Podcasts about Bloody Bloody Andrew Jackson

Rachel B. Glaser has been recognized as one of Granta Magazine's Best Young American Novelists, and her work has been showcased in prestigious publications such as The Paris Review and McSweeney's. "Ira & the Whale" was honored with an O. Henry Prize in 2023. Jeff Hiller is an actor who has been a charming anchor of the HBO series Somebody Somewhere. He's appeared in many other funny shows, such as 30 Rock; was on Broadway in the musical Bloody Bloody Andrew Jackson; and performs solo shows at Joe's Pub. After the reading, Hiller talked to host Aparna Nancherla about the character, finding your place in the world, and his own book, Actress of a Certain Age, which come out in June of 2025.

A multifaceted talent known for his work as a book writer, composer, and lyricist, Justin Levine delves deep into the creative process behind his works, particularly "The Outsiders" musical adaptation. He draws parallels between his work on that production and his involvement with "Moulin Rouge." He also discusses the balance of honoring the original source material while also infusing the adaptation with a fresh perspective and vision. He shares how the team encourages each other to contribute ideas beyond their traditional roles, emphasizing the collaborative nature of musical theater and describing the process as a relay race. Justin challenges stereotypes about musical theater, arguing that it's a misunderstood art form with deep cultural significance. He highlights the influence of musicals on popular music and culture – as proven when he was asked by Anna Wintour to do the music for the Met Gala to celebrate Broadway coming back. With long credits under his name, he still encourages people to prioritize personal well-being, maintain meaningful relationships, and pursue work that aligns with one's passions above anything else. Justin Levine is a theater book writer, lyricist, music supervisor, and orchestral arranger with Broadway credits that include “Bloody Bloody Andrew Jackson”, “Moulin Rouge!”, and “Here Lies Love”. His additional credits include creating original music for Shakespeare in the Park's “A Midsummer Night's Dream”, arranging vocals for Vevo x Lorde - Melodrama, music directing “Love's Labour's Lost”, music directing “The Robber Bridegroom” at the Roundabout Theatre, and music directing “Murder Ballad” at MTC and Union Square Theatre. He is now the co-book writer, co-lyricist, music supervisor, and orchestral arranger for Broadway's “The Outsiders”. Connect with Justin: Instagram: @justinlevine Connect with The Theatre Podcast: Support the podcast on Patreon: Patreon.com/TheTheatrePodcast YouTube: YouTube.com/TheTheatrePodcast Threads, Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com My personal Instagram: @alanseales Learn more about your ad choices. Visit megaphone.fm/adchoices

