Podcasts about artistic associate

We are excited to bring you this new episode in our podcast series, The Art of Collaboration with Anne Kauffman and dots. This series focuses on directors and choreographers in conversation with some of their collaborators. This series explores the ins and outs of these processes, both finer details as well as overarching ideas about what goes into a productive collaboration on a show. In this episode you will hear an in-depth and transparent conversation with Anne and dots focused on the collaboration between directors and designers as well as navigating the industry as a collective.   Bios: dots (Scenic Designer) is a design collective creating environments for theater, film, commercials, and immersive experiences. Hailing from Colombia, South Africa, and Japan, we are Santiago Orjuela-Laverde, Andrew Moerdyk, and Kimie Nishikawa. As collaborators, we believe that the whole is greater than the sum of its individual parts. Recent highlights include the Broadway productions of Oh, Mary! ; Romeo + Juliet, An Enemy of the People (Tony Award Nomination for Best Scenic Design of a Play); Appropriate (Tony Award, Drama Desk and Outer Critics Circle Award nominations for Outstanding Scenic Design); The Sign in Sidney Brustein's Window; and The Big Gay Jamboree ; Recent awards include a 2024 Obie Award for Sustained Achievement in Design, 2023 and 2024 Henry Hewes Design Award, recipient of 2025 USA Fellowship Award . designbydots.com. Anne Kauffman (Director)'s credits include the New York Philharmonic, BAM, Ars Nova, NYTW, Roundabout Theatre Company, Encores! Off-Center, Women's Project, Playwrights Horizons, MCC, The Public, P73 Productions, New Georges, Vineyard Theatre, LCT3, Yale Rep, Steppenwolf, Goodman Theatre, La Jolla Playhouse, Z Space, American Conservatory Theater, and Berkeley Rep. She is a Resident Director at Roundabout Theatre, Artistic Associate and Founding Member of The Civilians, a Clubbed Thumb Affiliated Artist and co-creator of the CT Directing Fellowship, a New Georges Affiliated Artist, an SDC Executive Board Member, Vice President and Trustee of SDCF 2020-2023, and Artistic Director of City Center's Encores! Off-Center 2017-2020. Her awards include a 2024 Tony nomination for Best Director for Mary Jane, a 2023 Tony nomination for Best Revival for The Sign in Sidney Brustein's Window, three Obies, the Joan and Joseph Cullman Award for Exceptional Creativity from Lincoln Center, the Alan Schneider Director Award, a Lucille Lortel Award, a Drama League Award, and the Joe A. Callaway. She is co-creator of the Cast Album Project with Jeanine Tesori.   dots headshot courtesy of dots Anne Kauffman's headshot by Tess Mayer

Tom Wright joins Regina Botros to talk about his adaptation of Picnic at Hanging Rock at Sydney Theatre Company. Wright's adaptation of Picnic at Hanging Rock for the Sydney Theatre Company has received rave reviews. It's  an eerie, beautiful, and visionary take on Joan Lindsay's gothic tale. The production, directed by Ian Michael, features a talented cast and combines modern elements with the haunting mystery of the original story.   Tom Wright started as a member of Barrie Kosky's Gilgul Theatre in the early 1990s, then with Michael Kantor's Mene Mene in the late 1990s. He has worked as an actor and director at the Melbourne Theatre Company, STCSA, Sydney Theatre Company, Playbox, La Mama, Company B, Anthill, Gilgul, Mene Mene, Bell Shakespeare Company, Chunky Move, Black Swan Theatre, Chamber Made Opera and the Adelaide, Sydney, Edinburgh, Vienna, Perth and Melbourne Festivals. He was Artistic Associate at Sydney Theatre Company 2004–2008 and Associate Director of STC 2008–2012. He joined Belvoir as an Artistic Associate in 2016.  More about Tom here. 

On today's episode of 'Conversations On Dance' we are joined by Adam Weinert, Artistic Associate of the Kaatsbaan Cultural Park's Annual Festival held in Tivoli, NY. The festival runs four consecutive weekends beginning Friday, September 13th. Adam takes us through his personal history with dance education and performing, how expanding his personal interests to include dance history and even gardening broadened his horizons, what it's like to work with the team at Kaatsbaan to develop and curate programming and what audiences can expect to see at this year's festival. To purchase tickets, visit kaatsbaan.org. LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Emily McConnell is a collaborator, designer, educator, and researcher based in Chicago. She has been the resident costume designer at the CCPA Theatre Conservatory at Roosevelt University since 2007, designing almost 100 productions during that time all while managing the costume shop and teaching and supervising students. Starting in the fall of 2024, she will also be serving as the Program Director for Interdisciplinary Theatre Studies and the Curriculum Coordinator for Technical Theatre. She has been an Artistic Associate at Steep Theatre since 2011 and worked as a freelance designer in Chicago theatre since 1999 with credits including The House, Northlight, Oak Park Theatre Festival, Lifeline Theatre, and The Gift. Her research into collaborative methods in theatrical design has presented that research at conferences including the Association for Theatre in Higher Education and the American Theatrical Costume Association, and her writing has been published in HowlRound Theatrical Commons and Theatre Design and Technology Magazine. She holds a BA in Drama from Dartmouth College and an MA in Theatre Design from Northwestern. Key Takeaways: Proximity is not enough – gaining new knowledge and expanding your awareness is essential to progress Be mindful of the identities present in the spaces you are in (including your own) Determine the priorities of everyone in the room – ask yourself how you can support these goals Transparency is key to resolving conflicts in the workplace Honesty should be the starting point Present the problem, not the solution Mutual investment in collaboration will bring about the best outcome Authenticity means being honest and open about your strengths, vulnerabilities, and limitations Guest's Media Recommendations: The Ministry of Time by Kaliane Bradley __ Find Guest's work: Emily's Website: https://www.emilymccdesign.com/ Emily's Blog: https://www.emilymccdesign.com/blog __ For more of Michael's work, visit our website www.incognitotheplay.com or follow us on Instagram @incognitotheplay __ Thanks to Ned Doheny for providing our podcast music! You can find him and his music on Spotify. Editing and co-production of this podcast by Nina Kissinger. Email info@incognitotheplay.com with questions or comments about the show!

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 in his regular Connect Radio theatre reviews. This week Vidar is reviewing a new production of Sheridan's ‘The School for Scandal' Directed by Tinuke Craig at the Royal Shakespeare Company in Stratford-upon-Avon with description by Professional Audio Describers Julia Grundy and Ellie Packer. About The School for Scandal bY Richard Brinkley Sheridan: Brilliant biting comedy styled to the nines with period flair and promising an exuberant feast of big wigs and even bigger laughs. ‘There's no possibility of being witty without a little ill nature.' 1770s London, where the aristocracy's morals have plunged lower than the necklines on the women's gowns. The vicious Lady Sneerwell enjoys ruining reputations for pleasure, and her latest target is the young bachelor Charles Surface  — why should this pretentious little rake inherit his uncle's fortune? Together with Charles' conniving brother Joseph, Sneerwell orchestrates an elaborate scheme of intrigue and infidelity that's sure to ruffle all the right feathers — hopefully. After Shakespeare but long before Bridgerton, there was The School for Scandal, Sheridan's brilliantly biting comedy of manners in five acts. This new production — styled to the nines with period flair — promises an exuberant feast of big wigs and even bigger laughs. Tinuke Craig, Artistic Associate at the Lyric Theatre Hammersmith, directs. Recent work includes Jitney (The Old Vic for Headlong), The Colour Purple (Leicester Curve) and Crave (Chichester). For more about audio described performances and access generally at the Royal Shakespeare Company do visit the following pages of their website - https://www.rsc.org.uk/your-visit/access (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)

Summary: In the second part of our working with Venues theme, we explore the processes involved in setting up a space for immersive experiences - from business rates and running costs to grumpy neighbours. In this episode, Dr Joanna Bucknall chats with David Ralf, Tom Black and Joe Ball about programming and developing relationships with venues that host immersive work and the opportunities and challenges they've experienced in their journeys so far. Our Guests:David Ralf is a producer, theatre manager, and production manager. Before joining Theatre Deli he was Executive Director of The Bunker Theatre and was Associate Producer of The Hope Theatre. He also produces theatre with his company, Loose Tongue, and writes plays https://www.theatredeli.co.uk/ Tom Black is an immersive theatremaker and interactive narrative design consultant. He co-created Parabolic Theatre's 'Crisis? What Crisis?' and is an Artistic Associate of the company. He's also a founder and Creative Director at Jury Games, and the Chief Operating Officer at sci-fi immersive experience Bridge Command. https://www.tomblack.uk @tomblackukJoe Ball Joe Ball has been running Exit Productions for the last 6 years, inviting audiences to start revolutions, colonise Mars, fix boxing matches, Decide if AI is sentient enough to end it's life, fixed cycle races and the host of the next world cup. Recently he has been delivering interactive events for Boomtown festival, music acts and brands. Joe also co-runs Jury Games that has just found a permanent home in central London after becoming a global success online through lockdown. www.exitproductionsltd.comHosted by Dr Joanna Bucknall and produced by Natalie Scott for the IEN's Knowledge Bank. Funded by Arts Council England.Linkedin: https://www.linkedin.com/company/immersive-experience-network/ Instagram @immersiveexperiencenetMailing List https://immersiveexperience.network/sign-upIEN is made possible by the support of our industry partners. Illusion Design & Construction, Mance Communications, White Light, Unlocked Vision, Clockwork Dog, d&b audiotechnik, Scene2, Little Lion Entertainment , Entourage, and Vista Insurance. Hosted on Acast. See acast.com/privacy for more information.

