Podcast appearances and mentions of bill rauch

To celebrate the 10th anniversary of BroadwayCon, we hosted a panel with the cast and creative of Cats “The Jellicle Ball” discussing their historic production. We were joined by director Bill Rauch along with Sydney James Harcourt, Dudney Joseph Jr., and Robert “Silk” Mason from the cast. About the Production: Cats: “The Jellicle Ball” is a radical reimagining of Andrew Lloyd Webber's iconic musical based on T. S. Eliot's Old Possum's Book of Practical Cats, inspired by the Ballroom culture that roared out of New York City over 50 years ago and still rages around the world. Staged as a spectacularly immersive competition by Zhailon Levingston and Artistic Director Bill Rauch. “I have rarely seen an audience respond with as much joy and love as I saw recently at Cats: ‘The Jellicle Ball'. The atmosphere was, quite simply, electric. Cats and Ballroom culture both emerged in the same era and I am delighted that, all these years later, they are intersecting once again. I want to congratulate the entire team behind this special show!” – Andrew Lloyd Webber Produced by: Alan Seales & Broadway Podcast Network Social Media: @TheWrongCatDied Learn more about your ad choices. Visit megaphone.fm/adchoices

Last year, the Perelman Performing Arts Center opened in New York City - the last major piece in the rebuilding of the World Trade Center site. Its opening marks a new chapter in the story of Lower Manhattan as a center of culture and creativity.The space - dubbed PAC NYC for short - includes three theatres with movable walls and seats that expand and contort to create endless possibilities of layouts to stage a wide variety of shows. From a reimagination of Andrew Lloyd Webber's Cats to free programming on the lobby stage, PAC NYC's inaugural year has hosted an impressive range of performances.Over the past year, PAC has welcome around 200,000 guests into their building and hosted 238 separate free performances with artists from 24 different countries.On this episode of Follow the Data, Katherine Oliver is joined by Khady Kamara Nunez, Executive Director of PAC NYC, and Bill Rauch, Artistic Director of PAC NYC, to celebrate the one-year anniversary of the PAC's opening. Together, they discuss what drew them to working at this brand-new venue and what's to come for the Perelman Performing Arts Center.

Bill Rauch is the inaugural Artistic Director of Perelman Performing Arts Center. His work as a theater director has been seen across the nation, from low-income community centers to Broadway in the Tony Award-winning production of Robert Schenkkan's All the Way and its sequel The Great Society, as well as at many of the largest regional theaters in the country. His other New York credits include the world premiere of Naomi Wallace's Night Is a Room at Signature Theatre, the New York premiere of Sarah Ruhl's The Clean House at Lincoln Center Theater, and a site-specific Occasional Grace in multiple Manhattan churches for En Garde Arts. From 2007 to 2019, Bill was artistic director of the Oregon Shakespeare Festival (OSF), the country's oldest and largest rotating repertory theater, where he directed seven world premieres and 20 other plays including several by Shakespeare as well as innovative productions of classic musicals including a queer re-envisioning of Oklahoma! Bill is also co-founder of Cornerstone Theater Company where he served as artistic director from 1986 to 2006, directing more than 40 productions, most of them collaborations with diverse rural and urban communities. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Of all the tasks to undertake in the current arts climate, leading a brand-new multimillion-dollar performing-arts center through its opening and first season must be one of the most daunting. Yet, Bill Rauch, the inaugural artistic director of the Perelman Arts Center (usually referred to as PAC NYC) in Lower Manhattan managed to launch with a bang through an astonishing array of music, dance, theater and opera performances. He also capped the first season with a personal triumph, co-directing with Zhailon Levingston an inventive reimagining of the musical “Cats” set in New York's drag ballroom scene. The production, titled “Cats: The Jellicle Ball,” garnered enthusiastic reviews and was immediately extended.Although Bill has decades of experience as an artistic director and producer, his previous posts were markedly different from the current. Right out of college, he founded Cornerstone Theater Company, a firmly community-centered company that was initially nomadic, creating theater with and for small and often rural towns before it put down roots in Los Angeles in 1992. Cornerstone continued to make homegrown community-partnered theater in Los Angeles as well as in satellite projects around the country. Then in 2007 Bill became the artistic director of Oregon Shakespeare Festival, which is a bit of a unicorn in the American theater ecosystem as one of the very few theaters in the U.S. with a full-time acting company. It is also one of a handful of destination theaters in North America, with patrons traveling from all over the country to rural Southern Oregon to enjoy a theatrical vacation. At OSF, while still centering Shakespeare's works, Bill diversified the theater's offerings and bolstered its new-play development program.“Art Restart” was eager to speak with Bill to learn how he has adapted his heavily community-centered vision to the demands of leading New York's newest cultural landmark, which opened during a particularly perilous time for so many of the city's performing-arts institutions. Here he describes why and how PAC can thrive in today's New York as a singularly welcoming hub for the countless communities throughout New York City and its environs.https://pacnyc.org/https://pacnyc.org/bio/bill-rauch/

