made it. If people are like, oh, oh, we want to go see that show because I guarantee you, you're going to see someone who has put in the time, put in the effort, they're going to bring nuance. They're going to bring, you know, a craft to it. That was my goal. That's. And so when I hear that, there's part of me, that's like, I still don't know what I'm doing, but the little ego part in the back of my brain is like, it's what we've always wanted.1 (52m 38s):Yeah, no.3 (52m 39s):I wanted to be a respected actor in a town that who, whose work? I respect so much. I fucking love Chicago actors. And I love Chicago theater. I don't think there's any better theater in the country. I think that, that the work ethic and the quality of people that go in and do the work and bring, bring their hearts and their souls to it. That's all I've ever wanted to be a part of. So when you say, when you're like, oh, she works all the time. I'm like, I, I, I don't, I mean, I do work, but there's part of me. It's like, oh my God, maybe we're doing it. Maybe1 (53m 17s):I can tell you right now, Rebecca Spence, that you are doing the thing. Because when I saw you in, what was it? Every brilliant thing is that the, It was, it was beautiful. And when I saw it, I was like, oh yeah, this is why she, she books. She works all the time. It's all relative. Right. But that thing of she works all the time. But like, this is why it actually is because you're good at what you do. And you're also, like you said, you actually really care about the thing we were talking about. Caring, like Disney really cares how they take care of their parks. Like, that's a, that's a segue, but like, that's the, the point is that you, you, the care that you put into your, your art is very desirable, right?1 (54m 5s):Like people want to work with that. And I think in Chicago, there is this sense of, we're just sometimes we're just there to make it to the next place. But what it sounds like for you is like, this is your place3 (54m 18s):I'm here. Like this is, I have no desire to move to New York. I have no desire to move. I'm doing exactly what I always like. I'm doing more than I ever thought I ever hoped that I could do.2 (54m 33s):Like, wow.1 (54m 34s):I mean,3 (54m 35s):I ever thought that I hook could hope to do so. I am. I'm always really grateful because I,2 (54m 46s):Yeah, honestly, I, I really think that more people could stand to do that, to have as their goal. You know what, one of the things that has come out of this glut of information put out us all the time is this concept of like exceptionalism and that you only really hear reflected or, or echoed or amplified stories of people who are exceptional. People who make millions of dollars or people who, whatever graduate Harvard when they're 10 years old. And it, one of the casualties of it is that I think people who are forming their identities don't necessarily get enough examples of people who are achieving anything in the middle, you know, any kind of other success.2 (55m 36s):And, and we know how much these extreme successes lead to like tragedy. In a lot of cases, we'd be doing ourselves a favor. If we could put more stories of like, I aimed for this thing, that is not the, you know, the outer limit, but is, you know, difficult to do, but was obtainable for me. I think that would be,1 (55m 57s):I think it's so good. And I think that the, the also the, the irony or whatever it is is that now you, you, in terms of, in terms of film and television, you do book that work too, but it's not because your it's like you, that was your goal. And, and all this theater stuff is just sort of there it's like that work comes because of the, what you have done build the platform. And I think Gina, what you're speaking about is nobody's building the fucking platform on which to stand. So it's like all of a sudden, they're just catapulted on this platform at the top of the sky, and there's nowhere to go, but fall. Right. So you've done the work to build the platform, Rebecca.1 (56m 40s):And I think that that's, that's rare that doesn't happen. And I think that's fricking amazing because you have something to stand on. You're not like floating in LA like on a pedestal about,3 (56m 53s):I wouldn't do well in LA. I don't think I, I don't think I would do well there. I could maybe hang out in New York, but I don't think LA would, I liked LA. I went out there for just a brief moment just to see what it felt like. And people are like, oh, you're going to love it, or you're going to hate it. And I didn't feel either way. I, I liked it. I mean, I, I, wasn't responsible for living there and getting rent, paying rent. I was staying in a friend's pool house. And so I had a place to live for a month and I had one audition. So I hiked, it did a lot of hiking, which was great. And I found little pockets there, but I've thought, I don't think I could live in a town that is just constantly cycling around one industry.3 (57m 41s):And that was kind of how I've always operated. I didn't want to go to a conservatory because I was like, there's way more to me than just acting like, I, I love, I, I like, I love what I do it's but it's not the only thing that drives me. Like I like theater and acting is, is the thing that I love most, most of all, but I really there, I love Chicago, so there's so much more to do than just2 (58m 10s):So true. So I keep thinking about a little Rebecca and little Joey, we've heard a lot of stories about people who, when they were in college, feeling resentful about P other people who they felt like didn't take it seriously enough people, you know, like a common thing is a person who had to work really hard to get a full ride because they couldn't have afforded it to go to college otherwise. And then to be there with people who are partying instead of, you know, spending a hundred percent of their time dedicated to what they're doing. Does that come up for you now working on something now, do you encounter people who you feel maybe aren't fully appreciating the opportunity they're being given or, or at this level now, are you mostly with people who take it very seriously to,3 (59m 3s):Yeah, I haven't had that. And I mean, most of the people that I work with are really just so excited to be in the room. I mean, I, I, I th I can think of one instance when I was doing non-equity theater in a basement somewhere for, for, I was the only female in the entire, in the entire production, like cast, crew, everything. It was, it was me. And it was a bunch of guys that were kind of jerking around a little bit and it affected, it was like a really serious play.3 (59m 45s):And I remember one of them pulled up a pretty, I don't want to say dangerous, dangerous is too extreme of a term, but it was a play. It was days of wine and roses, which was, and you know, where I have to, the character ends up drink in some, but they, they changed the bottle and put actual alcohol in it onstage, and didn't tell me. And so I chugged and had like a thing of alcohol and I was like, and nobody would fess up to it. Like nobody who did, who did it? Y'all who did that? Just like tell me, and no one would, would, would fess up to it.3 (1h 0m 26s):And then I was like, this sucks. Yeah. That's actually, that's the only time I can think of when I was like, I'm, I'm putting my heart and soul into it for the most part. No, I've never, I thought, what about upset or like, is everyone you're working with really like, to joke around too. I mean, I, yeah, what I do on stage, I take very silly, but I love to play. I'm a prankster. I liked to, I I'm very silly. I like to be silly. I, I love people that are having a fantastic time. And when I know that it's not like messing up somebody else's process I'll jump right in.3 (1h 1m 7s):Cause I, I like it. So I haven't had any, what's a, what's a favorite project. Gosh, there've been, there've been a lot. I did a production of a three person Cyrano up at Milwaukee rep and it was the first time I'd ever left Chicago. And we did a three person version of, of Cyrano where we did made all of the sound effects ourselves.3 (1h 1m 49s):And so we switched characters and jumped and I had never done anything like that of like sort of it wasn't devised, but it, it, it was much more deconstructed than anything that I had ever been a part of. And it was, and we toured it. We toured it all around Wisconsin and into Minnesota and I'd, I'd never done it. I'd never done summer stock. I had never done anything like that. And we were this little Merry band of three, plus our manager in a, in a van driving all over making, you know, I was, we would do the sword fights and I would, I would use the foils and make all the sound effects and sheets.3 (1h 2m 30s):And I just thought that was, it was, it was a great time. I love it.1 (1h 2m 34s):Why did you love it? Like what, what you just love doing the like, cause it was the first time you did it or like what was the feeling that you were like, this is fucking awesome. Wow.3 (1h 2m 44s):Creative thing. And we surprise so many people because we made like the set was made out of ladders and like we would make the set and I love surprising the audience cause they would come in, they'd be like, what the, what is this? Like, are you like, oh God, we're gonna watch people like create out of boxes. See it, like, you're going to take me on one of these like craft paper theater projects and what am I getting myself into? And with just like a little thing of twinkle lights and we, and I was working with these two phenomenal actors, Reese, Madigan, and Ted Daisy, who work at Milwaukee rep all the time out and, and Oregon Shakespeare.3 (1h 3m 25s):And they do a lot of Oregon Shakespeare work. And we just played, we played in, played in, played in plate. It was, it was playing. And yet then we would have these like gut punch moments and it, I had just never done anything like that. I had always been put in sort of very traditional roles and nobody usually allowed me to step outside of those boxes. And I, I did it and had such, such a good time doing it.1 (1h 3m 53s):That leads me to my question about beauty. Okay. So I'm obsessed with this idea of beauty as, as a, as it relates to how people that are, are how we relate to our own beauty or feeling lack thereof or so, you know, you, I would say for me, you like a stunning, stunning woman. And, and I would like to know what is your relationship like? I mean, it's a very, it's a very intense question, but I am obsessed with it. What is your relationship like to your own idea of your beauty? Because people, because what you said, really trait triggered something in me of like people usually put me in these traditional roles, which to me means like beautiful wife, a beautiful mother, a girlfriend, a blah.1 (1h 4m 46s):And as you age, like talk all about that because people will say like Rebecca Spence is gorgeous and I agree and I want to know what is it like? And I guess it's sort of hard if you're the fish in the water, but like tell me, what's your relationship like to the way your own looks?3 (1h 5m 2s):Sure. You know, I, I, I fully acknowledged that I've had duty privilege. Like I've fully acknowledged that that has been a part of my progress. And you know, it has been something that has put me in roles. Like I was never the ingenue ever. I was never the Juliet. I was always the lady capital. I was always, cause I had always had a lower register and I always looked mature. I had a very classic features. And so I was always like lady Croom, lady Capulets.3 (1h 5m 43s):I was always like the bitter aunt. And it's kind of, I was Jean Brody, you know, like I got to, to have these sort of larger power play or things, which I always wanted. I wanted to play more powerful than I wanted to play pretty because I knew that I was always viewed as such. And you know, it's, I know that I've been allowed into a lot of rooms because of how I look. I think maybe that's why my drive is so strong because I want to back it up.3 (1h 6m 24s):Like I don't, it's very important to me that I bring work ethic and integrity and talent to, to, to that so that as I age and as I grow and as this goes away or transforms and evolves that I'm leaning more on, on, on the thing behind it. And, and aging as, as someone who is it's real, like it's, it's a real ego check when you were always called in for the beautiful wife and now you're starting to be called in for, you know, other roles.3 (1h 7m 11s):And, and this isn't a it's I know how it sounds like I always like know and feel1 (1h 7m 18s):No, no, no, no. Here's the thing. You're the one, you're the first person that we've talked to that we've said like, Hey, like I remember we interviewed someone and Gina brought this up to someone and was like, you're very beautiful. Like, what's it like to, and the person could not acknowledge that they, because they were, I think, I don't know what was going on. I assume they were afraid to sound vain, but here's the thing. It doesn't sound any kind of way. What sounds, what it sounds is like, you're trying to make sense of the way the world sees you, which actually isn't about you either. It's like, and yet acknowledge the privilege.1 (1h 8m 0s):So you're the first woman that we've talked to that has said, yeah, like I acknowledged like this got me into rooms, but I want to back it up instead of pretending that it doesn't exist. Right. Because,3 (1h 8m 12s):Because for anybody to lie, I, you know, I remember being, I remember being in a room and I was like, I was like, you're beautiful. And she was like, oh, I just am fat. And I'm like, come on. You know, I was like, come on, don't do it. Like it doesn't, it's, it's, it's so insulting to people that, that, that, that, like, let's be the thing I've tried to do is truly be objective about my work and, and who I like to. So you have to be objective about, like, I know what I look like. I know what I bring in, so what else do I add to it?3 (1h 8m 52s):And I it's something that I will never forget because, and after that, I know when we were very young, who is doing really, really well right now, and she is, you know, a self identified fat actress and like that, that is how she works in the world. And it's, she's, she's just phenomenal. But she was the daughter of a, of a beauty queen. Like her mother was a beautiful, beautiful woman. And she was like having to grow up with, you know, under, under someone that was beautiful. She's like I had to watch watching her age was one of the most painful things I could have ever witnessed because she was so used to being the most beautiful woman in the world, in the room.3 (1h 9m 42s):Like that was her identity was she didn't have to do too much else because she was the most beautiful woman in the room. And when she aged and those things started to fade it, she had sort of lost her identity. And that, that conversation has stuck with me for forever. I was like, don't ever be the person that, that your exterior is the only thing you have.2 (1h 10m 4s):Yeah. Well, I mean, I think it's awesome. I think it's fantastic that you acknowledge your beauty privilege, but I also acknowledge that there is a prison aspect to it too, or certainly when one is young, you know, where you can only be considered, you know, for a certain type of role, it can be just as limiting. And then if you go to that,3 (1h 10m 28s):Because of it, I mean, I I've been told, I lost I've lost roles where something is really, really, really excited about. And they were like, you're too, you are too classically attractive to be relatable. And I was like,2 (1h 10m 45s):Yeah,3 (1h 10m 46s):Being relatable is my jam. Right, right. What I worked so hard to do, I wouldn't be relatable. And I'm, you won't allow me out of that. And then of course, you know, I've got to sit back and I'm like, look, people have to face this kind of feedback on a completely dip. So, you know, I was like, then I mean that it sucked. And I, and I grieved that. I was like, but, but this is this industry that, and other people face that in tote for D for a myriad of different other reasons, they are told based off of how they look that they aren't right for the role. And I, I always knew that, but I was like, God, that sucks.1 (1h 11m 26s):And I'm thinking of like, yeah. And, and,3 (1h 11m 31s):And know it. And you don't want to tell anybody about it because no one, no one's going to be like, oh, that's horrible.1 (1h 11m 37s):Right. Right. I mean, it's this thing of you don't of course you don't want to, but I'm also just aware of like, like, I was obsessed with this whole story of Linda Evangelista who got face surgery, and then she finally showed her face and she looks fucking fine to me. Like, it's not about that. It's not about her face. It was about, it was no, no. I mean, literally it she's. I read the whole thing too. She, she calls herself deformed. She has like some fat that comes up over her bra3 (1h 12m 13s):Solidified. It's hard. Like, oh, that's true. Yeah. It's painful and hard. And,1 (1h 12m 20s):But the thing is like the, it is for me, what, what it brought forward was like from the outside, right outside, looking at Linda Evangelista, she's still one of the most beautiful people I've ever seen with her without her deformity. But it doesn't matter because she is not her identity was this model. Right. Which probably screwed her for life and also offered her privileges beyond my wildest dreams. Both are true. So I guess what it brings forward is like, everything about this journey is a combo fucking platter. You kinda have the privilege of beauty without also being in a prison.1 (1h 13m 1s):You cannot have the privilege of, you know, like for me, I kind of have the compassion that I have for humans. If I had not gone through what I had gone through as a child, especially an overweight child, like gum, it comes together. And I think we're so used to seeing people as, oh, that's Rebecca Spence. This is what she does. And this is how her life, it's not that way. And I think that's one of my life goals is to just show people through my writing and my work. Like this is a fucking combo platter. People like you don't get one way, like Linda Evangelista said, she feels like the most ugly person. And she acknowledged that she was a model and made millions of dollars doing it.1 (1h 13m 42s):So like, it's both, you're both, you're both things I give you permission. I give everyone permission to have both the prison and the privilege. I know it's not my job to do, but that's what I would wish on the world if I was running shit, which I'm not. So there we go. But anyway, that's my rant about you. I just really am focused on like asking women, especially like, what is it like, you know, especially as we get older to like change and it's a real3 (1h 14m 10s):Ego knock, I'm, you know, I'm not going to lie. I, I filmed something recently and I, my son went on, said, took a picture of the monitor and gave it to me. I was like, you know, I was like, oh shit. Okay.
