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Why does a 72-year-old play about 333-year-old witch trials still feel urgently relevant today? Arthur Miller's The Crucible has become theater's ultimate evergreen story, because it captures something timeless and terrifying about human nature—our willingness to destroy each other when fear takes hold.When Miller's play premiered on January 10, 1953, audiences immediately understood it wasn't really about Salem. This was Miller's bold response to McCarthyism, a thinly veiled critique of Senator Joseph McCarthy's communist witch hunts that were tearing through American society. Miller had taken the Salem witch trials and transformed them into a mirror, forcing 1950s America to confront its own capacity for panic and persecution.But here's what makes The Crucible truly remarkable: it didn't stop being relevant when McCarthyism ended. In our current era, when we're so quick to label people as enemies and deny their humanity, Miller's allegory feels more essential than ever. The play's central question—what happens when a community turns against itself in search of hidden enemies—remains one of the most important questions we can ask.Whether you know the play from school, the stage, or the screen, whether you have family who lived through the Red Scare or ancestors who witnessed Salem's trials, The Crucible speaks to something universal about the human condition. It reminds us that in times of crisis, we all face the same choice: Will we stand with the mob, or will we find the courage to stand for justice?Buy the book: The Red Scare by Clay RisenBuy the Play: The Crucible by Arthur MillerBuy the book: The Enemy Within by John DemosHelp Us Build Our Patreon CommunityThe Thing About Witch Hunts WebsiteThe Thing About Salem WebsiteCheck out our new podcast: The Thing About Salem on YouTube!Sign up for our NewsletterDonate to The Thing About Witch Hunts Fieldwork Fund
Jason Fraley gets ready for tonight's Tony Awards by interviewing playwright Kimberly Bellflower about her play “John Proctor is the Villain,” reimagining Arthur Miller's "The Crucible" to earn 7 Tony nominations, including Best Play. They spoke when the show made its pre-Broadway premiere at Studio Theatre in Washington D.C. in 2022. (Theme Music: Scott Buckley's "Clarion")
Send us a text Emmy Award-winning actor and comedian Jeremy Piven brings his razor-sharp wit and high-energy stand-up to The Factory in Chesterfield, MO on Sunday, June 8, 2025! Known for his iconic role as Ari Gold on Entourage and countless other roles, Piven now delivers a night of laughs, stories from Hollywood, and unfiltered comedy that fans won't want to miss. Doors open at 6:30 PM with the show kicking off at 7:30 PM — and it's ALL AGES. A household name for his 2x Golden Globe and 3x Emmy Award-winning performance playing the fast-talking, acerbic Hollywood agent ‘Ari Gold' in the HBO series Entourage , actor, comedian, and podcast host Jeremy Piven also achieved significant success playing the title role in the British/PBS television drama series Mr. Selfridge , the semi-fictional story based on the life of Harry Selfridge, who founded the London department store Selfridge's. Piven has also appeared in numerous successful films, including Grosse Pointe Blank , Singles , Very Bad Things , The Family Man , Black Hawk Down , The Kingdom , Heat , PCU , Old School , Rock N Rolla , Serendipity , Smokin' Aces , and Runaway Jury.Piven appears as Joel Lapchick the man responsible for helping Nat “Sweetwater” Clifton break the color barrier in the NBA in 1950 in the movie Sweetwater, which dropped on Angel Studios on September 26 th, soon to be available VOD. His next film, The Performance , is an adaptation of an Arthur Miller work due out in theaters at the end of 2024.He was recently seen in the feature film Last Call opposite Oscar winner Bruce Dern and Orange is the New Black star Taryn Manning. Other recent and upcoming films include American Night opposite Oscar nominee Emile Hirsch, Jonathan Rhys Meyers, which screened at the Venice Film Festival, period drama film The Walk opposite Justin Chatwin and Oscar nominee Terrence Howard, and The System which teamed him up again with Terrence Howard and Tyrese Gibson.Piven also released the popular podcast “How U Livin' J Piven,” where he interviewed influential guests such as Jamie Foxx, Tiffany Haddish, Common, Mark Cuban and UFC stars Rashad Evans and Jorge Masvidal, in an intimate and in depth format that showcased his dynamic personality in a never-before-seen way. The show is available wherever you get your podcasts. Piven now tours the country with his successful stand-up comedy show, flexing a comedic muscle that few actors have been able to transition over to. The tour will see him across the entire continental U.S. and also take him internationally to the U.K. and beyond.http://www.betterhelp.com/TheBarnThis episode is sponsored by www.betterhelp.com/TheBarn and brought to you as always by The Barn Media Group. YOUTUBE https://www.youtube.com/@TheBarnPodcastNetwork SPOTIFY https://open.spotify.com/show/09neXeCS8I0U8OZJroUGd4?si=2f9b8dfa5d2c4504 APPLE https://podcasts.apple.com/podcast/id1625411141 I HEART RADIO https://www.iheart.com/podcast/97160034/ AMAZON https://music.amazon.com/podcasts/7aff7d00-c41b-4154-94cf-221a808e3595/the-barn