In this final episode of Stageworthy, host Phil Rickaby talks with theatre and opera director, playwright and educator, Peter Hinton-Davis. In addition to his work work as a director, playwright, and educator, from 2005-2012, he took over as the artistic director of English theatre at Ottawa's National Arts Centre, shaping how Canada conceptualizes its national theatre. He is currently directing Coal Mine Theatre's Dion, running until March 3 at Toronto's Coal Mine Theatre. Stay tuned to the end of the episode for some thoughts from Phil Rickaby on the ending of Stageworthy. Bio Director, dramaturg and playwright Peter Hinton-Davis has worked across Canada with many theatre companies. He has been the Associate Artistic Director at Theatre Passe Muraille and the Canadian Stage Company in Toronto, Artistic Director of the Playwrights Theatre Centre in Vancouver, the Dramaturg in Residence at Playwrights' Workshop Montréal, and Artistic Associate of the Stratford Festival. From 2005 to 2012 he was Artistic Director of the National Arts Centre English theatre, where he created a resident English theatre company, with actors from across the country, and programmed the NAC's first season of Canadian plays. His own plays for the stage include Façade, Urban Voodoo (written with Jim Millan) and a trilogy of three full length plays entitled The Swanne -- George III: The Death of Cupid (2002), Princess Charlotte: The Acts of Venus (2003), and Queen Victoria: The Seduction of Nemesis (2004). Eleven years in the making, all three plays premiered under his direction at the Stratford Festival. In 2006, he co-created with Domini Blythe, and directed the solo work, Fanny Kemble, about the life of the famous British actress and abolitionist. www.peterhinton.ca Instagram: @peterhintondavis

Eduardo Vilaro, Artistic Director of Ballet Hispánico & CEO, speaking with WVIA's Fiona Powell before a performance at the The Weis Center for the Performing Arts on Tuesday, Feb. 6, 2024, at 7:30 p.m.on the Bucknell University campus in Lewisburg. There will be a free pre-performance talk at 6:45 p.m. in the Weis Center Atrium. The talk will feature Johan Rivera, Artistic Associate & Rehearsal Director. Tickets can be reserved by calling 570-577-1000 or online at Bucknell.edu/BoxOffice. For more information: Bucknell.edu/WeisCenter.

Tom Service speaks to the conductor Yannick Nézet-Séguin, Music Director of the Montreal Philharmonic, the Philadelphia Orchestra, and the Metropolitan Opera in New York. He is one of the starriest and most sought-after conductors in the world. also one of the most loved by the musicians who work with him. Nézet-Séguin is guest conductor to some of the world's top orchestras, like the Vienna Philharmonic, the Chamber Orchestra of Europe and the Berlin Philharmonic, and he has recorded cycles of symphonies by Brahms, Beethoven and Bruckner, plus operas by Mozart, Gounod and Wagner. Alongside the core repertoire, he's on a mission to perform new works that represent all of society and thereby draw new audiences to the orchestras that he leads and the Metropolitan Opera in New York. He tells Tom about the richly fulfilling experiences of putting on Terence Blanchard's Fire Shut up in My bones and Kevin Puts' The Hours, and how these two new operas are both bringing in audiences who have never been to the MET before, whilst also refreshing the cherished classics traditionally staged there. 2024: what does the new year hold for the musical scene? What's the impact of cuts across classical music, from education in schools to opera companies, and what are the opportunities of the moment for those who run our orchestras and lead music education? Tom Service convenes a Music Matters counsel of musical sages to discuss their thoughts of the state of music as we step into 2024: Sophie Lewis, Chief Executive of the National Children's Orchestras and Chair of the Association of British Orchestras; Gillian Moore, Artistic Associate of the South Bank Centre in London, writer and consultant; and Phil Castang, Chief Executive of Music for Youth.

"Art is ageless. There is no number on Art. As long as your heart is in it, you can do it. And that's a fantastic thing because very often we do put age limits on things, and we put age limits on PEOPLE, and I don't think that's necessarily so. I think these people are teaching us that it's absolutely possible."ADRIENNE D. WILLIAMS is New York based actor, director, educator, and storyteller. She is an Artistic Associate at the Martha's Vineyard Playhouse, and a member of The Honor Roll, The Bechdel Group and the Rattlestick Theatre Community. And holds an MFA in Acting from Binghamton University. 

This week on Unpacked we are chatting with guests Stephen Waldschmidt, Artistic Director and Tim Bratton, Artistic Associate with Burnt Thicket Theatre. Get ready to be captivated, unsettled, and refreshed by "We Treaty People" - an original fiction podcast and its accompanying interviews will provoke thought and stir a call to truth and reconciliation across Canada.  We  Treaty People', an innovative project featuring nine powerful digital audio plays and nine insightful interviews. Through the voices of 49 diverse artists, we explore the profound question: "What does it mean to embrace all our relations?" Discover why this medium was chosen to convey such a powerful message of unity and healing. This episode will inspire a deeper understanding of reconciliation and what it means to embrace all relations and leave you wanting to dive into We Treaty People. Burnt Thicket Theatre is an independent company producing live and digital theatre that brings awareness to real issues in our community, planting seeds for positive social change.Unpacked is a podcast exploring life as messy people. It's conversations with counsellors, leaders, and storytellers discussing the experiences of being human. We talk about the strength that comes from big messy failures and vulnerable moments so we can learn to live more authentically. Subscribe and leave us a review!LINKS-We Treaty People -Listen to We Treaty People on Apple -Listen to We Treaty People on Spotify -Follow Burnt Thicket on Instagram -Follow Tim Bratton Support the showUnpacked is a podcast exploring life as messy people. It's conversations with counsellors, leaders, and storytellers discussing the experiences of being human. We talk about the strength that comes from big messy failures and vulnerable moments so we can learn to live more authentically. Subscribe and leave us a review!Instagram:@theunpackedpodFacebook: @theunpackedpodunpackedpod.caSupport the show*music by Bensound

Adam Schulmerich is an actor and writer, graduate of the Purchase College Conservatory of Theatre Arts and Film, Artistic Associate with Shattered Globe Theater, and co-founder of The Lincoln Loft creative space. He is thrilled to be joining tonight and wants to thank the team at CHIRP radio for having him be a part of this excellent program. He can be seen now and again on local stages and sometimes on screen. Although woefully infrequently, he does sometimes post on Twitter (@aschulmerich) and Instagram (adamschulmerich). The First Time is hosted by Jenn Sodini. Produced by Bobby Evers, Andy Vasoyan, and Julie Mueller. Podcast produced by Andy Vasoyan. Recorded by Tony Baker.

Matthew MacKenzie is a citizen of the Métis Nation of Alberta and proud father of Ivan (Eevan, Vanya, Vanichka). Artistic Director of Punctuate! Theatre, Matthew is also the founder and an Artistic Associate with Pyretic Productions, a founding member of the Pemmican Collective, as well as Canadian Liaison of the Liberian Dance Troupe. Matt's plays include First Métis Man of Odesa, Bears, After the Fire and The Particulars. www.punctuatetheatre.com Twitter: @PunctuateTheatr Instagram: @punctuatetheatre Details and Tickets for First Métis Man of Odesa: http://www.punctuatetheatre.com/first-mtis-man-of-odesa-202223 Support Stageworthy Donate: tips.pinecast.com/jar/stageworthy

ISC's Community Action Update podcast series is back on the Ides of March! This episode centers the importance of arts education and access and is jam packed as ISC Ensemble Member and Artistic Associate for Social Justice Carene Rose Mekertichyan conducts a joint interview with Monica Horan Rosenthal (who recently graced our ISC studio stage in the fall production of Happy Days) and Jackie Lopez AKA “Miss Funk” (Co-Founder and Artistic Director of Versa-Style Dance Company) in which they explore the power of Arts Education, "ARTivism", and find a shared connection to John Marshall High School. She also interviews Ensemble Member and arts educator Lovelle Liquigan and ISC set designer and Create CA Youth Engagement Manager Caitlin Lainhoff. To support the incredible individuals and organizations featured, head to iscla.org/justice.

Chantelle is a New York City-based performer, choreographer, and teaching artist. We talk about the divine timing of her newest project, her work as Programs Director of Share the Movement, choreographing “tethered to your palms” for ProArte Danza, acting as Artistic Associate with TOES FOR DANCE, and why she is prioritizing joy. Follow Chantelle on Instagram: @chantelle_good Donate to Share the Movement: https://linktr.ee/ShareTheMovement Donate to TOES FOR DANCE's “BrighTEN”: https://www.toesfordance.ca/donate --- Send in a voice message: https://anchor.fm/bri-clarke/message

Rebecca is of Squamish and Kwakiutl ancestry. She holds a BA from the University of British Columbia with a Major in the First Nations and Indigenous Studies Program. She is the Artistic Associate for the Dancers of Damelahamid and the Festival Associate for the Coastal Dance Festival.