Amy Morton, owner of Found Kitchen and The Barn Steakhouse in Evanston, joins Steve Bertrand on Chicago’s Afternoon News to discuss Evanston’s vibrant restaurant scene. Follow Your Favorite Chicago’s Afternoon News Personalities on Twitter:Follow @SteveBertrand Follow @kpowell720 Follow @maryvandeveldeFollow @LaurenLapka
With Excitement allow me to introduce to you today's guest, Owner/Operator of Found Kitchen And Social House, The Barn Steakhouse, PATTY2, and Stolp Island Social, Amy Morton. Show notes… Calls to ACTION!!! Join Restaurant Unstoppable Network and connect with my past guest and a community of superfans. Subscribe to the Restaurant Unstoppable YouTube Channel Join the private Unstoppable Facebook Group Join the email list! (Scroll Down to get the Vendor List!) Favorite success quote or mantra: "Give the guest what they want." "Always say yes." "Think outside the box." "Do what is right." In today's episode with Amy Morton we will discuss: 4th (or 5th) generation restaurateur The Playboy organization The margins Tipping causes an unfair distribution of earnings Paying more to cooking staff is essential Tracking and watching the numbers is how you stay open Payroll is our biggest and most controllable number Reverse engineering your numbers Have a SINGULAR vision Industry rebellion Creativity without pressure The value of a dollar Integrating your identity into your work Restaurateurs spend too much money on the build-out Opening mistakes Finding a chef The host position Advice on partnerships Communications, intentionality, and ego Today's sponsor: 7shifts is a modern labor management platform, designed by restaurateurs, for restaurateurs. Effectively labor management is more important than ever to ensure profitability and restaurant success. Trusted by over 400,000 restaurant professionals, 7shifts gives you the tools you need to streamline labor operations, communicate with your team, and retain your talent. Best of all 7shifts integrates with the POS and Payroll systems you already use and trust (like Toast!) turning labor into a competitive advantage for your business. Restaurant Unstoppable members get 3 months, absolutely free. BentoBox empowers restaurants to own their presence, profits and relationships. The hospitality platform disrupts third-party services that come between the restaurant and the guest. BentoBox puts the restaurant first and offers tools that drive high-margin revenue directly through the restaurant's website. BentoBox is trusted and loved by over 5,000 restaurants worldwide including Union Square Hospitality Group, Eleven Madison Park, Gramercy Tavern, Lilia and more. Ecolab: Streamline your clean with Ecolab's new EPA-registered 2-in-1 solution, Sink & Surface Cleaner Sanitizer. It will help reduce risk, simplify your procedures and help ensure compliance. This solution cleans and sanitizes hard non-porous surfaces with a single product, eliminates the rinse step and equips your staff to clean more efficiently. Clean simplified, confidence delivered. Knowledge bombs Which "it factor" habit, trait, or characteristic you believe most contributes to your success? My personality What is your biggest weakness? Feeling a need for others to buy in What's one question you ask or thing you look for during an interview? What's your dream position? What's a current challenge? How are you dealing with it? Making sure the restaurants make moneyBe hands-on and efficient. Share one code of conduct or behavior you teach your team. Genuine What is one uncommon standard of service you teach your staff? Give back What's one book we must read to become a better person or restaurant owner? Setting The Table by Danny Meyer Blood, Bones, and Butter: The Inadvertent Education of a Reluctant Chef by Gabrielle Hamilton GET THIS BOOK FOR FREE AT AUDIBLE.COM What's one thing you feel restaurateurs don't know well enough or do often enough? Make people feel at home Name one service you've hired. Chris Hesterberg - Midwest Hospitality Controls Group What's one piece of technology you've adopted within your restaurant walls and how has it influence operations? Bentobox If you got the news that you'd be leaving this world tomorrow and all memories of you, your work, and your restaurants would be lost with your departure with the exception of 3 pieces of wisdom you could leave behind for the good of humanity, what would they be? Do what you love Be honest Love eachother Contact info: Email: amy@foundkitchen.com Instagram: personal: @amythemort Found Kitchen: @foundkitchen The Barn Steakhouse: @barnevanston Stolp Island Social: @stolpislandsocial Thanks for listening! Thanks so much for joining today! Have some feedback you'd like to share? Leave a note in the comment section below! If you enjoyed this episode, please share it using the social media buttons you see at the top of the post. Also, please leave an honest review for the Restaurant Unstoppable Podcast on iTunes! Ratings and reviews are extremely helpful and greatly appreciated! They do matter in the rankings of the show, and I read each and every one of them. And finally, don't forget to subscribe to the show on iTunes to get automatic updates. Huge thanks to Amy Morton for joining me for another awesome episode. Until next time! Restaurant Unstoppable is a free podcast. One of the ways I'm able to make it free is by earning a commission when sharing certain products with you. I've made it a core value to only share tools, resources, and services my guest mentors have recommend, first. If you're finding value in my podcast, please use my links!
Intro: Should Boz become a band manager? Let Me Run This By You: When you ASSUME. Interview: We talk to Sarah Charipar about playing old ladies when you're barely an adult.FULL TRANSCRIPTSpeaker 1: (00:08)I'm Jen Bosworth Ramirez and I'm Gina Pulice. We went to theater school together. We survived it, but we didn't quite understand it. 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all. We survived theater school and you will too. Are we famous yet? Before we begin this episode? Just a little note to say there were some audio problems with this. I did the best I could fixing it up. The content is still good, but you know, sometimes things work out that way. Mercury was in retrograde or something. I'm sure. Anyway, enjoy. Speaker 2: (00:47)Hi. How you doing? How you doing, babe? I stayed up pretty late. You did. Okay. I have these neighbors. Do you know? Oh my God though, that gives me flashbacks. Um, no, no, I have these neighbors, right. I adore them. Okay. They are young, you know, mid, late twenties in a band that I adore and they're trying to get me to be their manager. I don't think that's a great idea just because I don't know how to manage bands. And I am trying to work on my own career, but, but I did give them some feedback, like about how to go about their there's a great band, great kids, you know, kids 20, 27. Yeah. But still kids to me. And, um, anyway, we stayed on the w we have balconies next to each other. So we just sat out there talking while miles, miles was as long asleep at like seven, but I stayed up until nine. Speaker 2: (01:48)So that's late for me. Oh my gosh. I thought all this was building up to like, you stayed up till three in the morning. You got two hours of 7:00 PM. 7:00 PM. Well, he gets up at four. So, um, he goes to bed. No, I shouldn't say last night he did go to bed a little earlier, but usually it's about eight 30, eight, eight 30. It's really quite does he get up at four? Because like, that's his natural body. He likes to do that. He does his burpees. He's Mr. Kind of healthy. He does all this workout stuff and I'm just jealous. That's the reason you didn't see it. But I did like a dismissive hand gestures only because I'm jealous. That's the only reason. So, so he, so anyway, his people were farmers that's. I mean, that's what they say. Like people who are night owls probably have ancestors who were on the night watch, you know, caveman style and people who just a mosquito and people who are early risers were, I mean, I've heard, Oh, I like that. Then that I like that. That means my dad was on the Nightwatch and, uh, or just very Speaker 3: (03:00)Depressed and couldn't go to sleep, but, or I'm going to choose the nightmare. Speaker 4: (03:08)Let me run this by you. Speaker 5: (03:15)I recently called to tell you about, uh, a experience I had with a friend of mine, who I felt like didn't like something I had suggested to them and wasn't responding to my text message and it's, I wasn't, uh, freaked out about it. That's a step forward. And I wasn't even very worried about it, but I thought, okay, well I suggested something to this person. They didn't write me back. My assumption was that they thought it was a terrible idea and didn't want to have any part of it. And I was completely wrong because I had another conversation with this person yesterday. And like, and of course they reason they didn't write me back was completely Speaker 3: (03:56)Had nothing to do logical. Right. And this is Speaker 5: (03:59)So lesson that I can't seem to grasp that. Like my first inclination is always to say, they're mad at me. I did something wrong. Speaker 3: (04:13)Sure. How do I get out of that? I don't know. It's the same. So I think I have the exact same thing. Mine goes mine. It's my first instinct. And I think it's practice of look, actually what I think it is is if you go to that first thing first, which you probably, I probably will, and you probably will, the rest of your life. It's just, just part of the DNA. All right. But the process of working through it right. And getting to the point of being like acceptance of, okay. So if they are mad, okay. So if they are, they hate my guts. Okay. What then, what am I going to, how am I going to take care of myself? If this person is upset or who doesn't want to be my friend or whatever, I think that's the real, um, when of the thing is working through, working with ourselves through that process is the process versus, you know what I'm saying? Like that's the reason it comes up is to, to be worked through and not necessarily that the first instinct will go away because I don't think it will. I just think that's the way we're wired. At least I know that's the way I'm wired. And I think I it's practice of working through so that it becomes less of a whole situation. Um, and more of a, Oh yeah, I did that thing again. Okay. Well, how can I work with myself? Okay. So let me talk it through with somebody, let me, but I, you know, Speaker 5: (05:48)Bernie in that, and I have, I guess now that we're talking about, I guess I have come some, what of a way? I mean, cause it used to just be that I would immediately respond to that person and say like, I'm sorry, I take it back. Or, or like, I know that I know you hate me now. Speaker 3: (06:05)Just start crying profusely, get on the phone and say, I'm sorry, I'm so terrible. Um, and please forgive me. Yeah. Like you said, it was a, be a whole play, a drama Speaker 5: (06:18)And then DBT, uh, I think it was in DBT, but anyway, as a therapist, I would always encourage my clients to check the facts about something, you know, because feelings aren't facts and you know, just because even if you have, even if this person really doesn't care for you, that doesn't mean that every interaction you have you're, you're doing something wrong. You're, you know, you should be put up on the cross. Speaker 3: (06:40)Yeah. It's just ownership of self. And of, I think it really, for me comes down to this core, core, deep, deep belief that I deserve to have my feelings. I deserve to have opinions about things. Um, I deserve to take, um, to take initiative on ideas and even if they're shot down or even if people think it's the stupidest idea in the world, I deserve to throw things out there and see, and you know, it's, it's a deep, deep core situation for me. Yeah. Speaker 5: (07:14)Yeah. It is. And, and I think I I'm really learning. It's there's a big part of it. That's generational too. I mean, you know, when we talk to younger people, they seem a lot less burdened by, I mean maybe sometimes going in the opposite direction. So that was the other thing I was just going to ask you about is now that you've been teaching at DePaul for a minute. Speaker 3: (07:37)Well, now I'm done. It's crazy. Well, I'm not done. I'm done, but yeah, it has been quite the journey. So they're just like us in some ways. It is amazing. So I had 13 individual one-on-ones with these students, um, at 10 minutes each. So I offered one-on-ones because they really wanted that. And they too Speaker 5: (08:06)Knew like her feedback about their Speaker 3: (08:09)Like, to do like therapy. Let's just be honest because they're struggling. And it was my suggestion. It turned into not therapy, but it did turn into a lot of coaching. Let's just say, but they're struggling just like we were, even though there's I would say, yeah, I would say a good 13 out of 24, right. Or 12 out of 24 half are struggling with the exact same thing. I don't have a rep. Other people have reps. Now they get reps before school ends because they they'd been auditioning for, um, agents, um, on