Drew Barr has directed productions of new, modern, and classical plays and musicals for theaters across the United States and around the world. He directed the Dutch-language premiere of the National Theatre of London's War Horse, which opened at Amsterdam's Royal Carré Theatre before a year-long tour of the Netherlands and Belgium. For the National Theatre, he also directed the Australian premiere of War Horse, which ran in Melbourne, Sydney and Brisbane. He was the Resident Director for War Horse on Broadway at Lincoln Center Theater. Also on Broadway, Drew served as associate director for Nicholas Hytner's productions of Sweet Smell of Success, starring John Lithgow, Kelli O'Hara and Brian D'Arcy James and Twelfth Night, starring Helen Hunt, Paul Rudd and Kyra Sedgwick, as well as for Simon McBurney's acclaimed revival of All My Sons by Arthur Miller, starring John Lithgow, Dianne Wiest, Patrick Wilson and Katie Holmes. Drew was associate director and dramaturg for Simon McBurney's production of The Kid Stays in the Picture at the Royal Court Theatre in London.Drew has directed and guest taught for many of the country's leading actor training programs, including the Juilliard School, NYU's Graduate Acting Program, USC's School of Dramatic Arts, SUNY Purchase, the University of Delaware's PTTP, the University of Washington's School of Drama and the Department of Dramatic Art at the University of North Carolina Chapel Hill. He is on the acting faculty of AMDA College of the Performing Arts in Los Angeles. As an actor, Drew appeared on Broadway in Wendy Wasserstein's An American Daughter. He was a founding member of East Coast Artists, a performance collective under the leadership of Richard Schechner, with whom Drew devised and performed in Faust/gastronome, The Three Sisters and Amerika. He toured the country as a member of Maurice Sendak's national children's theater, The Night Kitchen, playing the role of Alligator in the Sendak/Carol King musical, Really Rosie. Drew moved to Lexington with his filmmaker husband, Tim Kirkman, in June of 2024Drew is directing ANGELS IN AMERICA, a play written by Tony Kushner debuted in 1991, that will be presented by ACT OUT THEATRE GROUP and open at the Black Box Theatre in the Pam Miller Downtown Arts Center on 6th June and play the 7th, 13th, 14th and 15th June.A complex and at times metaphorical examination of AIDS and its social impact - this play, that won 3 Tony Awards and a Pulitzer, has been called "a turning point in the history of gay drama."For more and to connect with us, visit https://www.artsconnectlex.org/art-throb-podcast.html
In Opening Our Minds, Jon wrote about an outburst of mass sociogenic illness or mass hysteria in Chechnyan schools. Almost a hundred pupils thought they'd been poisoned by the Russians. It took two years for them all to be released from hospital as a cognitive therapist helped them to understand the condition.History has seen many examples of the madness of crowds - the Salem Witch Trials or those described by Huxley in The Devils of Loudon (filmed as The Devils), but are all human groups to some extent carriers of crazy ideas?Dr Moffic brings his lifetime as a therapist and his experience as a social psychiatrist to bear on the question.buy Jon's book, Opening Our Minds: Avoiding Abusive Relationships and Authoritarian GroupsMore on gender in JudaismSee Jon on Ladbible Jon is deeply indebted to Khapta Akhmedova for her painstaking help with this chapter. For a detailed account of mass hysteria, see Aldous Huxley, The Devils of Loudon, which was the basis for Ken Russell's stylish film, The Devils. Arthur Miller's play, The Crucible, deals with the Salem witch trials and is also available in two film versions.
Donald boards “The Subway,” the thirteenth episode of season three. He talks about Death of a Salesman and George Costanza's similarities to one of Arthur Miller's saddest characters. He also reflects on the legacy of The New York Times and comedian Dick Gregory . Here are the texts and authors discussed in this episode:Great Expectations - Vinson Cunningham Death of a Salesman - Arthur MillerThe New York TimesDick Gregory's Natural Diet for Folks Who Eat: Cookin' with Mother Nature! - Dick Gregory
Julie Tucker is a highly acclaimed casting director with a remarkable career spanning over two decades. Recognized for her outstanding contributions to the industry, she boasts an impressive tally of nine Emmy nominations and two Emmy Awards. Additionally, Julie has been honored with five Artois awards from her peers for her excellence in casting. Her journey began in the theater at The Public, and her introduction to Television started with the casting of the first three seasons of Law and Order: SVU, after which she founded her own casting company. Julie's current projects include Queen Latifah's The Equalizer, the upcoming Limited Series for Netflix “The Beast in Me,” starring Claire Danes, Mathew Rhys and Brittany Snow and the hits series "Doc," for Fox. Her extensive portfolio includes a diverse range of projects with her former partner Ross Meyerson, such as The Oscar nominated short “Red White & Blue, "The Expanse," "The Americans." “The Affair,” "Nurse Jackie," “Fallout,” the Jennifer Lopez feature film, "Marry Me." Notable past projects include: "Damages" (Emmy and Artios Award), "Six Feet Under" (Emmy and Artios Award for NY Casting), "Rescue Me" (Artios Award), and “Homeland” (Artios Award). She has cast 100's of hours of television, several dozen pilots and a few movies. In addition to her work in television and film, she had been on staff and cast for The Roundabout Theatre, Manhattan Theater Club, and The Williamstown Theater Festival. Her involvement in the 1997 Broadway production of A View From the Bridge, where she had the privilege of being in the room with Arthur Miller, remains a highlight of her career. Before transitioning to casting, Julie directed Off-Broadway and assisted directors Terrence Malick and Martin Charnin. She currently is serving on the Board of Directors for The Casting Society. Learn more about your ad choices. Visit podcastchoices.com/adchoices
The death of Marilyn Monroe.The boys begins with a look into her early years. Born Norma Jean Mortenson in 1926, Marilyn's childhood was far from easy, with her mother suffering a mental breakdown when she was just eight years old, leaving her to spend much of her youth in foster care. The boys joke about how “Norma Jean” doesn't quite have the same star power as “Marilyn Monroe,” but they quickly move on to discuss her rise to fame.At just 20 years old, Marilyn was signed by 20th Century Fox, where she was transformed from a model into the iconic actress we know today. By 1950, she was already gaining fame, and by 1954, her infamous affair with JFK began, sparking rumors that would last for decades. The boys touch on her marriages to baseball legend Joe DiMaggio and playwright Arthur Miller, with a bit of humor thrown in, especially when Eric and Sean wonder about Miller's appeal compared to Marilyn's stunning beauty.From her platinum blonde