Podcasts about Blanche DuBois

El Miedo al Otro es un mecanismo que genera enorme rédito político y económico y que explica el éxito de muchas cosas, desde la industria de la seguridad privada a Donald Trump. Pero nosotras somos más como Blanche DuBois, de confiar en la bondad de los desconocidos. Marcos Bartolomé expone la raíces de ese fenómeno y acaba con un alegato de las tres cosas que según él valen la pena en la vida: el cruising, el autostop y el nudismo. En directo desde el hotel Hoxton de Barcelona.

L'#america oggi appare come Blanche DuBois, la protagonista del dramma di Tennessee Williams, "Un Tram Chiamato Desiderio". Una creatura tormentata e depressa, in preda a una profonda inquietudine nascosta dietro un comportamento esibito come normale e la dipendenza inconfessata dall'alcol.Anche America che affida il secondo mandato a #Trump è in preda ad inquietudini che non sa guarire, un malessere oscuro a cui reagisce isolandosi e seguendo le pulsioni di un pifferaio poco magico e molto stonato. Quale direzione prenderà l'America nei prossimi 4 anni? E cosa implica questa doccia fredda per l'Europa?

In terms of narrative, composition and sheer scope as a record, Boys for Pele is one of the most audacious “pop” records to come out of the 1990s. Make no mistake: despite its twisty narrative, mysteriously confrontational lyrics and non-traditional take on song structure, Pele was a considerable mainstream success, selling more than 2 million copies worldwide and going platinum in the United States. Part harrowing journey into darkness and fury, part coming to terms with the aftermath of a shattered psyche, Boys for Pele might actually be the anti-pop record. Ironically, Tori's biggest-selling single off the record (her biggest-selling single of all time), was a club mix of the Southern Gothic tale of madness and revenge “Professional Widow” that focuses on the lyric “it's gotta be big.” Those who entered into this disorienting, often sinister world expecting a four on the floor rave were instead greeted by a smoky, deeply-complex rumination on one woman's singular version of The Blues. The album finds Tori in a fugue descending into a hallucinatory abyss of anger, despair and confusion; the cathartic kind that evokes the wrenching neurotic pain of a genteel Blanche Dubois cracking in A Streetcar Named Desire. Its roots are distinctly rooted in the deeply soulful, deeply-odd South that might have been written about by Flannery O'Connor or filmed by D.W. Griffith, which is reflected in the choices made for the album's artwork: Tori appears as the guardian of ghostly, forgotten children much like Lillian Gish does in the 1955 film The Night of the Hunter. All of these works are both branded with the red-hot iron of righteous Christianity and haunted by the foul-smelling sulfuric specter of the Devil himself. It is that unholy and unsettling bilocation and brilliant intertextuality that marks a true literary work of genius, artistic masterpiece, or any consummate objet d'art, all of which are applicable lenses through which to view an intimate, intricate, and positively harrowing work such as Boys for Pele. Categorization is futile, but the ways in which Pele can be read are staggering. Playlists: KK MM JV

Season 17! We're back! We couldn't kick off the brand new series without an icon joining us, and who better than the excellent Gillian Anderson. Gillian joined us to talk about her new book ‘Want', all about sexual fantasies… not a conversation I thought mum & I would ever have. We also heard about the tuna fish casserole with crisps her mum made her while growing up, playing Blanche Dubois, her favourite green jello thanksgiving side dish (it's giving Ghostbusters!), the future of The Fall and she teaches us all about her G Spot! Gillian, thank you being our dream guest to kick off an epic series and for navigating us through our sexual fantasies! Gillian's new book ‘Want' is available now. Hosted on Acast. See acast.com/privacy for more information.

On this episode we look at how the sausage is made with Springfield Community Theatre's musical production of a Streetcar Named Desire. Shockingly Marge has a lot more in common with Blanche Dubois then you'd think. This is another episode that features the incomparable Jon Lovitz and it's a really good one! Join us as we also bring you: - Cori's Oscar status report - We actually do talk about X - The realization that the opening credit scene is way too long, for today's audiences - Meryl Streep talk - What is objectivism anyways - Patrick speaks of his experience directing musicals - Bryan's thoughts on the A Streetcar Named Desire film and who could play Stanley in a modern rendition - We recommend: Euphoria, WikiHole, The Program - A Dean health update If you miss out on this one you're really going to yell-a. Interested in reaching out to us? We'd love to hear from you: Email: soitscometothispod@gmail.com Instagram: @soitscometothis_pod Facebook: @soitscome2this Find us as well as all of our pals on the web: radpatheon.com

We continue to celebrate the female voices that have provided a foundation for cultural advancement and modern discourse by featuring a rare TV talk show appearance by two-time Academy Award winner Vivien Leigh.  The year was 1958. The show was “Small World,” hosted by American broadcast journalist Edward R. Murrow. Appearing alongside Ms. Leigh are motion picture executive Samuel Goldwyn and British writer and entertainment critic Kenneth Tynan.  Ms. Leigh, best known for her work as Scarlett O'Hara in “Gone with the Wind” and Blanche DuBois in “A Streetcar Named Desire,” died in 1967 at the age of 53, but her legacy remains profound. And, while some of the opinions in this broadcast would be considered outdated now, you'll hear that Ms. Leigh was not afraid to mix it up with some of the most strident male voices of her day. As always, thank you for listening. For the video version of this episode, visit @advancedtvherstory on YouTube.    RESOURCES Small World, Part 1 https://youtu.be/4c6kR9ORqUc?si=sXmP3bg5Cqzs63Zu Small World, Part 2 https://youtu.be/P5roaRH9rY0?si=gfMmZhJTtrqdY85l Small World, Part 3 https://youtu.be/tG0x68lPzso?si=TMitHcgm45BVl3Pf Taylor Mayes - https://www.youtube.com/@Taylormayes   CYNTHIA BEMIS ABRAMS AND ATVH ATVH Newsletter – tvherstory.com Website - https://cynthiabemisabrams.com/  Podcast Archive - tvherstory.com Instagram - https://www.instagram.com/advancedtvherstory/ YouTube - https://www.youtube.com/@advancedtvherstory X (Twitter) - https://twitter.com/tvherstory Facebook - https://www.facebook.com/Media.Cynthia Bluesky Social - https://bsky.app/profile/cynthiabemisabrams.bsky.social   PRODUCTION Video - Nivia Lopez - https://nivialopez.com/ Audio - Marilou Marosz - https://www.linkedin.com/in/mariloumarosz/ Music - https://freemusicarchive.org/music/Jahzzar/  

In the last episode I looked at what is fueling the lack of confidence in higher education today and some of the basic decisions that will need to be made to restore the conviction that higher ed is vital to workforce success.  But another decision will need to be made to ensure that that the engine of higher education can continue to operate, namely a viable business model. The current not-for-profit model of higher ed is funded by the three-legged stool of state, federal and private funding.  In other words, higher ed is dependent largely on “the kindness of strangers,” to quote Blanche DuBois. The business model has been in large part related to the view of higher education as a common good that should be above societal and political influence. Well, that ship has sailed, and higher education is now seen as a public commodity from which the public demands accountability and return on investment.  In this episode I'll challenge the not-for-profit model and suggest that an alternative is all around us.  EdUp Insights with Bill Pepicello is part of the EdUp Experience Podcast Network

“Stella! Hey, Stella!”Tennessee Williams' Pulitzer Prize-winning play A Streetcar Named Desire took Broadway by storm in 1947. Four years later, director Elia Kazan decided to adapt the play for the big screen, bringing together many members of the original Broadway cast like Marlon Brando, Kim Hunter, and Karl Malden. After a tumultuous pre-production filled with casting conflicts and clashes over censorship, Kazan was finally able to begin filming on location in New Orleans in 1950. The end result was a critical and commercial smash, earning 12 Oscar nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Kazan's A Streetcar Named Desire.Here's a hint at what we talk about:In this episode, we dive deep into Marlon Brando's electrifying performance as Stanley Kowalski and how it paved the way for method acting in film. We also discuss how Elia Kazan's stage experience enabled him to open up the world of the play through evocative cinematography and set design. Additionally, we analyze Vivien Leigh's complex portrayal of Blanche DuBois and debate whether the film adaptation fully captures the darkness of Tennessee Williams' original story.Here are a few other points in our discussion: Our initial reactions to revisiting this classic film The jazzy, atmospheric score by Alex North Memorable scenes like Brando screaming "Stella!" and the final scene Differences between the film and Williams' original play The talented supporting cast like Kim Hunter and Karl Malden We have a great time unpacking this landmark dramatic film, so tune in to hear our thoughts. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatchor check out our new Watch page to get links for all the films we've discussed on our shows! Script Options Theatrical trailer Original Material Letterboxd Find source material for The Next Reel's family of podcasts – and thousands of other great reads – at Audible! Get your free audiobook and 30-day free trial today.Learn more about CODA and how it can work for you!Read more about the results of the WGA strike here.Learn more about the SAG-AFTRA strike here.Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

“Stella! Hey, Stella!”Tennessee Williams' Pulitzer Prize-winning play A Streetcar Named Desire took Broadway by storm in 1947. Four years later, director Elia Kazan decided to adapt the play for the big screen, bringing together many members of the original Broadway cast like Marlon Brando, Kim Hunter, and Karl Malden. After a tumultuous pre-production filled with casting conflicts and clashes over censorship, Kazan was finally able to begin filming on location in New Orleans in 1950. The end result was a critical and commercial smash, earning 12 Oscar nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Kazan's A Streetcar Named Desire.Here's a hint at what we talk about:In this episode, we dive deep into Marlon Brando's electrifying performance as Stanley Kowalski and how it paved the way for method acting in film. We also discuss how Elia Kazan's stage experience enabled him to open up the world of the play through evocative cinematography and set design. Additionally, we analyze Vivien Leigh's complex portrayal of Blanche DuBois and debate whether the film adaptation fully captures the darkness of Tennessee Williams' original story.Here are a few other points in our discussion: Our initial reactions to revisiting this classic film The jazzy, atmospheric score by Alex North Memorable scenes like Brando screaming "Stella!" and the final scene Differences between the film and Williams' original play The talented supporting cast like Kim Hunter and Karl Malden We have a great time unpacking this landmark dramatic film, so tune in to hear our thoughts. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatchor check out our new Watch page to get links for all the films we've discussed on our shows! Script Options Theatrical trailer Original Material Letterboxd Find source material for The Next Reel's family of podcasts – and thousands of other great reads – at Audible! Get your free audiobook and 30-day free trial today.Learn more about CODA and how it can work for you!Read more about the results of the WGA strike here.Learn more about the SAG-AFTRA strike here.Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

Continuing this season's line-up of ICONIC AND INCREDIBLE WOMEN, I am veritably trembling with delight to bring you today's guest: the extraordinary Gillian Anderson.Her 30-plus year career has taken her from playing FBI Special Agent Scully in The X Files to Prime Minister Margaret Thatcher in The Crown. She's been a dogged detective in The Fall and an unembarrassable sex therapist in the Netflix hit show Sex Education. On stage, she has been everything from Blanche duBois in A Streetcar Named Desire to Margo Channing in All About Eve. It's almost easier to list the roles she hasn't played than the ones she has.Owing to the ongoing SAG-AFTRA actors strike, we don't talk about any of her acting roles. Instead, this liberates us to have a fascinating chat about life, fame, womanhood and everything in between. We talk about her failures to look after herself, her addiction to work, how she coped with global celebrity in her 20s and how this affected the way that she saw herself. Plus: why she thinks wellness culture is making us ill and why her natural instinct when someone tells her what to do is to say 'F** off.'--Gillian's healthy soft-drink range, G-Spot, is available to buy here. (Not an ad but it tastes EXCELLENT).--I'm going on tour! To AUSTRALIA, mate! You can now purchase tickets to see me live at Sydney Opera House on 26th February 2024 or the Arts Centre Melbourne on 28th February 2024.--How To Fail With Elizabeth Day is hosted and produced by Elizabeth Day. To contact us, email howtofailpod@gmail.com--Social Media:Elizabeth Day @elizabdayHow To Fail @howtofailpodGillian Anderson @gilliana

The actor Patsy Ferran talks to Samira about her transformation from flower girl (with some autonomy) to duchess (with none at all) in Pygmalion at the Old Vic, and a career in which she transformed from Edith, the maid in Blithe Spirit with Angela Lansbury to Blanche DuBois in A Streetcar Named Desire with Paul Mescal, via Jem in Treasure Island. “Rubenesque” has long evoked a voluptuous image of female nudity in art, but a new exhibition at the Dulwich Picture Gallery seeks to explore the complex relationship between Peter Paul Rubens and the women in his life. Co-curator Amy Orrock and critic Louisa Buck discuss how they influenced, and in many cases financially supported, the 17th century Flemish painter. And as Netflix airs the fifth and final series of ‘Top Boy', which first appeared on Channel 4 starring Ashley Waters, Clive Nwonka, author of ‘Black Boys The Social Aesthetics of British Urban Film' and film critic Leila Latif discuss representations of black urban culture on screen. Presenter: Samira Ahmed Producer: Nicki Paxman

Welcome to the Instant Trivia podcast episode 944, where we ask the best trivia on the Internet. Round 1. Category: "me" tv 1: From 1992 to 1999 you could visit this title "Place" on Fox. Melrose Place. 2: Chuck Todd hosts this longest-running show on network television. Meet the Press. 3: Rachael Ray began making them on Food Network in 2001. 30-minute meals. 4: This series starts with Linda Cardellini and Christina Applegate meeting in a grief support group and becoming friends. Dead to Me. 5: Flower and Mozart were 2 of the title "kats" of the manor on this docudrama. Meerkat Manor. Round 2. Category: taking a "bath" 1: It attracts feathered friends. Birdbath. 2: It's what the baby shouldn't be thrown out with. the bathwater. 3: This vehicle can take you under the sea. Bathyscape. 4: Extreme sentimentality. Bathos. 5: It's the chemical rinse that keeps photographic film from overdeveloping. Stop bath. Round 3. Category: they planned their own funeral 1: This "Cleopatra" actress requested that she arrive 15 minutes late for her own funeral. Liz Taylor. 2: Guests this First Lady invited to her own Simi Valley funeral included Wayne Newton and Mr. T. Nancy Reagan. 3: Known by this title, the royal who died aged 101 in 2002 had viewed rehearsals of her funeral and reportedly had 1 horse replaced. the Queen Mum. 4: At his request, everyone wore jeans as this Southern rocker was laid to rest near brother Duane in 2017. Gregg Allman. 5: Instructions by this American that his body was not to lie in state were found a few days too late in 1945. Franklin Roosevelt. Round 4. Category: which english monarch? 1: Lost the 13 American colonies to independence. George III. 2: Crossed the English Channel in 1066. William the Conqueror. 3: Was the brother of Richard the Lionheart. John. 4: Was sometimes known as "Crookback". Richard III. 5: Ruled at the start of the English Reformation. Henry VIII. Round 5. Category: pulitzer-winning characters 1: Angelica Schuyler and Aaron Burr (2016). Hamilton. 2: Mitch Mitchell and Blanche DuBois (1948). A Streetcar Named Desire. 3: Scoop Rosenbaum and Heidi Holland (1989). The Heidi Chronicles. 4: Corporate bigwig J.B. Biggley and former window washer J. Pierrepont Finch (1962). How to Succeed in Business Without Really Trying. 5: Aaronow and Moss, real estate salesmen (1984). Glengarry Glen Ross. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Bijzonder weinig mensen zouden de stem van Marge Simpson als muzikaal beschouwen, maar regisseur Llewellyn Sinclair ziet in Marge de perfecte 'Blanche Dubois' voor een musicalversie van 'A Streetcar Named Desire'.  Marge zelf ziet de nieuwe uitdaging helemaal zitten, en ook buurman Ned Flanders is vol enthousiasme van de partij, maar Homer staat niet te springen voor wat hij één van haar 'kooky projects' noemt.Marge zet door en vormt samen met een dikke knipoog naar The Birds en The Great Escape, een weergaloze Jon Lovitz en die vreselijke Homer één van de ingrediënten die 'A Streetcar Named Marge' een classic Simpsonsaflevering maakt. Enjoy!