We are excited to bring you this new episode in our podcast series, The Art of Collaboration. This series focuses on directors and choreographers in conversation with some of their collaborators on a specific production. This series explores the ins and outs of these processes, both the finer details as well as overarching ideas about what goes into a productive collaboration on a show. In the second episode of this two episode arc, Director Alex Timbers, Sound Designer Peter Hylenski, and Scenic Designer Derek McLane are interviewed by Foundation Director Dani Barlow to discuss their experience working together on Moulin Rouge! The Musical. Learn more about this episode's guests below.    Bios: ALEX TIMBERS (Director) is the recipient of Tony, Drama Desk, Outer Critics Circle, and London Evening Standard Awards, as well as two Obie and Lortel Awards. Broadway credits include Gutenberg the Musical; Here Lies Love; Moulin Rouge!; Just For Us; Beetlejuice; David Byrne's American Utopia; Oh Hello with Nick Kroll and John Mulaney; The Pee-wee Herman Show; Peter and the Starcatcher; and Bloody Bloody Andrew Jackson (also bookwriter). For television, he co-created Amazon's “Mozart in the Jungle” (Golden Globe Award) and has helmed the Netflix specials “John Mulaney: Kid Gorgeous,” “Ben Platt: Live at Radio City,” and most recently “John Mulaney: Baby J” (2023 Emmy Award nomination). His debut picture book, Broadway Bird, set in an all-animal version of Broadway, is published by Macmillan. @alextimbers PETER HYLENSKI (Sound Designer). Peter received a Tony Award, Drama Desk Award, and an Outer Critics Circle Award Honor for his work on Moulin Rouge! The Musical. A Grammy, Olivier, and eight time Tony nominee, his selected Broadway designs include: Moulin Rouge!, Frozen, Anastasia, Beetlejuice, Once On This Island, Something Rotten, King Kong, Rock of Ages, After Midnight, Motown, The Scottsboro Boys, Side Show, Rocky, Bullets Over Broadway, Shrek the Musical, On A Clear Day, Lend Me A Tenor, Elf.  Other designs: Awakening, Le Rêve and Lake of Dreams at Wynn Las Vegas.  He's designed for Carnegie Hall, Radio City Music Hall, Madison Square Garden, London's O2 Arena, and The Kennedy Center.  Peter holds a BFA from Carnegie Mellon University. DEREK MCLANE (Scenic Designer) SELECTED CREDITS: BROADWAY: MJ the Musical, Moulin Rouge!, Purlie Victorious, A Soldier's Play, American Son, The Parisian Woman, Children of a Lesser God, The Price, Noises Off, Fully Committed, Beautiful, Gigi, China Doll, Anything Goes, The Heiress, Nice Work If You Can Get It, The Best Man, Follies, How to Succeed In Business Without Even Trying, Bengal Tiger at the Baghdad Zoo, Million Dollar Quartet, Ragtime, 33 Variations The Pajama Game, I Am My Own Wife. OFF-BROADWAY: Black No More, Merrily We Roll Along, The True, Jerry Spring the Opera, If I Forget, The Whirligig, Into The Woods, Love, Love, Love, Sweet Charity, Evening at the Talk House, Two Gentlemen of Verona, Buried Child, The Spoils, Sticks and Bones, The Last Five Years, A Lie of the Mind, Ruined, Hurlyburly. TELEVISION: He designed the 2013, 2014, 2015, 2016 & 2017 Academy Awards as well as the NBC LIVE! Musicals The Sound of Music, Peter Pan, The WIZ & HAIRSPRAY. AWARDS: Winner of 1997 + 2004 OBIE Awards, 2004, 2005, 2007 Lortel Awards; 2009 + 2021 Tony Award, 2011 Drama Desk Award, 2015, 2016 Art Directors Guild Award, 2014 + 2017 Emmy Award.  

Today's episode is a panel discussion on EVs and their benefits for artists, guest hosted and edited by friend of the show Carl Faber.  Recorded in March of 2023, the guests include: Mikhael Tara Garver, Phil McBeth, Ryan Durham, & Travis McHale.   Topics: ⭐️ Features of EVs and EV ownership ⭐️ Financial incentives of new and used EVs ⭐️ Scheduled maintenance (or lack thereof) ⭐️ Bidirectional charging (aka run your home's electricity off your car's battery) ⭐️ Supply chain and production delays ⭐️ Write-offs and taxes (particularly Section 179 Depreciation) ⭐️ Predictions for an EV-centric future   Links and Resources: ⭐️ Carl's EV article (inspiration for this episode): typefully.com/cxfaber/UOp2kz6 ⭐️ Resource for global gas prices: globalpetrolprices.com/ ⭐️ Federal Tax Credits: irs.gov/clean-vehicle-tax-credits ⭐️ Charging Station Tax Credit: irs.gov/credits-deductions/alternative-fuel-vehicle-refueling-property-credit ⭐️ Section 179 Depreciation: www.investopedia.com/terms/s/section-179.asp   Guests Carl Faber, Lighting Designer Bio: Carl Faber is a visual artist and live-event creator who often, but not always, works as a Lighting Designer for theater, dance, opera, and immersive experiences. He's created work across the United States, Europe, and Asia, and participates as a company member and consultant with multiple arts organizations. He has an extensive assisting background as well, with credits including the Broadway productions of The Book of Mormon, Bloody Bloody Andrew Jackson, and August: Osage County. Outside the field of stage lighting, he's toured in various production capacities with Bruce Springsteen & The E Street Band, Bon Iver, and The National. He also designs websites, creates database solutions, edits visual media, and has taught Design and Stagecraft at Portland State University. He is a proud member and Western Region Board member of United Scenic Artists Local USA 829, and is based in Portland, Oregon. Professional Dashboard: Carlfaber.com Lighting Design Portfolio: Carlfaberdesign.com LinkedIn: linkedin.com/in/carlfaber/ Mikhael Tara Garver, Immersive Experience Creator/Director Mikhaeltaragarver.com Phil McBeth, Retired Technical Director & Lighting Designer Ryan Durham, Software Developer & Former Stage Manager Bio: After attending the Yale School of Drama for Stage Management, Ryan spent a number of years working as a stage manager in New York and on the West Coast.  Eventually he transitioned into the tech sector and now works as a senior software engineer for Firebrand Technologies. Travis McHale, Lighting Designer & Educator Bio: Travis McHale is a New York based lighting designer.  Recent NYC: Is There Still Sex In The City (Daryl Roth), Get Happy: A Judy Garland Centennial Celebration starring Jessica Vosk (Carnegie), #DateMe: An OK Cupid Experiment (Westside), Mister Miss America (Rattlestick). Travis works extensively in regional theatre, has been associate designer on 11 Broadway shows, and 7 seasons designing runway shows for NY Fashion Week (IMCD).  He also designs for Norwegian, Carnival, Regent, and Oceania cruise lines.  Design faculty: SUNY New Paltz. Member: United Scenic Artists Local USA 829.  Travismchale.com Instagram: @captainmchale   Episode Credits Video & Audio Editing by Carl Faber Panel conducted via Zoom Re-mixed & Edited on Davinci Resolve AI Voiceover Clone: elevenlabs.io AI Audio Post-Production: https://auphonic.com/