hair to her famous red lips and white dress, Marilyn became the embodiment of stardom in the ‘50s and ‘60s. But beneath the fame and glamour, the boys point out, Marilyn's life was far from perfect, with her struggles in her personal relationships, her mental health issues, and an alleged affair with Bobby Kennedy.As the episode moves into the discussion of her tragic end, the boys delve into the conspiracy theories surrounding her death. Was it suicide? Or was she silenced for knowing too much? The episode ends on a cliffhanger, with the boys teasing more mysterious details to come in Part 2.The boys continue to explore the strange and unsettling details surrounding Marilyn Monroe's death. They start by recounting the events of August 1962, leading up to her final hours. The boys paint a picture of a woman at the mercy of the people around her—her psychiatrist, her housekeeper, and the people she loved, all seemingly playing their parts in a tragic, tangled web. Marilyn's strange behavior in the days leading up to her death, including mysterious phone calls and an unsettling phone call to Bobby Kennedy, adds more fuel to the fire.The boys examine the conflicting reports surrounding her condition that evening, as well as the discrepancies in the timeline of her death. Why did Marilyn's psychiatrist wait so long to call for help? Why did Peter Lawford and the Kennedys seem to vanish when she needed them the most? These questions lead to even more conspiracy theories—was Marilyn's death really a suicide, or did the Kennedys and the mob have a hand in it?The boys touch on the questionable actions of those closest to Marilyn, from her housekeeper, Eunice, to her psychiatrist, Dr. Greens, who was heavily involved in her life. The boys point out the eerie timing of events, from the strange phone calls she received the night before her death to the conflicting statements made by her associates afterward.By the end of Part 2, the boys discuss the most popular conspiracy theories, including the possibility that Marilyn was intentionally silenced by the Kennedys or the mob after she threatened to expose secrets that could have damaged the political establishment. With her death still shrouded in mystery, the boys agree that there's more to Marilyn Monroe's story than meets the eye.www.patreon.com/theconspiracypodcast
2016年英语专业四级听力 对话1Conversation One对话1Questions 1 to 5 are based on Conversation One.请根据对话1回答第1题到第5题。Hello,This is Kate Smith, I'm calling from ABC Company.你好，这里是ABC公司，我是凯特·史密斯。Oh,hello, Kate. Great to hear from you.你好，凯特。很高兴接到你的来电。You've already been told that you've been shortlisted for interview.…我们已经通知过您，您进入了最后一轮面试。Oh,yes...嗯，是的..…Well,we're very excited about meeting you. OK, I just want to talk you through the procedure for the day. Someone will meet you when you arrive, and then bring you up to meet myself and Arthur Miller, the CEO.我们期待您的到来。我打电话是想通知您面试当天的程序。首先，到了之后会有人接待您，上来之后您会见到我和CEO阿瑟·米勒。OK,sounds good. So will you be the only members of the interview panel there then?听起来不错。所以面试官只有你们两个吗？Yes,it'll be just me and Arthur who will talk to you.是的，只有我和阿瑟与您谈话。The interview will be in three parts first of all we'll ask you some general questions about yourself and your educational and professional background, and then we'll move on to specifics.面试分为三部分，首先我们会问一些常规问题，涉及到您的个人情况、教育背景和职业背景，然后是细节部分。Oh,um, specifics? Well er, what kind of questions will you be asking?哦，呃，细节？你们会问哪种问题?Well,it'll be very similar to the personal statement you submitted with your CV, we'll be expecting you to... to give actual examples of problems you've faced and solved, and of what you feel are the major successes in your career so far.类似于你简历里附的个人陈述，我们希望你能给出具体事例，说明你遇到并解决的困难，还有你职业生涯中取得的重大成功。OK.Well, yeah, that sounds great - can't wait!好！听起来好棒！我等不及了！Then there'll be a chance for you to ask us any questions – about the job itself,or ABC Company in general...然后你还可以问我们一些问题，比如关于工作本身，或者ABC公司的总体情况。Oh,um, OK... I'll think of something!嗯，好，我要想想。After that, we'd like you to give a short presentation on how you see ABC Company as a company progressing, and how you see yourself taking us there.最后，我们希望你做一个简短的展示，主题是你如何看待ABC公司这个发展中的公司，以及您应聘我们公司的优势。OK,so will I be expected to give like a formal style presentation?好的，我要做正式的展示吗？It can be as formal or informal as you like. There'll be a computer and a data projector there available. If you need anything else, just let us know.正式和非正式的都可以。我们会提供电脑和投影机。如果你还有其他需要，请告知我们。Oh,um... OK, a presentation! I'll think of something. I haven't done one of those in a while...啊，好，展示！我要好好想想！我最近都没做过展示.….….Is that all clear?我都说明白了吗Yes.嗯，明白了。Great!So, Daniel, I'll see you at 11 a.m., Thursday next week.好！那么，丹尼尔，时间是下周四上午11点，到时候见。OK,great. I look forward to meeting you! Thanks, bye.好的！到时候见！谢谢你，再见。Bye.再见。Questions 1 to 5 are based on Conversation One.请根据对话1回答第1题到第5题。Question 1. Why does the woman call the man?第1题 这个女士为什么给这个男士打电话？Question 2. What kind of questions can the man ask in the interview?第2题面试中，这个男士可以问什么问题？Question 3. Which is the last part of the interview?第3题 面试的最后一部分是什么？Question 4. What might be expected from the man's presentation?第4题 这个男士的展示要包括什么内容？Question 5. When is the interview scheduled?第5题面试安排在什么时候？
The great Gene Meyer (@genemeyelol on the socials) of Bandit fame returns to the pod to discuss Vernon the Company Man. We get literary with some associations to Kerouac, Ginsberg, Arthur Miller, but we even it out with jokes about PRimus shirts being more effective than chastity belts. This tune is certainly a unique departure in terms of this record, but also for Claypool in general, thanks to excellent tabla and sitar provided by Mike Dillon and Gabby La La, respectively. Dig?Get involvedInstagramFacebookEmailBurn your money
The Head of English at an Auckland college says he won't teach the proposed new English curriculum and is urging other teachers to boycott it too. The draft curriculum released earlier this month comes with a list of suggested texts including Arthur Miller's the Crucible, Edgar Allan Poe's the raven,1984 by George Orwell and Dubliners by James Joyce. The draft document makes no mention of Te Mataiaho a learning frame work grounded in Te Tiriti o Waitangi. Northcote College head of English David Taylor spoke to Lisa Owen.