"What overtly having categories does dramaturgy of CATS itself is that there is a particular outcome of winner or loser that happens at the end of every song." This bonus episode features the creative team of the Perelman Performing Arts Center reimagined production of CATS set in a ballroom which is appropriately titled: "CATS: The Jellicle Ball". Like me, many of you have been obsessing over this new production. I originally spoke with one of the directors Bill Rauch in July of 2022 when I first got wind of this potential new production which was just a reading at the time and the PAC wasn't even open yet. Nearly 2 years later, I'm joined by directors Zhailon Levingston and Bill Rauch as well as music supervisor William Waldrop to discuss what you can expect from this new production. We recorded this episode two days before the team started rehearsals and discussed how this incredible production is being brought to life. This is an episode you won't want to miss. Check out Zhailon on Instagram: @zhailon Check out PAC on Instagram: @pac_nyc Check out PAC's website: pacnyc.org Get your tickets to CATS: The Jellicle Ball: pacnyc.org/whats-on/cats-the-jellicle-ball Produced by: Alan Seales & Broadway Podcast Network Instagram/Twitter/Tik Tok: @TheWrongCatDied Learn more about your ad choices. Visit megaphone.fm/adchoices

Justin Lucero is artistic director of Theater Latté Da, in Minneapolis. In addition to nearly a dozen works directed for El Paso Opera,  Justin enjoys a robust freelance directing career for professional and academic stages, including past work with Abingdon Theatre Company, Pittsburgh Festival Opera, City Theatre (Pittsburgh), Creede Repertory Theatre, University of Texas El Paso, UTEP Dinner Theatre, the University of Houston, and Scaffolding Theatre, of which he was also Co-Founding Artistic Director.  As an assistant and associate director, he has worked with such major institutions as Oregon Shakespeare Festival, South Coast Rep, and Asolo Repertory Theatre under the mentorship of industry leaders including artistic director-producer Bill Rauch, director-playwright Lisa Peterson, director-choreographer Art Manke, artistic director Michael Donald Edwards, director-choreographer Peter Amster, Olivier-winning artistic director Timothy Sheader, Tony-winning playwright-director Mark Medoff, and Tony®-winning director-playwright Frank Galati.  Justin succeeded Theater Latté Da's founding artistic Director Peter Rothstein, who departed the organization at the end of June after 25 years of leadership, to assume a new role as producing artistic director of Asolo Repertory Theatre in Sarasota.

September 2023 sees the opening of PAC NYC – the Perelman Performing Arts Center in New York. It's the final building in the new piazza, situated on the site of the World Trade Center in lower Manhattan, which was destroyed on the 11th September 2001, when hijackers seized US passenger jets and crashed them into the Twin Towers, killing thousands of people. Jeff Lunden follows PAC NYC's artistic director Bill Rauch and his behind the scenes team, as they get the specially built, flexible theatres ready for their opening season.

Described as "the most glamorous civic building to land in New York in years," the Perelman Performing Arts Center recently opened its doors downtown in the World Trade area. We'll hear about the vision of the building, two decades after 9/11 and the inaugural arts season from artistic director Bill Rauch and executive director Khady Kamara.