Welcome to the Green Room Meditations Podcast, presented by the Indiana Repertory Theatre and hosted by Devon Ginn. Today, we are in conversation with: Tracy Michelle Arnold. Tracy stars in the Indiana Repertory Theatre's one-woman show titled Shakespeare's Will. Tracy holds an MFA in Acting from Northern Illinois University and has been a proud member of Actors Equity Association since 1990. Tracy has served as a company member of American Players in beautiful Spring Green, Wisconsin, where favorite roles include Cleopatra in Antony & Cleopatra, Olivia in Twelfth Night, Lady Macbeth in Macbeth, Regan in King Lear and Charlotta in The Cherry Orchard. This season marks Tracy's 23rd year with APT, which fills her to the brim with gratitude and joy. At American Players Theatre, she has met the best of friends, the most talented of companions, the dearest of husbands, and the most extraordinary group of characters to inhabit. From Cleo to Kate, Jacques to Iachimo, Blanche DuBois to Linda Loman, each has broadened her capacity to understand and admire the human condition in all its wondrous complexity. She has been blessed to work in many fine theatres, Asolo Rep, Indiana Repertory Theatre, the Goodman Theatre, Forward Theater, Northlight, Writers, and Chicago Shakespeare Theatre among them. She makes her home here in Spring Green with her family.   About Shakespeare's Will: In Shakespeare's Will, the story of William Shakespeare's wife Anne Hathaway takes center stage. Anne has been cloaked in silence and invisibility, and now she tells her side of the story, full of love and loss, secrets and sacrifices. Inspired by what little we know about her, this witty and imaginative play creates a surprisingly modern portrait of a proudly imperfect wife and mother. Arnold conveys all of it, playing numerous characters - including Anne's husband, father, children and sister-in-law - while changing emotions in the blink of an eye. From carefree flirt to haunted widow. From tender mother of three to sex-starved lover of many. From terror-stricken plague refugee to joyous chronicler of nature's beauty. With a nod toward Anne's own slim inheritance, Arnold is given only a bed, table and chair - as well as a long scarf that embodies everything from a newborn to an ocean - to tell her story. It's more than enough for Arnold, who rises above a few moments where the script sags - and who is no more willing than Anne to be bound by a man's words, whether poetic or testamentary. Shakespeare's Will is on stage at the Indiana Repertory Theatre until April 16th. Click here for tickets: https://bit.ly/3nCWctf  About the Indiana Repertory Theatre: Founded in 1971, the Indiana Repertory Theatre (IRT) is the largest professional not-for-profit theatre in the state and one of the leading regional theatres in the country. The mission of the Indiana Repertory Theatre is to produce top-quality, professional theatre and related activities, providing experiences that will engage, surprise, challenge, and entertain people throughout their lifetimes, helping us build a vital and vibrant community. Inclusion, Diversity, Equity, and Access (IDEA): The IRT strives to celebrate and serve the diverse people and cultures that make up our whole community. The IRT is committed to providing access for all; to creating and maintaining an antiracist theatre that is inclusive, safe, and respectful.

Anita and Annie are joined by Kalpona Akter, an ambassador for The Circle who worked in a garment factory when she was just 12 years old. The government's first Menopause Employment Champion Helen Tomlinson joins the programme to discuss how she will advise employers on improving workplace support for women experiencing menopause symptoms. And we hear about a revival of Tennessee Williams's 1947 drama of passion, delusion and mental illness – A Streetcar Named Desire. Following a run at the Almeida Theatre in January it has transferred to the West End and opens at the Phoenix Theatre in London on Monday. The play dramatizes the experiences of Blanche DuBois, a former Southern belle who, after encountering a series of personal losses, leaves her once-prosperous situation to move into a shabby apartment in New Orleans rented by her younger sister Stella and brother-in-law, Stanley. Patsy Ferran and Anjana Vasan, who play Blanche and Stella respectively, join Anita Rani to discuss their characters and the sisters' relationship. Presenter: Anita Rani Producer: Lisa Jenkinson Studio Manager: Tim Heffer

The Play Podcast - 060 - A Streetcar Named Desire, by Tennessee Williams Host: Douglas Schatz Guest: Thomas Keith The Play Podcast is a podcast dedicated to exploring the greatest new and classic plays. In each episode we choose a single play to talk about in depth with our expert guest. We discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. A Streetcar Named Desire is one of the towering masterpieces of American theatre, distinguished for its frank depiction of sexual compulsion, its lyrical language, and its poignant portrait of mental fragility, as well as the bitter clash between two of the greatest dramatic characters – the damaged and defiant Blanche Dubois and the unrestrained masculine power that is Stanley Kowalski. As a new production opens in London's West End, I'm delighted to be joined by Tennessee Williams expert, Professor Thomas Keith, to help survey this giant of a play.

Alexandre e Fred conversam desta vez com o cinéfilo Marcelo Rennó sobre um dos mais emblemáticos filmes quando o assunto é o trabalho de atores no cinema americano. Estamos nos referindo a “Uma Rua Chamada Pecado” (A Streetcar Named Desire, 1951) dirigido por Elia Kazan, ele mesmo um dos fundadores do chamado Actor's Studio, um grupo que junto com o antecessor Group Theatre, foi uma das mais importantes tentativas de estabelecer uma forma diferente de atuar no teatro dos Estados Unidos. Neste clássico, Kazan trouxe da peça de Tennessee Willians que encenou por anos com sucesso na Broadway, diversos atores que estudavam o chamado “Método”, dentre eles os ainda desconhecidos do público de cinema, Marlon Brando , Kim Hunter e Karl Malden. O contra-ponto ficava por conta de Vivien Leigh, nesta altura uma veterana estrela das telas, mas que já havia interpretado o papel principal de Blanche Dubois no teatro inglês. ---------------------- Acesse nosso site: http://www.filmesclassicos.com.br Acesse nossa página no Facebook : https://www.facebook.com/podcastfilmesclassicos/ Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

Our 'London Entertainment Correspondent' (!) Elizabeth Dennehy reviews the transformative Almeida Theatre production of Tennessee Williams' A Streetcar Named Desire, directed by Rebecca Frecknall and starring Paul Mescal and Patsy Ferran (above). Elizabeth discusses how the direction and performances made it feel as if she was hearing Streetcar for the very first time, and how they scrape off the barnacles of affectation from previous productions; redefine the tragedy of Blanche DuBois; how her feelings are perfectly expressed in David Benedict's review in Variety; how the magic of theatre is not an illusion and more effective when it doesn't try to be; and the fundamental importance of trusting the words, trusting the actors, and most of all, trusting the audience. (Length 20:54)

What is a toxic relationship, and have you ever been in one? What about a toxic friendship? Alexis starts our show by breaking down what makes a relationship unhealthy and what to do if you realize you're in a poisonous partnership. Then, on to our book, er play... Her lips talk of wealth, grace, and power, but her eyes beg for forgiveness and grace. Blanche DuBois walks into her sister Stella's life after years of absence, unannounced, needing a place to live. Stella's husband, however, is angered by the woman's pride and pretentiousness. In the end, desire leads them all to damage. The Play: A Streetcar Named Desire by Tennessee Williams You're listening to LIT Society.   LET's GET LIT!    Find Alexis and Kari online: Instagram — www.instagram.com/litsocietypod/; Twitter — twitter.com/litsocietypod; Facebook — www.facebook.com/LitSocietyPod/; and our website www.LitSocietyPod.com. Get in on the conversation by using #booksanddrama.

Andreia D'Oliveira e Gabi Idealli testam sua maturidade neste programa sobre Marlon Brando, quer dizer, sobre Um Bonde Chamado desejo, peça teatral ganhadora do Prêmio Pulitzer em 1947, escrita pelo dramaturgo norte-americano Tennessee Williams. Vem ouvir, mas não esqueça o banho frio! Comentados no episódio Gato em teto de zinco de quente, filme dirigido por Richard Brooks (trailer)A coroa de orquídeas, conto escrito por Nelson RodriguesDe repente no último verão, filme dirigido por Joseph L. Mankiewicz (trailer)A ilha do medo, filme de Martin Scorsese (trailer)As Vinhas da Ira, livro escrito porAs Vinhas da Ira, filme dirigido por John Ford (trailer)A Noite dos Desesperados, filme dirigido por Sydney Pollack (trailer)The Simpsons - Um bonde chamado Marge (Temporada 04 - Episódio 61)Um bonde chamado desejo, filme dirigido por Glenn Jordan

Stellaaaaaa. Pour yourself a lemon coke with plenty of chipped ice, because we're about to sweat our way through the gothic world of Tennessee Williams. The person most confused by the film this week was: Blanche's boyfriend during the daytime.See omnystudio.com/listener for privacy information.

Welcome back to the 94th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 94th episode we are discussing the National Theatre's 2014 production of Tennessee Williams's A Streetcar Named Desire, directed by Benedict Andrews, and starring Gillian Anderson in the role of Blanche DuBois. Watch the play on NTatHome (subscription needed): https://www.ntathome.com/a-streetcar-named-desire CONTENT WARNING: A Streetcar Named Desire contains scenes dealing with sexual assault, domestic abuse, depression, alcoholism, and suicide. As a result, this review, likewise, speaks directly to many of these themes. Viewer discretion is advised. Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeat Apple Podcasts: https://apple.co/3aYbBeN Spotify: https://spoti.fi/3sAbjAu Carly Billings – Instagram: @mscarlybillings Andrew Pawarroo – Instagram: @andrew.s.pawarroo Patrick Teed – Instagram: @postmodernpat Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatre --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support

Laila Robins is an actor who's pretty much done it all in both theatre and on screen. On Screen you may recognize her from her many roles such as in Homeland, The Blacklist, The Boys, Walking Dead, Planes, Trains & Automobiles, Eye in the Sky, True Crime, An Innocent Man, Dr Death, The Equalizer, Bull, Law and Order: Special Victims & Bored to Death.  She's also a veteran in the theatre and has appeared in many productions, including as Blanche Dubois in A STREETCAR NAMED DESIRE, Alma in SUMMER AND SMOKE, Annie in THE REAL THING, Mellita in MRS.KLEIN, Masha in THREE SISTERS, Ranyevskaya in CHERRY ORCHARD, Nina in THE SEAGULL, Carrie Nye in HEDDA GABLER, Olympia Dukakis in LION IN WINTER, ANTONY AND CLEOPATRA, THE APPLE FAMILY PLAYS, THE LADY FROM DUBUQUE to name a few. As you can imagine we dive deep and cover a lot such as chatting about confidence, teaching, scenes being cut from films, regrets, looking after her voice, growth, magic, vibration, being in the moment and her fear of public speaking. The video footage of this entire chat is now out as well! So check them out on YouTube under Michael Kahan Check Laila out on: Instagram: https://www.instagram.com/officiallailarobins/ Twitter: https://twitter.com/laila_robins ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

Recognized by Opera News as “one of the finest singers of his generation,” American bass-baritone Ryan McKinny has earned his reputation as an artist with something to say. His relentless curiosity informs riveting character portrayals and beautifully crafted performances, reminding audiences of their shared humanity with characters on stage and screen. This season, McKinny brings his agile stage presence and comedic skill to performances of Mozart's Le nozze di Figaro on both U.S. coasts. He first appears as the titular Figaro in a Richard Eyre production at New York City's Metropolitan Opera, with an all-star cast that includes Golda Schultz, Lucy Crowe, Isabel Leonard, and Adam Plachetka. He then makes his Seattle Opera debut reprising the role in a Peter Kazaras production, under the baton of Alevtina Ioffe. In between productions – and coasts – McKinny joins collaborative pianist Kathleen Kelly for a recital at the Lied Center of Kansas, featuring works by Schumann, Debussy, Mahler, and Kurt Weill. In summer 2022, he joins the Boston Symphony at Tanglewood as the title character in Don Giovanni, with Andris Nelsons on the podium. He concludes the season with the Philadelphia Orchestra at Saratoga Performing Arts Center, appearing as soloist in Beethoven's Ninth Symphony with conductor Yannick Nézet-Séguin. Offstage, McKinny continues to adapt the beauty of his art form to the film screen, collaborating on a documentary with Jamie Barton and Stephanie Blythe. Through his work with Helio Arts, he commissions artists to write, direct, and film original stories, leveraging his personal power to help elevate new voices and visions in the classical performing arts world. During the pandemic, he has partnered with artists like J'Nai Bridges, Russell Thomas, John Holiday, and Julia Bullock to create stunning and innovative performances for streaming audiences at Dallas Opera, Houston Grand Opera, Lyric Opera of Chicago, On Site Opera, and the Glimmerglass Festival. McKinny's recent debut as Joseph De Rocher in Jake Heggie and Terrence McNally's Dead Man Walking at Lyric Opera of Chicago was hailed by the Chicago Tribune as an “an indelible performance...an acting tour de force buttressed by a warmly inviting voice.” He has also appeared as the title character in Don Giovanni (Washington National Opera, Lyric Opera of Chicago, Houston Grand Opera), Escamillo in Carmen (Semperoper Dresden, Deutsche Oper Berlin, Staatsoper Hamburg, Houston Grand Opera), and Mozart's Figaro (Washington National Opera, Wolf Trap Opera, Houston Grand Opera). McKinny made a critically acclaimed Bayreuth Festival debut as Amfortas in Parsifal, a role he has performed around the world, including appearances at Argentina's Teatro Cólon, Deutsche Oper am Rhein, and Dutch National Opera. Other Wagnerian roles include Kurwenal in Tristan und Isolde (Deutsche Oper Berlin, Houston Grand Opera, Canadian Opera Company), Biterolf in Tannhäuser and Kothner in Die Meistersinger von Nürnberg, both at the Metropolitan Opera, Wotan in Opéra de Montréal's Das Rheingold, Donner/Gunther in Wagner's Ring cycle (Washington National Opera, Boston Symphony Orchestra, Houston Grand Opera), and the titular Dutchman in Der fliegende Holländer (Staatsoper Hamburg, Milwaukee Symphony, Glimmerglass Festival, Hawaii Opera Theater). McKinny is a frequent guest artist at Los Angeles Opera, where he has sung Count Alamaviva in Le nozze di Figaro, Don Basilio in Il barbiere di Siviglia, and Stanley Kowalski in Previn's A Streetcar Named Desire, opposite Renée Fleming as Blanche DuBois, and at Santa Fe Opera, where he has appeared as Jochanaan in Salome and Oppenheimer in Doctor Atomic. An alumnus of the Houston Grand Opera Studio, Mr. McKinny has made a number of important role debuts on the HGO mainstage, including the iconic title roles of Don Giovanni and Rigoletto. McKinny is a long-time artistic collaborator of composer John Adams and director Peter Sellars, having appeared in Sellars productions of Adams' Girls of the Golden West (San Francisco Opera, Dutch National Opera) and Doctor Atomic (Santa Fe Opera), in addition to Adams' Nixon in China with the Los Angeles Philharmonic. He has also performed under Sellars' direction in Stravinsky's Oedipus Rex (Sydney Festival), Tristan und Isolde (Canadian Opera Company), and Shostakovich's Orango with the London Philharmonia and Los Angeles Philharmonic, the latter comprising Esa-Pekka Salonen's final concerts as music director. Other recent orchestral engagements include Beethoven's Symphony No. 9 and a double bill of Michael Tilson Thomas' Rilke Songs and Mahler's Des Knaben Wunderhorn with San Francisco Symphony, Mahler's Symphony No. 8 and Bernstein's Mass with Gustavo Dudamel and the Los Angeles Philharmonic, Beethoven's Symphony No. 9 with Cleveland Orchestra and National Symphony, Rossini's Stabat Mater at Grant Park Music Festival, Britten's War Requiem with Marin Alsop and Baltimore Symphony Orchestra, and Oedipus Rex with Chicago Symphony. McKinny benefited from early educational opportunities at the Aspen Music Festival, where he sang his first performance of Winterreise accompanied on the piano by Richard Bado, and at the Wolf Trap Opera Company, where he sang Barone di Kelbar in Verdi's Un giorno di regno, Le Gouverneur in Rossini's Le comte Ory and Figaro in Le nozze di Figaro. McKinny made his Carnegie Hall debut in Handel's Messiah with the Musica Sacra Orchestra while still a student at the Juilliard School. The first recipient of Operalia's Birgit Nilsson Prize for singing Wagner, McKinny has also received the prestigious George London-Kirsten Flagstad Award, presented by the George London Foundation to a singer undertaking a significant Wagnerian career. McKinny represented the United States in the 2007 BBC Cardiff Singer of the World Competition, where he was a finalist in the Rosenblatt Recital Song Prize, and he was a Grand Finalist in the 2007 Metropolitan Opera National Council Auditions, captured in the film The Audition.