Theatre producer Chuchu Nwagu returns to co-host The West End Frame Show!Andrew and Chuchu discuss The Great Gatsby (ENO London Coliseum) as well as the latest news about My Son's A Queer, Six Japan, Paddington The Musical, the 2025 Outer Critics Circle Awards, King of Pangea and more. Andrew and Chuchu also have a discussion about trans allyship in theatre and how our industry can do more to support our trans friends and colleagues.As a producer, Chuchu's West End credits include Red Pitch (Soho Place), Shifters (Duke of York's) and Amelie (Criterion) whilst on Broadway his credits include Arthur Miller's Death of a Salesman and The Roommate (Broadway). Some of Chuchu's other production's have included Sleeping Beauty (Catford), Burlesque The Musical (Manchester/Glasgow), The Big Life! A Ska Musical (Theatre Royal Stratford East), Lenny Henry's August in England (Bush Theatre), Choir Boy (Bristol Old Vic), Dreamgirls (UK & Ireland Tour) and The Wiz (Hope Mill Theatre).Chuchu is currently back in the West End, co-producing Retrograde by Ryan Calais Cameron which has transferred to the Apollo Theatre following its run at the Kiln.Follow Chuchu on Instagram: @cnwaguRetrodgrade runs at the Apollo Theatre until Saturday 14th June. Visit www.nimaxtheatres.com for info and tickets.This podcast is hosted by Andrew Tomlins. @AndrewTomlins32 Thanks for listening!Email: andrew@westendframe.co.ukVisit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.
Margaret Rossiter, director of the New Ross Drama Workshop's upcoming production of A View from the Bridge, and Jamie Lyster, who takes on the challenging role of Eddie Carbone. They share insights into the creative process, the emotional depth of Arthur Miller's classic, and the dedication behind the scenes that's bringing this powerful story to the stage.
Singer-songwriter Tracy Chapman talks about the re-release of her eponymous debut album after 35 years, about how those songs of oppression and aspiration, written so long ago, speak to us today, and about going from almost unknown to world famous in one performance.We ask two directors of productions of The Crucible (by Scottish Ballet, and at Shakespeare's Globe) why there is an Arthur Miller moment in theatres this spring. And journalist Kate Mossman talks about her book about rock royalty, Men of a Certain Age, which includes interviews with Jon Bon Jovi, Roger Taylor and Gene Simmons. Presenter: Kate Molleson Producer: Mark Crossan
On this edition of Update you will hear from Diana Morse and Donell Willey, two of the actors in the Fox Theater's presentation of "A Death of a Salesman". The Community Council on the Performing Arts in Nevada is presenting Arthur Miller's play from April 10th through the 13th at the Fox Playhouse, 110 South Main Street in Nevada. This episode describes the play, its main motif and an unusual way of presenting the 2nd half of the show.