'Tis the season for holiday shows! The Steadfast Tin Soldier by Mary Zimmerman is not only an instant Christmas classic, it's also one of the top theatre experiences of Melissa's life. Find out how this short, yet full play has won her heart and how Mary Zimmerman brought this Hans Christian Andersen story to life . . . without using any dialog. This is not just an interview, it's a master class in theatre-making.  In this episode, we discuss:How Mary decided to make The Steadfast Tin Soldier a dialog-less productionThe "Aha" moment when she realized that an Advent calendar was the perfect countdown to curtain Mary's rehearsal and creation process How much she changes with each remounted productionAnd more!Resources MentionedThe Steadfast Tin Soldier is playing at Chicago's Lookingglass Theatre through January 8, 2023. Learn more.  Read MetamorphosesRead The Arabian NightsRead The OdysseyMore plays by Mary ZimmermanAbout Our GuestMary Zimmerman is a playwright and director of theatre and opera based in Chicago. She is the 1998 recipient of a MacArthur Fellowship, the 2002 Tony Award and Obie for Best Director, and many Chicago Joseph Jefferson Awards, including Best Production and Best Director. She is a member of Lookingglass Theatre Company in Chicago, an Artistic Associate of the Goodman Theatre, and The Jaharis Family Foundation Endowed Chair of Performance Studies at Northwestern University. She specializes in the adaptation of classical texts for the stage. Works that she has adapted and directed include The Steadfast Tin Soldier, Treasure Island, The Jungle Book, The White Snake, The Notebooks of Leonardo da Vinci, Arabian Nights, Metamorphoses, The Secret in the Wings, an opera with PhiConnect with host Melissa Schmitz***Sign up for the 101 Stage Adaptations Newsletter***101 Stage AdaptationsFollow the Podcast on Facebook & InstagramRead Melissa's plays on New Play ExchangeConnect with Melissa on LinkedInWays to support the show:- Buy Me a Coffee- Tell us your thoughts in our Listener Survey!- Give a 5-Star rating- Write a glowing review on Apple Podcasts - Send this episode to a friend- Share on social media (Tag us so we can thank you!)Creators: Host your podcast through Buzzsprout using my affiliate link & get a $20 credit on your paid account. Let your fans directly support you via Buy Me a Coffee (affiliate link).

Gillian Moore, author and Artistic Associate of London's Southbank Centre, and Ivor Novello-winning composer Gavin Higgins join Cerys Matthews and Jeffrey Boakye as they add five more tracks to the playlist in the penultimate show of this series. The journey takes them from the accordions of Texas to the mellow sounds of Portugal via the ploughed fields of Belgium and the raging seas of Suffolk, and they are joined on the line by the singer and composer Vashti Bunyan. Presenters Cerys Matthews and Jeffrey Boakye Producer Jerome Weatherald The five tracks in this week's playlist: Ay te Dejo en San Antonio by Flaco Jiménez Scherza Infida by George Frideric Handel Diamond Day by Vashti Bunyan Storm Interlude from Peter Grimes by Benjamin Britten Lilac Wine by Ana Moura Other music in this episode: Theme from Starsky & Hutch - Funky People Mix - by the James Taylor Quartet Concerto Grosso for Brass Band and Orchestra by Gavin Higgins Do-Re-Mi by Julie Andrews from The Sound of Music by Rodgers and Hammerstein Chasing Cars by Snow Patrol Bluebell Polka by Jimmy Shand Stairway to Heaven by Led Zeppelin Lilac Wine by Jeff Buckley Fanfare and Love Songs: Brightly by Gavin Higgins

Mauricio Pita is a Venezuelan-American actor, director, and producer. Pita is Arena Stage's current Community Programs Manager where he oversees the Voices of Now program, which produced two feature docudramas during the pandemic and most recently nine short films for the 2022 VON festival at Arena Stage. Mauricio served as Creative Producer for the 2020-2021 Virtual Season of IN Series Opera. His projects with IN Series included the film Orphée et Eurydice, the audio play A Fairy Queen, and the interdisciplinary film/theater piece Boheme in The Heights. All three were featured on DC Metro Theater Arts' 2021 lists of outstanding productions. In addition, Mauricio currently serves as Artistic Associate with We Happy Few Theatre Company and recently directed two Sherlock Holmes audio experiences as part of their at-home Detective Play Series which received praise for their crisp style and directing. Maryland Theater Guide called Sherlock Holmes and the Adventure of the Norwood Builder “...a perfect adventure.” In addition, Mauricio is scheduled to travel to Croatia in December with an Arena Stage delegation to devise an original play with artists from Croatia, Bosnia and Herzegovina, and Ukraine. About Tepui Media Founded by Mauricio Pita in 2021, Tepui Media is a film production company based in Washington, D.C. Tepui Media's mission is to produce bold films about people navigating remarkable events. Tepuis are table-top mountains in the Guiana Highlands of South America that host a unique array of endemic plant and animal life.  Inspired by these powerful ecological islands of the sky, Tepui Media aims to provide a unique ecosystem of support and a platform for exciting new stories and emerging artists Visit here to learn more Tepui Media. The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. Mentioned in this episode:Safe Word To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.SPONSORSDoubledutch Boutique: Boutique featuring a curated selection of modern, retro-inspired women's designer clothing. Check out the shop's gifts for holidays for him/her, including items from local makers and new modern lines from abroad and as well as vintage treasures by going to doubledutchboutique.com ★ Support this podcast ★

Presenter Tom Service visits the Pit Theatre at the Barbican to learn more about a new theatrical meditation on the bittersweet consolations of sorrow. He speaks to countertenor Iestyn Davies about the melancholy of John Dowland's music and its power to process grief, while the director Netia Jones tells Tom how she's weaved together creative visuals with philosophical musings of Robert Burton's 17th-century treatise The Anatomy of Melancholy as well as those of Freud and other contemporary experts of the human condition. As the BBC celebrates its centenary, Music Matters is joined by composers Matthew Herbert and Anna Meredith, and Artistic Associate of the Southbank Gillian Moore, to discuss the corporation's role as a commissioner of contemporary repertoire during the past 100 years. Tom catches-up with composer Tom Floyd, singer Sophie Goldrick, and Professor Marion Thain during rehearsals of a new opera, Veritable Michael, which charts the creative life and love affair of two women who operated together under the pseudonym Michael Field – a 19th century fictional author whose work was celebrated by the likes of Oscar Wilde and Robert Browning. And Tom takes a trip to the Victoria and Albert Museum where he'd joined by Harriet Reed, the co-curator of Re:Imagining Musicals – a new display of glittering costumes and musical memorabilia – to explore the craftmanship, creative renewal, and evolutionary impetus behind some of the most iconic musicals of the past seven decades.

Trained as an actress and theatrical director, Marian has spent over 30 years designing and delivering playful social therapeutic workshops and programs.  An accomplished improvisational actor, Marian has performed improv comedy with This is Your Ridiculous Life and The Proverbial Loons, stand-up comedy at Caroline's Comedy Club (NYC), and traveled to Central America exploring humanitarian clowning with her clown mentor, Dr. Patch Adams. A lifelong community organizer, and longtime builder of the nonprofit All Stars Project, Marian has taught improvisation to non-actors of all ages from the poor communities of color at the All Star's free university-style school in New York City. She is a co-founder and Artistic Associate of the Castillo Theatre.  As a faculty member of the East Side Institute, her joyful and philosophical sessions during International Class residencies have impacted activists, educators and scholars from around the world who are looking for ways to infuse their work with the power of performance.  She is the co-author (with Carrie Lobman) of “Playing Around with Changing the World,” a chapter about this work in The Applied Improvisation Mindset, Bloomsbury Press (2021). Her website: https://www.marianrich.com Her next workshop - Collage Play: https://www.eventbrite.com/e/collage-play-tickets-429349735617 Info about Nippy Bottoms Is Not Going Back to Normal: https://www.marianrich.com/blog/nippy-bottoms

In this episode we are joined by Stephanie Bahniuk, talking all things set and costume across theatre and television. Stephanie is a Ukrainian-Canadian theatre designer originally from Edmonton, Canada and she now resides in Brooklyn, New York. Stephanie is a graduate of the Masters of Fine Arts in Design program at the Yale School of Drama, and a recipient of the Jay Keene and Jean Griffin Keene Prize in Costume Design. She is an Artistic Associate of Pyretic Productions and recently designed the world premieres of Alina and Michael Mysterious with the company. She is currently the Costume Department Coordinator for And Just Like That, the Sex and the City reboot for HBO.  http://www.stephaniebahniuk.com/ We want to hear from YOU and provide a forum where you can put in requests for future episodes. What are you interested in listening to? Please fill out the form for future guest suggestions here and if you have suggestions or requests for future themes and topics, let us know here! @theatreartlife Thanks to David Zieher who composed our music.

This episode's guest is Danny Romeo! Danny is an international theatre maker, director, performer, designer, and educator. He is originally from Maryland, and has worked in the US in regional theatre, national tours, and off-Broadway. He is currently working in London as an interactive immersive theatre creator and performer. He is an Artistic Associate with COLAB Theatre Productions as well as an adjunct lecturer at the Institute for Contemporary Theatre in Brighton, and is currently performing in a brand new interactive show, Phantom Peak. He is also founding a new immersive theatre company in the US, Ludens Theatre Company. IG: @DannyTRomeo www.DannyRomeo.com www.LudensTheatreCompany.com --- Support this podcast: https://anchor.fm/tim-heller/support

Host Ben Hoekstra sits down with three guests from Black Arts MKE—Barbara Wanzo, Executive Director of Black Arts MKE; Sheri Williams Panel, Producing Artistic Director of Bronzeville Arts Ensemble and Artistic Associate of Black Arts MKE; and Dimonte Henning, actor and director and Artistic Director of Lights, Camera, Soul—to talk about their work to expand the availability and quality of African American arts and culture. They discuss the importance of narratives that share both struggle and triumph, how they each started doing this work, and the upcoming Milwaukee Black Theater Festival, August 10-14.. To learn more, visit: Black Arts MKEAction Steps: Attend the Milwaukee Black Theater Festival, August 10-14.Engage in your community and go to events you may not have been to before.Bring a friend or family member with you to community events.Bridge the CityWhen you're taking action in your community, share with us! Use #bridgethecity or tag us on Facebook, Twitter, Instagram, or LinkedIn.We humbly ask you to consider joining our Patreon so we can continue creating episodes and events that encourage community engagement and open dialogue. Shoutout to our supporters!Music by Casey Masters.