zoom. They had like a class where they bring agents in. So half that sets up a dynamic where half the people now have reps and half don't. So the people that don't have acting reps obviously wanted to meet with me partially to say, how do I get a rep? And I'm like, listen, it takes time. You'll find your people. Let me, I, and I offered to help with, I say, send me your showcase link when you have it, your part, your monologue. I will send it to my peeps, but like, it's the same stuff we're dealing. We dealt with. I think they're not quite as quiet about it. Like they're pretty loud about it. Speaker 5: (09:22)They don't have their quiet shame that they'd have to wait 25 years to listen to somebody else on a podcast to go, Oh, I shouldn't have been ashamed about that at all. Everybody was feeling the same thing. Speaker 3: (09:30)Yeah. That they're loud, they're vocal about their issues. So that actually makes it somewhat easier to work with. But it also is. I'm jealous, you know, that they're able to be so vocal. Um, that brings up a lot. I have a lot of feelings of like man D but then at the root they're just as scared as, as we were, well, a lot of them and just as, um, petrified to fail. And just as a, I think it's just an age thing too. And it's also a competition thing. Like there's a lot of competition and within the school, right. Because you set it up, some have repped, some don't and that sets up this whole dynamic of some of these kids or these young people are going on auditions. And they're not like supposed to, but because it's a zoom world, it's a different situation Speaker 5: (10:20)Rule that they're not supposed to, but everybody took advantage of this time. Which of course they did. And I would have thought Speaker 3: (10:26)Of course. And so anyway, it has been, it was in very fascinating ride, but what I did find was, you know, after my 13 one-on-ones I was exhausted. Like I had to lay down, it was like 13 mini therapy sessions. And I was like, and then follow up, you know, I I'm sending certain people resources. So, but I do feel like it was, it didn't, it didn't feel, um, I don't feel resentful. I feel like they paid me really well. And this is part of my deal. And also one of my, one of my strong suits, one of my jams is connecting one-on-one and really listening and saying, Hey, like, you know, let's like you said, like, let's look at the facts here. You know, you haven't graduated yet, but you see, it doesn't matter because when you're that age, you feel like there is no time. And now you look, as we get older, I'm like, Oh my God, you had so much time girl. Speaker 5: (11:23)But the other day sitting at my rate, waitressing job, talking to this guy who was, you know, he was a good 30 years older than me. I was 20, I think. Um, I think it was like 24 and being like, I'm old, I'm at 24. I started thinking I'm almost 25. And then when you're 25, it's over like every, you have to have everything established by the time you're 25 because who, you know, becomes a person after that. Like, I really thought Speaker 2: (11:54)That way. And in part it was because, uh, not because I thought my parents were so emotionally mature because they'd be the first to say, or at least my mom would be the first to say that they weren't, but they own their first house when they were like, they got married at 18, they own their first house right away. Or I guess they rented. But then really soon they own their first house. And that kind of set the bar. Like I felt, I feel like a failure sort of before I even went to school, like, there's no way I'm going to be right. You know, right away. I felt the same. Like I think it's generation. Yeah. I, my parents had their, they didn't have their together emotionally, you know, and, but they definitely own the house and they definitely had job jobs. And, you know, so that, and also the, I guess that speaks to the difference of what kind of, what we culturally value we had. Speaker 2: (12:47)There was no room for valuing like personal growth and development at that time. Whereas that that's gotten much more of a stakehold in terms of our societal values and, and hopefully less and less about what you have and what you own and how much money you have. Oh, well, that's interesting. So if you're listening to this and you're, this is your final year of the theater school, it gets better, you know, it gets better and it's already good. Like there's this combination platter of the, the depth of despair that you may be feeling now that'll get better. Um, but also you are doing it. You are doing the career part. The training is part of the career. Everything that comes after that. Yeah. You'll, you'll, you'll build upon. I mean, that's what we've learned during this podcast. Like you build a PA, even if you leave in 10 years, you find yourself, you didn't do anything, thought what you thought you were going to be doing in this final year. Speaker 6: (13:49)You are using your skills and what you learned there, and you are applicable everywhere. This is your life, you're living it. And this is the life like it's all of today on the podcast, we talked to Sarah charper. Sarah is one of those actresses that multiple people that we've talked to have described as a powerhouse. And she really is, and she's on stage and on screen. She's just so connected. She has such a presence. And, um, we talked to her and it was a lovely conversation. And I just she's has this outlook about the pandemic and about life. That's really inspiring. So I'm so glad we got to talk to Sarah charper on I survived theater school. Enjoy fancy. I, I move your camera so I can see Speaker 2: (14:52)Your beautiful face. I want to see the bottom of your beautiful face there you okay. Oh, you're so you're so I know you're not supposed to say this, but Sarah, you, you have you, are you eating? Speaker 6: (15:05)What's going on? I I'm it's it's so funny. H I said the same thing. I mean, I, I, I don't. I have, I don't. I mean, yes, yes. I'm yes. I'm you look great. Thank you. Just checking that, you know what I did? I, um, I stopped drinking. It was weird. I mean, I haven't, I have not had any alcohol in like three months and all of a sudden, like I have a chin wall. I mean, just like, I think the puffy goat has gone away. Um, yeah. Regrettably, I guess. I, I it's, it's so nice to see your face and I still feel like such a crumb that I, I just think I had a pandemic stroke that last time, but, um, I'm so happy to see that something terrible had Speaker 2: (15:47)Happened. Um, Fred, this passed away. Speaker 6: (15:50)Oh, right. That's right. Yeah. One of the mini pandemic suicides. Um, Oh my God. Yeah. So sorry. Um, but this was super fun, but this is fun. What a. I am Jen before. So before I forget, you have to send me your address because I have something for you that I've had for over a year. And now I feel bad, Gina, because I don't have something for you, but I don't know what to get you, but I do. I'll share it. I do have something for you, Jen, that I've had for a very long time, and you're going to know what it is and when you see it, Oh my God. I can't wait. I can't wait. Well, welcome. And congratulations. Speaker 2: (16:32)You survived theater Speaker 6: (16:33)School. I did allegedly Speaker 2: (16:36)You in actual fact, you survived it and you are. I ha I probably shouldn't be starting this with such a gush, but you, you are such a fantastic actress. I mean, really everything you do now, everything you did in school is fantastic. You are so like deeply connected to everything you do. It's very admirable. Speaker 6: (17:03)Thanks. We hear it all the time. Speaker 2: (17:09)We've heard it from multiple people on the podcast about how much of a powerhouse or like in the, you know, in the Facebook chat situation, how much of a powerhouse. And I think that's the word that comes to mind when I think of your and your you and your acting is like powerhouse, but connected is also like Gina said, totally connected. And I've seen you, you know, in rooms, running casting sessions, and you're the same way you're connected as a reader. You're connected as a casting associates. So you're, Speaker 6: (17:39)You should see me weeping in corners on a regular basis. Speaker 2: (17:43)So, um, did you want to be an actor since you were a young lady? Um, Speaker 6: (17:50)I think, well, my mother always says th th th th my transformative moment, they took me to go. I grew up in upstate New York. So they took me to the Shaw festival and I saw Cyrano de Bergerac and Cyrano was played by this. I want to say, he'd let her know. His name is Heath Heath Lambert, a very diminutive, um, Canadian actor. Well, I say that only because he played Cyrano, who is such a heroic, huge character. Um, and the one we played Roslyn was so beautiful, but more importantly, her hat was amazing. Like she had one of those pointed princess hats with a gossamer hanging down, which I don't know if you it's like, that's the fabric that looks like fairy dust. And my mom is like she said, Sarah, you just sat at the edge of your seat and didn't breathe the entire time. Speaker 6: (18:33)And I still to this day, and I think I might, I think I might've been nine. I still, to this day, remember sitting in that theater, just being like now, granted I was mostly drawn to the fairy dust and the applause, but I, um, I don't think I ever recovered from that moment, but I really, it, it has taken me, um, I'll say I'm, I'm 50 now. I think I've just started to admit that I'm going to be an actor. Do you know what I mean? Like, I don't think I ever really wanted to own that. I don't think I ever wanted to, although I just said I was 50, but everyone knows that. Um, uh, I don't think I wanted to own that. So I did a lot of things to kind of be like, Oh, I'm going to be an academic. I'm going to, you know, um, so really what kind of academic did you think you might've studied theater? Speaker 6: (19:15)I mean, I got it, got my degree in theater studies and women's studies and religious studies. So really, I just liked studying people and motivation. So it's all the same thing, right? Like, Oh yeah, definitely all the same thing was when it, DePaul, I went to university of Toronto for my undergrad. So, um, they're in there, you know, they're a very rigorous academic school. Um, and it's a totally different than the American system. Like most of your classes are a year long, some are a half year. So it's a really like hardcore, like in some of the colleges they wear robes. It's very, um, not my school, but, um, so yeah, so I, I went there and got a BA in theater in women's studies and, and, um, religious studies, uh, and did have some performance. So that's why I went on to get my masters, um, w where I ended up at DePaul, uh, because I wanted to learn how to act. Speaker 6: (20:09)I mean, I knew what I thought was really great theater. And I worked with incredible people that I still haven't had the gift of working with people of that caliber ever again, but I didn't know how the to do anything. I just felt a lot. Yeah. Did you, did you act as a, in high school, did you say, Oh, golly. No, it wasn't. So it's funny. So I went to my high school, I went to a super urban high school and it was connected to the school of the arts, but again, this fight in me, I was like, I'm not going to go to school, the arts, I'm not going to be one of them. Um, and like, you know, I went to high school with Taye Diggs, whose name is Scott. Um, you know, uh, people who ended up having massive careers. And I sort of sat on the periphery. I did, however, was a part of Speaker 7: (20:48)An improvisational theater group called awareness theater, which is hilarious. And I think about it now. And we went around and did improv for like, doctors about how to deal with kids with like drug addiction or parental issues. And I think I was remembering the day. I think we actually did a performance at Attica, and I'm not even you. Like, I don't know who led us in these places, but we did these improv's about like, don't do the cocaine, but I want to do the cocaine. And like we got in a van and drove to schools. I mean, I had a little sweatshirt, I loved it so much. I loved it so much. Speaker 5: (21:18)So I love that. That's fantastic. So, um, in upstate New York, uh, you went to the shop festival. Did you get, did your parents also take you to Broadway Broadway? Speaker 7: (21:29)Um, I believe so. The first Broadway show I saw was the touring company of Annie. So I saw that in Rochester, the first Broadway show I saw was the tap dance kid. I think Speaker 7: (21:42)Alfonso, Roberto, the kid, yes. Right. He was the tap dance kid. Um, and you guys are, you're younger than me by a lot, but this was the time too, in my junior high, they had to band taps because in the, in the, um, the musical, there were all these great tap numbers where they had like converse sneakers with taps on the bottom. So everyone had to get taps. So as you can imagine, the halls of my high school were just says, coffin is insane. Those got manned along with the Michael Jackson belts. Cause everyone beat each other with them. Speaker 5: (22:14)It was a little aggressive with