For the inaugural episode of the new series Spill the Tea, host Jason Blitman is joined by Elda Rotor, VP and Publisher of Penguin Classics. They delve into what defines a 'classic,' explore Penguin's expansive and diverse catalog, talk about contemporary works, and discuss the importance of context in classic literature. Make sure to stick around for Elda's classic character answers in a game of "Screw/Marry/Kill!" Elda Rotor oversees the U.S. classics publishing program including the works of John Steinbeck, Arthur Miller, Shirley Jackson, William Golding, Amy Tan, Alice Walker, and the Pelican Shakespeare series. Elda originated several series including the Penguin Classics Marvel Collection, Penguin Vitae, Penguin Liberty, Penguin Drop Caps, Penguin Orange Collection, Penguin Horror with Guillermo del Toro, and the forthcoming Penguin Speculative Fiction Special.Classics You Don't Know But Should:The Last Supper of Queer Apostles by Pedro Lemebel Dogeaters by Jessica HagedornThe Time Regulation Institute by Ahmet Hamdi TanpinarMinor Notes, Vol. 1 edited by Joshua Bennett and Jesse McCarthyThe Posthumous Memoirs of Brás Cubas by Joaquim Maria Machado de AssisFeatured Articles:NYTimes: https://www.nytimes.com/2024/12/26/books/review/elda-rotor-penguin-classics.htmlRolling Stone: https://www.rollingstone.com/culture/culture-features/marvel-comics-penguin-classics-spider-man-1367080/SUBSTACK!https://gaysreading.substack.com/ BOOK CLUB!Use code GAYSREADING at checkout to get first book for only $4 + free shipping! Restrictions apply.http://aardvarkbookclub.com WATCH!https://youtube.com/@gaysreading FOLLOW!Instagram: @gaysreading | @jasonblitmanBluesky: @gaysreading | @jasonblitmanCONTACT!hello@gaysreading.com
This episode was originally released on March 21, 2017. Listen to help prep for the next episode of our new season, The Old Man is Still Alive. How did a star whose persona seemed to be all about childlike joy and eternally vibrant sexuality die, single and childless, at the age of 36? In fact, the circumstances of Marilyn Monroe's death are confusing and disputed. In this episode we will explore the last five years of her life, including the demise of her relationship with Arthur Miller, the troubled making of The Misfits, and Marilyn's aborted final film, and try to sort out the various facts and conspiracy theories surrounding her death. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next of his regular audio described theatre reviews for 2025. This week we have a fresh new production of Arthur Miller's ‘Death of a Salesman' as the Trafalgar Theatre's touring production visited the Birmingham Repertory Theatre with description by Professional Audio Describer Carolyn Smith. About ‘Death of A Salesman' One of the greatest plays of the twentieth century, Arthur Miller's Death of a Salesman explodes onto the stage in this fresh new production led by acclaimed actor David Hayman (Sid and Nancy, Dad's Army). This timeless, powerful story takes you on a thrilling journey through the final 24 hours of Willy Loman's life, filled with his memories, dreams, struggles and pitting a Father's expectations against his sons realities. "Powerful and poignant.” For more about the Trafalgar Theatre's touring production of ‘Death of A Salesman' do visit the production's website - https://www.deathofasalesmantour.co.uk And for more about access at the Birmingham Repertory Theatre including details of audio described performances do visit - https://www.birmingham-rep.co.uk/your-visit/accessibility/ (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)
RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next of his regular audio described theatre reviews for 2025. This week we have a fresh new production of Arthur Miller's ‘Death of a Salesman' as the Trafalgar Theatre's touring production visited the Birmingham Repertory Theatre with description by Professional Audio Describer Carolyn Smith. About ‘Death of A Salesman' One of the greatest plays of the twentieth century, Arthur Miller's Death of a Salesman explodes onto the stage in this fresh new production led by acclaimed actor David Hayman (Sid and Nancy, Dad's Army). This timeless, powerful story takes you on a thrilling journey through the final 24 hours of Willy Loman's life, filled with his memories, dreams, struggles and pitting a Father's expectations against his sons realities. "Powerful and poignant.” For more about the Trafalgar Theatre's touring production of ‘Death of A Salesman' do visit the production's website - https://www.deathofasalesmantour.co.uk And for more about access at the Birmingham Repertory Theatre including details of audio described performances do visit - https://www.birmingham-rep.co.uk/your-visit/accessibility/ (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)
Marilyn Monroe is one of the greatest Hollywood stars of all time. She rose from orphan to icon by creating an on screen character America could not peel their eyes away from. And she did it all while battling anxiety, depression and addiction. Along the way she bedded, married, and otherwise conquered America's most impressive men — Joe DiMaggio, Arthur Miller, Frank Sinatra and President John F. Kennedy to name a few. And her relationship with JFK and his younger brother, Attorney General Robert F. Kennedy, would prove disastrous and result in long-running rumors and conspiracy theories about her death that are as hard to debunk as they are to dismiss. This episode contains themes that may be disturbing to some listeners, including sexual assault and suicide. If you're thinking about suicide, or are worried about a friend or loved one, call the Suicide Prevention Lifeline at 800-273-8255. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
TroupEnigma and Performing Arts of Woodstock are collaborating on a production of Henrik Ibsen's “An Enemy of the People” – adapted by Arthur Miller. The play will have performances on weekends March 14-30 at the Mescal Hornbeck Community Center in Woodstock, New York.