In this episode of Kiss My Black Side, host Brenda Emmanus OBE brings together three Black theatre creatives to deliver an insightful conversation on the arts, and the place of Black practitioners and audiences within it. With Clint Dyer, Stella Kanu and Tinuke Craig, they muse on the responsibility that this brings and on their mutual desire to witness diverse audiences packing theatre spaces and seeing work that reflects their own experiences. There is excitement and optimism as they celebrate the productions currently on offer but are not complacent about the work that is left to be done to engage Black and working-class audiences.These are exciting times in Black theatre - a renaissance perhaps. Clint Dyer,Tinuke Craig and Stella Kanu are amongst the makers and messengers from their place in the mainstream arena, now serving to make things happen. Host: Brenda Emmanus OBE Brenda Emmanus OBE has had a consistent and varied career in print, radio and television. She has established herself as a television presenter with experience across a range of genres – news and current affairs, popular factual, travel, fashion, and the arts.From news features to documentaries Brenda has interviewed some of the biggest names in the arts and entertainment. In 2019 she was awarded the Order of the British Empire (OBE) for services to Broadcasting and Diversity. Guests: Clint Dyer - Deputy Artistic Director, National Theatre The multi-talented writer, actor and director is Deputy Director at the National Theatre. Clint is set to make history as the first Black male to direct Othello at a major British venue. His play, the Death of England, which he wrote and directed was nominated for Best Drama programme at this year's Digital Awards and won Best Play/Musical at the Missionary Honour's awards 2020. Throughout his career he has written, directed, and acted for stage, film and television. Stella Kanu - Executive Director at LIFT – The London International Festival of TheatreStella is a highly respected arts leader who has worked in theatre, festivals, and the cultural sector for over two decades. She sits on several strategic and governing bodies, has vast Trustee experience and is a much sought-after panelist, speaker and writer on topics such as inspirational leadership, diversity and inclusion and women in marketing. An arts visionary, responsible for an iconic moment in the history of The Globe Theatre when she brought together 250 Black women working in theatre for an iconic photocall at The Globe to celebrate the significant role Black women have played and continue to play in theatre and its diversity. Tinuke Craig - Theatre Director Tinuke trained as a Director at the London Academy of Music and Dramatic Art (LAMDA). She won the Genesis Future Director Award in 2014 then became The Gate Theatre's Associate Director. Her other credits include Artistic Associate for the Lyric Hammersmith and Associate for the National Youth Theatre of Great Britain.InstagramClint_dyerStellakanuTinucraigBrendaemmanusSadler's_Wells Hosted on Acast. See acast.com/privacy for more information.

Capítulo 037: On this episode of Ocu-Pasión we are joined by Director of Ballet Hispánico's School of Dance and co-founder of the Latinx Dance Educators Alliance, Michelle Manzanales. Listen in as we discuss the connecting culture to formal dance, Tejano influences, her commitment to creating an environment where all students are inspired to explore movement.Michelle Manzanales is a choreographer, dedicated dance educator of 30 years, and co-founder of the Latinx Dance Educators Alliance. The Director of Ballet Hispánico's School of Dance since December of 2016, Michelle previously led the organization's professional company as Rehearsal Director & Artistic Associate for seven seasons. Ms. Manzanales is committed to creating an environment where all students are inspired to explore movement, feel supported in their individual dance journeys, and draw meaningful connections between dance and their lives.  Manzanales has co-presented at the New York State Dance Educators Association, ARTs + Change, and the National Dance Education Organization conferences, “Questioning TODO: A Latinx Inquiry of Culturally Responsive Pedagogy”, a direct response to the historical and continued exclusion of Latinx contributions and experiences in the dance field. A current faculty member of the Ballet Hispánico School of Dance, she has also served on the faculties of the University of Houston, Rice University, Lou Conte Dance Studio (former Home of Hubbard Street Dance Chicago), and the Houston Metropolitan Dance Center. She has been a guest artist for the Professional Work Sessions at STEPS on Broadway, the Joyce Master Class Series at Gibney, the Taylor School, New Orleans Ballet Association, the Puerto Rico Classical Dance Competition, Generation Dance Festival Houston, Artisan Ballet Company, Regional Dance America, Festival de Danza Cordoba-Youth America Grand Prix, Houston's Kinder High School for the Performing & Visual Arts, along with numerous other dance studios, schools, and college dance programs nationwide and internationally. Follow Michelle:https://www.ballethispanico.orghttps://www.instagram.com/mmanzanaleshttps://www.instagram.com/ballethispanicoOcu-Pasión Podcast is a heartfelt interview series showcasing the experiences of artists and visionaries within the Latin American/ Latinx community hosted by Delsy Sandoval. Join us as we celebrate culture & creativity through thoughtful dialogue where guests from all walks of life are able to authentically express who they are and connect in ways listeners have not heard before.Delsy Sandoval is the Host and Executive Producer of Ocu-Pasión. If you want to support the podcast, please rate and review the show here. You can also get in touch with Delsy at www.ocupasionpodcast.comFollow Ocu-Pasión on Instagram: @ocupasionpodcast www.instagram.com/ocupasionpodcastJoin the Ocu-Pasión Facebook Group: facebook.com/groups/5160180850660613/Visit www.ocupasionpodcast.com for more episodes.https://linktr.ee/Ocupasionpodcast

ISC's Community Action Update podcast series is back with an episode full of fierce women! ISC's Artistic Associate for Social Justice Carene Rose Mekertichyan spoke with local representative and Pulitzer Prize Finalist Kristina Wong (just before she made her way to Sardi's to collect her Drama Desk Award for Outstanding Solo Performance!) about the relationship between theatre artists and mutual aid efforts. She also spoke with ISC Board member Ebony Murphy-Root about her work as an educator and with NARAL, an organization serving a critical purpose during this dangerous shift in our country's stance on reproductive rights. This episode begins with ISC's beloved Aisha Kabia performing Titania's timeless speech describing the environmental destruction caused by her and Oberon's feud in Act II Scene I of A Midsummer Night's Dream. For ways to support these incredible individuals, head to iscla.org/justice.

Santiago Guzmán (he/him) is a writer, performer, director and producer for theatre and film originally from Metepec, Mexico, now based in St. John's, Newfoundland and Labrador. Santiago is the Artistic Director of TODOS Productions, an organization that seeks to promote, produce, and support work of under-represented artists in Newfoundland and Labrador. ​ He is the Artistic Associate for Playwrights Atlantic Resource Centre in Halifax, NS and General Manager for Neighbourhood Dance Works in St. John's, NL. He is a proud member of The Quilted Collective, whose first anthology, Us, Now, has been published by Breakwater Books in 2021. www.sguzman.ca Twitter: @santiguzjan Instagram: @santig1 Support Stageworthy Tip Jar: tips.pinecast.com/jar/stageworthy

MISS SAIGON COMPOSER: Claude-Michel Schonberg LYRICIST: Richard Maltby Jr & Alain Boublil BOOK: Alain Boublil, Claude-Michel Schonberg SOURCE: Giacomo Puccini's opera Madame Butterfly (1904) DIRECTOR: Nicholas Hytner CHOREOGRAPHER: Bob Avian PRINCIPLE CAST: Willy Falk (Chris), Jonathan Pryce (Engineer), Lea Salonga (Kim) OPENING DATE: Apr 11, 1991 CLOSING DATE: Jan 28, 2001 PERFORMANCES: 4,092 SYNOPSIS: In war torn Saigon, Chris, an American soldier, meets Kim, a sex worker lorded over by The Engineer, and begins a romance that produces a child. When Chris returns to America, Kim, dutifully and tragically, awaits his return to rescue her and his son.   A discussion of the impact of Miss Saigon on the casting industry and on the AAPI community. A film documenting the casting of Lea Salonga in the leading role sheds light on the racist and patriarchal process facing the young actors auditioning for the protagonist and a survey of public correspondence from Actors Equity representatives, critics, and artists illustrates the racism present in the casting of white actor, Jonathan Pryce in the role of a Eurasian character. Postcolonial theorists have written extensively about the troubling implications of the show's commercial success. This chapter seeks to outline the shortcomings in the Asian and Eurasian representation in Miss Saigon while envisioning possible futures for racially-charged stories on the commercial stage. Jeanmarie Higgins is an associate professor in the Pennsylvania State University School of Theatre. A new works dramaturg, she publishes widely on the intersection of theory and practice. Jeanmarie is the editor of Teaching Critical Performance Theory in Today's Theatre Classroom, Studio, and Communities (Routledge 2020), and her performance criticism is published in Theatre Journal, PARtake: Journal of Performance as Research and Theatre and the Macabre (University of Wales Press 2021). Micah Rosegrant- Micah (they/them) is a twink poet who carves queer divinity through breath, word, and movement. They are cousin and learner with all life, glitching their myriad selves to shape change as a spirit guided by relation, a Co-Director at Arts Connect International, and an online avatar @micah_pdf. Previous A.R.T. collaborations include: Creating Equal (Steering Committee); Making Democracy Work with the Harvard Office of Diversity, Inclusion, and Belonging (Co-Creative Ensemble); Dragon Cycle (Assistant Director); and Clairvoyance (Love Nurse). Sarah Shin (she/her/hers) is a Schwenksville-raised Boston-trained, Brooklyn-based Korean American theatre artist. She co-founded and still runs Asian American Theatre Artists of Boston (AATAB) to empower and connect Asian American student and working artists in Boston, is on the steering committee of API Arts Network, and serves as a Board Member for StageSource and Advisory Board Member for Boston Playwrights' Theatre. She is a member of National Queer Theatre's Artistic Collective, an Artistic Associate of Sanguine Theatre Company, and a 2020-2021 Asian American Arts Alliance Artist-in-Virtual-Residence, where she developed her solo work exploring Asian identity and Whiteness in musical theatre. She's passionate about more diverse representation, community and family, music, and gifting love in all ways possible. BFA Theatre Arts Boston University. Lianah Sta. Ana-  Broadway: Miss Saigon, YoungArts Theatre alumna and Apollo Amateur Night winner. Has trained at FPAC in HHS. SOURCES Miss Saigon, Original Cast Recording, Geffen Records (1990) The Story of Miss Saigon by Edward Behr and Mark Steyn, published by Arcade Publishing (1991) The Heat Is On: The Making of Miss Saigon starring Jonathan Pryce and Lea Salonga, directed by David Wright, Freemantle Home Entertainment (1989) Miss Saigon 25th Anniversary starring Jon Jon Briones and Eva Noblezada, directed by Brett Sullivan, Cameron Mackintosh International (2016) Learn more about your ad choices. Visit megaphone.fm/adchoices