the spice, Speaker 7: (22:18)The ones with the big name, like the one where you could get them personally, not, you know what I mean? We weren't allowed to wear those as anything could be weaponized with a creative mind Speaker 5: (22:28)When I was in junior high, I got sent home for wearing, um, what I thought was just a cute little accessory in my hair, a bandana, it wasn't red or blue, but I got sent home because there was a no bandana, uh, gang violence in Sacramento at the time that I was in junior high was like real, real, real high. So, uh, anyway, so, okay. So you, uh, did your MFA at DePaul and, and then when you left or when you graduated, were you debating, staying in Chicago, moving to LA moving to New York? Speaker 7: (23:06)No. Um, I I'm realizing now in this pandemic time of reflection, like how much, and I've been thinking so much about this thinking about theater school and stuff. Um, no, I think I was lived with, I think I just lived in fear and waited for permission. So I was waiting for something to tell me where I had to go. Um, and I thought Chicago was a great place to get started. And I, um, I had friends of mine right out of school who had started a company. Um, so we were working together. So that seems like a great little launching pad and then they watched real careers. Um, and, um, Speaker 6: (23:47)Was that sad? Yeah, yeah, Speaker 2: (23:50)Yeah. We were talking to Lee a little bit about it, Speaker 6: (23:52)Eric. I was thinking about him this morning. Um, yeah, so they, um, so I, no, I didn't. I mean, I did, did I think that that call was going to come where I was desperately needed elsewhere. Absolutely. But, um, shockingly, that hasn't arrived yet, but there's time Speaker 2: (24:09)Fair to be fair. You have had calls come for different things. Speaker 6: (24:13)I have, indeed. I have been very lucky. No, I have been very lucky, um, Speaker 2: (24:17)And hardworking. I just want to put that out there, that call comes and then we answer it and we try to show up the best we can and you've done. Speaker 6: (24:25)I appreciate that. And I, and I feel like Speaker 2: (24:27)Ciao hasn't called yet. Judd, Apatow has not called yet, but that doesn't Speaker 6: (24:32)No, and I, it's funny, I have been thinking a lot about, you know, when, when you're ready for things and when you're not. And, um, I don't know if the world is ready, but I kind of feel more ready now than I ever happened. So that's kind of exciting to not feel like your life is over in the midst of all this chaos and breaking down. It's sort of interesting to find, I'm trying to, I'm really trying to silver lining this whole pandemic, so yeah, yeah. Speaker 2: (24:56)Yes, yes. There is the option. The alternatives are not good. Silver line. Speaker 6: (25:02)I know. Right. I mean, don't we all? So, um, yeah, so, no, I, I mean, I wanted to go and I did, I did spend some time in New York. Um, I went with a show, um, I did it, I ended up doing, um, Cuckoo's nest at Steppenwolf, and then we did it in London and then we did it in New York and then the world went to hell in a hand basket and I saw the world trade center fall down. I thought, well, I want to go back to Chicago. So anyway, blah, blah, blah, um, nine 11 Blomberg. Anyway, that happened back to me. Speaker 2: (25:35)I have a question. I have a question going back to the, so when you, when you decided, did you decide, um, were, were other schools in the running for you besides DePaul for your MFA? Speaker 6: (25:44)Well, so I had already gone to another program for a year. I went to SUNY Binghamton, um, in Binghamton New York, which is where rod Sterling's from, that gives you an indication. Um, and that program was actually rather astounding. It was run by this guy, gene lesser, God rest, his soul, who I can unequivocally say was a bit of a sociopath, but he was one of the people who started Julliard in the early days. So he was one of those Svengali kind of teachers that could get you to do work. You never thought you had access to, but you were completely dependent on him to do it, which is why he had these weird little acolytes following him around and stuff. So I spent a year kind of being brainwashed by him and then the program crumbled. So then I had to find somewhere, um, the program shut down and it was hell in a hand, basket was just total task. Um, so I left that program and then went through the process of desperately auditioning and, um, you know, when Tish and Julliard and everyone else to get that, but I will say this, this is an amazing story. So I went to New York for the IRDAs Speaker 7: (26:44)Or something to audition for DePaul. And, um, at the time I had just been recovering from an illness. All of us ladies are familiar with it, had a horrible UTI. And so I took sulfa and didn't know I was allergic to sulfa. Um, and if you're allergic to sulfa, it does something great. So I went into my audition. I, you not by face was swollen. You came out to here. Like I looked, I looked like a homeless person in the middle of a Chicago winter by that. I mean, my face was completely swollen and disbanded, dark purple when burned and insane. My lips were deformed. Um, I mean, I looked horrified and I remember standing like in this waiting pen room, like it was a dance studio and there are mirrors everywhere. And I was just kind of looking at myself going, are you me? Speaker 7: (27:33)And I was like, Oh, okay, here we go. And I went and did my pieces and was like, I remember Jim hostel help was there. And I think John Jenkins and all these people, and I finished my pieces and they're like, do you have any questions? And I just kind of stand there, look at them going seriously. We're not going to talk about that. I've ever been like, just in case any of you are wondering, I don't normally look like this. I'm like, I'm not a supermodel, but this is not what we're normally just to put that out there. Cause like, it was good. You were brave to do that. Oh my like, I mean, I was making children cry in the streets. I mean, I really, but it was just so funny that they didn't even acknowledge. I mean, I get it, but we weren't even politically correct then, but no one said a word and I'm like, we're going to pretend I don't look like a descendant of the elephant man. Okay. But anyway, they took me. I think they felt badly for me. Speaker 5: (28:20)No, no. They saw they saw your talent audition. Speaker 7: (28:26)I know, I think I know I had this piece. I have no idea of what it's from, but it was about green peppers, like about, do I not like green peppers? And I went to this diatribe. No. As a matter of fact, I hate it. Actually. I really hate it. Everyone else likes green peppers. They think it was highlighted in that it was this theory about grit, which is very close to me cause I tend to get furious about nonsense. Um, and I probably did something tragic, like from Troilus and Cressida. I think I did a Cassandra monologue control. I was impressed. I talk about overblown. Like I'm, I'm going to play a deeply connected sear. Um, but they felt, Speaker 5: (29:02)I bet you knocked it out of the park. So you weren't talking about, uh, your earlier experience in having a spin golly type figure. And I, I probably wouldn't go so far as to say the theater school head spin golly types, but we did have, and we talk about on this podcast a lot, you know, people with big personalities people w we, we got, um, labeled in a way by our section in a way. Uh, so I'm curious to know your thoughts about that, about the personalities among the faculty, how you related to it, then how you relate to it now, what Speaker 2: (29:42)Your thoughts are. Speaker 8: (29:42)Well, so it's interesting, again, like I've been really deliberating about this a lot, you know, cause I wanted to do a good podcast to help you get now I know there's a great at the end, I was in a very different position. You know, I'd already gone to undergrad for four years and I'd already done one year of, of theater training. So I came into it at a different place and it was interesting because, um, temperamentally, I was much more, I felt a greater kinship with, uh, the folks that were getting BFAs and my MFA class. I mean, I really just didn't, it's not that I didn't get along with them. I just didn't. I was in school with a lot. I'll never forget. I was auditioning. I wanted to go to, um, ATC elemental P whatever the Harvard school is and I'll forget it. Speaker 8: (30:21)They were audition. They were like, if you want to be a teacher, get the hell out of here. We don't want accuracy. We want to be teachers. We want actors who want to act. And I was like, yes. Um, and not in any way to be disparaging of the folks that were in my class, but I felt like a lot of people were like, this is my backup. I'm going to be a teacher. And I'm like, who's going to want you to teach if you don't actually do this. Right. So, um, there was a little, just a little bit of a disconnect. And I think, I thought I knew everything and I was more than likely a snapback. So I, um, I didn't have the same kind of, Oh my God, this is a whole new world for me. You know, I was 23 and worldly, you know, but I'd already had those aha moments. Speaker 8: (31:02)So, and I came out of a really, um, I don't want to say for me, but like a borderline abusive stage. I think, I mean, I think this teacher I had before was actually a predator. And I say this now, cause he's dead. Although I should say it out loud when he was alive, I think he was a predator. So, um, I came out of a very intense environment into something where I remember sitting with Jamal's to Hoff all the time and he'd be like, Sarah, I just feel like you want me to yell at you. And I was like, yes. And then I had a little PTSD. I was like, no, one's mean enough. No, one's hard enough. Um, and I was constantly asking for more in gym and it's funny. Cause like everyone was like Jim Austin, Hoff crusty guy. And I'm like, I want more crust. Speaker 8: (31:39)I um, and I think I was very much a victim of one of those people that convinced myself that it didn't hurt. And I wasn't an excruciating pain all the time. I wasn't doing enough. Um, and if people didn't tell me how much I sucked, then they thought I couldn't be better. And so I really had, I was stuck with that feeling for a very long time in DePaul, like, Oh, I guess this is as good as I'm gonna get. Cause no one seems to tell me what I need to fix. And again, no one can, no one can fix me other than me. Uh, but I think I a very much, um, I think it goes into the whole permission thing that I was really looking for someone to tell me what was wrong and tell me I was going to be okay and tell me I was gonna make it. And that I was one of the chosen ones so that I could go out and take chances, which I think is the biggest problem with theater school in general. But that's a customer question. Speaker 2: (32:26)It's interesting because we do have a lot of you're the first person that I've really is struck me as saying like I needed more crust, I wanted more crust. I needed that for whatever reason. And it's, there's no judgment on, but um, there Speaker 5: (32:40)Are those people and I think it's also the Julliard method. That kind of method of, you know, unless it hurts, you're not, you're not growing and you know, to be fair, there's something about that that works like when I'm in pain is when I make changes in my life. It's just that, uh, you seem a little, like you were a little more ready to make changes. I was just trying to figure out what's happening. Speaker 8: (33:00)Well, totally. I was in a different place. I mean, I had, I'd already left home. I lived, you know, in a university of Toronto, it's a totally different than the American system. Like you live on your own, you live in co-op housing. There's no doubt. I mean like I had already sort of lived a pseudo, I mean a wildly protected pseudo adult life for five years. So I wasn't in the same place of like, Holy crap, I get to smoke cigarettes in front of teachers. You know what I mean? Like I, uh, so I just, um, but again, like, I, I still very much, I mean, it's not a level of maturity that I'm, I'm super proud of because I still very much was desperately seeking for someone to say, Sarah, you can live the life you want to live. You can be who you want to be. And it's not about which role you get here. Cause it's, you know, that world is also as the three of us don't we, we were never fricking algae news. What the hell was I doing? Doing shows and theater school. Speaker 5: (33:52)Right, right. Yeah. So you, you are w when you talk about waiting for permission and, and being scared, um, that ties into something that boss and I talk about all the time, and we talked about it earlier today. Uh, those of us who, whose parent whose mothers were in the sixties generation of feminism, um, really experienced, horrible, horrible things. And so their impression that they taught to us and that became our impression is that it was all fixed and it was all better. And feminism worked and patriarchy was over, which is obviously less laughable, Speaker 8: (34:43)Just look at TV. Speaker 5: (34:44)Yeah, exactly. But