Career Q&A with Joel Edgerton. Moderated by Jenelle Riley, Variety. Joel Edgerton currently stars as John Connolly in BLACK MASS alongside Johnny Depp. He was honored for his performance as Tom Buchanan in “The Great Gatsby,” Baz Luhrmann's 2013 screen adaptation of F. Scott Fitzgerald's classic novel. Edgerton won Australian Film Institute (AFI) and Film Critics Circle of Australia (FCCA) Awards and was nominated for an Australian Film Critics Association Award, all in the category of Best Supporting Actor. Edgerton more recently directed, wrote, produced and starred in the psychological thriller “The Gift,” also starring Jason Bateman and Rebecca Hall. The independent film delivered tremendously, with a 93% Rotten Tomatoes score and an opening weekend of $12 million. He also starred opposite Christian Bale in Ridley Scott's biblical epic “Exodus: Gods and Kings.” Edgerton's upcoming credits include starring roles in Jeff Nichols' sci-fi thriller “Midnight Special,” and Gavin O'Connor's Western “Jane Got a Gun,” with Natalie Portman and Ewan McGregor. He is currently reunited with Nichols on the fact-based drama “Loving,” about the couple whose challenge to Virginia's interracial marriage ban led to a landmark Supreme Court case. In 2012, Edgerton gained international attention with his role in Kathryn Bigelow's award winning true-life drama “Zero Dark Thirty.” That same year, he starred opposite Jennifer Garner in Peter Hedges' “The Odd Life of Timothy Green,” and in “Wish You Were Here,” winning an FCCA Award for Best Actor. His other recent film credits include the drama “Felony,” which he also wrote and produced and which premiered at the 2013 Toronto International Film Festival; Gavin O'Connor's drama “Warrior,” with Tom Hardy and Nick Nolte; the horror thriller “The Thing,” the prequel to John Carpenter's cult classic; and David Michôd's “Animal Kingdom,” for which he won AFI and FCCA Awards for Best Supporting Actor. Edgerton had earlier starred in such films as “The Square,” directed by his brother Nash Edgerton; the Australian feature “Acolytes”; “Whisper,” with Josh Holloway”; the crime thriller “Smokin' Aces”; the drag comedy “Kinky Boots”; and George Lucas's blockbusters “Star Wars: Episode II – Attack of the Clones” and “Episode III – Revenge of the Sith,” playing the young Owen Lars, who would become Uncle Owen to Luke Skywalker. He also lent his voice to Zack Snyder's animated feature “Legend of the Guardians: The Owls of Ga'Hoole” and the Oscar nominated animated short “The Mysterious Geographic Explorations of Jasper Morello,” performing the title role. Born in New South Wales, Australia, Edgerton attended the Nepean Drama School in western Sydney. He went on to appear in various stage productions, most notably with the Sydney Theatre Company in “Blackrock,” “Third World Blues” and “Love for Love”; and the Bell Shakespeare, where he appeared in “Henry IV.” In 2009, he returned to the stage to star as Stanley Kowalski, alongside Cate Blanchett's Blanche DuBois, in the Sydney Theatre Company's acclaimed production of “A Streetcar Named Desire.” The pair also performed the play to sold-out audiences at the Kennedy Center in November of that year, followed by a run at the Brooklyn Academy of Music (BAM) in December. On Australian television, he is known for playing the role of Will in the long-running series “The Secret Life of Us,” for which he was nominated for an AFI Award.

Hey everybody and welcome to another episode of The Wrinkled Rabbit Podcast! This week we're talking about A Streetcar Named Desire! The film is about Blanche DuBois who moves in with her sister in New Orleans and is tormented by her brutish brother-in-law while her reality crumbles around her.   Next Episode: The Straight Story YouTube: http://www.youtube.com/c/WrinkledRabbitProductions Twitter: https://twitter.com/WrinkledRabbit Instagram: https://www.instagram.com/wrinkledrabbit/

32 years after joining National Ballet of Canada, Sonia Rodriguez's farewell performance with the company will be dancing Blanche DuBois in A Streetcar Named Desire. To see images and videos of Sonia, please visit The Ballet Herald. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/balletherald/message Support this podcast: https://anchor.fm/balletherald/support

In the transition from stage to screen, "A Streetcar Named Desire" retained its long-running Broadway cast with a single exception: the role of Blanche Dubois, which passed from Jessica Tandy to Vivien Leigh. Like Blanche, Leigh was the odd woman out. A symbol of the glories of the studio system, married to the symbol of English stage acting, her classical training ran contrary to that of her Method-trained co-stars. Thus to the clash of wills between Blanche and Stanley Kowalski was added a clash of acting styles— and the struggle between the death of Old Hollywood and the birth of Brando and the New. Which principle— Blanche's fantasy or Stanley's realism— makes for superior art? Can the conflict between magic and truth ever be resolved? And is all realism a form of cruelty? Wes & Erin discuss Tennessee Williams's "A Streetcar Named Desire."

In the transition from stage to screen, A Streetcar Named Desire retained its long-running Broadway cast with a single exception: the role of Blanche Dubois, which passed from Jessica Tandy to Vivien Leigh. Like Blanche, Leigh was the odd woman out. A symbol of the glories of the studio system, married to the symbol of English stage acting, her classical training ran contrary to that of her Method-trained co-stars. Thus to the clash of wills between Blanche and Stanley Kowalski was added a clash of acting styles— and the struggle between the death of Old Hollywood and the birth of Brando and the New. Which principle— Blanche's fantasy or Stanley's realism— makes for superior art? Can the conflict between magic and truth ever be resolved? And is all realism a form of cruelty? Wes & Erin discuss Tennessee Williams's A Streetcar Named Desire.  Subscribe: (sub)Text won't always be in the PEL feed, so please subscribe to us directly: Apple | Spotify | Android | RSS Bonus content: The conversation continues on our after-show (post)script. Get this and other bonus content at by subscribing at Patreon. Follow (sub)Text: Twitter | Facebook | Website Thanks to Nick Ketter for the audio editing on this episode.

This week on FONDAVISION ... Jane Fonda doing her best Blanche DuBois in a sub-textually queer film from the writer of Funny Girl (the play and film)! Listen in as Emily and Danita navigate Tennessee Williams adaptation Period of Adjustment (1962), which features one of Jane's earliest on-screen performances. Is this black-and-white MGM picture just another silly pitstop on Jane's way to serious superstardom, or does it have some sneakily forward-thinking themes that would steer the course of her career forevermore?

Book Vs Movie: “A Streetcar Named Desire” The Tennessee Williams Play Song Vs the Elia Kazan Movie The Margos are feeling very fragile and need to take long, hot baths when discussing one of the greatest dramas of the 20th Century--A Streetcar Named Desire. The play by Tennessee Williams thrilled the Broadway stage in 1947 starring young buck Marlon Brandon who went full method with Kim Hunter, Jessica Tandy, and Karl Malden.  The play is Williams's follow up to the incredible success of The Glass Menagerie in 1944 which was greatly based on his own life story. Williams grew up in an unhappy home and had family members with mental health issues. The writing was his escape and many of his characters tend to be lost souls who are searching for meaning and/or companionship.  In post-World War 2 America, musicals were making the most money in New York theater but when A Streetcar Named Desire--audiences stood in lines for hours to watch  Brando and his masculinity on full display. He was a fan of Stella Adler and her acting technique which as first scared Jessica Tandy (playing Blanche Dubois--an “aging” southern belle who is looking for help in a time of crisis.”) Her husband, fellow thespian Hume Cronyn convinced this type of drama will change theater forever.  Taking place in New Orleans in 1947, Blanche Dubois is a woman who has just lost her family home in Laurel, Mississippi, and moves in with her younger sister Stella (Kim Hunter) and her brutish husband Stanley Kowalski. Brando plays Stanley as a cross between man & animal who resents his sister-in-law moving into their tiny home.  The tension between Blanche & Stanley fuels most of the scenes and has consequences for everyone in their lives culminating in violence.  The film was directed by Elia Kazan based mostly on his Broadway production though because of the Hays Code, many changes had to be made to make it “appropriate” for a 1950s movie audience. (There were no rating systems back then and movies were meant for a more general audience.) Most of the hyper-sexuality was toned down and were under the guise of symbolism to get their point across.  It's one of the top dramas of all time and we really enjoyed digging into the changes with the film (which started with the casting of Vivien Leigh as Blanche who was thought to be more commercial than Jessica Tandy.)  So between the play and the movie--which did we prefer? Have a listen and find out!  In this ep the Margos discuss: The life of Tennessee Williams New York theater in the 1940s & 1950s and how it changed acting forever  The backstory and controversial life of Elia Kazan The cast: Marlon Brando (Stanely Kowalski,) Vivien Leigh (Blanche DuBois,) Stella Kawalsky (Kim Hunter,) and Karl Malden as Mitch Mitchell.   Clips used: Blanche meets Stanley A Streetcar Named Desire trailer “Napoleonic Law”  “Stella!” Mitch confronts Blanche Music by Alex North Book Vs Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie  Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/ Twitter @bookversusmovie www.bookversusmovie.com Email us at bookversusmoviepodcast@gmail.com Brought to you by Audible.com You can sign up for a FREE 30-day trial here http://www.audible.com/?source_code=PDTGBPD060314004R Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.com Margo P. @ShesNachoMama https://coloniabook.weebly.com/  Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs Movie: “A Streetcar Named Desire” The Tennessee Williams Play Song Vs the Elia Kazan Movie The Margos are feeling very fragile and need to take long, hot baths when discussing one of the greatest dramas of the 20th Century--A Streetcar Named Desire. The play by Tennessee Williams thrilled the Broadway stage in 1947 starring young buck Marlon Brandon who went full method with Kim Hunter, Jessica Tandy, and Karl Malden.  The play is Williams’s follow up to the incredible success of The Glass Menagerie in 1944 which was greatly based on his own life story. Williams grew up in an unhappy home and had family members with mental health issues. The writing was his escape and many of his characters tend to be lost souls who are searching for meaning and/or companionship.  In post-World War 2 America, musicals were making the most money in New York theater but when A Streetcar Named Desire--audiences stood in lines for hours to watch  Brando and his masculinity on full display. He was a fan of Stella Adler and her acting technique which as first scared Jessica Tandy (playing Blanche Dubois--an “aging” southern belle who is looking for help in a time of crisis.”) Her husband, fellow thespian Hume Cronyn convinced this type of drama will change theater forever.  Taking place in New Orleans in 1947, Blanche Dubois is a woman who has just lost her family home in Laurel, Mississippi, and moves in with her younger sister Stella (Kim Hunter) and her brutish husband Stanley Kowalski. Brando plays Stanley as a cross between man & animal who resents his sister-in-law moving into their tiny home.  The tension between Blanche & Stanley fuels most of the scenes and has consequences for everyone in their lives culminating in violence.  The film was directed by Elia Kazan based mostly on his Broadway production though because of the Hays Code, many changes had to be made to make it “appropriate” for a 1950s movie audience. (There were no rating systems back then and movies were meant for a more general audience.) Most of the hyper-sexuality was toned down and were under the guise of symbolism to get their point across.  It’s one of the top dramas of all time and we really enjoyed digging into the changes with the film (which started with the casting of Vivien Leigh as Blanche who was thought to be more commercial than Jessica Tandy.)  So between the play and the movie--which did we prefer? Have a listen and find out!  In this ep the Margos discuss: The life of Tennessee Williams New York theater in the 1940s & 1950s and how it changed acting forever  The backstory and controversial life of Elia Kazan The cast: Marlon Brando (Stanely Kowalski,) Vivien Leigh (Blanche DuBois,) Stella Kawalsky (Kim Hunter,) and Karl Malden as Mitch Mitchell.   Clips used: Blanche meets Stanley A Streetcar Named Desire trailer “Napoleonic Law”  “Stella!” Mitch confronts Blanche Music by Alex North Book Vs Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie  Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/ Twitter @bookversusmovie www.bookversusmovie.com Email us at bookversusmoviepodcast@gmail.com Brought to you by Audible.com You can sign up for a FREE 30-day trial here http://www.audible.com/?source_code=PDTGBPD060314004R Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.com Margo P. @ShesNachoMama https://coloniabook.weebly.com/  Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

At long last, Little Miss Movies can watch the "Streetcar Named Marge" episode of The Simpsons because we've now rode A Streetcar Named Desire. What does a 10-year-old think of Blanche DuBois and Stanley Kowalski? Take a listen and find out!  Haven't pre-ordered Christina's upcoming bio on Jane Russell? Do that NOW over at Larry Edmunds Bookshop! Series art and logo by Gabo. Visit him at: https://www.instagram.com/galvosaur/ Original Series music by Gibby and the V's.

"Welcome to the DocArena Podcast in association with Film Ireland. My name is Ross Whitaker and every fortnight, I want to dig deeply into the motivations of documentary filmmakers – how do they choose their subject material and what approaches and strategies do they employ to fund, craft and distribute their work..." In this inaugural DocArena podcast, Ross talks to Lisa Immordino Vreeland (Love, Cecil, Peggy Guggenheim: Art Addict, Diana Vreeland: The Eye Has to Travel), whose latest film, Truman & Tennessee: An Intimate Conversation, brings the two forces together in a unique and fascinating tête-à-tête, comparing and contrasting their trajectories through dueling voices — the writers’ own, culled from archival footage, and the voices of actors Jim Parsons and Zachary Quinto (The Boys in the Band) portraying, respectively, Capote and Williams at various stages of their lives. Both created rich, imaginary worlds and characters (Blanche DuBois, Holly Golightly) that left indelible marks on the era — and both paid the price of colossal success and fame through alcoholism and periods of artistic stagnation. Truman & Tennessee: An Intimate Conversation - available in virtual cinemas & on Dogwoof on Demand and other platforms from 30th April. http://filmireland.net/

On the season three premiere, Jon and Matt discuss the classic Simpsons episode where Marge is cast as Blanche Dubois in a musical version of A Streetcar Named Desire. From passive aggressive directors, to non-existent fight calls, to leads that are cast solely on their looks, this episode goes deep into life in the community theater. Also we take a detour to the weird world of Ayn Rand when Maggie is forced to attend an objectivism-inspired daycare (Maggie is a total ninja).