THE WIZ COMPOSER: Charlie Smalls LYRICIST: Charlie Smalls BOOK: William F. Brown SOURCE: L. Frank Baum's book The Wonderful Wizard of Oz (1900) DIRECTOR: Geoffrey Holder CHOREOGRAPHER: George Faison PRINCIPLE CAST: Andre DeShields (The Wiz), Mabel King (Evillene), Stephanie Mills (Dorothy),  OPENING DATE: Jan 5, 1975 CLOSING DATE: Jan 28, 1979 PERFORMANCES: 1,672 SYNOPSIS: During a violent tornado, Dorothy is transported from Kansas to the magical land of Oz. In order to go back home she must first speak with The Wiz. Accompanied by her friends The Scarecrow, The Tin Man, and The Cowardly Lion, Dorothy begins an adventure down the Yellow Brick Road to meet the Wiz.  Accessing the universal themes in L Frank Baum's The Wonderful Wizard of Oz, The Wiz retold the classic story through a contemporary African-American lens. The show proved the potential for success in big-budget, fantasy stories with all Black casts. Jerrell L. Henderson traces the modes in which Black creatives and audiences were relegated to segregated theatres, how Black performers were cast in shows written by white individuals, and how marketing of musicals became focused on Black communities in relation to The Wiz.  Jerrell L. Henderson is a Director and Puppeteer. Upcoming Puppet Short Films include, Hamlin: La Revue Sombre with Handmade Puppet Dreams and Diamond's Dream with Chicago Children's Theatre. He performed his signature puppetry piece, I Am The Bear, this fall with Chicago International Puppet Festival's Living Room Tours. His shadow play, 3 American Myths: A Riff in Shadow & Light in 3 Rhythmic Movements was a finalist for a 2019 Jim Henson Foundation Grant. Recent directing credits include Mlima's Tale with Griffin Theatre (Jeff Award Nomination for Direction and Best Play) and Thurgood with Walnut Street Theatre. Other credits include The River with BoHo Theatre, Untitled with Inis Nua (Barrymore Award nomination for Outstanding Direction of a Play) and Something Like A War: A New Musical with 11th Hour Theatre. He received an MFA in Directing from Northwestern University, is a member of the Lincoln Center Directors Lab (2012), an Artistic Associate of Black Lives, Black Words, and a Henson Foundation sponsored participant at the Eugene O'Neill Theater Center National Puppetry Conference (2020). SOURCES Elam, Harry, and David Krasner. African American Performance and Theater History: A Critical Reader. 1st ed., Oxford University Press, 2001. Hill, Errol, and James Hatch. A History of African American Theatre (Cambridge Studies in American Theatre and Drama, Series Number 18). Annotated, Cambridge University Press, 2006. Sanders, Leslie Catherine. The Development of Black Theater in America: From Shadows to Selves. Reprint, LSU Press, 1989. Simpson, Janice. “Pivotal Moments in Broadway's Black History.” Playbill, 20 Feb. 2019, www.playbill.com/article/pivotal-moments-in-broadways-black-history-com-342101. Weta. “How Helen Hayes Helped Desegregate the National Theatre.” Boundary Stones: WETA's Washington DC History Blog, 22 June 2016, boundarystones.weta.org/2016/06/22/how-helen-hayes-helped-desegregate-national-theatre. Woll, Allen. Black Musical Theatre: From Coontown to Dreamgirls. First Edition, Louisiana State Univ Pr, 1989. The Wiz, Original Cast Recording, Atlantic Records (1975) The Wiz by William F Brown and Charlie Smalls, published by Samuel French, Inc (1979) The Wiz starring Michael Jackson and Diana Ross, directed by Sidney Lumet, Universal Pictures (1978) The Wiz: Live! Starring Queen Latifah and Shanice Williams, directed by Matthew Diamond and Kenny Leon, NBC (2015) Learn more about your ad choices. Visit megaphone.fm/adchoices

THE CRADLE WILL ROCK COMPOSER: Marc Blitzstein LYRICIST: Marc Blitzstein BOOK: Marc Blitzstein DIRECTOR: Orson Welles PRINCIPLE CAST: Howard DaSilva (Foreman), Will Geer (Mister), Olive Stanton (Moll) OPENING DATE: June 16th, 1937 CLOSING DATE: April 02, 1938 PERFORMANCES: 131 SYNOPSIS: Set in the fictional “Steeltown, USA,” everyman Larry Foreman attempts to get his fellow workers to unionize against the greedy businessman Mr. Mister who controls the entire town's work force, press, and religious organizations.  Johanna Pinzler traces the development of Marc Blitzstein's The Cradle Will Rock, to date the only Broadway musical ever shut down by the United States government and argues its significance as a work that fused music and text in radically new ways. As part of Franklin Delano Roosevelt's New Deal, the United States launched the Federal Theatre Project, a nationwide effort to employ people in the performing arts, and Project #891, a classics-oriented subdivision of the project, opted to produce Blitzstein's controversial, pro-union musical under the direction of Orson Welles and the producer John Houseman. When the Works Progress Administration circulated a memo restricting the performance of new works-- a suspicious ordinance which wreaked of censorship-- and armed federal guards blockaded the theatre on opening night, Cradle opened in a completely unexpected fashion. Working around stringent union rules and limitations placed by the WPA, members of the cast and orchestra pulled off the performance as an impromptu exercise in free speech, rising from the audience when their cues came and never setting foot on the stage. This guerilla-style theatre informed future Broadway works which employed a minimalist or paired down approach to theatricality. Johanna Pinzler is an award winning theatre director and educator. She directs at regional theatres and serves as an Artistic Associate and a Resident Director at Summer Repertory Theatre in Santa Rosa, California where she spends most summers working with students from top theatre programs around the country. She is an Adjunct Assistant Professor of Acting and Directing at Marymount Manhattan College and serves on the faculty of the Professional Conservatory of Musical Theatre at New York Film Academy teaching Directing, Musical Theatre Performance and Comedy. She lives in Brooklyn with her wonderful family and has an MFA in Acting from Brooklyn College, CUNY. SOURCES The Cradle Will Rock Original Cast Recording. Musicraft (1938) The Cradle Will Rock Original London Cast Recording. Polydor (1985) Cradle Will Rock, starring Hank Azaria and Cary Elwes, directed by Tim Robbins. Touchstone Pictures (1999) The Cradle Will Rock by Marc Blitzstein, published by Random House (1938)  Cradle Will Rock: The Movie and the Moment by Tim Robbins, published by Newmarket Press (1999) Learn more about your ad choices. Visit megaphone.fm/adchoices