we, I feel envious of young women growing up now, even at, even though they can still be in a patriarchal context, they can still be oppressed by somebody no longer. Is there just such a dearth of information about what, how it could be, or maybe even how it should be. Um, do you ever feel that envy wishing that you had been raised with, or maybe you were raised with a strong feminist bent? I don't know. Speaker 8: (35:19)Uh, well for sure, like I was raised in a tremendous matriarchy. I mean, everyone jokes, my, my late father, like my friends who, like, he just was a husk and a corner, which he wasn't, but like we just, I come from not surprisingly generations of really dominant women. Um, but I also, um, you know, my mother is the kind of woman she was getting her master's degree, worked a full-time job and raised two children and did everything all at the same time. So my mom didn't have time to about. I mean, so my parents were political and social idealists and they, they actually met in Chicago is this part of this Catholic youth, um, rebel organization. I mean, they were, as far as Catholics can be, but they were really about social justice and change. And so I grew up around all of that. Speaker 8: (36:04)Um, but I also think at a certain point, like what's funny is I, I noticed this particular last year at the beginning of the pandemic when things got cuckoo and, um, so many issues, so many social issues came to light. I realized how old and out of touch I was. Do you know what I mean? Like I had, I had lived this whole period thinking I am so enlightened. And then all of a sudden I was teaching these students and I was like, Laura. And I like literally vomiting on my own words and terrified of saying the wrong thing and not understanding, um, social codes anymore and thought, but I'm a good person. You know, I went through all that white guilt and fear and doubt. And so, um, yes, I, I, I, well, envious of these women, I'm, I'm envious for the time that they have. Speaker 8: (36:48)I'll say that I'm really envious of the time. And I try very much not to squander the time I have worrying about what I did with the time I wasted. Um, but I, uh, you get your lessons when you get them, I guess. Uh, but I think it's a really complicated place that people are in, but I'm very encouraged. And I was having this discussion recently with friends of mine, talking about the movies we grew up with. And again, like I thought me and my girlfriends, like nine years old going to see like nine to five or like we just thought we were a little budding feminists. And then I go back and I look at 16 candles and I'm like, I was obsessed with rape movies. You know what I mean? Like, um, coming, having those awakening moments of realizing I'm brainwashed too, um, or realizing that women cease to exist past 40. Speaker 8: (37:32)You know, when, when I was reading an interview with Reese, with this one recently where she was like, stop time up, Oh, this is a picture of me on set, playing Adam Sandler's mother. You know what I mean? Or like that new shell manque, that's out like Amanda, Seyfried's playing what's her butt's wife. And she's 78 years younger than him. And in real life, his wife was the same, you know, like just this horse shittery where like who's controlling the narrative of who women are is just especially as someone who's like, Oh wait, here I am, I'm 50. I'm ready to go. Now I'm like, well, I have to write it because you know what? These men are terrified to know that we exist. Speaker 2: (38:08)Right. That's absolutely true. And I, I just think, yeah, so that speaks of that thing of like, um, right. I don't know if you guys feel this, but it's like, I came of age thinking I was a feminist and that, that we, everything was possible that I was crushed right by the system. And now I'm coming of age again saying, and I am, I am, I wish I have this on this podcast all the time where I'm listening. I'm like, man, I wish I knew this when I was 18. And there's that thing where they say, you can't know what, you know, until you know it, but I hate that because I just, if I was armed with this, I listened to the stories of people that come on the podcast that are like, you know, I told so-and-so to F off that I was going to play this part or that, and I'm like, I wish I had had that, but you're right. Speaker 2: (38:50)You'd get, you'd get the lessons when you get them. But it sounds like you were able, there just seems to be a sense then about yourself, that when you were at the theater school, that you were able to step into your own, which is why you probably seemed so connected and were, was, was a good actor. And the rest of us were not terrible actors, but I can tell you, it wasn't that I was a terrible actor, is that I had no clue what was going on. You had a clue of what was going on, which is why your work probably seemed so connected because you knew Speaker 7: (39:18)I, maybe I just, I just had more of a chance to know who I was. And I think so much, I think so much of it. And again, like I think about Slack because I teach acting now and I teach at the university level a lot. And, um, I think so much of that environment is about a, tell me I can do this as there's a whole body of people that are gonna tell you just, just between you and me just to make it, am I going to make it like that feeling all the time of thinking someone can actually bestow your life upon you. Um, and then having someone to like, who are you? Who are, who am I do? Can you tell me who I am? And here I am going to school. And yes, I had, I had a pretty, I had a more, um, secure sense of self because I was older just by virtue of years. Speaker 7: (39:58)Um, and I w I was fortunate to be exposed to a lot of things in a very unique way, I think. Um, but still I went into theater school and I played old ladies, my entire career. I played old women. I played grandmothers and old women and the fat ferry. And then I got out of school and I played hookers for 20 years. Do you know what I mean? Like we, there's no sense of what, so theater school doesn't really help you find a truth. And that the hilarious irony is like, you get to be your senior year and you got to do the showcase, which is going to make or break your whole life. And they're like, how are you going to market yourself? And I'm like, are you kidding me? I have no idea of who I am, because I've been running around playing. Speaker 7: (40:43)I played women in theater school that I'm still too young to audition for. So it, it, it, it you up in terms of trying to figure out some way of being authentic and you know, how it is to, it's funny, I'm sure John, you saw it too. You know, our, our dear friend, Nick Whitcomb wrote something recently about like theater and what does theater mean? And I'm thinking, you know, gone are the days where we're all sitting around. I mean, hopefully not forever. We have to reimagine them, but like, I don't know how much me playing Cresseta in Troilus and Cressida is going to aluminate today's world. I don't know how much this can of things that we thought were really going to establish us as artists is going to move us forward anyway. And yeah, I don't know. Speaker 2: (41:29)I also feel like theater never really embraced me as a woman as a, Speaker 5: (41:34)As who I am. So I'm, I'm, I don't feel a loyalty to recreate the art form, which other people can, I just never found like my spot there. So when people are like, how are we going to reimagine theater? I'm like, because I, I never Speaker 8: (41:50)Theater that I liked in America, to be honest, I was spoiled. I was trained by a bunch of Europeans and undergrad and went, I mean, we went on school trips to Italy and Germany and Sasha, and that's the, still to this day, that theater, I, my favorite theater is Russians and Germans and stuff where it's like, I don't have to speak the language. Like to me, that's theater. I don't know a word you're saying. And I'm riveted. And that's, that's what I've never seen that really recreated here. Um, Speaker 5: (42:14)All right, well, gauntlet thrown America. You got to try to impress Sarah. I told boss this earlier, but, um, I just happened yesterday to be looking through the plays in my bookshelf. And, um, I was looking for, uh, to do something specific and I P I picked up a play that I haven't read in a long time called dead man's cell phone. And of course, I was delighted to see your name as having been one of the original, other, other woman, uh, characters. Can you tell us anything about your experience with that play? Speaker 8: (42:53)Yeah, that was great. That was super, super funny play. I mean, um, how do I talk about that? You know, it's so, so, so, so Pauli Noonan, um, who play gene and the play is sort of like Sarah rules muse. So it's very interesting to be in a play with the writers muse in there. And Polly's just one of these, she's just an other worldly being she's, she's a magnificent human being and creature, but like indescribable, I just use just this ephemeral sort of creature. Um, uh, and it was, you know, it's always interesting to work on new plays. It was, um, I find it really challenging. It was sort of one of those, and I'm in poly had done the show before. Cause I remember going like, you know, of course I'm trying to make my role really important and grounded. And sometimes, you know, sometimes a pipe is just a pipe, you know what I'm saying? Speaker 8: (43:40)So I think there were times where I was beating my head against a wall, trying to make my, to understand every, uh, every bit of minutia I could mind out of it. And, you know, I remember once Paul saying to me, yeah, you know, this part never worked in DC either like that. It's um, Oh, wow. That there were shortcomings, but it was, it was wonder, I mean, it was wonderful, you know, I, um, I never, you know, it's like, I think I went through a period. I was like, I'm going to keep working. And then you don't work for a long time. And you're like, I wish I appreciated those moments more. I mean, it was, it was, it was lovely. It was terrifying. I remember, I, of course I only really remember the moments I went up on my lines and didn't know what's happening and got Jeezy on a rake stage and was terrified. Um, please, anyone directing plays, don't put anyone on rage stage. It's just cruel. Um, especially anyone with anxiety vertigo. Forget it. Yeah. Um, Speaker 6: (44:36)You were on a rake stage at the theater school, in the one with the turf. What was that called? Speaker 8: (44:42)That was called systemly feelings, which for like six years, I still found AstroTurf in my underwear. Yeah. That Speaker 6: (44:52)You Speaker 8: (44:52)Were brilliant too. That was brilliantly. That was, Speaker 6: (44:56)That was the audition right. Where we had to be funny. Wasn't that the one where Speaker 8: (45:01)It was late and it was super funny. Okay. And, and I was thinking that Lee Kirk, this is my cousin Lee Kirk was in it. Sean Gunn was in it. JP Cabrera was in it Alex, but like, I mean, and, and, and, and, and, um, Bradley Walker and that, that play Kendra through. And that, that was, that play was F I was all, yeah, that was my favorite place for sure. That I did. Although, full of calamitous moments of, of utter tear and, and destruction. Speaker 6: (45:28)Did you get dizzy on that rake stage too? Speaker 8: (45:30)No, I got, I got sculled. I got to horrible things happen in this show. I have to. Okay. So the first one was, there's always a show at the end of like one scene, there's like a coin toss. And then that determines what the next scene is going to be. And we had to run off stage. It was a rainstorm. We had to run back on stage wet. So we got dunked with water off stage and ran back on. And I can't remember, Stan, I'm such a crumb. He was a lovely stage manager. We had long kind of Auburn hair and he was just adorable. Speaker 6: (46:00)Oh, yes. It'll come to me. Speaker 8: (46:07)Yeah. Reddish hair you're with me. Okay, Speaker 6: (46:12)Lovely. Speaker 8: (46:12)So I remember, um, he had told the, the, the kids, I say kids, because what other, th th th the kids working crew, um, make sure you put relief, um, warm water in, at the top of the act, put hot water in the bucket at the top of the app so that when we dunk them in water, they, um, aren't freezing. And, um, Oh no, whoever, uh, neglected to do this. So did it at the end of the act. And I ran off stage and literally had a giant bucket of scalding water poured on top of me. And I had to run immediately back on stage and finish a scene that was alarming. Speaker 6: (46:51)Oh, that's horrible. And how far along were you on? Speaker 8: (46:55)I was on stage then for another few minutes. And then we did the coin toss, but I just looked at Kendra and like, you're doing the next scene. I was like, this is not because I couldn't go. I was like hyperventilating. I'm like, I can't, I mean, it's like burn cream in my hair line. And then I had, like, I had like a scene or two to recover, and then I had to go back on, but that, because it was like the potential to do like eight different plays or whatever, the way that play was set up. Um, but that wasn't the most