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We're talking about maybe our most controversial topic yet this week for Junesical Theatre Month, Bloody Bloody Andrew Jackson. And we have special guest and fellow Anarchy the Improvised Rock Opera team member Paul Brandt on the show this week to discuss it! We discuss if this show could be done today, talk about Paul's fondness for the novelizations of the prequels, and play a game about president middle names! It's a lot of fun. Enjoy! You can contact the show at agoodpodcast@gmail.com and @HowStarWarsIsIt on all platforms. You can also follow Mike @MikeGospel on Twitter and @WordGospel09 on Youtube and Instagram and Josiah @JosiahDotBiz on social media and on his website josiahrobinson.biz. And don't forget to rate and review on iTunes, or wherever you get your podcasts! And if you REALLY like the show head over to our Patreon at patreon.com/howstarwarsisit for bonus episodes, Star Wars movie commentaries, and more!

Bryce Pinkham (IG:@thebrycecapades)(TW:@TheBryceCapades) is a Grammy and Tony-nominated American stage and screen actor. He is perhaps best known for originating the role of “Monty Navarro” in the Broadway production of A Gentleman's Guide to Love and Murder. The performance earned him a Grammy nomination, as well as a Tony nomination for “Best Performance by a Leading Actor in a Musical.” Bryce played this role on Broadway for more than 700 performances, and the show was named “Best Musical of 2014.” Bryce went on to star in the Broadway revival of The Heidi Chronicles as “Peter Patrone,” for which he was nominated for an Outer Critics Circle Award, as well as the Drama League Award for “Distinguished Performance” in 2015. In the fall of 2016, he returned to Broadway, leading the cast of Roundabout Theater and Universal Pictures's Holiday Inn, performing in the role originally played by Bing Crosby in the classic 1942 movie. Bryce also originated roles in Ghost the Musical and Bloody Bloody Andrew Jackson on Broadway. Recent film and television appearances include performances in the Robert DeNiro comedy The Comedian and Baz Lurman's Netflix drama The Get Down, as well as a regular role in the PBS series Mercy Street. Bryce has also appeared on The Good Wife, Person of Interest, and the PBS miniseries God in America. In 2012, Bryce was awarded the prestigious Leonore Annenberg Fellowship, which is given to “a limited number of exceptionally talented young dancers, musicians, actors and visual artists as they complete their training and begin their professional life.” In 2012, Bryce and fellow actor Lucas Caleb Rooney co-founded Zara Aina, a nonprofit organization devoted to helping at-risk children expand their capacity for achievement through theatrical performance and storytelling. Lucas and Bryce regularly travel to Madagascar to help empower at-risk students through theatrical storytelling techniques and performance and provide them with much-needed medical and educational assistance. Bryce also performs regularly with the theater company Outside the Wire, which takes performances of Greek tragedy to American military audiences around the world to foster discussion about PTSD and soldier suicide. Bryce is a graduate of the Yale School of Drama and Boston College.