SHUFFLE ALONG COMPOSER: Eubie Blake LYRICIST: Noble Sissle BOOK: F.E. Miller, Aubrey Lyles DIRECTOR: Walter Brooks PRINCIPLE CAST: Lottie Gee (Bessie), Aubrey Lyles (Sam), F.E. Miller (Steve) OPENING DATE: May 23, 1921 CLOSING DATE: Jul 15, 1922 PERFORMANCES: 484 SYNOPSIS: Sam and Steve are business owners who decide that they will both run for the Mayor of Jimtown, USA. Whichever one wins will appoint the other their chief of police. Complications arise when the two men are so busy squabbling they do not realize that a new candidate is ready to take on their corrupt administration. Shuffle Along was significant as an early Broadway revue written by and starring Black vaudeville artists that became a smash hit with Depression-era audiences. Jerrell L. Henderson outlines the ways the show proved Black musicals, Black love stories, and Black-lead productions could be successful in the United States with strong emphasis placed on creators Eubie Blake, Noble Sissle, Flournoy Miller, and Aubrey Lyles, as well as the show's original performers including Josephine Baker, Adelaide Hall, Florence Mills, Fredi Washington, and Paul Robeson. An analysis of George C. Wolfe and Savion Glover's 2015 reexamination of the show, with cast members Audra McDonald and Billy Porter, is explored as well.  Jerrell L. Henderson is a Director and Puppeteer. Upcoming Puppet Short Films include, Hamlin: La Revue Sombre with Handmade Puppet Dreams and Diamond's Dream with Chicago Children's Theatre. He performed his signature puppetry piece, I Am The Bear, this fall with Chicago International Puppet Festival's Living Room Tours. His shadow play, 3 American Myths: A Riff in Shadow & Light in 3 Rhythmic Movements was a finalist for a 2019 Jim Henson Foundation Grant. Recent directing credits include Mlima's Tale with Griffin Theatre (Jeff Award Nomination for Direction and Best Play) and Thurgood with Walnut Street Theatre. Other credits include The River with BoHo Theatre, Untitled with Inis Nua (Barrymore Award nomination for Outstanding Direction of a Play) and Something Like A War: A New Musical with 11th Hour Theatre. As an assistant director, Jerrell has worked with The Goodman Theatre, Steppenwolf Theatre, and Lookingglass Theatre. He received an MFA in Directing from Northwestern University, is a member of the Lincoln Center Directors Lab (2012), an Artistic Associate of Black Lives, Black Words, and a Henson Foundation sponsored participant at the Eugene O'Neill Theater Center National Puppetry Conference (2020). SOURCES Carlin, Richard, and Ken Bloom. Eubie Blake: Rags, Rhythm, and Race. Oxford University Press, USA, 2020.  Gaines, Caseen. Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way. Sourcebooks, 2021.   Kimball, Robert, and William Bolcom. Reminiscing with Noble Sissle and Eubie Blake. Cooper Square Pub, 1973.    Miller, Flournoy, et. al. Shuffle Along. CreateSpace, 2015.   Rose, Al. Eubie Blake. New York : Schirmer Books, 1979.    Woll, Allen. Black Musical Theatre. Da Capo Press, 1991. Shuffle Along, Studio Cast, New World Records (1976) Learn more about your ad choices. Visit megaphone.fm/adchoices

Director Heather Davies discusses the special challenges of the masque form, Milton's verse and the rehearsal process in the time of covid with John Edwards. Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist. Heather Davies was born in Winnipeg, Manitoba and grew up in Toronto, Ontario. She's trained as a dancer, singer, actor and musician and has worked professionally since her teens. Heather moved to the UK to continue her actor training; she lived and worked in theatre there for 18 years. In 2001 she began focusing on directing full-time when she joined the Royal Shakespeare Company as a resident director, working there for nearly three years. She returned to Canada in 2007 to attend the MFA- Theatre program at York University, graduating in April 2009. From September 2009 to February 2011 she was the Artistic Associate at The Grand Theatre in London Ontario. She continues to enjoy directing, writing, teaching and adapting in the UK and across Canada. In 2017 Heather became the first Artistic Director of The Ryga Festival, (inspired by renowned Canadian writer, George Ryga) in Summerland, BC and directing Colours in the Storm at the Grand Theatre in London, Ontario. In 2018, as well as returning to Summerland, Heather's stage adaptation, Judith: memories of a Lady Pig Farmer, (based on the original novel, Judith, by Alberta writer Ardith Van Herk), will premiere at the Blyth Festival. Other projects in development include Silverfish (an original play about economic migration) and the stage adaptation of Night Desk, (novel by George Ryga).

Show notes below:   Talking Shit with Tara Cheyenne is a Tara Cheyenne Performance Production www.taracheyenne.com Instagram: @TaraCheyenneTCP  /  FB: https://www.facebook.com/taracheyenneperformance Podcast produced, edited and music by Marc Stewart Music www.marcstewartmusic.com    © 2021 Tara Cheyenne Performance   Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts and Spotify.   Donate! To keep this podcast ad-free please go to:  https://www.canadahelps.org/en/dn/13386   Links:    http://carmenaguirre.ca/   https://www.electriccompanytheatre.com/electrics/   https://siminovitchprize.com/the-prize/past-prizes/2020-2/finalists/   About Carmen:   Carmen Aguirre, Core Artist at Vancouver's Electric Company Theatre and Artistic Associate of New Play Development at The Stratford Festival, is an award-winning theatre artist and author. She has written and co-written over twenty-five plays, the #1 international bestseller Something Fierce: Memoirs of a Revolutionary Daughter (winner of CBC Canada Reads 2012), and its bestselling sequel, Mexican Hooker #1 and My Other Roles Since the Revolution. Currently, she is writing an adaptation of Euripides' Medea, Moliere's The Learned Ladies for Toronto's Factory Theatre, Fire Never Dies: The Tina Modotti Project for Electric Company, and an adaptation of Peter Linebaugh and Marcus Rediker's The Many-Headed Hydra for The Stratford Festival's Seed Commission program. Her digital piece Floating Life, commissioned by Stratford, can be viewed on its website. Carmen has over eighty film, television and stage acting credits. Favourites include her award-winning work as Veronica in the Canadian premiere of Stephen Adly Guirgis's The Motherfucker with the Hat and playing the lead role of Daniela in Cecilia Araneda's stunning independent feature Intersection. Carmen is a 2020 Siminovitch Prize finalist, Canada's most prestigious theatre award. She is a graduate of Studio 58.   About Tara: Tara Cheyenne Friedenberg is an award winning creator, performer, choreographer, director and writer. Artistic Director of Tara Cheyenne Performance, she is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level" (The Georgia Straight). Tara is celebrated nationally and internationally for her unique and dynamic hybrid of dance, comedy and theatre. The string of celebrated full-length solo shows to her credit includes bANGER, Goggles, Porno Death Cult, and I can't remember the word for I can't remember, and she partners regularly on multidisciplinary collaborations, commissions and boundary-bending ensemble creations. When she isn't creating innovative movement for theatre, Tara performs around the world. Highlights include DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, and High Performance Rodeo/Calgary. Recent works include The Body Project (premiering 2020/21 season), The River Project with dance artist Miriam Colvin and artist and activist Molly Wickham (premiering 2021 in Wet'suwet'en Territory), empty.swimming.pool with Italian dance/performance artist Silvia Gribaudi, (Castiglioncello and Bassano Italy, Victoria, B.C. and Vancouver, B.C.), how to be (Vancouver, B.C.) , and I can't remember the word for I can't remember (currently touring). Tara lives on the unceded and traditional territory of the xʷməθkʷəy̓əm (Musqueam), səlil̓wətaɁɬ (Tsleil-Waututh) and Sḵwx̱wú7mesh Úxwumixw (Squamish Nation) / East Vancouver with her partner composer Marc Stewart.

In this month's Community Action Update, ISC's Artistic Associate for Social Justice, Carene Mekertichyan, invites you to join ISC staff this Giving Tuesday in celebrating and supporting organizations that we feel are doing important work to uplift our communities and staying active in the fight for social justice and equity. Let us know who you are supporting this Giving Tuesday on our Twitter, Facebook, or Instagram! Indian Country Today: support.indiancountrytoday.com Young Musicians Foundation: ymf.networkforgood.com Street Symphony: streetsymphony.kindful.com Hollaback!: ihollaback.org/about/donate artEquity: artequity.org/donate Kooyrigs' Project Mayreeg: kooyrigs.org/project-mayreeg Transcript of this episode available at our website, www.iscla.org. Are their initiatives in our community you want featured on our Community Action Update in December? Email carene@iscla.org Follow us! Website: www.iscla.org Instagram & Twitter: @indyshakes Facebook: Independent Shakespeare Co.

Today, Tes talks with Melissa DuPrey. Melissa is a multidisciplinary artist with roots from Humboldt Park, Chicago. After earning double Bachelor degrees from the University of Houston, she returned to Chicago to join the all-Latina theatre company, Teatro Luna. Her one-woman show, SEXomedy (2012), was developed during their monthly series for women of color in the arts and received a Chicago Reader Recommendation, a Member's Pick, and had a successful debut Off-Broadway in New York. The popular show spurred a progressive sequel, SEXomedy 2.0, which debuted at Steppenwolf Theater in April 2019. Her second solo show, SUSHI-frito, has also been critically acclaimed as part of MPAACT's Signature Series for solo artists. In 2014, she was selected as a new talent in the ABC Diversity Showcase in New York City. DuPrey is also a community organizer and spiritualist who also launched The Good Grief Project- an extension of the social justice component from her play GOOD GRIEF, where communities of color are connected to local, accessible and multidisciplinary mental and spiritual wellness practitioners of color. Her full-length play BRUJAJA was selected as part of 16th Street's New Play Pop Up Reading Series for 2019 and is slated for a world premiere in 2021 with UrbanTheater Company. She has performed stand-up comedy in Chicago, New York, New Jersey, Philadelphia, and Los Angeles. She is a featured actor in the Emmy-nominated web-series Brown Girls and has many regional and non regional theater credits in Chicago. She can currently be seen as DR. SARA ORTIZ on "Grey's Anatomy" (Season 17 and 18). Other TV credits include a recurring appearance on “Empire” (FOX), and guest appearances on “The Resident” (FOX), “Chicago PD” (NBC), and “The Chi” (Showtime). Film credits include: Relative (2022), Long Division (2022), Cherry (2020), Two in the Bush (2017), The Way We Speak (2014) and Bromance (2014). As a musician and active member of her community, she is dedicated to the preservation of Puerto Rican culture by way of the folkloric music, Bomba y Plena, with Africaribe and Las BomPleneras. She is currently an Ensemble Member at UrbanTheater Company and Artistic Associate at Sideshow Theater. To learn more about Melissa DuPrey: Website: www.melissaduprey.com Twitter & IG: @BoomBoomDuPrey News links: Chicago Sun Times coverage for Grey's Anatomy Review of Good Grief- A healing experience Please and Resistance in the face of Patriarchy Coverage of The Chicago Women's March and critique of lack of inclusivity Centering Black and Brown Narratives in Chicago as ED of Social Justice Theater

https://thelynneshow.com/Audio/Podcasts/show_637_9_27_21_Jim_Weaver_Eubie.mp3 9-27-21 Actor, Choreographer, Director Jim Weaver is the Artistic Associate and Director of Education at Westcoast Black Theater Troupe. In this interview Jim talks about his life and his current project, directing the upcoming production of the musical revue Eubie. Like many artists, Jim always knew he wanted to be a performer. Unlike many […]