The 93rd Academy Awards are just around the corner - so what better way to celebrate than by revisiting some of our favourite characters for a game of football! Find out who makes the cut: Is there a place for Oscars heavyweight Meryl Streep? Will Tom Hanks add to his collection? And which one of us picked Blanche DuBois from A Streetcar Named Desire?! It's all happening on a particularly eventful week of Fantasy Fantasy Football!

Did you ever wonder why IT diagrams always use a cloud to show an element where stuff goes in and comes out, but we're not 100% sure what happens inside? That was originally called a "TAMO Cloud" - which stood for "Then A Miracle Occurred". It indicated an area of tech that was inscruitable, but nevertheless something we saw as reliable and consistent in it's output. For IT pros who hold a strong religious, ethical, or moral point of view, our journey has had its own sort of TAMO Cloud - where grounded technology and lofty philosophical ideals blend in ways that can be anything from challenging to uplifting to humbling. In this series, we sit down with members of the IT community to explore their journeys - both technical and theological - and see what lessons we can glean from where they've been, where they are today, and where they see themselves in the future. This episode features my talk with my long time friend, fellow Clevelander, and co-conspirator, Doug Johnson. Listen to our discussion or read the transcript below. Intro (00:03): [Music] Leon Adato (00:32): Welcome to our podcast, where we talk about the interesting, frustrating and inspiring experiences we have as people with strongly held religious views working in corporate, IT, we're not here to preach or teach you our religion. We're here to explore ways. We make our careers, it professionals mesh, or at least not conflict with our religious life. This is technically religious. Leon Adato (00:53): Did you ever wonder why it diagrams always use a cloud to show an element where stuff goes in and comes out, but we're not 100% sure what happens inside that was originally called a TAMO cloud, which stood for then a miracle occurred. It indicated an area of tech that was inscrutable, but nevertheless, something we saw as reliable and consistent in its output for it. Pros who hold a strong religious, ethical, or moral point of view. Our journey has had its own sort of TAMO cloud where grounded technology and lofty, philosophical ideals blend in ways that can be anything from challenging to uplifting, to humbling. In this series, we sit down with members of the it community to explore their journeys, both technical and theological, and see what lessons we can glean from where they've been, where they are today and where they see themselves in the future. Leon Adato (01:39): My name is Leon Adato, and the other voice you'll hear on this episode is a frequent contributor to technically religious and a friend of mine for 30 years. Doug Johnson. Doug Johnson (01:52): We are so old. So very old. Leon Adato (01:52): We are so old. Before this podcast started, we realized that there may be close to a hundred years of experience on this particular episode. And there's just two of us on the line, Doug Johnson (02:01): Man. I'll tell you been at this for a little while. Yes, indeed. And this wasn't my first career, so really? Think about that. Leon Adato (02:10): Yeah, it's really, were like Methuselah put us in a jar. Um, okay. So as we are want to do here on technically religious, we're going to start off with a shameless self promotion, Doug, tell us a little bit about what you're working on, any special projects, how people can find you on social media and required, uh, is your religious ethical or moral point of view? Doug Johnson (02:31): Okay. Basically there's two, technically speaking things that I work on, I work for a company called Southwestern health resources, which is an accountable care organization, health kind of stuff down here in Dallas, Texas. Leon Adato (02:45): Uh huh. Doug Johnson (02:45): Um, when they sold this to me a year ago, I, remember I was working on my own. So I really wasn't looking for a job, but this cool thing came up that put all my background together and I thought, Oh, that's cool. And they said, well, this is a startup. Now keep in mind that this startup was, uh, peeled off from the two big 800 pound health gorillas, thousands and thousands of employees in, in, in Texas. So this startup that I've been part of for a year has 800 employees, $2 billion in revenue, plus et cetera, et cetera. That's not what I thought of when, uh, when we said startup, but there we are. So I am the web developer for the marketing department. And if you're a technical person, you know how most technical people feel about marketing departments. So the fact that I'm the only technical person in the marketing department should tell you a little something there, but it's kind of fun. They, their expectations are really low. So I exceed them all the time and it works out really well for me. Leon Adato (03:44): There you go. Doug Johnson (03:44): My side gig, the one that's going to go ahead and make me a multi-billion million. Okay. A hundred thousand air maybe if were lucky,. Leon Adato (03:52): You'll be able to buy coffee. Doug Johnson (03:54): I'm hoping. Yeah so far, so far it's cost a lot of money, but basically where we do a inventory management for small to medium size, uh, healthcare offices, primarily optical at this particular point using radio frequency identification. And I am the CTO, the chief technology officer, I supposedly know everything that I'm doing. I've designed it. It's working well. We've been breaking even for almost a year and we actually expect to make a profit this year until we then hire an, an employee. And then we'll go back in the red again. Leon Adato (04:24): It's all going to go, right? It all goes down the tubes again. Doug Johnson (04:26): That one is wave rfid.net. So if you have an optical shop and really actually want to control your inventory, go there. Leon Adato (04:35): Awesome. And your religious point of view, Doug Johnson (04:38): Religious point of view, I am a born again, evangelical Christian, but not one of those weird ones. I don't know. You know, I mean, you know, there are evangelical Christians who basically will smack you over the head with a really heavy Bible until you give up. I'm more one of the ones that thinks that we should talk about it and if you come to it, that's great. Um, Leon Adato (04:57): Got it. Doug Johnson (04:57): So yeah, I have, Leon Adato (04:59): I was going to say, Doug is one of the weird ones for those people listening he is, Doug Johnson (05:02): I am one of the weird ones, but not necessarily in the way that you expect me to be weird. Leon Adato (05:06): An evangelical Christian. Doug Johnson (05:07): Exactly. Leon Adato (05:07): Yeah, um hmm. Doug Johnson (05:08): Exactly. So there you are. So that's, that's my, I mean, I've read the Bible multiple times. I do know what I'm talking about. Um, but by the same token, I, I, I respect, I respect your, uh, right to choose, uh, the wrong choice. Leon Adato (05:23): [laughing] I was waiting to get around to that. I Knew somewhere along the way, Doug Johnson (05:31): I keep, I keep on going with the, I could be wrong. I don't think I am, if I'm wrong. Oh, well, uh, I'll deal with it when the time comes. And by this, you know, by the same token, I'm going to try and convince you that, uh, this is the right way to go. Leon Adato (05:45): Right. You might be wrong, but you gave it your best shot. Yeah. Point, you know, it has certainly worked for me over the years, A for enthusiasm. Um, okay. So tales from the Tambo cloud is, uh, structured in a particular way where we talk about your journey first through tech and then through religion. So I want to talk about where you're at now. I mean, you gave us a taster and amuse-bouche perhaps of where you're at technically, but in terms of the day-to-day work that you do, what are you doing today? Doug Johnson (06:14): The stuff that I'm doing today is actually well below my technical capabilities, um, which is fine. I'm okay with that. Um, I, uh, in my, in my day job, I am doing web development. Uh, I was just on Friday given the, uh, requirements to go ahead and re-skin one of our sites in WordPress in two weeks, which most people wouldn't be able to do. And certainly none of our, the people we normally hire at ridiculously high rates would be able to do, but they also know that I'm going to be able to pull it off. So. Leon Adato (06:48): Uh huh. Doug Johnson (06:48): And actually, technically speaking, I'm supposed to have it done in a week so that they can go ahead and get the content over. So having actually worked with a couple of our vendors for months not to get this to happen, I get to do it in a week. So, you know, it'll work, it'll work out okay. On the wave RFID side, I am the CTO. I don't actually do the programming. We got a great team of people in India who were actually doing all the work we're working in a stack that I understand. So they can't get too far out from underneath me. Well, you know, Leon Adato (07:20): Right. Doug Johnson (07:20): Sometimes, sometimes people who are, you know, they don't know the technical stack and, anything could happen at that particular point. I could in essence, dump them at any at any point and take it over, but God, why would I want to, these guys are great. Leon Adato (07:33): Uh huh. Doug Johnson (07:33): I've known them for years. They're doing a good job. It's a layer of L slash PHP slash react stack. It's working great. Clients are happy. They don't care how we do it. And so that one is more, uh, advisory than anything else. I do the design. I make sure that it will go ahead and scale as we grow to thousands of clients instead of tens of clients. And, uh, you know, that's, that's, that's my day to day. Leon Adato (08:03): Well, and, and I'm going to having known you for a while. I'm also going to sort of fill in some of the blanks there, which is that for as long as I've known you, you've always been in, you've always been one of the best examples of an architect level, uh, developer, meaning you're the big idea guy. You're the one who sees that we're gonna, you know, this is the goal we're going for the end result that we're going for. And here's how we're going to get there. You know, the stack, the code, the whatever, you'll, pseudo-code out, what needs to be done. You'll, you'll talk about the flow. And if somebody gets sick or wins the lottery and buys an Island and disappears, you can take over for them, but you don't want to, because you don't really want to be a code monkey day after day after day, you want to jump in, solve the really hard problems or point the way to solving the hard problems and go on. But you certainly could if you needed to. Doug Johnson (08:54): Yeah. And pretty much that would be accurate. I mean, yeah. And, and just for those people who are wondering, gee, I wonder if I should go into tech someday and all that kind of stuff. I'm completely self-taught. Leon Adato (09:04): Yes. Doug Johnson (09:05): I did not get it. I don't have a CS degree. In fact, there's a couple of jobs that I wanted along the way that I lost, because I couldn't do an algorithm on a whiteboard. It just, no, I'm serious. Leon Adato (09:16): No, I know you're serious. Doug Johnson (09:17): I flew out to LA, I flew out to frickin Seattle. I talked with the CTO of the company and he was happy with me. And then the guy who was going to be my boss threw this link list thing at me, and I was like, I, I know how to do what you're talking about, but I don't know how to do that. I mean, you know, I was just. Leon Adato (09:38): Right. Doug Johnson (09:38): And I lost, I didn't get the job as, as a, as a tech evangelist who doesn't actually have to write code because I couldn't do a link list thing. Leon Adato (09:48): Yeah. Doug Johnson (09:48): Do I sound bitter? Leon Adato (09:50): My, not even a little. My, my response in those situations is frequently. Is this something that your employees do often? Doug Johnson (10:00): Right. Well and that's a, Leon Adato (10:01): You do code on a board without, anything like, is that how development is done here? Doug Johnson (10:08): well, Yeah. Unfortunately this was early enough in a job change that I would, at this point, if they had said, if he had said, I need you to do a link list thing, I would go, I don't do that. That's what I would do now, because now having been in that situation one, Nope. I don't have a CS degree. I know what link lists are. I've taught it, but it was 30 years ago, you know? So I don't know. I don't do that anymore. If that's not good enough, I'll just go home fine. Leon Adato (10:35): Right. Exactly. Okay. Doug Johnson (10:36): But I'm old and cranky now, so. Leon Adato (10:38): Right, exactly. So you've earned the ability to be blunt a little bit. Listen, Sonny. Um, so, but you, you hit upon where we're going next, which is that you are self-taught, you didn't, uh, depart the womb already knowing how to code with a silver keyboard in your mouth. Doug Johnson (10:55): Yup. Leon Adato (10:55): Um, so how, where did you start out? Doug Johnson (10:58): Technically, I started out in college. I went to college where they invented Basic. And so you could, in fact, they, they encouraged all departments to do stuff with the computer because we were kind of big on that whole thing. In fact, the, uh, one of the inventors of basic became the president of my college and his signature is out of my diploma. So, so basically you could go down to the, uh, computer center or to a couple of different places around campus, put in your, uh, your college ID number, no password mind you, um, and just put it in and then you'd be on and you could do basic on a teletype. Leon Adato (11:40): Uh huh. Doug Johnson (11:40): And so, and I, you know, I, I did various incentive things. We would all do. English classes would have you do something on the computer, blah, blah, blah. But in physics class, I, uh, the, the first real, uh, indicator that I was, uh, going to do something, interestingly weird with this, I was trying to go ahead and do this, uh, make something, uh, orbit around the planet. Leon Adato (12:07): Uh huh. Doug Johnson (12:07): And all of a sudden on the teletype, there were dots everywhere. I mean, just asterisks cause remember. Leon Adato (12:14): Its full of stars, Doug Johnson (12:15): It's little, Little asterisks everywhere. And I went, okay, that's interesting saved. It went off, uh, went to a different building where they had a, uh, a plotter. And I went ahead and did the 150, uh, baud modem with the phone to go ahead and get it to connect. And it did this really interesting loopy thing. And I went, Oh, that's interesting. And so what had happened was I had, I had actually divided incorrectly in my program. Leon Adato (12:47): Uh huh. Doug Johnson (12:47): And so what ended up happening was I had negated the effect of gravity on, um, on orbits. So by going ahead and doing different numbers with this kind of stuff, I got these really cool loopy things. And remember, this is like, this is early seventies when this stuff was considered to be cool. Leon Adato (13:04): Uh huh, right. Doug Johnson (13:04): Um, , you, you wouldn't even think about it now. You'd go, what are you just a fricking idiot? But at the time, no, you know, it's like, and so I got, I now have on my college degree, uh, not on the degree, but on, on my, uh, resume it basically, I have a citation in physics for a modified gravitational model of a, uh, on a computer. I forget exactly what the words are, but it is a citation in physics keeping in mind, I got a C plus in physics because I really wasn't that great at it. Leon Adato (13:37): Right, right. Doug Johnson (13:38): So I knew, I knew if a computer mistake can do this for me, this was probably a field for me someday. Leon Adato (13:45): There you go. Okay. So that was, that was your humble beginnings. Doug Johnson (13:48): yes, but then I became a disc jockey. Leon Adato (13:48): Your humble beginnings was a citation in physics. Doug Johnson (13:52): I know really? Yes. Except that, except that I realized that now, remember, I wasn't a science guy. I mean, I did, I was thinking about pre-med until I got to biology and realized that wasn't going to work. And so, uh, eventually I got my degree in philosophy. Leon Adato (14:07): Uh huh. Doug Johnson (14:07): I was a disc jockey. They would pay you to sit there and actually tell people what time it was and what song you had just played. And so that's what I kind of did for the next 10 years. Leon Adato (14:16): Right. Right. And actually for those people who were wondering, he was, uh, the number one, uh, was it, Doug Johnson (14:22): Mid day. Leon Adato (14:22): it wasn't DriveTime. Yeah. Doug Johnson (14:24): Mid day. Leon Adato (14:25): Number one mid day, jockey up against, um, 105 in Cleveland, the Cleveland market. Doug Johnson (14:32): Yes. For at least one or two books. I forget. I'm sure Matt, the cat hated me for it, but that's just the way it is. So I beat him. I beat you Matt. Leon Adato (14:41): There we go. Claim, yet another claim to fame, Doug Johnson (14:44): Right. So did that, uh, stop doing drugs? Um, got married, um, worked for the phone company for 12 weeks, nine weeks training, three weeks on the job went, okay, this ain't gonna work. And then I was with Eastern singing telegrams for a whole year. That was a good job. And then I got a job selling computers. So here we are at the end of, uh, when did the Lisa come out? 82 or 81. And it was the October for October before the Lisa came out. Leon Adato (15:16): Okay. Doug Johnson (15:17): Uh, because I, I know that because I did the Apple Lisa rollout training, I'm one of the few people that's ever seen a Lisa let alone a room full of them. Um, but, uh, so basically at that point I was selling computers. Um, and you know, it did rather well at it. Uh, I had a knack for it as it turned out and we were off and rolling. So somewhere along the line, um, we started instead of being just an Apple shop, we picked up IBM's and the way I had been selling apples all along was people would come in and they would say, I need to do a, uh, I needed to be able to do a mailing list. And so I would show them on the Apple, how they could go ahead and set up using profile to do this thing and, and put all their names in. And, and they would say, well, I'm looking at the IBM. I said, well, okay, that's good. I have just shown you on the computer. How I can do this. I would need you, you, you should probably go back to the IBM guy and have the IBM salesman, show you how they're going to do that. Now at the time on the IBM, the only real database for doing that was the thing called dBase wonderful little database program. And when you type dBase at the prompt, A dot would appear. That's all, Leon Adato (16:34): That's what you got. um hmm. Doug Johnson (16:35): And most salespeople would never show you anything on the IBM, because they didn't know how it worked. Now. We decided to carry the, I, we decided to carry, and then they would come back to me and buy the Apple because it made sense. Leon Adato (16:49): Because they could do things. Right. Doug Johnson (16:49): Exactly. Well easily without being, you know, a computer programmer. So basically when we, when my company decided to sell IBM's, I said, nobody is going to do that to me. I went in, learn dBase. I would, Oh, sweet. Okay. I learned how to do my example, so I could do it for my, anybody I was selling to, but I found out, gosh, I can do this. I can handle, I mean, this is programming. I can do this. And it was difficult because it was really early on. But, but the answer is, I just found out I had a knack for it and went out. I was the DBAs expert, then a FoxPro expert. And, you know, I would just keep on learning new stuff as we went along and I keep on learning new things and .NET and Delphi and C and C sharp and keep on going. I mean, it's just like, if it, and then I got into PHP and Drupal and WordPress and combine it, it's just like, yeah, whatever would offer, essentially ahead and allow me to, to continue to pay the bills and have a good time doing it. I would just keep learning it. And as long as you keep on learning in this wonderful world of technology, you're okay. It's when you decide, you know, as much as you need to know, unless it's COBAL, in which case you can keep on working until you die. But come on. There's a lot of COBAL calls still out there baby. Leon Adato (18:10): There's still a lot of COBAL out there. Well, there's a lot of support stuff. I remember meeting a guy who was in his like mid twenties and he decided to really get good at COBOL. And, you know, I'm like, okay. And he just pointed around the bullpen where they were all sitting and he's like, look around me. They're going to die soon. Doug Johnson (18:26): Yep. And he's absolutely correct. I mean, what would they say? Most banking codes still runs on COBOL. Leon Adato (18:32): Yeah. yeah. Doug Johnson (18:32): So I mean now, I mean, I've read COBOL. I've never actually written any useful COBAL code, So that's one of the few languages I can't claim that I've been paid to write. Leon Adato (18:44): There you go. All right. And that covers the, Doug Johnson (18:47): So that's how I got here. Leon Adato (18:47): That, that covers how you got from there to here. So that's, I mean, that's a journey. Um, and I think one of the lessons to, this is something you told me a while ago is that somebody who's new on the market can probably use the latest tools and use them competently. Um, you know, and probably will work for cheaper than, than someone like us at our point in life. But what we bring to the table is that we know what came before it, and probably what came before that. So we know why the current version works the way it does. Doug Johnson (19:18): Yup. Leon Adato (19:18): And how to get around all the hidden bugs. And I remember specifically, I was working with Tivoli at the time and I was trying to, uh, at the time they had just created one of their GUI's and I was putting containers, you know, uh, nesting containers. And every time I would nest something inside of something inside of something inside of something, the entire database would corrupt. And I was complaining to you as I am, want to do often. And you said, well, yeah, because it's a Corba database and I, I don't like banana hamster? Like, what are we talking? Like, why is it no, no, you understand Corba databases are one of the first object oriented database structures ever. And they only handle three levels of can, you know, have container ship after that, the database corrupts, you literally did what it can't do. And I'm like, okay, but who would, who would know that, you know, coming at it new. Doug Johnson (20:10): Yup Exactly. But, and the flip side to that though, and again, this is, I've had all kinds of