ABOUT WILL McFADDEN AND #STORYTIME Welcome to the award winning #Storytime Podcast! The Internet is a dumpster full of stories, and our host Will McFadden is the most fearless and skilled dumpster diver in the game. #Storytime features the top podcasters, YouTube creators, TikTok stars, Reddit masters, and everyday folks who all share a love of great storytelling. Subscribe now and follow on Instagram, TikTok, Twitter, and Facebook to become an official Fable Baby today! This season guests include Rider Strong, Adam Pally, McCall Mirabella, SeanDoesMagic, and many more. Episodes here: https://www.iheart.com/podcast/1119-the-storytime-podcast-77077583/ ABOUT WILL McFADDEN Will McFadden is Chief Creative Officer at Collab and Company Member at The Actors' Gang. The Actors' Gang ensemble has included accomplished actors such as Jack Black, Lee Arenberg, John Cusack, John C. Reilly, Brent Hinkley, Helen Hunt, Kate Walsh, Kyle Gass, Fisher Stevens, Ned Bellamy, Jeremy Piven, Ebbe Roe Smith, Kate Mulligan, and Tim Robbins. The theater company has presented the work of innovative theater artists including Georges Bigot, Simon Abkarian, Charles Mee, Culture Clash, Bill Rauch and The Cornerstone Theatre Company, Tracy Young, Namaste Theater Company, Roger Guenver Smith, Eric Bogosian, Oskar Eustis, Danny Hoch, Beth Milles, David Schweitzer, Brian Kulick, Stefan Haves, Jason Reed, Michael Schlitt and Tenacious D. Guest artists that have appeared on The Actors' Gang stage include: Jackson Browne, Sarah Silverman, Ben Gibbard, John Doe, Tom Morello, Jenny Lewis, Wayne Kramer, Paul Provenza, Zooey Deschanel, Serj Tankian, David Crosby, Pink, Felicity Huffman, Jill Sobule, William H. Macy, Phillip Baker Hall, Jeanne Tripplehorn, T.C. Boyle. and the late, beloved, Gore Vidal.Touring productions include The New Colossus, Harlequino: On to Freedom, A Midsummer Night's Dream, George Orwell's 1984, The Exonerated, Tartuffe, Embedded, The Trial of the Catonsville Nine and The Guys. Over the last thirty years The Actors' Gang has toured the U.S. in forty-five states and on five continents, performing across the world from London to Milan, Bucharest, Athens, Madrid, Barcelona, Bogota, Beijing, Shanghai, Hong Kong, Melbourne, Buenos Aires and recently, to Santiago and Concepcion, in Chile.

Featuring the Inaugural Artistic Director of The Perelman Performing Arts Center and former Artistic Director of Oregon Shakespeare Festival, Bill Rauch | he/him : Will is pleased to welcome Bill to this very special bonus episode. We begin by ruminating on the cyclical nature of storytelling feeding queerness and queerness feeding storytelling. Bill shares the trials and triumphs of being the first openly gay AD ofOSF while urging all listeners to see the potential for outreach in even the most abrasive feedback. Will asks Bill to consider how directing his lifelong passion project, 2018's genderqueer OKLAHOMA!, has forever changed his artistry. With the coming of the Winter Solstice, Will asks Bill to look ahead and expound on the future of The Perelman before a surprising end of year tarot spread.In Teacakes and Tarot: Conversations with Queer Futurists, host Will Wilhelm (they/them) welcomes an artistic crush for an intimate chat and a reading. Each episode features a new queer guest discussing art, life in our industry, and their dreams and intentions while the world of performance waits in the wings. Together, they hold space to summon more inclusive, exciting, and queer-friendly ways to create. As the candle burns low,  Will offers their guest a unique tarot reading to give them greater insight on a personal journey. It's one part cocktail party and one part slumber party that will leave you stirred but never shaken. Teacakes & Tarot: Conversations with Queer Futurists is produced by Island Shakespeare Festival as part of the Shakespeare Playground Series. The series presents socially distanced programming that upholds ISF's mission of accessible Shakespeare that embraces intersectional storytelling and artistic excellence. Find out more at islandshakespearefest.org!Co-Created by Will Wilhelm (they/them) and Erin Murray (she/her)Graphic Design by Ray Kathryn Morgen (they/them)Theme Song: Raro Bueno by Chuzausen, licensed under an Attribution-NonCommercial-ShareAlike 3.0 International License.Audio & Mixing: Orion Schwalm (he/him)