terrifying moment. I will, the most terrifying thing that happened that show. So there was a whole big picnic scene. We were all, I remember this all on that Hill. And Gus thing is about the extra guy. I think it was Bradley's an extra guy shows up. Speaker 8: (47:31)So we were one short we're, one short of everything. And all of the dialogue in that scene revolves around the one shortness, and God it. If I didn't open that picnic basket and it was empty, there was like a napkin and two plates. And I'll never forget this. I was thinking of Lee. Cause like I was really, I was really tight with those guys at the time and, and I was running the picnic. So all the dialogue was motivated by me, motivated by prompts about the things and about the lack of things. And I remember opening it up and looking at it being like, there's nothing in here. And this is that the reskin, like there's people out there. And I turned to Sean, Sean Gunn, he was playing my boyfriend Steph, and I'm like, Stafford, could you go to the car and see if there's a bank in the County? Speaker 8: (48:23)And I just remember looking over it and seeing Lee Kerr, cause he could tell him he just went and put his hands behind his head and lean back. Like I can't wait to see how Sarah gets out of this one. I'll never forget that. It was so funny. I mean, it was like the most panicked and we just had to basically make up the entire like, and then I remember seeing that same stage manager whip off his headset go poking around, trying to find, and then like, you know, three minutes later Sean comes walking out. I was like, Oh, is this what you're looking for? I'm like, Oh, was super, Speaker 5: (48:49)Thank you so much. Oh wow. Speaker 8: (48:53)Like I think of that moments where I'm like, Oh God, what if? And I'm like, I already dealt with a big one, if that's fine. And it was true. It was horrifying. Horrifying. Yeah. Speaker 5: (49:03)So, um, I, we have never talked in this podcast about this, but um, recently I was thinking about the actor's nightmare and what you experienced was, was a nightmare. But what we're typically referring to when we say the actor's nightmare is the dream you have that you're and there's variations on it, but like you're supposed to go on stage and you don't know any of your lines or you can't, for some reason you can't get all the way on stage. And I don't know why it took me so long because I would have the stream for the 25 years. I had never acted. Um, so it took me all this time to, to link the way that that is just tied to your own life and your feeling of like being an imposter or you're feeling that you're ill prepared. And I'm just wondering if you guys still have dreams like that. Speaker 5: (49:56)I have the same dream. I have the dream where, where I, I finally got to the point of the dream where I say, it in the dream. I'm just going to make the up. Because before I would try to cram cram, cram and lobby backstage and finding someone's script with the highlighted script and like I'm crying. And then finally about a month ago I had one where I was like, you know what, this. I'm going to make this up. And it was so my God I'm so inspired. Go back to the scary dream. Me too, Speaker 2: (50:29)Just, I said, it. I'm going to make it up. I can't go through this anymore. I can't go through this. Like I literally would. My dream was like, I took control because I had him all the time. Speaker 8: (50:38)I just had that. I'm not no word of a lie last week where I was like, can I just borrow? Like, and it was like the Shakespeare style where they just had their lie. And I was like, maybe that'll just, Oh, I have that dream. And I never have pants on, or I'm always missing either assertive. I find always like trying to take some kind of towel and yes, Speaker 5: (50:58)Boss that is very encouraging that you had that dream. And I am going to try to like take that in such that if I find myself in the middle of that dream, I might be able to give myself that same advice. But it, I wonder for you, I bet it is really linked to this idea that you're having to write for yourself and which yeah. Which Sarah mentioned, you know, you're, you're saying you, you, now that you are now that you're ready to embrace your greatness, um, and you're maybe not going to find a bunch of roles ready-made, you're going to have to make it for yourself. Are you already, Speaker 8: (51:36)Uh, I am eight pages in, I mean, so it's funny. I've been, I, um, like I said, I'm trying to use my downtime, my, this pen Demi time, um, effectively. And so part of what I'm trying to do is not break myself constantly. So, you know, I got my final draft, I got my ideas and I've had all sorts of interesting things pop up over the past few months. So have I done as much writing as I intended to know, but is it something that I'm thinking about and actively trying to not stop myself from doing every day? Yes. And I think that that's the biggest hurdle I have to get over is like the part of me that thinks, well, I've got to get it right from between here and my fingers. It's got to get right. Then instead of like, maybe I should just bark out some really bad and see what happens. Speaker 8: (52:18)Um, and not worry. Cause I tend to stop that. Well, what happens after that? it. I'm done. And shortbread and sourdough. So I, um, I'm trying to get over that hurdle, but I am quite excited and enthusiastic and, and I've had other interesting things. I've had great distractions pop up in the past little bit. So I have sort of like, all right, so I'm going to shelf that and work on. And I'm just really working on, um, not panicking. I'm just realizing, you know, in terms of the dream of like, um, not succumbing to panic and anxiety and fear of what's next and trying to be a bit more present in this weird timeless time. I'm trying to be just a little more mindful and slow. Speaker 2: (53:01)Well, you, you see, I gotta be honest. You seem, you seem pretty, you know, knowing, knowing you, you seem pretty much [inaudible]. I know I Speaker 8: (53:12)Thank you. I appreciate that. Cause I really have, um, and it's also been hard to do to realize like, wait, I it's, I think part of it leads into that. Like if it doesn't hurt, it's not work, um, trying to surrender to like Sarah, your life doesn't have to be excruciating all the time and you don't have to be miserable or suffering. You can just be, and that's a piece of the work. And so I'm really trying as I sit here watching icicles mouth outside of my house, I'm really trying to appreciate and sit with that time who knows what will happen. And again, like, Ooh, what's going to happen as soon as I have to, but I'm really trying to be okay. Speaker 2: (53:44)What did about Cuckoo's nest? Because people are going to ask, how did that come? How, how was that? I mean, that was, that was, that was like a big, huge deal for people that don't know it was Sarah was wasn't Cuckoo's nest. Speaker 8: (53:58)It was super easy, pretty fun. Um, although again, not without its challenges. I, um, I auditioned like every other woman between the ages of, you know, 20 and 32 for this little walk on part. Um, and uh, hilariously, it came down to me and this woman, Jennifer Inkstrom, who's a marvelous actress. Um, and we, at the time we're roommates, we work at the same restaurant. We had the same agent and Oh, my Gary Sinise and Terry Kenny could not choose which one of us to cast. So they cast both of us. So we were double cast in a role. And every other night, one of us went on is Sandy. And the other one played the electroshock tech. I. You not. Um, and that's how that run. It was bananas. It makes, I mean, and to this day, people are like, what the? Speaker 8: (54:52)It was really weird. And I don't really understand what transpired behind the scenes at the end of the day. I think it was a wildly unfair thing to do to Jennifer and I, because for years it really, really with our friendship, especially when I ended up going to Broadway and she did, and it was really unfair. Not that it's going to come back and bite me in the. It was a really unfair situation to put us in, um, horribly. So, um, especially when they're like, so Sarah, when are you leaving Broadway? When's Jen coming. And I'm like, this is up to me. I mean, it was really, really weird night anyway, but it was marvelous and wonderful. And I was very lucky to do a number of shows at Steppenwolf and, um, work with just astoundingly, uh, generous people and not realize it at the time. Speaker 8: (55:35)I just thought, I don't think I, you know, some youth is wasted on the young. I didn't realize how great it was. Um, but it was awesome. I mean, I, I looked out in the audience one night and Paul Newman was looking at me and I was like, that's Paul Newman. I mean, it was just, it was banana cakes. It was, it was, it was, it was wonderful. And it was a, a really fun show. And, um, I can't believe it was, you know, 20 years ago that it closed. Um, but it was a, it was a good time. It was a good time. Yeah. Speaker 2: (56:02)I got, I got, who played, who played first ratchet. Speaker 8: (56:05)Amy Morton. Oh, nice. Amy Morton. Um, yeah, we had a, Speaker 2: (56:12)Okay. I just love that. I love the stories about people. I know. Speaker 8: (56:16)Oh, it was super fun. I got paid to make out with Gary. Like it was like, Speaker 2: (56:22)You know, yeah. And you, you know, Speaker 5: (56:24)We, we, when the, by the time this is all over, you may be part of a bygone era of Broadway. I mean, I was just having this discussion with a bunch of theater people last night. Is it going to come back? Is it going to be, I mean, the whole model, the whole financial model of it, it was so unsustainable, um, with packed houses and, you know, charging $400 a ticket. I can't imagine trying to make this work with any type of social distancing protocols. Speaker 8: (56:53)Yeah. And who the hell are they going to put in those seats to fill? I mean, like, who's going to be on Broadway. Do you know what I mean? Like gone are the actors not to be a Dick, but you know, Speaker 5: (57:05)No, no, it's totally true. I, they interesting. So speaking of plays, um, probably my most memorable theater school watching experience was raised in captivity. Oh my God. And, and, uh, it made me, it made me a Nicky silver fan. Yes. I mean, that play is so funny. And I have the experience of watching it, that I was laughing so hard and so loud and people around me were laughing too, but I felt like, no, no, you don't. This is the most brilliant thing I've ever heard. John Gunn trying to say, I'm working with the baby, I'm teaching the baby. It's the baby's about to walk. Oh, such a great play. It was Nick directed that, right? Yeah. Do you remember that experience? I wasn't in it myself, Speaker 8: (58:09)Laughing in the audience. I wasn't in it. Speaker 5: (58:12)I've been telling myself you were in my favorite play at the theater school. Maybe I'm combining two plays. Did you do another Nikki that you were in you? Speaker 8: (58:22)I mean, I could be hallucinating. No, I cause Susan Bennett, PJ powers, um, was Juliette and that like I wait, was there someone that wasn't that on it? Speaker 5: (58:33)Wait in a Tutu. Speaker 8: (58:35)It's not about being passed around like a, like a, like a candy dish of nuts or something like there's I remember that, that awesome. Speaker 5: (58:42)Maybe we're thinking of a different name of the prompt. Maybe they did to Batman and skirts. Did you do any Nicky silver plays at the theater school? No, Speaker 8: (58:50)That's with Nicky silver too, because I love language play. Like I just, I, um, Speaker 5: (58:55)No, this is the problem Speaker 8: (58:59)That I wasn't in that show. Cause I was like, Oh, better to do Nicky silver then. Yeah. I mean, I was like, I grumbled, I think I was doing some Irish play at the time about, I don't know if I did some Declan. Speaker 5: (59:10)It's so funny. I believe I've used this to disparate things into one flatter. Speaker 8: (59:17)I thought it was me. Cause that play was awesome. And I, I can see Speaker 7: (59:22)Myself in that classroom watching it and just being gobsmacked. It was like, you know, Speaker 6: (59:27)Two little flats and like a light bulb on the floor. Maybe we were sitting next to each other. And I remember, okay. So I'll, I'll Speaker 2: (59:36)Share with everybody that, um, we are doing a part two with Sarah Shera par because, because my audio unfortunately lost. Yeah. So, so I went back and I just listened to the part where you can only hear you and I talking to, to remind us what we were talking about, but I just being transparent about it. The audience, I mean the audio quality will never sound the same. So if you're listening to this, well, yes, it was recorded in two separate days, but I'm going to do my best to bring us back to the point in the conversation that we were at when we were so rudely interrupted by squad cast. So, um, w we were, we were talking about the shows you did, and you were talking about a show that you did with Joe slowish. Um, and then, uh, a story that I loved talking about the show you did, where you had to be CA you were wearing a beautiful gown, I