I finally finished this goddamn Misfits project, so you won't have to hear about it anymore. (Unless something actually happens with it. 6% chance, hopefully the Bureau is understaffed…) I'd like to give most replies on Craigslist a Craigs-fist. The third favorite LA Fitness in 20 years is closing, because of course it is. A problem with my Harley that would only happen to me. Gene Hackman leaves us guessing, and stop bothering me about Epstein. Berenstein Bears Paradox: “homeless people are crazy” line, from Speed. I went to a Back To The Future event, and realized I'm so fucking old that half the things portended for the future IN sci fi movies are actually happening. (And much of it turned out to be pretty gay)
The Chelsea Hotel sits at 222 West 23rd Street in Manhattan…since it was completed in 1884, the place has been a hangout for some very colourful characters…most were New York eccentrics and bohemians who needed a place to live…but it also attracted some famous people. At one point or another, it was home to sci-fi writer Arthur C. Clarke who wrote a big chunk of “2001: A Space Odyssey” in his room…later, Stanley Kubrick, the producer of the movie version of the book would stay there… Other long-term guests included photographer Robert Mapplethorpe stayed there…so did included beat writer Jack Kerouac, playwrights Tennessee Williams, Arthur Miller, and Sam Shepherd, actors Dennis Hopper, Uma Thurman, Elliott Gould, and Jane Fonda…plus, for extra colour, poets William Burroughs and Allen Ginsberg—not to mention Andy Warhol and some of his crew. The Chelsea was also a favourite haunt of musicians…Bob Dylan, Patti Smith, Leonard Cohen, Janis Joplin, Jimi Hendrix, Tom Waits, Jim Morrison, Jeff Beck, Joni Mitchell, Alice Cooper, the guys in Pink Floyd, and many, many others. But the most notorious floor was floor 1…it was designated the “junkie floor,” the place where guests with drug problems were placed so that staff could keep an eye on things… This was where ex-Sex Pistol Sid Vicious and his American girlfriend, Nancy Spungen checked in…they were given room 100. It was in that room Nancy died…it looks like she was murdered...but by whom? ...Sid was charged with killing her, but did he?. This is “Uncharted: Crime and Mayhem in the Music Industry”…and this time, it's the wild story of the death of Nancy Spungen and the questions that still remain decades later…around whether Sid Vicious actually did it. Learn more about your ad choices. Visit megaphone.fm/adchoices
Locos por un mundo más libre, un aire más puro, algo en lo que creer. Lo que en inglés podrian llamarse "misfits" como la pelicula de John Huston que reunió a Clark Gable, Monty Clift y Ell Wallach con Marilyn Monroe. "Vidas Rebeldes", como se tituló en español, con Arthur Miller, su marido entonces, autor del guión con apuntes del natural. Un mundo en desaparición, unos vaqueros en el desierto de Nevada y una recien llegada cargada de soledad y decepciones que aún se rebelan contra su destino. Nunca una Marilyn tan desnuda, tan fragil, tan expuesta, nunca un mundo derrumbándose con tanta verdad ni una banda sonora con tanta emoción. Patti Page, Peggy Lee Julie London junto a "Soy Extraña", una "torch song" de los tiempos presentes.. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.
Marilyn Monroe is one if not the greatest Hollywood stars of all time. She rose from orphan to icon by creating an on screen character America could not peel their eyes away from. And she did it all while battling anxiety, depression and addiction. Along the way she bedded, married and otherwise conquered America's most impressive men; Joe DiMaggio, Arthur Miller, Frank Sinatra and President John F. Kennedy to name a few and her relationship with JFK and his younger brother Attorney General, Robert F. Kennedy would prove disastrous and result in long running rumors and conspiracy theories about her death that are as hard to debunk as they are to dismiss. This episode contains themes that may be disturbing to some listeners, including sexual assault and suicide. If you're thinking about suicide, or are worried about a friend or loved one, call the Suicide Prevention Lifeline at 800-273-8255. This episode was originally published on May 14, 2024. To see the full list of contributors, see the show notes at www.disgracelandpod.com. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter) Facebook Fan Group TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
The Classic Theatre of Maryland is busy! The Crucible, one of the finest plays in existence (IMHO) is preparing to take the stage at the Classic Theatre of Maryland this weekend. You can experience the brilliance of Arthur Miller six times each week through March 16th in one of the City's finest venues! A theater in the round-ish with no seat more than 20 feet from the stage, professional actors, and a wonderful bar in their Cabaret room! Rounding out the season will be Cole Porter's Anything Goes and then Shakespeare's Much Ado About Nothing. And of course, there are the monthly Cabarets (Mondays and Tuesdays) featuring music from the decades with the Unified Jazz Ensemble! Tickets (individual, season, or partial season) for all of these are available now, and the theater only seats 125, so pick up a pair today! Founder and Producing Artistic Director Sally Boyett sat down to discuss The Crucible and some exciting news about Reynolds Tavern. While Classic Theatre of Maryland has always had a great partnership, it will be expanding starting on Saturday as Boyett takes over operations of the business from Wes and Marilyn Burge, who will be retiring! Have a listen. LINKS: Classic Theatre of Maryland (Website) Classic Theatre of Maryland (Facebook) Classic Theatre of Maryland (Twitter) Classic Theatre of Maryland (Instagram) Classic Theatre of Maryland (YouTube)