Carey Perloff (former Artistic Director at American Conservatory Theater) and Bill Rauch (former Artistic Director at Oregon Shakespeare Festival) join us for a conversation about being in the seat of Leadership and then stepping away AND the productions they are directing right here at Arena Stage — A Thousand Splendid Suns and Mother Road.

Oregon Shakespeare Festival’s new artistic director, Nataki Garrett, started her new job at the beginning of August. She’s also directing a play called “How To Catch Creation.” Garrett takes over from Bill Rauch who directed the festival for 12 years.

OSF’s incoming and outgoing artistic directors, Nataki Garrett and Bill Rauch, discuss their brief period of leadership intersection before Bill heads to New York and Nataki fully takes the artistic reigns as the 84-year-old Festival’s fifth artistic director.

An interview between Director Bill Rauch and Harvard Professor Stephen Greenblatt in anticipation of the 2018/2019 A.R.T./OSF production of "Othello." Introduction by A.R.T. Editor and Assistant Dramaturg Robert Duffley. Recorded January 9, 2019 at Harvard University's Farkas Hall. Podcast host and producer: James Montaño Music: "Lendemain au café" from the album "Soleil d'hiver" by Lessazo Podcast date: January 12, 2019

In the inaugural joint event between American Theatre and Signature Theatre Company, a discussion with Bill Rauch, Ralph Peña, Erica Jensen, and Jacob Padrón on successful strategies for making more equitable theatre.

MOTHER ROAD runs March 3 to Oct. 26, 2019, in the Angus Bowmer Theatre. Tickets & info: osfashland.org/MotherRoad LA COMEDIA OF ERRORS runs June 23 to Oct. 26, 2019, in the Thomas Theatre and in other locations on the OSF campus. This Community Visit Project pilot production will also be performed in local community spaces. Tickets & info: osfashland.org/LaComediaOfErrors

Today's First Thing podcast touches on today's top stories: OSF’s Bill Rauch to take helm of Perelman Center in New York. No charges will be filed in Rogue River girl’s death. Third possible suspect sought in Central Point robbery. Read full versions of these stories at www.mailtribune.com. Listen to all Mail Tribune podcasts at www.mailtribune.com/podcasts.

Hosted by M. Graham Smith, we are delighted to bring you the first episode of our new podcast series – Masters of the Stage Regional Originals with M. Graham Smith: a series of interviews with some of the most exciting Directors and Choreographers working in America’s regional theatres today. This week Graham is with Bill Rauch.

KPFA theater critic Richard Wolinsky reviews the play “Roe” by Lisa Loomer, directed by Bill Rauch, at Berkeley Rep through April 2, 2017. Berkeley Rep website The post Review: Roe by Lisa Loomer, at Berkeley Rep appeared first on KPFA.

No one debates that Shakespeare is one of the greatest writers in the English language. What is debatable is just how much today's audiences actually understand that language. “I'll be really honest to say I can't understand all of it all the time,” says Lue Douthit, the director of literary development and dramaturgy at the Oregon Shakespeare Festival — and she makes her living studying theater. The Oregon Shakespeare Festival announced today it plans to bridge that comprehension gap with an unprecedented project underwritten by the foundation of tech entrepreneur David Hitz. “Play On” will commission 36 dramatists to translate the Bard's entire canon of 38 plays into contemporary modern English. Ranging from award-winning playwrights to up-and-comers and translators, the writers represent a wide diversity of voices: more than half are women and more than half people of color.“The goal is to keep all of the structure of the language intact, and the setting intact,” says artistic director Bill Rauch. “But to actually take words that may have lost their meaning or may have different meanings today and look at translating those words.” Read the full story: http://www.opb.org/news/article/oregon-shakespeare-festival-to-modernize-shakespeares-entire-canon