think. And you had to be carrying Helen of Troy, Helen of Troy. Yeah. Tell us that story. Speaker 7: (01:00:37)I just remember being devastated cause David decimal shin had to carry me and I was like, Oh my God, he's going to know how fast, I mean, you know, Speaker 6: (01:00:47)Like I, Speaker 7: (01:00:48)I mean, I had such a crush on him. Um, hi David, uh, as did everyone as did everyone now. Yeah, yeah. Speaker 6: (01:00:55)Me and it precluded you. Speaker 2: (01:00:58)What we were talking about is how it precluded you and things like that, or can so easily preclude us from focusing on the thing that would actually make the memory good. And the experience enjoyable. Like I'm on stage at a beautiful venerated Chicago theater, and I am getting to play this amazing part and I'm getting to do something that I love instead. We're, we're focused on the thing that you worry about what you ate last night. Speaker 7: (01:01:26)It's not really being in the moment. That's not being in the essential moment there that's not the Colonel one wants to clean to, for sure. Speaker 2: (01:01:34)Definitely not. Definitely. If you were in that position today, how do you think you'd be? Speaker 6: (01:01:40)I think regrettably, Speaker 7: (01:01:44)Well, yeah, I'm a bit in that position every day. Do you know what I mean? Like, I'm very, I, it's funny. I, um, uh, recently in this universe, uh, Oh, I apologize. There's some kind of siren happening. Um, recently in this universe of, um, zoom auditions, uh, has been a really eye-opening and a horrifying experience, but illuminating about certain things. And that is that, Oh, I am now back at a place where I'm have to relearn how to not focus on myself in an audition. Right. So because, um, all of a sudden you can see yourself in the corner can see that little piece and try not to be. So I, I thought mistakenly, um, as of late, I was in this groovy Headspace and I was ready to go and it's all about the work. And then the second I could, I was like, Oh God it. Speaker 7: (01:02:31)There you are. And right in front of you, are you and all of your insecurities. Um, and I was, uh, both reassured and disappointed by the fact that I still have the same, the same struggle as a performer to get out of my own way and to get out of my head and stop looking at myself in the moment. And I just had the same experience I had to watch myself. I was on, I saw myself on TV last week and everyone's gathered around the TV and it's like, Ooh, you're on that show. And how exciting. And all I saw were chins. All I saw were, and I remember the day I'm thinking, he looked great. You feel great. You should be confident now, focus on your work. And then I get to watch my work and all I'm all I'm seeing are, wow, that's a really bad sweater. And boy, you know, so it's hard. It's hard to not. Um, I think I focus on it. I try to actively focus on it less. Do you know what I mean? It's kind of like trying to, it's like trying to play a negative intention. I will not, not do. Speaker 2: (01:03:25)Right. Right. Right. Well, the, probably the biggest difference though, is that, you know, that you're doing that now and you know, that it robs you of something that's joyful and you're trying, and you, you know, I think having the desire to get to the place where you can like, just live your life and appreciation for it instead of monitoring your life or how other people are appreciating you. Yeah. Speaker 7: (01:03:45)Yes. And to appreciate the, I mean, so in a way back to that show, my, my goal doing when I shot that show was like, Sarah, you're going to enjoy this experience. You're not going to go home after three days of shooting going. I don't know what happened because I wasn't there. So do I feel like I was able to do that at least 60% of the time? Yes. Which is a big win, right? Like I was like, I was able to have fun being on set and working and focusing on the work rather than worrying about, are they going to fire me? Am I going to get kicked off? And I didn't lose 40 pounds last week. So that was good. That was good to be able to, what was the show? The, uh, the Chicago fire. Um, Speaker 2: (01:04:26)Okay. It's about the it's about the department. Speaker 7: (01:04:29)Is it, is the, it is the fire show of America. Yes, it was. Yes. It was really fun. It was actually super good to, and it was super rewarding because I got to work with a student who I, it was his first job on camera. We had our scene together, a female director that I had worked with before, and it was written by a woman and a woman
Karen Rodriguez hosts this candid interview with esteemed actor, director and ensemble member Amy Morton. Morton shares her favorite (and least favorite) moments on stage, and dishes out advice for young actors eager to jumpstart their careers. Listen to hear Amy talk about her path, from growing up as a shy kid with a fantastical imagination, to seeing her first Steppenwolf production, and finally to performing in the theatre’s legendary production of August: Osage County thirty years later.Interview begins at 3:37. This episode of Half Hour is generously sponsored by Michele Kenner.Amy Morton is a director and actor at Steppenwolf. She has directed or performed in over 30 plays at Steppenwolf including Edward Albee’s Who’s Afraid of Virginia Woolf (Tony nomination), August: Osage County (Tony nomination), One Flew Over The Cuckoo’s Nest (also on Broadway), Hir, Cherry Orchard, The Berlin Circle, Three Days of Rain, The Unmentionables, Space, The Royal Family and many others. She has directed Guards at the Taj (both Atlantic Theatre and Steppenwolf), Glengary Glen Ross, Clybourne Park, America Buffalo, The Dresser, The Pillowman, Topdog/Underdog, Who’s Afraid of Virginia Woolf (Alliance Theatre), Awake and Sing (Northlight Theatre), and many others. Film: Rookie of the Year, 8MM, Falling Down, Backdraft, Up in the Air, Bluebird. Television: Bluebloods, Girls, Homeland, currently on Chicago PD as Trudy Platt. Before joining Steppenwolf, Amy was a member of the Remains Theatre for 15 years.Learn more at Steppenwolf.orgWant to get in touch? Email halfhour@steppenwolf.orgA transcript of this episode can be found HERE
Pam MacKinnon (TW:@pammackinnon) is a Tony Award and Drama Desk Award winner and she is no stranger to the Bay Area, having directed Victor Lodato’s 3F, 4F at Magic Theatre in 2005 and Amélie, A New Musical at Berkeley Repertory Theatre in 2015. MacKinnon grew up in Toronto, Canada as well as just outside Buffalo, New York. She majored in economics and political science at the University of Toronto and UC San Diego, and briefly pursued a Ph.D. in political science, before turning to her other passion: theater. Since then, MacKinnon has become one of American theater’s most beloved directors, a supporter of new American playwrights, and a leading interpreter of playwright Edward Albee’s work. She is an alumna of the Drama League, Women’s Project Theater, and Lincoln Center Theater’s Directors Labs. She is also Executive Board President of the Society of Stage Directors and Choreographers (SDC). MacKinnon has directed multiple plays on Broadway, including Edward Albee’s Who’s Afraid of Virginia Woolf?, starring Tracy Letts, Amy Morton, Carrie Coon, and Madison Dirks. MacKinnon won a Tony Award for her direction, and the play received the Tony Award for Best Revival of a Play. Other Broadway productions include Bruce Norris’s Clybourne Park (Obie Award for Excellence in Directing); Amélie, A New Musical; the world premiere of David Mamet’s China Doll with Al Pacino; Wendy Wasserstein’s The Heidi Chronicles with Elizabeth Moss; and Edward Albee’s A Delicate Balance with Glenn Close and John Lithgow. MacKinnon has also directed extensively off Broadway at Playwrights Horizons, Manhattan Theatre Club, and Roundabout Theatre Company, as well as around the country at Chicago’s Steppenwolf Theatre Company, San Diego’s Old Globe, and Washington, DC’s Woolly Mammoth Theatre Company.
Pam MacKinnon (TW:@pammackinnon) is a Tony Award and Drama Desk Award winner and she is no stranger to the Bay Area, having directed Victor Lodato’s 3F, 4F at Magic Theatre in 2005 and Amélie, A New Musical at Berkeley Repertory Theatre in 2015. MacKinnon grew up in Toronto, Canada as well as just outside Buffalo, New York. She majored in economics and political science at the University of Toronto and UC San Diego, and briefly pursued a Ph.D. in political science, before turning to her other passion: theater. Since then, MacKinnon has become one of American theater’s most beloved directors, a supporter of new American playwrights, and a leading interpreter of playwright Edward Albee’s work. She is an alumna of the Drama League, Women’s Project Theater, and Lincoln Center Theater’s Directors Labs. She is also Executive Board President of the Society of Stage Directors and Choreographers (SDC). MacKinnon has directed multiple plays on Broadway, including Edward Albee’s Who’s Afraid of Virginia Woolf?, starring Tracy Letts, Amy Morton, Carrie Coon, and Madison Dirks. MacKinnon won a Tony Award for her direction, and the play received the Tony Award for Best Revival of a Play. Other Broadway productions include Bruce Norris’s Clybourne Park (Obie Award for Excellence in Directing); Amélie, A New Musical; the world premiere of David Mamet’s China Doll with Al Pacino; Wendy Wasserstein’s The Heidi Chronicles with Elizabeth Moss; and Edward Albee’s A Delicate Balance with Glenn Close and John Lithgow. MacKinnon has also directed extensively off Broadway at Playwrights Horizons, Manhattan Theatre Club, and Roundabout Theatre Company, as well as around the country at Chicago’s Steppenwolf Theatre Company, San Diego’s Old Globe, and Washington, DC’s Woolly Mammoth Theatre Company.
From water to public service, helping others doesn't stop for some people. Today we were glad to sit down with Mr. Ray Hull, current candidate for Aurora Alderman-At-Large. We really took a trip down memory lane with Aurora history on this episode. Ray carries a lot of experience in community relations and he also served on the East Aurora School Board. A native of Chicago, Ray's first job was at Carson Pierre Scott which is now the building housing Amy Morton's Stop Island Social & Artisan Lofts. We spoke about what makes Aurora great, life and faith as well. Mr. Hull has been a leader in Aurora for a long time and his experience was fascinating to hear. He's done just about every dirty job you can think of so he's no stranger to hard work. We wish Ray and the other candidates luck on their journey; this is a great way to learn about a true Aurora servant. Shouts go out all Aurora artists and authors. Stay tuned for the Art & Market Aurora taking place this weekend. Virtual Daca workshops are being offered by the Southwest Suburban Immigrant Project. Check out our Facebook post about that. We've got a great lineup of interviews next week so stay tuned for those. Also, check out the show on Spotify, iTunes and don't forget to subscribe to our YouTube channel. We hope you all have a positive, blessed and very motivated day. We'll see you all back here next week for another great episode. Peace! --- Support this podcast: https://anchor.fm/goodmorningaurora/support
Following a long family tradition, Amy Morton has spent a career in the restaurant business starting with her father's Morton Steakhouse. Now she owns and operates multiple establishments including Found and The Barn Steakhouse in Evanston and Stolp Island Social in Aurora. It's been a tough business of late, but have a listen and hear Amy's positivity and passion come through. Please enjoy, subscribe on your favorite podcast services and YouTube, like on Facebook, and follow on LinkedIn! Guest Website: https://www.foundkitchen.com/ Guest Facebook: https://www.facebook.com/foundkitchen Guest LinkedIn: https://www.linkedin.com/in/amy-morton-bb0104164/ Host: Drew Sikula LinkedIn: https://www.linkedin.com/in/drewsikula/ Chicago Business Podcast Website: https://www.chicagobusinesspodcast.com/ Music: DEAF KEV - Invincible [NCS Release] https://www.youtube.com/watch?v=J2X5mJ3HDYE --- Send in a voice message: https://anchor.fm/chicagobusinesspodcast/message
In the inaugural episode of Creating the Good with AARP IL, hosts Bob Gallo and Rosanna Márquez sit down with Amy Morton, a restaurateur from Chicago who has seen her world change drastically in the wake of COVID-19. Amy Morton grew up working alongside her father Arnie Morton, founder of Morton's Steakhouse. She started her first restaurant, Mirador in Chicago's Old Town back in the 1990s, and is currently the owner of Found Kitchen and Social House and The Barn Steakhouse in Evanston, as well as Stolp Island Social in Aurora. She is also a long-time supporter of “Connections for the Homeless,” a non-profit group bringing essential services to people facing homelessness and housing insecurity. During this coronavirus pandemic, Amy and the Found team have been cooking breakfast seven days a week for 200 people facing homelessness. Hear Bob, Rosanna and Amy discuss how her community involvement came to be, what inspires her and how she hopes others can get involved during these uncertain times.