Professor and author Jane Barnette from the University of Kansas joins us for a discussion on how witch trial narratives continue to influence our cultural understanding. She shares about her groundbreaking production of Kimberly Bellflower's "John Procter is the Villain" - a contemporary play that boldly reexamines "The Crucible" through the lens of #MeToo, premiering at the University of Kansas just days before its Broadway debut.“John Procter is the Villain" considers Arthur Miller's messaging in "The Crucible," examining how Miller's fictional recreations of historical figures like John Proctor and Abigail Williams have shaped public perception of the Salem trials, often at the expense of historical accuracy. Consider with us, how theatrical reinterpretation can help reclaim silenced voices and how the term "witch hunt" has evolved in contemporary discourse.Theater serves as a powerful medium for confronting and transforming our understanding of the past and modern society. Witch Hunt podcast examines historical witch trials and their continuing impact on society through conversations with experts, descendants, and advocates for justice.JaneBarnette.comBuy Witch Fulfillment: Adaptation Dramaturgy and Casting the Witch for Stage and Screen by Jane BarnetteWant more Jane Barnette? Listen to Podcast Episode: Witchcraft and Stagecraft: Unmasking Wicked's Magic with Paul Laird and Jane BarnetteMaryland House Joint Resolution 2MD Witch Exoneration Project WebsiteSign the Maryland PetitionSign the Massachusetts PetitionConnecticut Exoneration Written TestimonyWitch Hunt podcastContribute to End Witch HuntsSign up for our Newsletter
Award-winning director Michael Mayer has worked in a broad spectrum of media from theatre and opera to television and film. Current theatre: Swept Away, a new musical featuring songs of The Avett Brothers which opened November 19, 2024 on Broadway, the hit revival of Little Shop of Horrors now playing at the Westside Theatre, the national tour of his hit Broadway revival of Funny Girl (which starred Lea Michele) and the national tour of A Beautiful Noise: The Neil Diamond Musical, which recently ended its Broadway run. Recent opera: Jeanine Tesori and George Brant's new opera Grounded which opened the Metropolitan Opera season on September 23, 2024 with performances running until October 19. Upcoming opera: a new production of Aida at the Metropolitan Opera this season opening on December 31, 2024. Other Broadway credits include Adam Driver and Keri Russell in Burn This, Head Over Heels (featuring the songs of The Go-Go's), Neil Patrick Harris in Hedwig and the Angry Inch (Tony Award, best musical revival, also National Tour), Spring Awakening (Tony Award/Best Musical and Tony, Drama Desk and Outer Critics Circle Awards for Best Director; also London, National Tour, Vienna, Tokyo, and Seoul productions); Green Day's American Idiot (also co-author, Drama Desk Award for Best Director; also US, UK and Asia tours); Thoroughly Modern Millie (Tony Award/Best Musical also London and National Tour), Side Man (Tony Award/Best Play also London and Kennedy Center Productions), A View from the Bridge (Tony Award/Best Revival), Michael Moore's The Terms of My Surrender, Everyday Rapture, You're a Good Man, Charlie Brown, and Triumph of Love; off-Broadway credits include Lin-Manuel Miranda's 21 Chump Street (BAM), Chess (Kennedy Center), Love, Love, Love (Roundabout), Brooklynite (Also co-author, Vineyard), Whorl Inside A Loop (with Dick Scanlan, Second Stage), 10 Million Miles (Atlantic): Angels in America. London: a record-breaking West End run of Funny Girl and a UK tour. Tokyo: As You Like It (Toho Theatre). Film: A Home at the End of the World (Excellence in filmmaking, National Board of Review, GLAAD nomination), Single All the Way for Netflix, Flicka, The Seagull. He was featured in both the documentaries Those You've Known on HBO and Broadway Idiot. Television credits Include: SMASH (Pilot, producing director: Season One), two seasons of Alpha House (Amazon), and producer for the HBO film WIG. He made his Metropolitan Opera debut with a celebrated new production of Rigoletto, followed by a co-production (with the English National Opera) of Nico Muhly's Marnie, and a new production of La Traviata, which broke box office records. He directed the world premiere of Jeanine Tesori's Grounded at the Washington National Opera. Grounded opened the Met's 24/25 season on September 23, 2024, and his new production of Aida will premiere at the Met on New Year's Eve 2024. Additional Awards and fellowships: the inaugural Daryl Roth Creative Spirit award, Drama League Founders Award, Jefferson, Ovation, Alan Schneider, and Carbonell awards; Fox Foundation, Drama League and TCG/NEA Directing Fellowships. He serves on the Boards of SDC (Stage Directors and Choreographers Society) and the Arthur Miller. Photos by Sergio Villarini for Broadway.Com- assisted by BrookeBellPhoto Learn more about your ad choices. Visit podcastchoices.com/adchoices
Make sure to check out Magic Mind. It is amazing! You have a limited offer you can use now, that gets you up to 48% off your first subscription or 20% off one-time purchase. You can claim it at: https://www.magicmind.com/nerdery20.In this week's episode Zig covers American Playwright, Arthur Miller. Then Geoffrey tells the story of The Boston Strangler. Have a great Nerd and Murd week!For your 30 day free Audible Trial go to: Audibletrial.com/nerderyandmurderyFor 10% off with BetterHelp go to: betterhelp.com/nerderyandmurderySupport the show
On the latest Whisper in the Wings from Stage Whisper we welcomed n the director Noelle McGrath and assistant director/co-producer Daniel J. Condon, to talk about their upcoming production of The Price. This was a fantastic conversation about one of Arthur Miller's hidden gems. So make sure you tune in and get your tickets now!The Village Theater Group Presents The PriceFebruary 21st- March 30th@ Theatre at St. Clements Tickets and more information are available at thepriceoffbway.com And be sure to follow our guests to stay up to date on all their upcoming projects and productions:The Price: thepriceoffbway.com Noelle: @noellemcgrathactordirectorDan: @danieljcondonn and @thecoldlottery
Join Justin as he chats with historian, author and researcher Marilynne K. Roach about the perfect storm of hysteria leading to the Salem Witch Trials, her defense of Cotton Mather, the disappearance of Abigail Williams, rediscovering the original site of the 1692 hangings, the inaccuracies and cultural impact of Arthur Miller's The Crucible, and more!Marilynne K. Roach bio:Marilynne K. Roach works as a free-lance writer, illustrator, researcher, and presenter of talks on historical subjects. She has written for publications as varied as the Boston Globe, the New England Historic Genealogical Register, and the Lizzie Borden Quarterly. She is a member of the Gallows Hill Project that verified the correct site of the 1692 hangings, a discovery listed in Archaeology Magazine's list of the world's ten most important discoveries of 2017.Monsters, Madness and Magic Official Website. Monsters, Madness and Magic on Linktree.Monsters, Madness and Magic on Instagram.Monsters, Madness and Magic on Facebook.Monsters, Madness and Magic on Twitter.Monsters, Madness and Magic on YouTube.