The Whole Artist with Courtney Rioux: Conversations with artists about acting, purpose, and the journey to finding wholeness. You are so much more than the last job you booked. This week Courtney sits down with Lorena Diaz and Wendy Mateo. They are critically acclaimed sketch comedy writers and actors. As Dominizuelan they've been featured in Latina Magazine, Chicago Tribune, and TimeOut NY for their infectious chemistry and comedy. The duo co-created a web series with Fred Armisen (SNL) called The Dominizuelan Consulate. Lolo and Wendy wrote and directed their first short film “Good Mothers” in 2018, since then they have been focused on developing film and narrative content. Lolo and Wendy and directed 2 short films in quarantine, “Sunset 1919” and “Identified”. Diaz and Mateo have teamed up with 6 other partners to build a content creation company, Chicago4Real focused on creating live interactive entertainment on Amazon's Twitch platform. On your TV, you can catch Lorena in her recurring role as Nurse Doris on NBC's Chicago MED|FIRE|PD franchise. Wendy is an Artistic Associate of the Lookingglass Theatre and can also be seen on this season of Chicago Med. Facebook: Lolo and Wendy | Chicago4Real Instagram: @LoloandWendy | @itslorenadiaz | @itswendymateo | @Chicago4Real_on_Twitch https://www.twitch.tv/chicago4real Sign up for V.I.P. updates and free gifts at: www.courtneyrioux.com Find Courtney on Social Media: instagram.com/courtneyrioux ### Special thanks to: Erick Backus for editing and mixing this episode. Mandy Work Wetzel for all of your hard work. Photography by Joe Mazza, Brave Lux. For more information, go to http://bravelux.com/ Music by Blythe Martin Productions. For more info, please contact Jamie and Erik at erik@SoundAnswer.com Co-Edited by Courtney Rioux --- Send in a voice message: https://anchor.fm/courtneyrioux/message Support this podcast: https://anchor.fm/courtneyrioux/support

We have a wonderful guest for you today: my previous teacher, translator and actor of The Ilkhom Theatre (among many other theatres) in Tashkent, Uzbekistan, Tyler Polumsky! Our conversation went way longer than expected so we have two parts to this episode!   Tyler Polumsky has worked professionally as an actor, director, producer, musician,  scenic designer, and teacher. He found his true creative voice and artistic aesthetic studying acting and directing with the late Mark Weil at the Ilkhom Theatre in Tashkent, Uzbekistan. During his nearly 10 years in Tashkent, he became the first and only American to work in Ilkhom's Main Ensemble, performing in the standing repertoire and touring with the group to Russia, France, Poland, Japan, and elsewhere. As a Master Teacher in the Ilkhom Theatre School of Drama, he taught acting (M. Chekhov, Stanislavski, Vakhtangov, Grotowski), plasticas (Physical Improvisation and Biomechanics), and elocution (English and Russian). As Assistant Master, he taught Lecoq Methods (masks, clown, buffoonery),  fencing and acrobatics, voice, and theatre history.    Since returning to Seattle in 2012, Tyler has worked with The Seagull Project, appearing in The Seagull, The Three Sisters, and The Cherry Orchard. He has taught with Freehold, presented workshops and master classes at the University of Washington, and taught and directed at Cornish College of the Arts. He joined Akropolis Performance Lab as an Artistic Associate in 2015, created the role of the Bad Angel for APL's production of Ecce Faustus (2016) and is Raskolnikov in Crime + Punishment (2017-18). Tyler prefers the long form, ensemble-driven approach to the craft such as is practiced by APL, which better reflects his roots in the Russian theatre tradition.   The concept of истина / istina / divine or cosmic truth, arose early on in our chat. Istina is the essence of the Ilkhom Theatre's training, its performances, its school and lives in its artists.   We take a deep dive into: the difference between Eastern & Western training systems the importance of energetic exchanges onstage and off the rigorous technical training and experience that is required to access moments of naked, universal truth onstage the late creator of the Ilkhom Theatre, Mark Weil, and his lifelong pursuit of the merging of East & West (and how these worlds danced and collided onstage) seeking out spaces of resonance and how that can be the bridge across cultures  the integral part of the Russian system that's skipped over in the West  the necessity of tuning into the partner   And SO much more!   “It's great to tell a story. It's better to tell a story and somebody walks out of there and it's part of their DNA.”   Take a screenshot of this episode and tag @tolyatolyantolik and @serabanda in your Instagram stories to let us know what you thought of this episode!   Top off your #speechforthestage: a e i o u T D tay-tee-tai-toh-too day-dee-dai-doh-doo   Be sure to put a pin in this conversation and catch us for Part II next week!   Create your dream #actorslife with my FREE energy exercise!   Disclaimer: Your use of the content on this podcast, content on actortoartist.com, content on our social media or content from our email list is at your own risk. Actor to Artist does not guarantee any results from using this content and is for educational purposes only. It is your responsibility to do your own research, consult, and obtain a professional for your medical, psychological, legal, financial, health or other help that you may need for your situation.

LISA RAMIREZ (playwright/actor) Associate Artistic Director at Oakland Theater Project, Artistic Associate at Cherry Lane Theatre.  Roles include, The Angel in Angels in America at Berkeley Rep, Blanche Dubois in A Streetcar Named Desire at the Ubuntu Theater Project in Oakland. Lisa has performed extensively at theaters on both the East and West Coast such as the Cherry Lane Theatre, Atlantic Theatre Company, Working Theater, The Foundry, Ubuntu Theater Project, Magic Theatre, Berkeley Rep amongst others. Writing credits include, Exit Cuckoo (nanny in motherland) was first presented Off Broadway by the Working Theater (Colman Domingo- director) and subsequently toured in various theaters throughout the U.S. and Ireland; Art of Memory, a dance theatre piece, commissioned by Company SoGoNo and presented at the Ontological-Hysteric Theater and the 3-Legged Dog in New York (Tanya Calamoneri- director) Invisible Women-Rise, Foundry Theatre & Domestic Workers United; To The Bone, originally a Working Theater commission, was a finalist for the 2012 NPN Smith Prize, the O'Neill National Playwrights Conference and the Ellen Stewart Award; All Fall Down was conceived/written in at INTAR during the Maria Irene Fornés Hispanic Playwrights in Residency Lab; Contributing playwright for In Mother Words, presented at the Geffen Playhouse and various regional theatres (Lisa Peterson- director); In 2012/13 Lisa was part of the Mentor Project at the Cherry Lane Theatre where she wrote Pas de Deux (lost my shoe), (Bryan Davidson Blue- director); In September 2015, the Cherry Lane Theatre presented the world premiere of To The Bone (Lisa Peterson- director).

Martin Blank is a successful writer and has been an acting coach for two decades. His acting students have had TV roles on Succession, House of Cards, The Wire, Veep, How to Get Away with Murder, and CSI as well as two-character scenes in Hollywood motion pictures opposite George Clooney, Alan Rickman, Julia Roberts, Richard Gere, and Daniel Day-Lewis. He attended the Yale School of Drama. He served as Artistic Associate for the American Place Theatre, New York City, as well as Literary Manager, Woolly Mammoth Theatre Company, and Founding Artistic Director, Theater J. In this episode some of the things we discussed: COVID's effect the entertainment industry, is Virtual Reality the future of the entertainment industry, how to make your own opportunity in Hollywood, will Hollywood ever fully embrace diversity, what makes a movie star, the Story of how Dustin Hoffman became a movie star, and much more! Dangerously Good with Jay Sikand is a long-form podcast where Jay explores dangerously good topics and ideas! This show is about learning new things and sharing that journey with the world! Expanding the minds and imaginations of those who want to partake. Expect new episodes and clips every Tuesday! Watch the podcast on the Dangerously Good YouTube channel (https://www.youtube.com/watch?v=f9Wpwa-jhA4) & For CLIPS of the podcast, subscribe to the Dangerously Good Clips Youtube channel! (https://www.youtube.com/channel/UChmDAQzfpNdmEi10lqBReuQ) About Jay Sikand: He is a podcaster, actor, tech nerd, and lover of life that explores ideas from entertainment, technology, philosophy, politics, health, fitness to whatever else is intriguing. He has conversations with friends and people of strong morals, ambitions, and intelligence within their fields. Anyone who wants to journey through enlightening conversions that contain dangerously good information should tune in! --- Support this podcast: https://podcasters.spotify.com/pod/show/jay-sikand/support

