Podcasts about arthur miller's a view

CONTENT WARNING: IF YOU AREN'T A FAN OF LOUD AIR CONDITIONING OR RANDOM ACTORS MAKING NOISES IN THE BACKGROUND, THIS EPISODE WILL BE PARTICULARLY ANNOYING TO YOU. This week, we're tackling a legendary stage play and a... less legendary... film by a legendary director. This film has an odd pedigree, because it's Sidney Lumet's 1962 film of Arthur Miller's A View from the Bridge! CONTACT THE SHOW: BrosBeforeShows@AOL.com HOSTED BY MATTHEW TIEMSTRA (@ClockworkPlay on Twitter) and ROBERT TIEMSTRA (@the_timestar on twitter and Instagram) Edited & Produced by Robert Tiemstra

Libby Purves meets actor Mark Strong; former rugby player Maggie Alphonsi; artist Daphne Todd and blues and jazz singer Carol Grimes. Carol Grimes is a jazz and blues singer and songwriter. Her new show, The Singer's Tale, recreates her life story through spoken word and original music. Carol spent her early life as a busker in London before eventually coming to prominence in 1969 as a member of the band Delivery. The Singer's Tale is at St James Studio Theatre, London. Mark Strong is a film, television and theatre actor. He plays Eddie Carbone in the award-winning production of Arthur Miller's A View from the Bridge for which he was named best actor at the 2015 Critics' Circle Theatre Awards. His many television credits include Our Friends in the North and the Buddha of Suburbia. He also starred in Oscar-winning films Tinker Tailor Soldier Spy and Zero Dark Thirty. A View from the Bridge is at Wyndham's Theatre, London and will be broadcast live to over 550 cinemas across the UK as part of National Theatre Live. Maggie Alphonsi MBE is a former England rugby union player and was part of the team which won the Women's Rugby World Cup in 2014. Following her retirement from rugby, Maggie is now focussed on her bid to compete in the shot put at the 2016 Rio Olympics. A former Sunday Times Sportswoman of the Year, she is the first woman in 50 years to be awarded the prestigious Pat Marshall award, a sports personality award chosen by the Rugby Union Writers' Club. Daphne Todd OBE is an artist who is part of the judging panel on BBC One series The Big Painting Challenge in which 10 artists compete to become Britain's best amateur artist. She also has a solo exhibition featuring portraits and landscapes inspired by the Kent and Sussex borders where she lives. The first female president of the Royal Society of Portrait Painters, she won the BP Portrait Award for a painting of her 100-year-old mother shortly after her death. The Big Painting Challenge is on BBC One. Daphne Todd's exhibition is at Messum's gallery in London. Producer: Paula McGinley.

With Razia Iqbal. Actor Mark Strong and director Ivo van Hove discuss their new production of Arthur Miller's A View from the Bridge. Mark Strong explains why this play, and the role of Brooklyn longshoreman Eddie Carbone, persuaded him to return to the stage for the first time in a decade. Bernadette Peters is one of Broadway's most critically acclaimed performers, known as a key interpreter of Stephen Sondheim's musicals. In London to perform at the Olivier Awards, Bernadette Peters discusses her relationship with Sondheim and the resilience needed to maintain a long career. Best-selling author Harlan Coben talks about his latest thriller, Missing You. He discusses creating his protagonist Kat Donovan, an NYPD cop, the current "golden age" of crime writing and the impact that the internet and online dating sites have had on the police thriller. The Lunchbox, an Indian film from director Ritesh Batra, explores a mistaken delivery in Mumbai's famously efficient lunchbox delivery system that connects a young housewife to an older man. Anil Sinanan reviews. We remember the author Sue Townsend, who has died aged 68. In a Front Row interview from 2012 she discusses her unusual sense of humour and what she wants next for Adrian Mole.