people saying, well, I'd like to get an attack, but it's way too late. And I'm going, no, you are exactly two years behind the cutting edge. So if you pick out whatever's cutting edge now in two years, you'll be the expert and people down the road will be saying, I don't know how to do this. So, you know, it's like, you're never too late in our industry to jump in. You just have to, you just, you don't want to start with something that's so fricking old that you're battling against everybody like me. Who's been doing this forever. You want to be battling. You want to be battling on the front lines and learning it. And then in two years, yes, it'll take you a little while for the cutting edge to move back. But if you pick the right cutting edge, you know, you will be the expert in two years and making the money you want to make. Leon Adato (21:03): So what you're saying is that Moore's law may not be true until the earth, So the sun dies because of heat death, but it will in terms of chips, but it will be true in terms of getting a career in it that Moore's law will, Doug Johnson (21:17): Surprisingly Moore's law actually is key. It keeps on con, it should have died years ago, and yet it keeps on rolling. Leon Adato (21:25): Right. And once again, if you're old like us, you know what we're talking about when we talk about Moore's law, okay. I want to, I want to pivot, we talked about tech now let's pivot to the, um, religious side. Doug Johnson (21:37): Ok, works for me. Leon Adato (21:37): I know that labels, labels are difficult and often incredibly imprecise. And most of the time on this, uh, on these TAMO episodes, when I say so, what are you, you know, religiously, the answer begins with well, and it ends, uh, several minutes later, when many, many, many qualifications have been given to an answer. That being said, how do you, you know, besides, you know, evangelical, evangelical Christian, but not one of the weird ones. How do you define yourself religiously? Doug Johnson (22:08): Basically, Um, I believe the Bible is to be the word of God. I believe that, um, Christ is the Messiah that he is, uh, my savior that he has. Um, he died for my sins, and I actually, there's nothing that I can do to make myself worthy in the eyes of God. Other than to say, I am the, Christ said, I'm okay. I've trusted in Christ. Therefore, uh, if, if Christ is your son, God, and you think he's okay, then could you maybe think I'm okay too? Leon Adato (22:50): Okay. Doug Johnson (22:51): That's pretty much it. Leon Adato (22:53): Okay. Doug Johnson (22:53): I mean, that's, it's, it's the base that it's, it is the basis of real Christianity. That's a really good book by CS Lewis called Mirror Christianity that I recommend to people all the time. Uh, it's a little more philosophical than most people are willing to slog their way through, although it was a series of radio interviews for God's sake. Uh, so it's, it's good reading, but it basically covers the basis of what Christianity is. And I really have not gotten much beyond the basics, um, could, because it's when you get off in all the weird, you know, differences that Christians tend to go ahead and get in trouble with each other. If you stay with the, the mainstream stuff, for the most part, we agree. Leon Adato (23:37): Got it. Doug Johnson (23:37): So I, so I try and stay, stay pretty central. Leon Adato (23:41): There we go. Okay. And, uh, you mentioned the whole born again thing a minute ago, several minutes ago, Doug Johnson (23:46): Yup. Leon Adato (23:46): But I wanted it. So you, that was not the family, that was not the household into which you were born. Doug Johnson (23:51): No. Leon Adato (23:51): So where did you start? Doug Johnson (23:52): It works the same as my technical journey. Surprisingly. Leon Adato (23:56): Um hmm. Doug Johnson (23:58): When I was, I went to, um, uh, I belong we went to church every Sunday, blah, blah, blah. Um, we, we would, uh, be yelling at each other on the way to church because we were late and we would be yelling at each other on the way home from church, because, uh, we weren't respectful enough in church. So, you know, you, you got a good solid feel for how great church is, uh, and that sort of situation, but, uh, Leon Adato (24:22): Big motivation to go every week. Doug Johnson (24:24): Exactly. Leon Adato (24:24): You look forward to it. Doug Johnson (24:25): But at the same time, you know, I mean, I, I did, I went to, went to youth group and all that kind of stuff. I was, uh, I was one of the three people who did stuff on the senior sermon day, you know, when I was a senior in college, but just for the integrity purpose, there was a, there was a statement of faith that we were supposed to make at some point, along the way, uh, community, uh, not confirmation. It was like a confirmation thing. And I specifically did not actually say some of the words in the statement that we were supposedly standing up and making. So, you know, I was a little bit of a, of a re reactionary there. So I went to college. Okay. At college was where I first got my first introduction to computers. Well, in college, that's where I first went and said, you know what? This is kind of, this is garbage. And. Leon Adato (25:15): Uh huh. Doug Johnson (25:15): I actually, I can actually remember some Christians coming to dorm room going ahead and, you know, trying, you know, laying out the whole Christian thing. And I knew the Bible better than they did, and basically, uh, shot down all of their arguments. And I, I hope I pray to God that I did not ruin their cause I will feel really bad if I was able to go ahead and push them off of their path. Leon Adato (25:39): Knock somebody else off the, yeah, Doug Johnson (25:41): Exactly. Leon Adato (25:41): I so, so, just to hold that thought for a second. Um, first of all, uh, just a point of order for people listening, never, ever get into religious argument with somebody who's in the philosophy department. That's really not, that's not the, the part of the dorm you want. Like if the, if there's a philosophy wing to the dorm, which God help them, if they really did that. But if they're like, if they say so what's your major philosophy. Thanks. Great talking to you. Bye. Just go, just go. Um, and second of all, I heard from actually one of the other folks that we talk with a lot, um, Josh Begley, who said that the missionaries that we, they send people out on, on mission work, not to try to change anybody else's mind, but to try to deepen the faith of the people who are doing the mission, because being told no repeatedly and aggressively causes you to dig in harder into your own, uh, point of view. So they do it because they want that reaction. So you probably helped many, many people develop a stronger tie to their faith. I'm, I'm working really hard, make this okay for you. Doug Johnson (26:44): Well, in the end, and again, based on what I believe as I stand before the, uh, the, the throne and get told, well done thou good and faithful servant. I have a feeling that he's gonna say, Oh, and Doug, I got a little conversation with you ok? Just yeah. Right. With these people. And then you and I, we're going to talk just a little longer, so we'll see how that all works out. But so basically I managed to get through, uh, college, uh, with what I would consider to be a somewhat hedonistic philosophy that basically said, if it's not hurting anybody at camp, it can't be all bad. Leon Adato (27:20): Okay. Doug Johnson (27:20): Right. And, um, and I lived that out. I was a philosophy major. I truly lived that out. I was a disc jockey after that, everything bad that you've ever told your daughters to avoid. I was that thing, right. Leon Adato (27:34): You were that boy. Doug Johnson (27:35): I was that boy, I was the poster boy for who, who you shouldn't have your daughter bring home and, you know, went through that whole thing, blah, blah, blah, uh, graduated from, uh, has got cut, got out of college, was a disc jockey, did all kinds of things for about 10 ish years or so. Leon Adato (27:55): Um hmm. Doug Johnson (27:54): Um, And then I was a disc jockey in Cleveland and then, um, got invited to, uh, a business meeting. We've all heard of Amway. Leon Adato (28:08): Um hmm. Doug Johnson (28:08): So, you know, it sounded interesting went blah, blah, blah. Did that for a while, went to a, uh, big meeting on the weekend. They had a religious service on Sunday morning and they did an alter call and I said, okay, God, here's your shot. Leon Adato (28:28): [laughing]. Doug Johnson (28:28): Don't laugh. I mean, it really is. I know exactly. So I said, fine, I will go forward. Here you go. And it was one of those, you know, hit, God figured he had his one shot, hit me with a two by four tears, blah, blah, blah, the whole thing. And you know, it, it, it stuck. Leon Adato (28:50): Okay. Leon Adato (28:50): So, you know, when, when they say born again, not everybody, uh, I, I don't think you have to have a dramatic, uh, con uh, a dramatic change in your life. I did it. And it probably is the only thing that would have gotten my attention. So I did what I was, I started studying the Bible, doing all kinds of things. Next thing you know, somebody said at the door, Hey, would you like to study the Bible? I went, sure, come on in. I think these Jehovah's witnesses had never actually had anybody really invite them in before. Now, of course, I didn't know much about the Jehovah's witnesses at that point, because I hadn't been saved that long, but so we're going through it and we're studying on a weekly basis. And, um, and in fact, one of the fun things was there was an Easter service that we went to that they, you could, they called you up to the front to take communion. Leon Adato (29:38): Uh huh. Doug Johnson (29:38): Well, I didn't know. You're supposed to be one of the 180,000 saved people to go up. Leon Adato (29:44): Oops Doug Johnson (29:44): So I went up, well, I w. Leon Adato (29:46): Wait, wait, this isn't snacks. I was hungry. Doug Johnson (29:48): No, exactly. It was kind of like, it was like that. I was told later that I shouldn't have done that, but it was okay. You know, I wasn't going to go to hell, but, but then it got weirder and weirder as time went on. And so I made the mistake of reading to the end of the book, Leon Adato (30:04): Uh huh. Doug Johnson (30:04): And now we're back to the philosophy major thing. Leon Adato (30:07): Yeah, uh huh right. Doug Johnson (30:07): And so they came in the next time and I said, um, you don't actually believe that God is, that Jesus has God, do you? And they went, well, blah blah blah, I said, no, apapapa, this is a yes, no question. And so that was the end of me with the, uh, Jehovah's witnesses. And, uh, when we went to another church, uh, we went one Sunday morning and, you know, the place where you sign your name and, and we just lived across the way. And I said, uh, I said, lamb in search of a shepherd. And next day, [knock on door sound] pastors says, how could I not come to your door after that? So, and, and so I was discipled there and, you know, as time has gone on, I've learned more and been discipled by different people and irritated multiple denominations, but, you know, uh, have worked well. Leon Adato (30:59): Yeah, that's, it's an incredibly on brand for you. So, you know, Doug Johnson (31:02): Well, it is, I mean, it's, it's been, it's been fun even when I've been wrong. I've been right. There was there, there was a time when I was teaching a Sunday school class, and this was when I was traveling 45 minutes to a church that was having some trouble, you know, we had moved. Leon Adato (31:16): Uh huh. Doug Johnson (31:16): And so I ended up running late, you know, it's just cause it was a long drive. And the, as I'm going into my Sunday school, getting set to teach my Sunday school class a little bit late, the elder posts, says that it's irresponsible for you to be late, blah, blah, blah, blah, blah, blah. I said, I've got a class to teach. We'll talk about this later, went in, taught my class, went home, searched scripture, Leon Adato (31:40): Uh huh. Doug Johnson (31:40): Sent him a thing and said, I searched the Bible. The only thing, only time I ever saw somebody arriving late was when Samuel arrived late, and, uh, Saul went ahead and did the sacrifice ahead of time because he wasn't willing to wait. And the elder apologized to me. So, so I knew we were okay. Leon Adato (32:01): There you go. Doug Johnson (32:01): So, and so over a period of time, I've been church, I've been, God help them. I've been deacon in a church or two, you know, I mean, can you imagine, Leon Adato (32:10): What were they thinking? Doug Johnson (32:10): I don't know, I've been, I've been a worship leader. Oh, I can remember once as worship leader, I was there and I was leading us, but I lost the melody. And so the organist go ahead and, and really knocked out the melody. And I said, here I am in front of the whole church. I rely on the kindness, strangers, Thank you, Blanche Dubois. Leon Adato (32:38): Right. Doug Johnson (32:41): So that's been, my, that's been my journey. Leon Adato (32:44): Amazing. Both, you know, both the technical and the religious journey has been, uh, Epic in many ways. Um, I think what's interesting about that is that given both the variety and also the duration of it, and yeah, I did just call you old. Um, the, you know, Doug Johnson (33:06): I'm not old, I'm durable! Leon Adato (33:06): Right. Durable, experienced, seasoned, like an old cast iron pot. Um, so I, I think that the, the number of times that the opportunity to blend these two very compelling, very consuming parts of our lives together, um, you know, becomes equally memorable. So, uh, both on the good and the bad, let's start off with the challenging part, you know, have you ever, have there ever been times when blending your religious life observances and your technical obligations or life has created a, a particular challenge for you and how did you overcome it? Doug Johnson (33:47): Um, yes. I mean, it pretty much has to be a conflict or. Leon Adato (33:53): Right. Doug Johnson (33:53): What you don't have conflict. Where's the story. Come on now. Leon Adato (33:57): Right. Doug Johnson (33:57): Yeah. I always tell people when they had a really bad vacation, they went, Hey, you got good stories. Nobody wants to hear what a wonderful time you had, They want to hear everything that went wrong, but I can, I mean, I can remember that I had a consulting firm, um, for a long time where I was doing accounting software and I can remember a couple of different occasions where, uh, I ran into when the one place he went, uh, so, uh, I need to have some, uh, I need to have some inventory disappear. Can you make that happen? Leon Adato (34:30): Okay. Doug Johnson (34:31): And I'm going, I don't think we need to work together anymore. You know, it's just like, yeah. I mean, could I have done it? Absolutely. I mean, do I, you know, I knew, I knew the accounting software well enough that I could have made it, made that happen. But in fact, I was actually played by somebody once. Um, he, well, he thought, anyway, a friend of mine had a company. He had a guy who was managing his company. So I got in there and the guy said he had done a bunch of test, uh, test transactions. And could I move the, could I get the just test transactions needed to get re needed to get them off? And so I did move them off, but I moved them off to the side. Leon Adato (35:10): Uh huh. Doug Johnson (35:10): It turns out the guy was embezzling, Leon Adato (35:13): Right. Doug Johnson (35:13): They weren't they weren't test transactions. They were real transactions. And so I got to, uh, uh, be an expert witness in his trial. By the way, if you ever want to know how boring your life is, be an expert witness. I could see the people nodding off as I'm describing accounting software. Leon Adato (35:33): Yeah. Being an expert witness in a technique. Yeah. In a, in a computer accounting fraud. Doug Johnson (35:37): Oh yeah, Exactly. It was bad, but you know, it was so in that was a case where I was played, but of course, uh, you know, I, I covered for it. So I was able to actually, you know, the guy went to jail and he should have no. So just the way it was, uh, I, I can remember being in another place where looking, you know, looking at his stuff, um, there was no way that he had, he could afford the boat, that he had a picture on the wall of, Leon Adato (36:05): Uh huh. Doug Johnson (36:05): Based on what I was seeing here. So only thing I could figure out was he was laundering funds somewhere. It was the kind of business that would have been good for that. So I let that, that's again, a case where I went. Yeah. I think I need to let this client go. So. Leon Adato (36:20): There you go. Okay. So, uh, that's, that's sort of the challenging side on the good side. Has there ever been a situation where the blend of technology and religion has really turned into something surprising and kind of delightful? Doug Johnson (36:34): It's sort of a yes and a no? I mean, I, the nice thing about being able to do what I do is that I, I am able to go ahead and help out non-technical organizations with technical stuff that they should have. So there's been things that I've been able to do for various and sundry, different organizations that I've been involved with. Keeping in mind that I actually made an active choice not to do religious or church software relatively early on, because I knew that if I did it to make my living, I would ended up hating my brothers and sisters in Christ. Leon Adato (37:12): Right. Doug Johnson (37:12): As a volunteer, as a volunteer, it was okay. But if I. Leon Adato (37:15): Yeah. Doug Johnson (37:15): Had to make my living that way, there was just no way that that was going to go ahead and work. Leon Adato (37:19): It doesn't people who love to cook and decided to open a catering company. And not only do they hate to cook now, they also hate people. Doug Johnson (37:26): Yeah. Pretty much how it all works out. Yeah. I've done a few catering gigs, but yeah. I don't want to make my living that way. Leon Adato (37:33): Um hmm, yeah. Doug Johnson (37:33): So yeah. And I love to cook. Um, the best part of it for me is that technical stuff is very, uh it's. Yes, no. I mean, you really have to, I I've got a client that every time something happens, he goes, boy, that's weird. And I'm going, no, it's not weird. We just don't know why. Leon Adato (37:56): um hmm. Doug Johnson (37:56): Right. Leon Adato (37:56): Right. Doug Johnson (37:56): I mean, it's like, computers are really, there's always a really good reason why they're having a problem. Right. And you taking that same logical philosophical, uh, bent that I have. Leon Adato (38:10): Uh huh. Doug Johnson (38:10): It works really well for me. Christianity does make sense. I mean, Leon Adato (38:15): um hmm. Doug Johnson (38:15): Pascal, the mathematician it's, it's called Pascal's, uh, gambit or whatever it is. But he basically said, if I'm a Christian and I am wrong, what have I lost? If I'm a non-Christian and I'm wrong, I've lost everything. So it, it, for me, Christianity works both from a logical and a systematic thought basis. Um, that, that appeals to me, and. Leon Adato (38:43): Um hmm. Doug Johnson (38:43): It's the same thing on the technical side, you can always work through a computer problem may take you forever, but. Leon Adato (38:48): Right. Doug Johnson (38:48): You know, but, but, but it there's always an answer there somewhere. It can be ridiculously difficult to track down, but it's always there. Leon Adato (38:58): Nice. Doug Johnson (38:58): They sort of play off against each other sort of nicely that way. Leon Adato (39:02): Wonderful. Okay. So this is the lightning round. Are there any final thoughts? Any lessons you want to share before we wrap this up? Doug Johnson (39:10): One of the things that, uh, sort of bugs me about Christians in general. Leon Adato (39:15): Uh huh. Doug Johnson (39:15): Is we believe, as Paul said here in, you know, here in earth, great. Uh, I die. I go to heaven even better. Okay. Leon Adato (39:25): Uh huh. Doug Johnson (39:25): Why do Christians? Why are Christians so afraid of death? Why are we so afraid of dying? Leon Adato (39:30): Hmm. Doug Johnson (39:31): It's just, it's silly. I mean, I understand that there's an unknown there, but if we believe what we say, we believe then we should be, Sweet! I actually said that once we were in, we were in a thing. Leon Adato (39:46): Oh god! Doug Johnson (39:46): we were in, we were. Leon Adato (39:47): Not at a funeral, please Doug, not at a funeral. Doug Johnson (39:48): No, wait wait, it wasn't a, Oh, by the way, I give great funerals. I give great funeral, just so you know, I've been asked to do several eulogies and I give great eulogy, but I have people laughing until I have them crying. Leon Adato (40:02): Aww. Doug Johnson (40:02): Every time I'm good at it. But in this case, we were in a meeting and the guy was the guy who was leading was blah, blah, blah. And he was going, so, so you leave here and you walk out the door and you accidentally step in front of, step in front of a truck. And I went, sweet! And he went, that is the first time anybody's ever said that. And you are completely correct. Leon Adato (40:25): Okay. Doug Johnson (40:25): Well, it is. I mean, if you think about it, I mean, golly, no pain, no suffering. And you're with God, come on. How bad is that? Leon Adato (40:34): Right. Doug Johnson (40:34): That's not bad at all. So the, that's, that's one of my big beefs with, you know, in general, if we believe what we say, we believe we should not be so afraid of death, that's the whole point. But there you are. Leon Adato (40:49): Got it. There you go. All right. As always, it is a delight to talk to you even when we're not recording, but when other people get to share in this, uh, Whoa on them, I guess. I don't know. It's uh, but we had a good time. So thank you for joining me as always. Doug Johnson (41:06): I appreciate it. And I will see you. I will be up there in September, by the way. Leon Adato (41:11): Woo hoo! Up in Cleveland, in September picking the right. Oh, wow. That's that's not next month. I, it, time has no meaning for me anymore. Doug Johnson (41:19): Sorry I know, It is pretty much, no, it it's my 50th, uh, high school reunion a year and a half late. Leon Adato (41:25): Well, yeah, of course it is yeah. Doug Johnson (41:28): But so yeah, Leon Adato (41:30): Because 2020 is just a big blank spot on the calendar. Doug Johnson (41:33): Oh, it didn't happen. 2020 nah. Didn't happen. No. Oh, well, all right. Well, I can't wait to see you. Thanks again. New Speaker (41:40): All right. Talk to you later. Leon Adato (41:42): Thanks for making time for us this week, to hear more of technically religious visit our website, technically religious.com, where you can find our other episodes, leave us ideas for future discussions and connect us on social media.