This week on Yes But Why, we talk to world renowned performer and improv teacher, Joe Bill. Joe Bill has been a performer and teacher at iO Chicago for more than 30 years; he was one of the co-founders of Annoyance Theater; and, he was an Artistic Associate for The Chicago Improv Festival for the entirety of its existence. He has been an Internationally Touring Teacher, Performer and director for more than 20 years and acts as an Artistic Adviser for a number of Improvisation and Comedy Theaters all over the world. He has taught at pretty much every major improv/impro Festival in the U.S. & Canada in the last 30 years. In our conversation, we talk about where we find inspiration and Joe shares an anecdote from his childhood about his musician cousin, Katherine. He talks about going on tour for a year with Up With People and what an amazing experience that was. We talk about family drama and the need to escape. We talk about the community of misfits in Chicago where Joe finally found his artistic home. We chat about Joe's love of traveling the world to discuss improv. Joe shares sage advice for teachers hoping to tour like he does. We talk about connecting with your students and caring deeply about the service you are providing. Joe's a funny guy and we have quite a few laughs (including a couple dark covid jokes…too soon?) Support Joe Bill by hiring him to teach you! You can also check out his podcast, Not Therapy that he cohosts with YBY past guest, Balasree Viswanathan. Yes But Why Podcast is a proud member of the HC Universal Network family of podcasts. Visit us at HCUniversalNetwork.com to join in on the fun. This episode of Yes But Why podcast is sponsored by audible - get your FREE audiobook download and your 30 day free trial at http://www.audibletrial.com/YESBUTWHY. This episode of Yes But Why is also sponsored by PodcastCadet.com. Swing on by PodcastCadet.com to get help for all your podcasting needs! Go to PodcastCadet.com and put in offer code YBY20 to get 20% off your first consultation!

Are we willing to divest from our arts practices, or to change radically our performance practices, in order to make necessary changes and concessions?milton lim, conscient podcast, january 2020, ottawaMilton Lim is a media artist and performance creator based in Vancouver.Lim holds a BFA (Hons.) in theatre performance and psychology from Simon Fraser University.His current work utilizes publicly available data and game structures to articulate new expressions of value and labour within our systems of power and politics.He is a Co-Artistic Director of Hong Kong Exile, an Artistic Associate with Theatre Conspiracy, a key archivist with videocan, a Digital Interaction Designer with The Cultch, and one of the co-creators behind culturecapital: the performing arts economy trading card game.This conversation took place in January of 2020.  *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

This week saw the anniversary of one of the most catastrophic volcanic eruptions in recorded history - Krakatoa, a volcano in the Sunda Strait between Sumatra and Java. Take a listen to this week's lesson with Tom Wright, Artistic Associate at Belvoir.

This week saw the anniversary of one of the most catastrophic volcanic eruptions in recorded history - Krakatoa, a volcano in the Sunda Strait between Sumatra and Java. Take a listen to this week's lesson with Tom Wright, Artistic Associate at Belvoir.

In this episode, I speak with Jessica Irons, founder and Artistic Director of Theater O, an independent theater school for kids in Ossining New York. She discusses the struggles of finding her purpose and then serving that purpose during a pandemic. She gives us the perspective of an artist and educator with the daunting task of trying to keep kids connected to their creative spirit while remaining safe. Jessica, an Ossining resident, and sits on the boards of the Ossining Arts Project (The Village Art Committee) and Bethany Arts Community.  She sat on the Board of Ossining MATTERS for 6 years and was president for 2. For 10 years she was the Artistic Director of the award-winning , NYC based Andhow ! Theater Company where she fostered new plays from a seed of an idea through to full productions. She directed Off & Off Off-Broadway at the Flea, The Ohio, HERE Arts Center, 78th Street Theater Lab, The Connelly Theater, Dixon Place, The Blue Heron Arts Center, The Ontological at St. Mark's Church in the Bowery  New Georges and adobe theatre company. She was the Associate Artistic Director of adobe theatre company and the Artistic Associate at Adirondack Theater Festival. As an educator she has directed/taught in Newark NJ, Redhook, Brooklyn, for the 52nd Street Project in Manhattan, Allan Stevenson, Fordham University, the Boys & Girls Club of Northern Westchester and elsewhere throughout the tri-state area. She was the original therapeutic arts director at Children of Promise, NYC in Bedford Stuyvesant, where she developed and implemented therapeutic art & theater curricula for children of incarcerated parents.  Jessica studied theater at Skidmore College (BA) and Creative Arts Therapy at the New School.Thanks so much for joining me today for A Therapist Takes Her Own Advice. If you connected with what you heard here, and you want to work with me, go to my website, rebekahshackney.com and send a message through my contact page. And if you have enjoyed what you've heard here, please subscribe, rate and review on Apple Podcasts or wherever you listen to podcasts.To learn more about DBT group therapy with Rebekah Shackney LCSW, go to https://rebekahshackney.com/groups

In this episode, Sam and Sarah get the opportunity to chat with playwright, director, deviser and artistic director of Prop Theater -- Olivia Lilley! Olivia Lilley is a playwright, director, and deviser who came up in Chicago's DIY scene. She uses a devised process to create and develop her plays that she's been honing since 2013. Olivia's work often ransacks classic literature or nonfiction with a collective and builds a new story for the current moment. Part Mary Zimmerman, Part John Cassavettes, Olivia's work is actor centric while also boldly multidisciplinary. She often collaborates with choreographer Kelly Anderson. Olivia is Artistic Director of Prop Thtr. She was the founding Artistic Director of The Runaways Lab Theatre and currently sits on their advisory board. She's an Artistic Associate at Pivot Arts, and she's curated at The Museum of Contemporary Art. Olivia attended Carnegie Mellon School of Drama for Directing, and Interlochen Arts Academy for Music Composition. To learn more about Olivia Lilley and her work, check her New Play Exchange at newplayexchange.org/users/10813/olivia-lilley To learn more about Prop Theater, visit the website at www.propthtr.org/ ------------------------------------------ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support

Alex is a cultural producer based in Toronto, and often moonlighting in Rio de Janeiro. He is the founding Artistic Director of Uma Nota Culture and has spent many years as both an artist and an independent music promoter, always focusing on music from the ‘tropical world'. He has been at the forefront of many productions in conjunction with Lula Music & Arts Centre and the Luminato Festival, as well as several projects in Brazil. He is currently an Artistic Associate at Harbourfront Centre in Toronto.Since 2002, Alex has lived within the rhythm of maracatu and has researched and studied various styles; immersing himself in the style of the northern area of Recife. He counts among his teachers Mestre Walter de França and percussionist Eder Rocha. Alex was among one of the first to start a maracatu group in North America in late 2003 when he founded Maracatu Nunca Antes. Today, Alex is the artistic director of Maracatu Mar Aberto, spearheading the young troupe's artistic initiatives and community driven presence in downtown Toronto.Links:Maracatu Mar Aberto's Websitehttp://maracatumaraberto.com/Maracatu Ethnography: https://static1.squarespace.com/static/5564cee5e4b07d5fa8a2ea14/t/556d2f99e4b0975c0bb06ae3/1433218969402/Maracatu+Ethnography+-+Alexander+Bordokas.pdfPadê Onã - Maracatu Mar Aberto LIVE at in/future festivalhttps://www.youtube.com/watch?v=BSfsypAACdwMaracatu Mar Aberto Brazilian Drummers - CMRTVhttps://youtu.be/pTUJagrdwmgSponsored by GoSamba.net! Sponsored by GoSamba.net! Your source of caixas, chocalhos, repiniques, surdos, straps, tamborims, tamborim sticks all imported from Brazil!

It's Tuesday and... Will Luera is our guest! Will is the Director of Improvisation at Florida Studio Theatre, Director of Big Bang Improv and serves as the Artistic Director Emeritus of ImprovBoston, Artistic Director of the Pilsen Improv Festival, Artistic Associate of the Chicago Improv Festival, Artistic Advisor to the Women in Comedy Festival and Part-time Faculty at Boston College. He has appeared in numerous improv festivals around the world and have studied improvisation with ImprovOlympic, The Second City, The Annoyance Theater, The Upright Citizens Brigade, and Keith Johnstone. He has been working with Florida Studio Theatre since 2014. Before that he was with ImprovBoston where he had worked since 1997 directing the Mainstage cast and developing the nationally renowned productions of Sitcom, Secret Society, Blue Screen, Playbook and Quest. In 2004, Will was the Boston and national winner of PAX-TVs World Cup Comedy. I am also a producer and actor in Strange Faculty, which was accepted to the 2007 New York Television Festival, the 2008 Los Angeles Independent Television Festival and was a winner of the 2008 NBC Comedy Short Cuts competition. He tours globally as improv and theater actor, director and instructor that performs and teaches regularly all across North America, South America, Europe and Asia. Will is the lucky husband of a beautiful woman and proud father of two. You can reach him at me@will-luera.com.

Don't roll your eyes at me, young lady! It's time for the 6th episode of the Louder Than Bombs Podcast! This time, we sit down with writer and comedian John Frusciante. John is a huge music fan, and he also happens to be the Artistic Associate at the Upright Citizens Brigade Theatre in New York. We talk about the Theatre, comedy, and lots of other stuff including the difference between American and British Punk, Pink Floyd, and why you don't have to isten to Metallica anymore.  It's a table-thumpin' good time! xx, Sherry PS For more about the bands and things John and I talk about, be sure to check out our Tumblr: http://louderthanbombspodcast.tumblr.com