The good, the bad and the ugly. It’s not just the name of an old Clint Eastwood movie. It’s also a fitting way to think about this year’s Oregon Shakespeare Festival, currently running in Ashland on OSF’s three world-class stages. Yesterday I talked about the VERY GOOD "Head Over Heels," a new musical by Jeff Whitty of "Avenue Q" fame. With summer kicking into gear, there are several shows running on those three stages, and that’s one of the good ones. So let me tell you about the BAD and the UGLY, both of which could be used to describe OSF’s unsatisfying staging of Shakespeare’s "Antony and Cleopatra." Tony and Cleo has NEVER been an easy play to produce. Directors have to find clever ways to establish a coherent tone that’s not actually suggested in the script, which - sorry Mr. Shakespeare - is a bit of a mess. OSF’s Artistic Director Bill Rauch helms this production. Usually spot-on, Rauch appears to have decided to just follow Shakespeare’s unfocused lead, the result being a sometimes entertaining, frequently baffling mish-mash of tonal inconsistencies. By pushing the comedic moments to goofy excess, it diminishes, rather than enhances, the whole flow of the show. Consider the arrival of a bumbling snake seller who acts like an extra from T.V.s Hee-Haw show, a bit of outrageousness that comes just seconds before the tragic demise of a major character. And after watching the supposedly middle-aged Antony and Cleopatra act like lovesick puppies for thirty minutes, it’s hard to feel bad for them when their world starts to crumble under the weight of their irresponsible actions. That’s the point, of course, to show how great societies are often destroyed by the acts of selfish rulers, but it’s just inconceivable that the real Tony and Cleo would have run around squealing and clapping like toddlers at a birthday watching the clown tie balloon animals. Such choices leave the entire enterprise foundering in a kind of dramatic uncertainty. This is a tragedy, after all. In this production, that’s true in many ways. Let’s move back to the category of the GOOD, with the clever, emotionally rich "Secret Love in Peach Blossom Land," written and directed by Stan Lai. The American premiere is a translation of a Chinese play originally performed in in 1986, shortly after the 40-year ban on communication between China and Taiwan had been lifted and families long-separated were taking steps at reunion. In its first-ever English version, Lai takes the original script - a kind of site-specific experiment in which two theater companies attempt to rehearse on the same space - and tailors it to the Oregon Shakespeare Festival, which is referred to often by name, along with numerous suggestions that someone should call Bill Rauch - mentioned earlier - to come straighten out the mess. One of the plays, the deadly serious drama "Secret Love," is being directed by a Stan Lai stand- in known only as Director, putting his race-blind cast through the paces of a story clearly based on the loss of his one great love. When a group of Chinese-American comedians crash the theater, insisting Bill Rauch has given them the space for their rehearsal, a strange back-and-forth ensues. With an outrageously silly send-up of the ancient Chinese fable Peach Blossom Land - about an unhappily married man who finds a magical world where all his dreams come true, but pines for the wife who never really loved him - the newcomers agree to share the space, with some very funny, genuinely touching results. Oregon Shakespeare Festival runs through November 1. www.osfashland.org I’m David Templeton, Second Row Center, for KRCB.