“Me falta iniciativa, Willy, y a ti también ¡No has sido más que un vendedor esforzado que ha acabado en el cubo de la basura, como todos ellos! ¡Soy un hombre que gana un dólar por hora, Willy! He probado suerte en siete estados y no he podido aumentar esa cifra ¡Un dólar por hora! ¿Comprendes lo que quiero decir? ¡ No voy a traer a casa ningún trofeo más, y tu vas a dejar de esperar que los traiga!. “Muerte de un viajante”. Arthur Miller. Tres figuras llenan con su presencia las primeras décadas del teatro norteamericano posteriores a la II Guerra Mundial, condicionando en gran medida su posterior orientación: Tennessee Williams, Arthur Miller y Edward Albee. Son tres autores disímiles cuyo denominador común es no haber renunciado a un realismo convencional, por más que lo hayan expresado de formas diversas. El prolífico Tennessee Williams (seudónimo de Thomas Larnier Williams, 1.914-1.984), es quizás el más popular de los dramaturgos norteamericanos actuales, ya que los mejores títulos de su producción han encontrado una excelente acogida en el celuloide. Su concepción del mundo nace de una visión peculiar, desasosegante y fantástica del Sur de los Estados Unidos, deudora tanto de Poe y su como de Faulkner y su tratamiento mítico. Por otra parte esta cosmovisión suele escoger el deseo como tema central, como en D.H. Lawrence, realizando sobre él diversas variaciones que tienen como denominador común la conjunción de su hondo lirismo con un sentimiento primario de violencia. De ahí el sensacionalismo que rezuma la obra de Wlilliams y al que debe buena parte de su éxito; pero, más allá de los casos de ninfomanía, de las castraciones, de los raptos o de los asesinatos que puedan existir en su obra, en el fondo de todo ello está el espíritu humano según lo concibe su autor: terrible ente frágil, pero también extremadamente voraz, sirviéndose para retratarlo de la sexualidad como metáfora de una vida pervertida, como lo son sus personajes. Su primera obra de éxito fue “El zoo de cristal” de 1.945, drama familiar en gran medida autobiográfico donde aparecen sus propios recuerdos y experiencias. Amanda, su personaje central, es ya una de las grandes creaciones del autor, como representante eterna de la mujer sureña cuyos ideales y fantasías resultan imposibles de realizar a causa de un ambiente opresivo y represivo. Pero fue “Un tranvía llamado deseo” de 1.947, la obra que lo encumbró a la fama y que marcó todo un hito en la historia del teatro norteamericano actual. El personaje de Blanche DuBois no sólo le presta cuerpo en este caso a la nostalgia sureña, sino que personifica los conflictos de la sociedad estadounidense de los años cincuenta: soñadora y disoluta, vana y espiritual, derrotada y autodestructiva, resume en sí el enfrentamiento entre los instintos y la dimensión social del ser humano actual, entre la naturaleza y la civilización. Este enfrentamiento volveremos a encontrarlo en “La gata sobre el tejado de zinc caliente” de 1.955, otra de sus grandes obras. Nuevamente en ella, como en la anterior, es el sexo el motor de la acción, aunque ahora en un clima de crisis y declive al que se une el de la familia tradicional, derrotada por el interés y el dinero. Las últimas obras de Williams prácticamente no aportan nada nuevo a su producción, aunque entre ellas existen títulos dignos de mención, como “Dulce pájaro de juventud” de 1.959 y “La noche de la iguana” de 1.961. En todas ellas sigue apareciendo el tema sexual, cada vez más, si cabe, como expresión de un hambre insaciable de algo indefinido y que se le escapa al hombre. En resumen, estas últimas piezas de Williams constituyen una radiografía sin esperanza de un mundo vacío y carente de sentido contemplado desde el estoicismo heterodoxo de un puritano rebelde. Frente al violento pesimismo nihilista que subyace en la obra de Williams, en la de Arthur Miller (1.915-2005), descubrimos a un moralista en cuya producción ocupa un lugar central el tema de la responsabilidad. Su recio y arraigado humanismo, su interés y grado de compromiso con la realidad y la directa sencillez de su estilo nos recuerdan casi inmediatamente la estética de los años treinta, con cuyo sentido del compromiso sintoniza perfectamente la obra de Miller. No en vano el autor no ocultaba sus tendencias izquierdistas, que lo hicieron sentarse ante el Comité de Actividades Antiamericanas durante la de los años cincuenta. Aunque su talento no pasó desapercibido para los críticos más atentos, su primera obra de éxito fue “Muerte de un viajante” de 1.949. Antes de esta había estrenado otras obras, como “Todos eran mis hijos” de 1.947, más prometedoras que efectivas, aunque significativas en su producción por el tema que desarrollan: el sentimiento de culpa reinante entre la burguesía norteamericana. “Muerte de un viajante”, sin embargo, fue un clamoroso éxito y debe seguir siendo recordada como una de las grandes creaciones del teatro actual. Con ella Miller crea una figura inolvidable, la de Willy Loman, y consigue una excelente, lúcida y demoledora radiografía de la mitología americana del éxito, que, paradójicamente, lleva al protagonista a la ruina y, con ella, al suicidio. Antes contemplamos la progresiva destrucción de los auténticos valores humanos, fundamentalmente el amor; cuando el protagonista comprende cómo lo ha corrompido y cómo se desvanece como si de un sueño se tratase, opta por el suicidio no sin antes haber entrevisto una única solución en las generaciones futuras. Hay que hacer constar que esta pieza teatral se dispone como la recuperación del pasado desde el presente. Después de haber sido convocado ante el siniestro Comité de Actividades Antiamericanas y de haber sufrido la “caza de brujas”, Miller escribió “Las brujas de Salem”, cuyo título original es “The Crucible” en 1.953. Fue su intento de explicar sus experiencias y sentimientos y con el temor de que la sociedad no hubiese aprendido las lecciones de la historia. “Las brujas de Salem” retoma el asunto de las persecuciones de presuntas brujas en Salem en el siglo XVII, construyendo a partir de él una alegoría de los nuevos tiempos, en que lo público se entremete en lo privado y se llegan a las conciencias. El tema de las persecuciones reaparece en “Incidente en Vichy” de 1.965, en esta ocasión refiriéndose a la caza de judíos por los nazis. Vienen a continuación años de silencio para Miller, a causa también de sus problemas personales en sus diversos matrimonios, entre ellos, en 1.956, con Marilyn Monroe, y aunque escribe y estrena alguna pieza, no es hasta 1.964, con “Después de la caída”, cuando continua con constancia su carrera dramática. Como si de una sesión de psicoanálisis se tratase, “Después de la caída” despliega ante el espectador el fracaso moral de un abogado prestigioso. A través de él, Miller analiza lúcida e instrospectivamente su propio yo y celebra las limitaciones del conocimiento humano como un medio de relativización de todo, incluidas la maldad y la violencia humanas. Después de esta obra, podemos aún reseñar “El premio” de 1.968, en el que el tema del éxito y del fracaso, que tanto preocuparan a Miller, se dramatiza ahora con el reencuentro al cabo de largos años de dos hermanos que confrontan sus respectivas vidas y sus reflexiones sobre el universo y los recuerdos familiares. Aunque no alcanzó la difusión internacional de que habían disfrutado Williams y Miller, también a Edward Albee (1.928-2016) se le puede señalar como uno de los grandes dramaturgos norteamericanos de posguerra. Admirador de Beckett, Genet e Ionesco y deudor del europeo, en su producción la existencia humana se nos ofrece como una carrera contrarreloj hacia la muerte, por lo que ocupa un lugar fundamental el tema de la autodestrucción. Su lenguaje personal y extremadamente duro es síntoma de una concepción dramática demoledora y de un riguroso sentido moral que antepone a todo la verdad, por muy odiosa que ésta sea, razón por la que Albee nos parece más un moralista que, como los europeos, un autor interesado por las implicaciones metafísicas de la existencia. El conjunto de su producción, impregnada de un tono acusatorio, está presidido por un desnudo simbolismo con hondas resonancias en el inconsciente colectivo occidental, enfrentando instinto y sociedad como dos aspectos aparentemente irreconciliables de la existencia. En “La historia del zoo” de 1.959, su primera pieza representada, diálogo y palabra (el teatro de este autor apenas cuenta con apoyos escénicos) sustentan el choque del orgullo de una sociedad establecida contra la acidez y la amargura de los inadaptados; al igual que “El sueño americano” de 1.960 denuncia la artificial vacuidad de toda relación social, incluyendo la que rige a las familias, asunto que es casi constante en toda su dramaturgia. Dicha afirmación es extensible a su producción posterior, en la que ocasionalmente ensaya con escasa repercusión formas levemente experimentales: es el caso de “Tiny Alice” de 1.965 y de “Box-Mao-box” de 1.968, de carácter alegórico la primera y político la segunda. Su mejor pieza, la que ha resistido el paso de los años y se ha convertido en un clásico del teatro actual, es “¿Quién teme a Virginia Woolf ?” de 1.962. Respetando en gran medida las convenciones del género (como, en general, la mayoría de los dramaturgos norteamericanos) y sin aportar técnicamente nuevas soluciones, en “¿Quién teme a Virginia Woolf ?” Albee nos sorprende abordando temas complejos desde una perspectiva dialéctica enriquecedora. Para ello, como es característico en su producción, se sirve de un espacio escénico más mental que real – el inamovible salón de un profesor- y de la fuerza de la palabra y de los diálogos; y, en este caso, de la sombra de un hijo perdido, ausencia de carácter simbólico que flota en la confrontación entre cuatro personajes en las diversas combinaciones posibles, incluyendo en una escena una breve representación dramático-doméstica a modo de o de psico-drama terapéutico.