Bryce Pinkham (IG:@thebrycecapades)(TW:@TheBryceCapades) is a Grammy and Tony-nominated American stage and screen actor. He is perhaps best known for originating the role of “Monty Navarro” in the Broadway production of A Gentleman's Guide to Love and Murder. The performance earned him a Grammy nomination, as well as a Tony nomination for “Best Performance by a Leading Actor in a Musical.” Bryce played this role on Broadway for more than 700 performances, and the show was named “Best Musical of 2014.” Bryce went on to star in the Broadway revival of The Heidi Chronicles as “Peter Patrone,” for which he was nominated for an Outer Critics Circle Award, as well as the Drama League Award for “Distinguished Performance” in 2015. In the fall of 2016, he returned to Broadway, leading the cast of Roundabout Theater and Universal Pictures's Holiday Inn, performing in the role originally played by Bing Crosby in the classic 1942 movie. Bryce also originated roles in Ghost the Musical and Bloody Bloody Andrew Jackson on Broadway. Recent film and television appearances include performances in the Robert DeNiro comedy The Comedian and Baz Lurman's Netflix drama The Get Down, as well as a regular role in the PBS series Mercy Street. Bryce has also appeared on The Good Wife, Person of Interest, and the PBS miniseries God in America. In 2012, Bryce was awarded the prestigious Leonore Annenberg Fellowship, which is given to “a limited number of exceptionally talented young dancers, musicians, actors and visual artists as they complete their training and begin their professional life.” In 2012, Bryce and fellow actor Lucas Caleb Rooney co-founded Zara Aina, a nonprofit organization devoted to helping at-risk children expand their capacity for achievement through theatrical performance and storytelling. Lucas and Bryce regularly travel to Madagascar to help empower at-risk students through theatrical storytelling techniques and performance and provide them with much-needed medical and educational assistance. Bryce also performs regularly with the theater company Outside the Wire, which takes performances of Greek tragedy to American military audiences around the world to foster discussion about PTSD and soldier suicide. Bryce is a graduate of the Yale School of Drama and Boston College.

Town Square with Ernie Manouse airs at 3 p.m. CT. Tune in on 88.7FM, listen online or subscribe to the podcast. Join the discussion at 888-486-9677, questions@townsquaretalk.org or @townsquaretalk. Many of the most beloved musicals take inspiration from history such as Hamilton, Evita, 1776, Newsies, and more recently, SIX. We talk with the actress playing Katherine Howard in the North American “Boleyn” tour of SIX, which tells the story of the ex-wives of Henry VIII presented as a modern pop concert. She'll discuss her role in this production and where she found inspiration for playing a real-life queen. SIX is currently playing at the Hobby Center in Houston until November 20, 2022. For tickets and more information, click here. Sharing history in a new, entertaining and modern way can bring audiences to understand the past, but what is lost in these interpretations? How important is historical accuracy?  Our panel of experts, including a professor of history and a theater expert, discuss their feelings on how history is translated on stage and on screen. We break down the truth behind shows such as 1776, Assassins, Hamilton and The Crown, and discuss if these retellings are good, or bad, for history. Plus, in the case of The Crown, how important is a “true depiction” if the people and the subject matter are current? Guests: Aline Mayagoitia  Actress, Plays Katherine Howard in SIX the Musical Claire Potter Professor of History, The New School for Social Research Co-Executive Editor, Public Seminar Creator, the History Podcast, Why Now? Editor and Contributor, Historians on Hamilton: How a Blockbuster Musical is Restaging America's Past Robert Viagas  Former Managing Editor, Playbill Editor-In-Chief, Encore Monthly Author, Good Morning Olive: Haunted Theatres of Broadway and Beyond and Right This Way: A History of the Audience Helen Mann, MBE Former British Vice Consul, British Consulate General in Houston Former Panelist, Manor of Speaking Town Square with Ernie Manouse is a gathering space for the community to come together and discuss the day's most important and pressing issues. We also offer a free podcast here, on iTunes, and other apps

Nos musicais de hoje, tem gente imitando fantasma na plateia, egocentrismo e estereótipos! Chegamos à sétima edição da nossa série sobre flops, episódios em que nossa equipe conta tudo sobre alguns flops da Broadway. No episódio de hoje, o Rafael Nogueira,  o Julio Velloso e a Letícia Saggese falam sobre os musicais “Saravá” (1979), “Young Frankenstein” (2007) e “Bloody Bloody Andrew Jackson” (2010). Vem ouvir e descubra por que as temporadas desses espetáculos não tiveram sucesso e se a gente acha que o flop foi merecido ou não! E aí, qual foi sua história preferida? Ajude o Musical Cast se manter […]