Gregory Mosher, director of the current Broadway revival of Arthur Miller's "A View from the Bridge", talks about how he initiated the production himself, personally approached Liev Schreiber and Scarlett Johansson about appearing in it, then brought the project to a producer after 17 years away from directing on Broadway. Mosher also discusses his journey through three institutions of higher education, including the acting program at The Juilliard School -- all without once graduating; his failed efforts post-college to even get unpaid employment in New York or at the country's major regional theatres; his migration to Chicago, where as assistant to William Woodman at The Goodman Theatre, he did everything from casting to producing their Stage 2 season; his ascension to artistic director and the challenges he faced securing the rights to new plays at a time when Chicago theatre wasn't yet "on the map"; his working relationship with David Mamet on the original production of "American Buffalo" and other plays -- as well as the one Mamet play he rejected and how that turned out; his tenure as artistic director of the new regime at Lincoln Center Theater beginning in 1985, including his early pilgrimage to meet with Peter Brook to understand how to make the Beaumont stage "work" and the LCT show that proved most surprising and rewarding in its success; what prompted his departure from LCT in the early 90s; his unsuccessful attempt to revitalize Circle-in-the-Square in 1997 and the 1998 season that was planned but never produced; and his leadership of the Columbia University Arts Initiative, how that program came to be and how to measure its success five years in. Original air date - February 24, 2010.

Gregory Mosher, director of the current Broadway revival of Arthur Miller's “A View from the Bridge” (Tony Award winner for Anything Goes and Our Town), talks about how he initiated the production himself, personally approached Liev Schreiber and Scarlett Johansson about appearing in it, then brought the project to a producer after 17 years away from directing on Broadway. Mosher also discusses his journey through three institutions of higher education, including the acting program at The Juilliard School -- all without once graduating; his failed efforts post-college to even get unpaid employment in New York or at the country's major regional theatres; his migration to Chicago, where as assistant to William Woodman at The Goodman Theatre, he did everything from casting to producing their Stage 2 season; his ascension to artistic director and the challenges he faced securing the rights to new plays at a time when Chicago theatre wasn't yet "on the map"; his working relationship with David Mamet on the original production of “American Buffalo” and other plays -- as well as the one Mamet play he rejected and how that turned out; his tenure as artistic director of the new regime at Lincoln Center Theater beginning in 1985, including his early pilgrimage to meet with Peter Brook to understand how to make the Beaumont stage "work" and the LCT show that proved most surprising and rewarding in its success; what prompted his departure from LCT in the early 90s; his unsuccessful attempt to revitalize Circle-in-the-Square in 1997 and the 1998 season that was planned but never produced; and his leadership of the Columbia University Arts Initiative, how that program came to be and how to measure its success five years in.

Gregory Mosher, director of the current Broadway revival of Arthur Miller's "A View from the Bridge", talks about how he initiated the production himself, personally approached Liev Schreiber and Scarlett Johansson about appearing in it, then brought the project to a producer after 17 years away from directing on Broadway. Mosher also discusses his journey through three institutions of higher education, including the acting program at The Juilliard School -- all without once graduating; his failed efforts post-college to even get unpaid employment in New York or at the country's major regional theatres; his migration to Chicago, where as assistant to William Woodman at The Goodman Theatre, he did everything from casting to producing their Stage 2 season; his ascension to artistic director and the challenges he faced securing the rights to new plays at a time when Chicago theatre wasn't yet "on the map"; his working relationship with David Mamet on the original production of "American Buffalo" and other plays -- as well as the one Mamet play he rejected and how that turned out; his tenure as artistic director of the new regime at Lincoln Center Theater beginning in 1985, including his early pilgrimage to meet with Peter Brook to understand how to make the Beaumont stage "work" and the LCT show that proved most surprising and rewarding in its success; what prompted his departure from LCT in the early 90s; his unsuccessful attempt to revitalize Circle-in-the-Square in 1997 and the 1998 season that was planned but never produced; and his leadership of the Columbia University Arts Initiative, how that program came to be and how to measure its success five years in. Original air date - February 24, 2010.