21 marzo, ore 20, in streaming per 48 ore: UN TRAM CHE SI CHIAMA DESIDERIO di di Tennessee Williams, regia Giulio Cavallini. Sul palco del Baretti: Olivia Manescalchi sarà Blanche Dubois, Riccardo Livermore sarà Stanley Kowalsky. lo streaming si può trovare sulla pagina facebook: CineTeatro Baretti “Non era rimasto più niente tranne la morte, vicina come lo sei tu adesso. L’opposto è il desiderio”.

In dieser Folge leben unsere Podcaster ihre Liebe zu alten Wörtern aus und zeigen euch, wie wir schimpfen. Sie geben Einblicke in Reitzeisen, sandere Prachen und Huperselden und freuen sich, dass der Montag besser ist als sein Ruf. Lucas erschreckt Leute, indem er schläft und Jens versucht mit aller Macht, Lucas‘ und eure Gehirne mit Spoonerismen kaputtzumachen. Die beiden werfen sich dieses Mal besonders viele Kragen an den Fropf und entdecken sich als Museum. Stellt euch einen Film vor, in welchem Lucas als Cowboy und Jens als Blanche DuBois in den Raupthollen brillieren, ein Gild für Bötter! Zu guter letzt gehen die beiden bei Kentucky schreit ficken essen und werfen den Gragen-Fenerator der letzten Folge nochmal an. Seid lieb zu einander und bleibt geschmeidig!

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).

I januari 2020 tilldelades Livia Millhagen Svenska teaterkritikers förenings teaterpris 2019 för sin (motivering)”... självlysande gestaltning av Blanche DuBois i Stefan Larssons filmiskt präglade uppsättning av Linje Lusta på Dramaten. Det är en Blanche som inte låter sig etiketteras, intensivt närvarande i varje por.” På grund av coronapandemin har priset inte kunnat delas ut förrän nu, något som skedde i samband med inspelningen av en podcast på Dramaten den 4 september, där kulturjournalisten och teaterkritikern Ylva Lagercrantz Spindler talar med Livia Millhagen om rollarbete, teaterkritik och hur det är att arbeta som skådespelare under coronapandemin. Länk till svenska teaterkritikers förenings hemsida: http://www.teaterkritiker.se/

Australian director Benedict Andrews' note-perfect production of A Streetcar Named Desire by Tennessee Williams at the Young Vic in London, with Gillian Anderson as the tormented Blanche DuBois, is now streaming online. Also, we're joined by the cast of American Psycho: The Musical and retrace Francis Greenslade's unusual path to a career on the stage and screen.

Australian director Benedict Andrews' note-perfect production of A Streetcar Named Desire by Tennessee Williams at the Young Vic in London, with Gillian Anderson as the tormented Blanche DuBois, is now streaming online.Also, we're joined by the cast of American Psycho: The Musical and retrace Francis Greenslade's unusual path to a career on the stage and screen.

Australian director Benedict Andrews' note-perfect production of A Streetcar Named Desire by Tennessee Williams at the Young Vic in London, with Gillian Anderson as the tormented Blanche DuBois, is now streaming online. Also, we're joined by the cast of American Psycho: The Musical and retrace Francis Greenslade's unusual path to a career on the stage and screen.

Conventional wisdom holds that Cate Blanchett is one of the world’s greatest living performers, but one person who disagrees with that is Cate Blanchett, who thinks she’s pretty terrible most of the time (her words, not ours). Marc and Cate try to get to the bottom of why she’s so hard on herself despite her many career accomplishments. They discuss The Lord of the Rings, playing Bob Dylan, why her hair fell out when she played Blanche DuBois, why Al Pacino is her hero, and why she took on the story of Phyllis Schlafly in Mrs. America. This episode is sponsored by Patreon and Pataday Once Daily Relief.

Elise’s pick Photo by Andrew Koenig Elise Walsh (THEY/THEM) is a Brooklyn based performer, producer and nightlife personality who grew up in Brisbane Australia. A burlesque chanteuse and costumer, this fiery creature has been tearing up stages since she could walk. An internationally published model and photographer, shimmying their way across the world. With a background in musical theatre in such shows such as 'Guys and Dolls' and the 'Producers', additionally starred as Blanche Dubois in 'A Streetcar Named Desire' at the age of 19. Along with their own productions, Elise performed as drag alter-ego Allegra Spread during Brooklyn pride, Jersey City Pride and at the Folsom St. East kink festival in 2019's NYC pride season, launched a one-person cabaret titled 'Satine Until Now' at Coney Island USA's Music of Curiosities 2019 fall season. March 2020 Elise (nee Satine) starred in sci-fi rock opera Bloody Brains in A Jukebox as Dr. Jayne Mansfield at Coney Island USA. The highly anticipated season was brought to a halt by coronavirus pandemic. We discuss her favorite photo of herself shot by Andrew Koenig..» TIP A BITCH:https://venmo.com/allegraspread» FOLLOW Elise:https://www.facebook.com/elise.walshhttps://www.facebook.com/satinesallumerhttps://www.instagram.com/satine_sallumerhttps://www.facebook.com/allegraspreadhttps://www.instagram.com/allegradraghttps://twitter.com/allegra_spread» VISIT the podcast video links:https://www.jongclemente.com/funshoottvhttp://bit.ly/funshoottv» SUBSCRIBE to the podcast:http://bit.ly/funshootapple» PARTICIPATE by leaving a voicemail:(347) 934-9594» FOLLOW our social media links for updates:https://twitter.com/funshootpodcasthttps://www.instagram.com/funshootpodcast

In part 2 of the Blue Jasmine miniseries, we discuss the similarities with Tennessee Williams' A Streetcar Named Desire, the character of Blanche Dubois, clearly is the blueprint for Jasmine. The many actresses who played Blanche or were inspired by her from the women in Pedro Almodovar’s movies to Gena Rowlands in A Woman Under the Influence to most recently Carey Mulligan in Wildlife. Hosted by Murtada Elfadl with guest TV and Film Journalist Candice Frederick.Support the show (https://ko-fi.com/sundayswithcate)

Patricia Clarkson came to show business by way of New Orleans, where exposure to all manner of public figures who were equal parts good and bad may explain why she never judges the characters she plays, even if they're monstrous. That's true of her Emmy-nominated performance in Sharp Objects and her stage performance as Blanche DuBois, a role Patricia says she had to survive. She also talks with Marc about working with Brian DePalma and Clint Eastwood in her first two films, struggling in Hollywood in her 30s, and feeling like actors her age are now having a heyday. This episode is sponsored by The Righteous Gemstones on HBO, Stamps.com, and Starbucks Tripleshot Energy. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

Laura & I discuss and/or mention in passing: This End Up Furniture, Brownies, Sweets, Diabetes, A Little Night Music, Madame Armfeldt, Liaisons, Spring Awakening, Broadway, Nellie Forbush, South Pacific, Rodgers & Hammerstein, The King And I, Stephen Sondheim, William Shakespeare, Glenn Close, The Straz, Trenell Mooring, Ethel Merman, Norma Desmond, Audio Air Quotes, Music Royalties, Irving Berlin, There’s No Business Like Show Business, Blair’s Blue Blazer, Chocolate, Vidal Sassoon and Sassooning, Down’s Syndrome, Hazel Shermit, All The Single Ladies, Beyonce, Defying Gravity, Stephen Schwartz, Annie Get Your Gun, A Streetcar Named Desire, Blanche Dubois, I’m An Indian Too, Negative Native American Stereotypes, Corn, La Cage Aux Folles, Laverne & Shirley, Double-Stuf Oreos, The Sound Of Music, The Von Trapp Female Family Singers, Disney, The American Adventure, The Voices Of Liberty, American Vybe, Toyota Prius/Prii, Cabarets, Coconut, ASMs, SMs, PMs, Birthday Month, Cake, Faceless Pianist Brenda, Fisticuffs, You Bet Your Life, Groucho Marx, Hibiscus vs. Brussels Sprouts, Holly Hobbie, Wile E. Coyote.Website:facethefactspod.comSocial Media:facebook.com/facethefactspodtwitter.com/facethefactspodinstagram.com/facethefactspod

Everyone loves to talk about STELLLAAAAAAA!!! But we’re exploring the life of her more melodramatic older sister Blanche. We peel back the veneer of social snobbery, purity and innocence in this character from A Streetcar Named Desire, to expose the lies, promiscuity, and tragedy beneath the façade of the fading southern belle. References: A Streetcar Named Desire (1951 Film). (n.d.). Retrieved July 30, 2019, from https://en.wikipedia.org/wiki/AStreetcarNamedDesire(1951_film) Cliffs Notes. (n.d.). Retrieved July 30, 2019, from https://www.cliffsnotes.com/ literature/s/a-streetcar-named-desire/play-summary Kazan, E. (Director). (n.d.). A streetcar named desire. (1951) Leclere, C. (2016). Triggers of a mental breakdown. Understanding mental illness in three of Tennessee Williams' lead female characters: Blanche, Catharine & Laura (Master's thesis, Universite de Pau et de Pays de L'adour, Pau, France). Retrieved from https://dumas.ccsd.cnrs.fr/dumas-01369806/document Spark Notes. (n.d.). Retrieved July 30, 2019, from https://www.sparknotes.com/ lit/streetcar/summary/

Marge wins the role of Blanche DuBois in a community theatre musical version of Tennessee Williams' A Streetcar Named Desire. Homer offers little support for his wife's acting pursuits while Maggie attempts to retrieve her pacifier from a strict daycare owner. **Apologies for mic issues, the sound guy has been dealt with** Special Guest: Ben Resident Theatre Expert: Rachel Twitter: @eyeonsimpsons Patreon: https://www.patreon.com/eyeonsimpsons

Shannon brings her dear friends Alisha Martin and Andrea Hinojosa to the podcast for an episode that focuses on THE LADIES. Whether she be Lady of the Lake, Lady Bird Johnson, a lady-in-waiting, or one of the Ladies of Llangollen, we're talking about her! Plus, 5Ws with Blanche DuBois, a Lady and Tramp Recast, and something new: Second Chances. By the end of the episode, one thing's for certain: We need to talk more about women in our history curricula! Like the show? Please spread the word! Rate and review us, and follow A Vague Idea on social media. Vote! Early, often, and with an eye on equality! Put the toilet seat down! Check out http://shirtsbynate.threadless.com for your torso-covering needs! Thank you for listening, and for your support in getting the word out. We love our listeners!

The endlessly fascinating Jennifer Engstrom graces us in the Booth today. Jen is a long-time ensemble member of A Red Orchid Theatre (as is our last guest, playwright Brett Neveu). She has appeared in over a dozen productions there and at many other great Chicago theaters (as well as in productions in London and New York). She grew up on a farm outside of Huxley, Iowa and made her way to the big city via the College of DuPage theatre program, where she soon became active in the speech department. And who coached and encouraged her in a career in the performing arts? None other than our own Frank Tourangeau! Frank was a professor and head of the speech department during Jennifer's time there and served as her mentor and teacher. Frank relates how he cast her in the play Whose Life is it Anyway? as the lead made famous on Broadway and the West End by Tom Conti, and revived some years later with Mary Tyler Moore in the starring role. By all accounts, Jen was luminous in the part. BTW, when Gary was working in Emanuel Azenberg's office, he was a stand-in for Tom Conti for several rehearsals on the Broadway production. In addition to her numerous acting roles, Jennifer has had an interesting career as an understudy around Chicago. We discuss her going on as Blanche DuBois at the last minute in a Writers Theatre production of A Streetcar Named Desire, directed by David Cromer. Though she knew the blocking and the lines well, her costumes had not been finished and there was a mad scramble to devise a proper wardrobe track for that performance (which Gary and producer Betsy were privileged to see!). She also stepped in for Amy Morton in the Steppenwolf Theatre production of Taylor Mac's HIR when Ms. Morton turned her ankle on stage prior to the first preview. Jennifer had learned all the lines and after a rushed blocking rehearsal, kept the curtain up for the first preview audience in stellar fashion. To quote the wonderful stage manager, Laura Glenn, "She was a total professional and I was so grateful she was there." Among Jennifer's favorite playwrights are Tennessee Williams, Edward Albee and newcomer Jen Silverman, whose play Witch will get a world premiere production at Writers Theatre in the fall. Two items of show biz interest - The Play That Goes Wrong is closing on Broadway in August. One of the most hilarious shows that Gary and Frank have ever seen, a national tour is scheduled so don't miss this gem of a show if it comes to your town. And the five-and-a-half hour adaptation of Roberto Bolano's mammoth novel 2066 can be seen on streaming video soon. In an unusual arrangement, a filmed version of the Goodman Theatre's production will be available free, unlimited streaming for at least two years. Frank was a big fan of this production. You may have to watch in installments given it's extraordinary length, but you're unlikely to see another production of it anywhere any time soon. Jennifer has created and performs a one-woman show called Excuse My Dust, A Dorothy Parker Portfolio, in which she embodies the writer and humorist in an evening of theatrical monologues from Parker's writings. Dorothy Parker was an original member of the Algonquin Round Table and a unique coiner of the cutting remark. Gary and Betsy are going to the Red Orchid spring fundraiser at which Jennifer is performing selections from Excuse My Dust. More to report on our next episode. We play a little Chat Pack with Jennifer and find that she would like to be a rock star for a month, a la Beyonce. And people often ask her how she learns all those lines! Kiss of Death: Anne V. Coates, Admired Editor of Acclaimed Movies One of the most celebrated film editors of her era, Ms. Coates won an Oscar for her work on Lawrence of Arabia directed by David Lean and starring Peter O'Toole. The film editor's craft is often called "the invisible art," but is one of the most vital ingredients in the alchemy of filmmaking.