The podcast gets all sexy pants as your two favorite Populist hosts take over the nation. While the legacy of Andrew Jackson hangs in the balance, topics of extensive important debate are the Rock Icon status of Carol Channing, the importance of responsible portrayals, camp in the frontier, and the dramaturgical significance of Cher! Tune in to next week's episode when we discuss Sunset Boulevard; specifically, the Broadway production's performance from July 14 1995! Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast

Dan and Joshua spend A Weekend in the Country at the Armfeldt residence, living the lavish European life (liaisons and all) discussing Sondheim's 1973 triumph A Little Night Music. Despite the change of pace offered by director Trevor Nunn's re-envisioning our hosts still have much to go on about, such as Sondheim's use of triplicates, the oft under-appreciated importance of The Miller's Son, and what makes this Dan's favorite musical of all time. Tune in to next week's episode when we discuss Bloody Bloody Andrew Jackson; specifically, the Broadway production's performance from November 10th 2010! Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast

It was a radical idea. Put Andrew Jackson in tight pants and have him rock out to emo music. However, despite its outlandish concept, Bloody Bloody Andrew Jackson went on to receive rave reviews in the New York Times, Entertainment Weekly and The Rolling Stone. So why didn't it transcend to the height of another modernized historical musical, Hamilton? Thanks to our V.I.P. Club Patrons on Patreon: John Fogg Special thanks to www.thematic.com and www.fuge.com for providing the music. Music Credits (in order of appearance): • Music by Ryan Farish - Wilderness - https://thmatc.co/?l=C58C4D44 • Making Ends Meet - Thick As Thieves - https://thmatc.co/?l=45B19057 • Clueless Kit - Rooftop - https://thmatc.co/?l=F669AC61 • SkeetOnTheBeat - Late Night - https://thmatc.co/?l=E76B8FCF • Clueless Kit - The Springs - https://thmatc.co/?l=E1694D70 • Ryan Farish - My Heart Beats For You - https://thmatc.co/?l=C68C4FF1 • Ryan Little - Whoa. - https://thmatc.co/?l=A38082B5 • Music by Weary Eyes from Fugue • Music by Peaceful Riot from Fugue • Music by Mr. Chase - Grace & Mercy - https://thmatc.co/?l=59EBFB43 • Music by Ilya Truhanov from Fugue • Music by Weary Eyes from Fugue • Music by Weary Eyes from Fugue • Alfredo- Bayside https://thmatc.co/?l=9B8F6C78 • Music by Dream Machine from Fugue • Music by Max Sergeev from Fugue • Music by Stage Engine from Fugue • Mr. Chase - Calling Home - https://thmatc.co/?l=11ECD51B • Clueless Kit - close your fridge it's cold - https://thmatc.co/?l=86993CB • Ryan Little - sometimes i feel this way. - https://thmatc.co/?l=C07F644E • Music by Peaceful Riot from Fugue • Music by Alpharo - Too Early - https://thmatc.co/?l=FED9A3C5 Learn more about your ad choices. Visit megaphone.fm/adchoices

Jarrod Draper! A proud Wiradjuri man, Jarrod is the first Indigenous graduate from the prestigious Music Theatre course at the Western Australian Academy of Performing Arts. Born and raised in Orange, country NSW, Jarrod earned a full scholarship to the Regional Conservatorium to study Music Theatre and Classical Voice, which saw him perform both nationally and internationally for several years. During his time at WAAPA, Jarrod played roles such as ‘Sam' in Lord of the Flies, ‘Black Fox' in Bloody Bloody Andrew Jackson, ‘Louise's Soldier (pas de deux dancer)' in Carousel and most notably, ‘George' in Sunday In The Park With George, for which he was voted Male Performer of the Year by Perth Theatre Reviews. Jarrod could most recently be seen on stage in The Hayes Theatre Company's sold out production of Catch Me If You Can. He also was a member of the ensemble in RENT at the Sydney Opera House and most recently has been announced as a member of the ensemble for the Australian Tour of Moulin Rouge!