“Fugler (Robert Carlyle) was a character that I really connected with from the beginning. I know it sounds a little strange that the Nazi was my way into this, but it really was that idea of, ‘How can we get inside his head and make sure that he's a fully fleshed out person that way?'” says Josh Salzberg about trying to make his villain, a Nazi named Damien Fugler, a three-dimensional character. Josh Salzberg wrote the screenplay for The Performance with co-writer/director Shira Piven. In this episode, Salzberg talks about the challenges of adapting a short story by playwright Arthur Miller that's about a Jewish-American tap dancer (Jeremy Piven), who's willing to compromise his own core values to find fame and fortune in Nazi Germany. “The idea of all [the characters] is that they're all performing on some level. They all have another life. And that's true to show business, that we all have sides of ourselves that we're not sure we want everybody to see or that it's okay for everybody to see. And then in Berlin in the ‘30s, there's all these different communities that were impacted – not just the Jews in Germany,” he says. Salzberg also talks about his background as a film editor, how it helped him transition to screenwriting, and the challenges of writing morally compromised characters like his protagonist, Harold. “I think embracing the mistakes that they make, embracing those flaws and leaning into that is important. Sometimes we can care about our characters to the point where we want them to be likable, which is a note we always get, but we've got to be okay with the mistakes – and the consequences for those mistakes. And that was a lesson that Shira and I kept learning as we were developing the script,” he says. To hear more about Salzberg's writing process, listen to the podcast. Please note: this episode contains discussions regarding racism and anti-semitism.
The Intolerant Liberal is a new species that has arrived on the scene. They are not like the liberals of old. They would never make an offensive joke, and they are perfectly happy to not only point out those who do but join in on the mob that punishes them.The Intolerant liberals have forgotten much of the great art that used to define them way back in the day. They have forgotten Shirley Jackson's The Lottery, Arthur Miller's The Crucible, and all of those on-point Twilight Zone episodes, like It's a Good Life and The Monsters, are Due on Maple Street.They've forgotten how funny it was to listen to Sam Kinison make one offensive joke after the next, gifting us with the necessary release of laughter, the very thing we need to stay sane.Richard Pryor would not survive a minute in the time of Intolerant Liberals.Therein lies Survival Tip Number One: They can't take a joke. Oh, boy, can they not take a joke. If every single day is the end of the world, how can anything be funny? It's not funny. It's HARM. Social media has given them a way to dissect every joke and every word said by everyone.Imagine how fast sanity would return if they admitted that Trump was funny.That's all it would take to open up the door to the Doomsday Bunker so they, too, can break free from the mass delusion that they are the “oppressed resistance.” And yet…they can't. They've never been the resistance. They've always been The Empire, an Empire that is now collapsing.The richest Intolerant Liberals in the world seem to need Trump because how else to justify their wealth and privilege while they sell ice cream called “Eat the Rich”?Note how this Intolerant Liberal throws in “book banning,” as though they are the side that has any room to talk. Books aren't banned because they never make it past the assistant's desk unless they project the ideals of Utopia.We've seen how books by JK Rowling and Dr. Seuss have been left off of reading lists, how warning labels have been affixed to movies because the Intolerant Liberals are so afraid of one person's mental breakdown and ensuing social media backlash that they play it safe. Here is a screenshot of a trigger warning, posted by Kat Rosenfield: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit sashastone.substack.com/subscribe
Join Spike and Zuckerman for a humorous episode as he engages with Jeremy Piven, renowned actor, and comic, exploring Jeremy's 15-year endeavor in creating 'The Performance' from an Arthur Miller story. This compelling episode covers Piven's persistence amidst production challenges, humor honed through comedic gigs to fund his passion and candid reflections on his transformative journey.
4/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Mikado"
8/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Power"
7/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Ferdinand the Bull"
6/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 federal Theater "She Stoops to Conquer"
2/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Dance of the Nations"
5/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Panics of 1938"
3/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Ferdinaand the Bull."
1/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "It Can''t Hppen Here"
HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 5/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935 FEDERAL THEATER
HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 7/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.
HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 6/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 FEDERAL THEATER
HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 8 /8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.
HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 3 /8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 "IT CAN'T HAPPEN HERE"
HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 2/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 FEDERAL THEATER
HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: /8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1940 HUAC
Back in the 1950s, America was very afraid of Soviet spies and communist sympathizers infiltrating the government and destroying the United States from within. And there were actual spies sharing secrets with the Soviets. But concern soon gave way to paranoia, and a political witch-hunt began, with a self-serving senator from Wisconsin leading a very misguided and ultimately anti-American and embarrassing Red Scare that destroyed the lives of many. If you are able to give extra support this holiday season, please consider supporting the annual Bad Magic Giving Tree by purchasing a digital amazon gift card and sending it to givingtree2024@badmagicproductions.comWe are accepting gift cards starting now through November 21st!Merch and more: www.badmagicproductions.com Timesuck Discord! https://discord.gg/tqzH89vWant to join the Cult of the Curious PrivateFacebook Group? Go directly to Facebook and search for "Cult of the Curious" to locate whatever happens to be our most current page :)For all merch-related questions/problems: store@badmagicproductions.com (copy and paste)Please rate and subscribe on Apple Podcasts and elsewhere and follow the suck on social media!! @timesuckpodcast on IG and http://www.facebook.com/timesuckpodcastWanna become a Space Lizard? Click here: https://www.patreon.com/timesuckpodcast.Sign up through Patreon, and for $5 a month, you get access to the entire Secret Suck catalog (295 episodes) PLUS the entire catalog of Timesuck, AD FREE. You'll also get 20% off of all regular Timesuck merch PLUS access to exclusive Space Lizard merch.
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