There are Great Mysteries out there. Conundrums so staggering and profound they can only be resolved by the world's greatest minds. What do you do when your barista knows your name, but you've never managed to learn theirs? How can Mario crush his enemies when he knows the pathetic, lonely lives they lead? And, is that crow trying to sell you cigarettes? We think if these are the sorts of questions you're looking to have answered, we will do a very servicable job. Join us! Discussed: Inaccurate rules of the universe regarding monthly transitions, video of cat on bowl on Roomba, paying it forward at a local coffee shop, not paying it forward, instant dread and shame, getting to know your local barista, completely failing to know your local barista after dozens of visits and the silent-but-deadly social death spiral that transpires as a result, Tim Horton's, Timmy's, Dunkie's, Georgie, the time Georgie burned the Dunkie's, Unkie Dunkie the Baloney Slicer, crow cleanup crews, Crowded Cities, the crowbar, The Official Crow Box, craving a smoke thanks to crows, Joe Camel, ravens, Her Majesty's Ravenmaster, raven seeking attention, shitty teens, Larry the Crow, childhood misconceptions, Koopa Troopas, Blanche DuBois, A Streetcar Named Desire, Proust's "madeleine" moment from Remembrance of Things Past, headcanon, the impossibility of communicating your deepest most tragic interiority across language and age barriers, being waxed house baby, being wax house babied, even longer hypothetical Wikipedia cons, hit film "Wax House, Baby," fictional film "Wax House, Baby" within the hit film "Wax House, Baby", hit song "Wax House, Baby" Send us your questions at questions@importantiftrue.com. If you enjoyed this and would like to subscribe to an ad-free feed, please consider supporting Idle Thumbs by backing our Patreon. Chris' Endorsement: iOS and Android telemarketer-identifying and -blocking app Hiya Jake's Endorsement: Alternative 1980s comic book compendium Sam & Max: Surfin' the Highway (digitally on Comixology or in the beautiful Eisner-nominated Anniversary edition designed by our very own Jake!) Nick's Endorsement: SyncSketch, for collaborative online sketching Sponsored By: Steam virtual inventory buyer and reseller Captain Invictus, aka A Vacuum Full of Bees (also listen to the Hat Baron saga as recounted on the Idle Thumbs Podcast), Quip electric toothbrushes with your first brush head refill free

Marge wins the role of Blanche DuBois in a community theatre musical version of Tennessee Williams' A Streetcar Named Desire. Homer offers little support for his wife's acting pursuits, and Marge begins to see parallels between him and the play's boorish lead male character

Marge wins the role of Blanche DuBois in a community theatre musical version of Tennessee Williams' A Streetcar Named Desire. Homer offers little support for his wife's acting pursuits, and Marge begins to see parallels between him and the play's boorish lead male character

“In Paul Thomas Anderson's work, love can be—quite literally—a miracle,” writes Sheila O'Malley in her January/February 2018 Film Comment cover story, “Love, After a Fashion.” “People are scarred by life, their emotional resilience decimated by disappointments and neglect. But sometimes love is offered and, as Blanche DuBois says, famously, in A Streetcar Named Desire: ‘Sometimes—there's God—so quickly!' That's the redemptive romantic journey of Phantom Thread, where Reynolds says to Alma at one point that she may very well keep his ‘sour heart from choking.'” Of course, Phantom Thread is no familiar story of redemption through romance. O'Malley joins FC Digital Producer Violet Lucca on this week's Film Comment Podcast to discuss its beguiling, and even radical, twist on a love story.

Hello and welcome to the I dunno, 7th episode of the let’s get shitty show. Though it’s a bit of a departure. Not in the Gillian Anderson plays Blanche DuBois in a prequel to A Streetcar Named Desire kind of way, No, more in the way where I interview comedian,

This week we are here to chat with our friends from Hot Sauce the Podcast. Go listen to their show and follow them on Twitter: @HotSaucePodcast @JustMike74 @Jbug32 and @OzBanks1  We play a couple of games, and become the 15th eleventy person to try to get the to listen to Hamilton. Also, we get off topic in the best ways. Tweet us @JoshSolbach and @MelissaSolbach email theonewithpodcast@gmail.com FaceBook Page The One With Podcast   Next Week Essay Questions

Gary and Roscoe weren't able to get Blanche, Willy, George or Martha on the show this week, so they have to depend on the kindness of strangers. More on that in a minute, but first.... The strangest stranger of all, Carly "Lilith" Fiorina, took only 6 days to bring Ted Cruz's presidential campaign to ruin - 5 years and 357 days less than it took her to destroy HP! Like a bad penny, she keeps turning up. Won't surprise the boys if she is Trump's VP choice. Watch Carly do a disappearing act as she falls from the stage at a Cruz rally recently. Talk about taking a dive!  Video here. Sheridan Smith, star of Funny Girl on the West End in London, has been missing performances and is now on a leave of absence from the show. Rumors abound as to why and for how long, but unkind media and Twitter posts have fanned the flames. Roscoe and Gary are hoping to see this show on Broadway next year, but this could be a blow to the chances of seeing Ms. Smith in the Fanny Brice role. Read more about these happenings and what her understudy has to say in this Daily Mail article. read more here We look back with amazement on our astonishing good luck and fortune during our recent trip to New York, not only spending time with Chita Rivera (listen to Episode 32 for the full Booth One interview), but getting into a sold out Hamilton! The odds of both happening are astronomical. Have a Booth One Experience you'd like to share? Go to Booth-One.com and post something on our website and we'll share it on the air! Gary and Roscoe venture up to the new Writers Theatre building to see Death of a Streetcar Named Virginia Woolf: A Parody, created in collaboration with Chicago's Second City. go to website  Clever and hilarious, the show features a stellar performance by one of our favorite stage actresses Jennifer Engstrom as Blanche DuBois. Read full Bio Match wits and picks with Gary and Roscoe as we make our predictions for the 2016 Tony Awards! Is Hamilton a lock for every category? Is The Humans the best play of the season? Arthur Miller or Eugene O'Neill as Best Play Revival? Make you own selections here and watch the Tony Awards on Sunday, June 12 to see who's the smartest in the land. World's oldest living person dies - again! 116-year-old Susannah Jones was the last living American who was verified to have been born before 1900 (July 6, 1899). The title of OLP now belongs to Italian Emma Morano, born in November of 1899, the last verified person alive to have been born in the nineteenth century. God speed, Susannah, and may we all live as long! Read about her on Wiki. Tune into our next Booth One Episode when we'll be talking with noted Chicago photographer Marc Hauser in his West Side studio. Marc has taken iconic photos of Micheal Jordan, Dolly Parton, Janis Joplin, George Burns, Dennis Rodman and a host of other celebrities and world-famous faces. We're looking forward to an in-depth and candid visit with Mr. Hauser. Go to Website Kiss of Death - Sylvia Kauders, Late-Blooming Actress: Ms. Kauders had worked for 30 years as the Special Events Director of the City of Philadelphia when she decided to pursue her first love of acting at the age of 60. She became a familiar face to film and television viewers , playing scores of small but memorable roles in Witness, American Splendor, Analyze That, Crimes and Misdemeanors, The Sopranos and Inside Llewyn Davis. Her Broadway debut was in Harvey Fierstein's Torch Song Trilogy, but her favorite role was that of Bubbie, the grandmother in the Jewish Repertory Theater production of Crossing Delancy. Sylvia Kauders was 94. Read the full NYTimes obituary here.                  

« Parfois Dieu existe, mais si brièvement », comme disait Blanche Dubois. Le Scrabble d'André / Abécédaire de Brassard est composé d'une quarantaine de mots tirés de l'univers de l'artiste autour desquels il devise. Entrevues réalisées par Olivier Choinière en 2011 et 2014 avec ce metteur en scène hors-norme, au franc-parler, défenseur acharné des auteurs d’ici et d’ailleurs, professeur engagé, qui fut au cœur de plus de 30 années de vie théâtrale québécoise. André Brassard est un artiste prolifique qui a, dès la création des Belles-sœurs en 1968, profondément marqué le territoire culturel du Québec.

support this podcast, donate today This week Eric and his guests discuss Ukraine and Syria, two war zones on the front lines of imperialism today. First, it's protests and clashes and fascists (oh my!) as Eric sits down with international relations and security analyst Mark Sleboda to examine the latest developments in the "New Ukraine." Eric and Mark talk about the violence on the streets of Kiev and what it means for the future, while plumbing the icy depths of the coldly pragmatic mind of Putin as they discuss Russia's strategy in Donbass. As they say in Game of Thrones, "Winter is coming," and with no gas, no money, and a disgruntled military and Nazi paramilitaries, it could prove to be a very cold, and very long, winter in Ukraine. In the second half of the show, Eric welcomes to the program activist Jay Tharappel, fresh off his visit to Syria. Jay describes daily life in the country, his charity work on behalf of the Syrian people and, like Blanche DuBois on the road to Damascus, the kindness of strangers. Eric and Jay discuss the realities of war, left imperialist gamblers, and the curious case of the migrant crisis. All this and more on Episode 18 of CounterPunch Radio. Intro and outtro music provided by David Vest, interlude by Billy Bragg & Wilco.

support this podcast, donate today This week Eric and his guests discuss Ukraine and Syria, two war zones on the front lines of imperialism today. First, it's protests and clashes and fascists (oh my!) as Eric sits down with international relations and security analyst Mark Sleboda to examine the latest developments in the "New Ukraine." Eric and Mark talk about the violence on the streets of Kiev and what it means for the future, while plumbing the icy depths of the coldly pragmatic mind of Putin as they discuss Russia's strategy in Donbass. As they say in Game of Thrones, "Winter is coming," and with no gas, no money, and a disgruntled military and Nazi paramilitaries, it could prove to be a very cold, and very long, winter in Ukraine. In the second half of the show, Eric welcomes to the program activist Jay Tharappel, fresh off his visit to Syria. Jay describes daily life in the country, his charity work on behalf of the Syrian people and, like Blanche DuBois on the road to Damascus, the kindness of strangers. Eric and Jay discuss the realities of war, left imperialist gamblers, and the curious case of the migrant crisis. All this and more on Episode 18 of CounterPunch Radio. Intro and outtro music provided by David Vest, interlude by Billy Bragg & Wilco. More The post Mark Sleboda & Jay Tharappel – Episode 18 appeared first on CounterPunch.org.

Enhance your appreciation of American Players Theatre's 2015 production of A Streetcar Named Desire by Tennessee Williams with this enlightening conversation with director William Brown and actor Tracy Michelle Arnold, who plays Blanche DuBois. Listen on your way to or from the theater to gain insight into the play, and the artistic decisions that make the APT production special.

Gillian Anderson returns to London's West End theatre, playing Blanche Dubois in Tennessee Williams' 1948 play A Streetcar Named Desire. Michel Gondry's Mood Indigo is one of his typically fantastical films, starring Audrey Tatou as a young woman who discovers a flower is growing inside her lungs. Packed full of extraordinary images, is it a collection of moments or a good film? Secret Cinema is the new immersive form of cinema, staged in unconventional settings, encouraging the audience to dress up in clothing appropriate to the movie, their latest production is the 1985 classic Back To The Future. It can be expensive to stage and attend, but is it worth it? Philip Hensher's new novel The Emperor Waltz threads together several stories from different times and locations, dealing with how an idea gains a hold in wider society. A new Italian TV drama series - Gomorrah - looks at the mafia. It's been an enormous hit in Italy but has this once-toxic subject matter become less controversial nowadays or does it still shock viewers? Tom Sutcliffe is joined by Natalie Haynes, Susannah Clapp and Patrick Gale. the producer is Oliver Jones.

In 1998, soprano Renée Fleming originated the role of Blanche DuBois in a searing performance at the premiere of André Previn's beautiful opera based on the Tennessee Williams classic "A Streetcar Named Desire." Here, Ms. Fleming discusses the work with the composer.

Too much news and not enough Mewes... this week Mike has a proposition for Katie Morgan, Andre demonstrates how Blanche DuBois would order at Taco Bell and God joins in to help Superman battle Solomon Grundy. Not enough? We got lesbians, lions and liquid remains used as a love goop lubricant! Find out where you can find the Na'vi anal slide! Listen as Mike detaches his balls to praise his favorite film the Dark Knight Titanic. Need to satiate your Klingon fuck fix? We got Porn Warf! What, you want more? You selfish bastards! Allllright, we also interview musician Ryan Fairley about the songs he's written for SIR and The Wayne Foundation. Next week, folks, a special Red State podcast! join us, won't you?

Tennessee Williams, perhaps best-known for his plays "Streetcar Named Desire," "The Glass Menagerie," and "Cat on a Hot Tin Roof," is the author of a "massive body of work," in the words of N.Y.U. drama professor Joe E. Jeffreys. On the occasion of the centennial of Williams' birth—the playwright was born March 26, 1911—Jeffreys hosted the first of a three-part series at Manhattan's Museum of Arts and Design entitled The Kindness of Strangeness. (Williams fans will recognize the title of the panel from an achingly memorable line delivered by Blanche DuBois in the playwright's "Streetcar Named Desire.") The memory-strewn afternoon included words from Williams' agent Mitch Douglas together with Williams' friends David Schweizer and Jeremiah Newton. Later in the day, the actress Charlotte Moore, who worked closely with Williams, also spoke. The author of 30 full-length plays, 70 one acts, as well as short stories, poetry, occasional pieces and novels, Tennessee Williams is a giant among American writers, and is equally celebrated for his complex, theatrical personality, including his wild cackle and large appetite. Agent Mitch Douglas called the playwright's work "really a roller-coaster ride." To hear the afternoon conversation, in which Douglas recalls Williams at the White House, Newton examines the writer's work with mutual friend Candy Darling and Schweizer gets found on a Key West beach (only to wind up at a grand Tennessee Williams party), click on the audio above. Bon Mots: David Schweizer on attending Williams' party in Florida: "I put on a suitable outfit from 1971."Joe Jeffreys responds: "What would have been a suitable outfit for a party at T.W.'s house in 1971?"David Schweizer: "Uh, kind of see-through lace."Joe Jeffreys: "There you go, that's what I was thinking." Mitch Douglas on Williams' appetite: "I.C.M. (International Creative Management) was owned and run by a gentleman by the name of Marvin Josephson and one day I had a call from Marvin saying 'I've had a rather distraught phone call from Tennessee and I want to ask you a question: What's he on?' and I said, 'Everything but roller skates.'" Jeremiah Newton on Williams' anger at disruptions in the theater: "He clutched a curtain and flung it back and went away, finally. I thought that was very brave of him, but not wise." Mitch Douglas on Williams' disrupting his own one-act play "Kirche, Kŭche und Kinder" in the theater: "I've had audience members ask him to shut up. I remember "Kirche, Kŭche und Kinder," he cackled through "Kirche, Kŭche und Kinder," and I remember some audience member turning around and saying 'Will you please quit laughing like that at Mr. Williams' work? He's a very important playwright.'" The Kindness of Strangeness was funded by the New York Council for the Humanities and took place this past January.

Catch a streetcar named WireTap this week. Howard has Jonathan play Blanche Dubois to his Stanley as he tries out for a local theatre troupe's production of a Tennessee Williams classic. And Josh helps Jonathan find a new WireTap intern. That's WireTap, with Jonathan Goldstein, Sunday afternoon at 1:00 (1:30 NT, 4: PT) on CBC Radio One.