This week, Jamie and Rob round out the mission of the podcast by speaking with Broadway musician, music director, music supervisor, conductor, composer, and orchestrator Charlie Rosen. Together, they chat about Charlie's life and career in the music world, from his Broadway debut at age 18 to his Tony Award-nominated orchestrations for “Moulin Rouge! The Musical”, and his work beyond the stage in film, TV, podcasts, and video games. Tune in to find out about the strangest instrument Charlie has orchestrated into a musical score!  This week's music: “Entr'Acte” from “Honeymoon In Vegas: The Musical, Original Broadway Cast Recording”. “Backstage Romance” from “Moulin Rouge, Original Broadway Cast Recording”. “Sunday” from “Sunday In The Park With George”. “Populism Yea Yea” from “Bloody Bloody Andrew Jackson”. “Here I Come”, from “13, Original Broadway Cast Recording”, “Squib Stalks” from “Be More Chill, Original Broadway Cast Recording”. “Overture” from “Honeymoon In Vegas: The Musical, Original Broadway Cast Recording”.   Find us on Twitter & Instagram: @fabulousinvalid Facebook: www.facebook.com/fabulousinvalid Rob's reviews: www.stageleft.nyc Email us at: office@fabulousinvalid.com  Jamie DuMont Twitter: @jamiedumont  Instagram: @troutinnyc Rob Russo Twitter/Instagram: @StageLeft_NYC Learn more about your ad choices. Visit megaphone.fm/adchoices

Season three continues as we move from the Cellular Division to the Appellate Division. Sean, Simone, and Randy have all brought their A-games for a brand new set of pop culture trivia challenges. The pedantic IMDb goofs section might not be for everyone, but it does provide the basis for today's first round where players identify a movie from its notable production mistakes. The search for inconsistencies continues in round two where players find movies from their casts, but one actor is out of place! Can they put the pieces of the puzzle together to reassemble them? The game's tension holds all the way through the lightning round for a real photo finish! Support Us On Patreon

Season three continues as we move from the Cellular Division to the Appellate Division. Sean, Simone, and Randy have all brought their A-games for a brand new set of pop culture trivia challenges. The pedantic IMDb goofs section might not be for everyone, but it does provide the basis for today's first round where players identify a movie from its notable production mistakes. The search for inconsistencies continues in round two where players find movies from their casts, but one actor is out of place! Can they put the pieces of the puzzle together to reassemble them? The game's tension holds all the way through the lightning round for a real photo finish!Support Us On Patreon

Season three continues as we move from the Cellular Division to the Appellate Division. Sean, Simone, and Randy have all brought their A-games for a brand new set of pop culture trivia challenges. The pedantic IMDb goofs section might not be for everyone, but it does provide the basis for today's first round where players identify a movie from its notable production mistakes. The search for inconsistencies continues in round two where players find movies from their casts, but one actor is out of place! Can they put the pieces of the puzzle together to reassemble them? The game's tension holds all the way through the lightning round for a real photo finish! NOTES ⚠️ Inline notes below may be truncated due to podcast feed character limits. Full notes are always on the episode page.

In February, John and John sit down to talk about four shows that failed for various reasons on Broadway. Week 2 sees John and John tackle the highly problematic "Bloody Bloody Andrew Jackson", which ran on Broadway for 94 performances. The pair discuss how labeling satire doesn't make it so, the blandness of the score, and how it's pretty amazing to be *this* tone-deaf. Music and lyrics by Michael Friedman Book by Alex Timbers Intro and outro music ("BeBop 25") provided under Creative Commons Attribution 4.0 International License by Jason Shaw on Audionautix.com Have a question for John or John? Want to leave feedback or tell us how wrong we are? Email us at musicalminutespodcast@gmail.com For more info on our hosts - please visit https://norine62.wixsite.com/musicalminutes

Chels and Em are bloody bloody oblivious to this being the 50th episode! Half way to 100 and so close to Wines and Dolls' 1 year anniversary! We pour one (glass) out for 2020 and settle in to talk about emo Andy, yet another US President who made people angry and changed things for the something. Table of Contents: [5:15-18:43] Background [18:43-46:53]Act 1 [46:53-1:03:31] Act 2 . . . SEND US WHAT YOU'RE "WINING" ABOUT! If you have a story or a GOOD RANT/CELEBRATION you would like to share with W&D, please submit by clicking here or email winesanddolls@gmail.com and put "LISTENER STORY" in the subject line for our new Listener-Sode series, to be released every first Monday of every month! Help Wines and Dolls be the best they can be by supporting us on Patreon at patreon.com/winesanddolls for a cheers on the show and other perks for Patrons. Cheers to our Patrons: Brandon, Sydney, Allison, Noah, Victoria, Amy, Sandra, Julia, and Andy! Follow us on Instagram, Facebook, TikTok, and Twitter at winesanddolls Artwork by From Pen to Paper Music from Bloody Bloody Andrew Jackson, 2010 and Guys and Dolls, 1992 on Spotify --- 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/winesanddolls/message