Ensemble member William Petersen shares stories and insights from his remarkable career in this interview conducted by Glenn Davis. The lively conversation covers Petersen's school days in Idaho, his love for Chicago's theater scene, and the origins of his industry-shifting television series CSI. Interview begins at 4:50. William Petersen first appeared at Steppenwolf Theatre Company in the seminal production of Balm in Gilead in 1980 and has since appeared in Slowgirl, Fool for Love, Dublin Carol, Endgame and The Minutes. In 1979, Petersen founded the Remains Theater Ensemble in Chicago with a group of fellow actors, including Steppenwolf ensemble members Gary Cole and Amy Morton. In 1996, Petersen made his Broadway debut in a revival of Tennessee Williams’s The Night of the Iguana. He served as executive producer on CSI: Crime Scene Investigation and was nominated in 2004 for a Golden Globe Award for his portrayal of Gil Grissom, the lead investigator.Learn more at steppenwolf.org. Want to get in touch? Email halfhour@steppenwolf.orgFor a transcript of this episode, please visit: https://www.steppenwolf.org/globalassets/half-hour-podcast/half-hour-ep4-transcript.pdf
Debbie Gold is the Executive Chef of Found Kitchen and Social House, The Barn and Stolp Island Social in the Chicago-area. Your host, Jensen worked for Chef Gold at James Beard award-winning 40 Sardines, in Kansas City, when he was just a 23 year old punk kid. Debbie is serious about family meal and her restaurant "family". She recalls being a 17 year old working at Poppin Fresh Pies, as a server, and even then realizing she was meant to be in the kitchen. We play a little Best Served On Ice Breaker game of Bracketology: Soup Edition, and Debbie gives us her picks in head to head soup match-ups. You'll get to hear from one of her #UnsungHospitalityHeroes, Andrew Longres, who worked at 40 Sardines at 19 and is now the Executive Chef at The American, in Kansas City, where Chef Gold won her Best Chef Midwest James Beard award. Website - FoundKitchen.com Facebook - /FoundKitchen Instagram - @FoundKitchen @StolpIslandSocial @BarnEvanston Where are you from originally? Northern suburb of Chicago, Glencoe. First job in the industry? My senior year high school, at Poppin' Fresh Pies, I was 17 years old. Proudest moment of your career? Winning a James Beard Foundation Award Best Chef Midwest; returning to Chicago and being praised by the restaurant critics. Two things most people don't know about you? I am a very picky eater. I was a single mother, raising two children, while maintaining my career. Food and/or drinks staples in your house? artisan cheeses and salami, chicken noodle soup, chocolate. Words to live by? Treat everyone the way you want to be treated yourself. The Chicago native found inspiration in the pages of Bon Appetit in high school and soon began whipping up impressive meals for her family. Before long, Debbie had taken the first steps toward her now celebrated culinary career. After receiving a graduate degree in Restaurant Management from the University of Illinois, she spent a total of four years studying and working in some of the most famed kitchens in France. Gold attended Ecole Hoteliere Tain l'Hermitage, cooked at Michelin-starred restaurants, as well as small country-side restaurants throughout France. Upon returning to the States, Debbie continued her training with the legendary Charlie Trotter, holding down every position from the hotline to pastry. She went on to become the Pastry Chef at The Everest Room, before accepting the Chef position at Mirador, acclaimed “twenty something, shoe-string bistro” by The New York Times. Gold then turned her sights to Kansas City to begin a stellar twenty-year run; named Executive Chef of The American Restaurant, where she won a James Beard Foundation Award for “Best Midwest Chef.” A few years later, she opened her own spot, 40 Sardines, which garnered Gold a coveted James Beard Foundation nomination for “Best New Midwest Restaurant.” She was also recognized by Bravo’s Top Chef Masters, battling against fellow award-winning chefs for two seasons. In 2017, Gold found her way back to her hometown of Chicago as the Executive Chef of Tied House, where after opening, she was given three stars by Phil Vettel, exclaiming “Chef Debbie Gold shines in return to Chicago's dining scene.” Two years later, she was reconnected with restaurateur Amy Morton and joined her as Executive Chef of Found Kitchen + Social House. These kindred spirits, who cut their teeth with each other on their first endeavor, have a paralleled passion for all things local and are destined to do great things.
Mo’Nique’s raw, unsettling portrayal of Mary Jones in “Precious” is hall of fame BSA work. She deserved to win every award possible that year, and just about did. This week, we break down her climactic breakdown, celebrate the supporting actress work from Mariah Carey and Paula Patton, discuss Precious being a powerful role versus a powerful performance, enjoy the joy of Joanne, are decidedly up in the air about some of Mo'Nique's fellow nominees, but have lots of love for Amy Morton who wasn't nominated. Plus: Oscar surprises and disappointments (JLo! Florence!) and some love to a snake names Sylvia. Follow us! Email: thebsapod@gmail.com Twitter: @bsapod Colin Drucker Twitter: @colindrucker Instagram: @colindrucker_ Nick Kochanov Twitter: @nickkochanov Instagram: @nickkochanov
S3Ep1 - Lonestar Hiking Trail with Amy Morton In this episode, Amy Morton tells her story of what it’s like to do a solo, one-week thru-hike of the Lonestar Hiking Trail (LSHT). The LSHT is a nearly 100 mile long hiking trail wandering through the Sam Houston National Forest just north of Houston, TX. This show was recorded right on the trails end, in the forest, just a few minutes after she finished her journey. Luminnovation Podcast is sponsored by: www.Berdoll.com and www.Puzzometry.com Theme music by: TheHoagman@gmail.com www.Luminnovation.com www.facebook.com/Luminnovation www.twitter.com/Luminnovation
Episode 1 Having a hearing impairment with Amy Morton by Kayla Daniels
On this week's episode, the Summer Blockbuster Extravaganza picks on the beloved (?) family (?) classic (?), Rookie of the Year! What's with these annoying little buddies tagging along to their friend's baseball game? Why does Henry Rowengartner talk trash like a 1940's newsboy? And could Bruce Altman's shirts get any louder? PLUS: Gary Busey signs on to Abel Ferrara's live-action Pokémon movie, Dafoekémon!Rookie of the Year stars Thomas Ian Nicholas, Gary Busey, Albert Hall, Amy Morton, Dan Hedaya, Bruce Altman, Eddie Bracken, and Daniel Stern; directed by Daniel Stern.
The endlessly fascinating Jennifer Engstrom graces us in the Booth today. Jen is a long-time ensemble member of A Red Orchid Theatre (as is our last guest, playwright Brett Neveu). She has appeared in over a dozen productions there and at many other great Chicago theaters (as well as in productions in London and New York). She grew up on a farm outside of Huxley, Iowa and made her way to the big city via the College of DuPage theatre program, where she soon became active in the speech department. And who coached and encouraged her in a career in the performing arts? None other than our own Frank Tourangeau! Frank was a professor and head of the speech department during Jennifer's time there and served as her mentor and teacher. Frank relates how he cast her in the play Whose Life is it Anyway? as the lead made famous on Broadway and the West End by Tom Conti, and revived some years later with Mary Tyler Moore in the starring role. By all accounts, Jen was luminous in the part. BTW, when Gary was working in Emanuel Azenberg's office, he was a stand-in for Tom Conti for several rehearsals on the Broadway production. In addition to her numerous acting roles, Jennifer has had an interesting career as an understudy around Chicago. We discuss her going on as Blanche DuBois at the last minute in a Writers Theatre production of A Streetcar Named Desire, directed by David Cromer. Though she knew the blocking and the lines well, her costumes had not been finished and there was a mad scramble to devise a proper wardrobe track for that performance (which Gary and producer Betsy were privileged to see!). She also stepped in for Amy Morton in the Steppenwolf Theatre production of Taylor Mac's HIR when Ms. Morton turned her ankle on stage prior to the first preview. Jennifer had learned all the lines and after a rushed blocking rehearsal, kept the curtain up for the first preview audience in stellar fashion. To quote the wonderful stage manager, Laura Glenn, "She was a total professional and I was so grateful she was there." Among Jennifer's favorite playwrights are Tennessee Williams, Edward Albee and newcomer Jen Silverman, whose play Witch will get a world premiere production at Writers Theatre in the fall. Two items of show biz interest - The Play That Goes Wrong is closing on Broadway in August. One of the most hilarious shows that Gary and Frank have ever seen, a national tour is scheduled so don't miss this gem of a show if it comes to your town. And the five-and-a-half hour adaptation of Roberto Bolano's mammoth novel 2066 can be seen on streaming video soon. In an unusual arrangement, a filmed version of the Goodman Theatre's production will be available free, unlimited streaming for at least two years. Frank was a big fan of this production. You may have to watch in installments given it's extraordinary length, but you're unlikely to see another production of it anywhere any time soon. Jennifer has created and performs a one-woman show called Excuse My Dust, A Dorothy Parker Portfolio, in which she embodies the writer and humorist in an evening of theatrical monologues from Parker's writings. Dorothy Parker was an original member of the Algonquin Round Table and a unique coiner of the cutting remark. Gary and Betsy are going to the Red Orchid spring fundraiser at which Jennifer is performing selections from Excuse My Dust. More to report on our next episode. We play a little Chat Pack with Jennifer and find that she would like to be a rock star for a month, a la Beyonce. And people often ask her how she learns all those lines! Kiss of Death: Anne V. Coates, Admired Editor of Acclaimed Movies One of the most celebrated film editors of her era, Ms. Coates won an Oscar for her work on Lawrence of Arabia directed by David Lean and starring Peter O'Toole. The film editor's craft is often called "the invisible art," but is one of the most vital ingredients in the alchemy of filmmaking.
Today on the Neil Haley Show, The Total Tutor Neil Haley will interview Amy Morton (Sgt. Trudy) of Chicago P.D and Actor Christian Stolte (Randy “Mouch” McHolland) of Chicago Fire. CPD ENLISTS THE HELP OF FIREHOUSE 51 FOR A DANGEROUS UNDERCOVER MISSION ¬- CROSSOVER CONTINUES FROM THE PREVIOUS NIGHT'S "CHICAGO P.D." - While working to track down a bombing suspect, Voight (guest star Jason Beghe) and Antonio (guest star Jon Seda) meet with Chief Boden (Eamonn Walker), who unwillingly agrees to let Dawson (Monica Raymund) and Brett (Kara Killmer) go undercover. As the investigation continues, Boden, Casey (Jesse Spencer) and Severide (Taylor Kinney) lend their skilled expertise in the investigation. Elsewhere, Kidd (Miranda Rae Mayo) and Zach's (guest star Daniel Di Tomasso) relationship hits a bump and Cruz (Joe Minoso) has a hard time expressing his true feelings for Brett. Meanwhile, Herrmann (David Eigenberg) and Connie (guest star DuShon Monique Brown) are forced to come up with an alternative solution when two birthday parties are booked on the same day at the firehouse. Yuri Sardarov and Christian Stolte also star. Amy Morton, Patrick John Flueger, Jesse Lee Soffer, Traci Spiridakos, Marina Squerciati and LaRoyce Hawkins also guest star. Christian Stolte stars as Randy "Mouch" McHolland, an experienced veteran who will do anything to protect his fellow firefighters and his coveted spot on the firehouse couch, on NBC's drama "Chicago Fire." Amy Morton stars as Desk Sgt. Trudy Platt, a tough-as-nails desk sergeant on the NBC drama "Chicago P.D."
Theater Talk welcomes actors Tracy Letts and Amy Morton who are now starring in the revival of Edward Albee’s "Who’s Afraid of Virginia Woolf?" Also, from Aaron Posner’s new play "My Name is Asher Lev," actors Ari Brand, Jenny Bacon and Mark Nelson.
Ranging from their start in a church basement in 1976 to their current Broadway production of August: Osage County, Steppenwolf Theatre Company (the 1985 recipient of the Regional Theatre Award) Co-Founder Jeff Perry and Steppenwolf Ensemble Members Laurie Metcalf, Amy Morton and Rondi Reed (who won a Tony for her role in August: Osage County) discuss their formative years as a rebel theatre group in Chicago, what they did in those early years to attract audiences, how the ensemble has evolved, how Steppenwolf transformed from upstart to institution, the development of August: Osage County, and the challenges that a New York success like August places on their work back home in Chicago.
Ranging from their start in a church basement in 1976 to their current Broadway production of "August: Osage County", Steppenwolf Theatre Company Co-Founder Jeff Perry and Steppenwolf Ensemble Members Laurie Metcalf, Amy Morton and Rondi Reed discuss their formative years as a rebel theatre group in Chicago, what they did in those early years to attract audiences, how the ensemble has evolved, how Steppenwolf transformed from upstart to institution, the development of "August: Osage County", and the challenges that a New York success like "August" places on their work back home in Chicago.
Congressional Candidate James Marlow will be on the show, Amy Morton will tell us about E. Edwards visit next week & Macon politics, and Jon Flack will give a preview of the Rally for the People!
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