One thing about the Oregon Shakespeare Festival that surprises a few newcomers is that only about four or five of the eleven shows they do each year are by William Shakespeare. The festival mixes things up a lot, adding original shows, historical classics, world premieres, musicals and American standards. This year - with four shows open already and more to come as the year unfolds - two non-Shakespeare shows are already clear hits. Such is the case with Frank Loesser’s "Guys and Dolls," a show so popular that no high school and community theater company in the nation can resist taking a crack at it. Everyone knows it. But forget what you think you know about "Guys and Dolls." Director Mary Zimmerman, a card-carrying theatrical magician of the highest order, is known for tackling impossible source material like Ovid’s Metamorphoses, The Notebooks of Leonardo DaVinci, and Kipling’s The Jungle Book. This year, she’s taken on the herculean task of making Guys and Dolls look fresh, fun, and significant - and she’s done it. Behind a mostly bare stage occupied at all times by a wooden table and a portable scale model of New York City, a massive wall occasionally opens up revealing windows that display various scene-setting images like palm trees or sewer grates. Other scene elements roll off and on - or bounce on, in the case of several dozen beach balls that appear in one scene set in Havana, Cuba - but the real razzle-dazzle in this Guys and Dolls is the superb cast. As the confirmed-bachelor and gambler Sky Masterson and the engaged-but-marriage-phobic Nathan Detroit, Jeremy Peter Johnson and Rodney Gardiner are forces of nature, bringing stellar voices and magnificent character work to what could have been nothing but easy-to-phone-in cliché’s. In the hands of such inventive actors, these two cartoonish characters - affable criminals caught in the magnetic pull of love - become richly detailed human beings. The entire cast follows suit, somehow turning these broadly drawn people into folks with real emotions roiling under their skins, and the result is a "Guys and Dolls" that has more than just dynamite singing and dancing and a fluffy, superficial plot - this one has real heart. And that brings us to "Fingersmith." Sarah Waters’ bestselling Victorian crime thriller became the novel to read about ten years ago, fueled by its daring combination of Dickensian detail and heart-pounding lesbian sex. With a sprawling cast of characters, public hangings, Victorian pornography, and that aforementioned girl-on-girl bedroom action, Fingersmith might not sound like an obvious choice for a Shakespeare Festival. So it’s a good thing OSF likes to break rules. This world premiere commission from playwright Alexa Junge brings with it enormous buzz and huge audience awareness. And it pays off. The story - about which little can be revealed - is set in two very different households in 1861 Londonl. Sue Trinder is a pickpocket who’s grown up in the makeshift “family” of the amiable Fagin-like criminal Mrs. Sucksby. When a legendary conman named Gentleman pulls Sue into his scheme to swindle a mentally frail heiress, things, to say the least, take a few unexpected turns. Directed by OSF artistic director Bill Rauch, the story clips along with pacing and polish, its shape-shifting cast augmented by some delightful stagecraft, including boats and carriages sailing or clip-clopping along on a rotating stage. Alternately moving and scary, hilarious and engaging, "Fingersmith" will keep you guessing to last surprise, in a show so full of surprises you’ll lose count. It’s a must see. For the full schedule and information about this year’s Oregon Shakespeare Festival, visit the website at www.osfashland.org I’m David Templeton, Second Row Center, for KRCB.

This is an extended conversation with Bill Rauch, Artistic Director of the Oregon Shakespeare Festival, Director of "All the Way" on Broadway, Director of the "Pirates of Penzance" at the Portland Opera.

State of Wonder's second segment this week talks with Oregon Shakespeare Festival's artistic director Bill Rauch about the Tony nominated play "All the Way" staring Bryan Cranston of "Breaking Bad" fame. Bill Rauch is also directing a revival of Gilbert and Sullivan's "Pirate's of Penzance" with the Portland Opera. We profile video installation artist Laura Fritz as she creates sculpture with light and video.00:00 – Bill Rauch Directs All The Way on Broadway 05:30 – Bill Rauch collaborates on Pirates of Penzance at Portland Opera08:25 – Laura Fritz video installation

Actor Bryan Cranston’s roles keep getting bigger. He gained fame for his work on the TV sitcom “Malcolm in the Middle,” then went on to even greater acclaim — and three Emmy awards — for his work on the drama “Breaking Bad.” Now he’s making his Broadway debut playing a bigger character than either Malcolm’s father Hal Wilkerson, or the “Breaking Bad” high-school-teacher-cum-meth-dealer, Walter White. In the new play All the Way, Cranston is Lyndon Baines Johnson, president of the United States. It’s the first year of Johnson’s administration, immediately after the assassination of JFK, and he’s working with every political fiber in his being to pass the Civil Rights Act. Written by Robert Schenkkan, All the Way is directed by Bill Rauch and can be seen at the Neil Simon Theatre. New York Times theater critic Charles Isherwood asks if Cranston measures up to the Johnson Act — that is, playing a real-life character with a well-known exterior and a complicated inner life.