Hello! Thanks for tuning in to episode 11! This is a very special episode, because this time on the pod we embarked on our first three way conversation! Jarrod Draper, Lyndon Watts and Shannen Alyce Quan are all phenomenal artists in their own rights, and have been incredible leaders of change within the Australian musical theatre industry this year. A few months ago we were lucky enough to have all three zoom in and chat to us and our fellow WAAPA colleagues about what it means to be an ally through the BIPOC movement within the arts industry, and learned so much through this chat, so we knew it was important to have them on the podcast to relay what we heard to our listeners! A bio for our three wonderful guests below...: A proud Wiradjuri man, Jarrod is the first Indigenous graduate from the prestigious Music Theatre course at the Western Australian Academy of Performing Arts. Born and raised in Orange, country NSW, Jarrod earned a full scholarship to the Regional Conservatorium to study Music Theatre and Classical Voice, which saw him perform both nationally and internationally for several years. During his time at WAAPA, Jarrod played roles such as ‘Sam' in Lord of the Flies, ‘Black Fox' in Bloody Bloody Andrew Jackson, ‘Louise's Soldier (pas de deux dancer)' in Carousel and most notably, ‘George' in Sunday In The Park With George, for which he was voted Male Performer of the Year by Perth Theatre Reviews. Jarrod could most recently be seen on stage in The Hayes Theatre Company's sold out production of Catch Me If You Can. Lyndon is a 2014 graduate of the Western Australian Academy of Performing Arts (WAAPA). After graduating from WAAPA, he was cast in the national Australian tour of Sweet Charity, originally staged at the Hayes Theatre. In 2015 Lyndon toured Australia in Anything Goes before going on to perform the role of Beautiful Girl Production Tenor in the Australian national tour and the international Tokyo production of Singin' in the Rain. Lyndon has performed throughout Australia in the ensemble of Disney's Aladdin where he also covered and performed the role of Jafar. Most recently, Lyndon started in the role of Bernardo in the internationally touring company of West Side Story. Shannen Alyce Quan graduated from WAAPA in 2014 with a Bachelor of Arts (Music Theatre). She recently worked for Norwegian Cruise Lines playing Cynthia in Priscilla Queen of the Desert - The Musical. Prior to this she was a part of the 10th Anniversary Tour of Priscilla Queen of the Desert - The Musical as a Swing and cover Cynthia. Other theatre credits include Natalie Goodman in Next to Normal (Black Swan State Theatre Company), Shirley in Boat People (Theatre451), Wendla in Spring Awakening (CPCA), The Disappeared/The Soul in Torment in Tejas Verdes (Theatre451). She has been lucky enough to work on several new Australian musicals including playing Kelly in The Gathering (Vic Theatre Company), Seela in Post: A New Musical (Something Blue Productions), and Maia in Matthew Robinson's Atlantis. Most recently, Shannen was a swing for the national tour of Six: The musical. In this episode we spoke about our hilarious onstage mishaps, how Lyndon, Jarrod and Shannen have been moved to use their voices for change within the industry, and what it means to hold space for both joy and pain in your artistry. We really enjoyed this episode and the open, generous and fun energy Lyndon, Jarrod and Shannen bring, and we know you'll love hearing what he has to say! You can find Lyndon, Jarrod and Shannen on Instagram as @lyndoncollinswatts, @jarrod_draper and @shannenalycequan. If you liked this ep, please leave a rate and review wherever you listened to this podcast, and come and follow us on Instagram and Facebook @companypod. We'd love to hear your thoughts! Hosted and Created by Giorgia Kennedy and Tiana Catalano Produced and Edited by David Duketis Media by Deirdre Khoo (deedledumdesigns) Music by David Duketis

This week, we tackle one of America's most nefarious presidents. Join us as we delve into the agitpop musical, Bloody Bloody Andrew Jackson. With special guest, Kyle Henshaw.

In this episode, I welcome David Weinraub! He has been involved in professional theater productions, musical theater, and rock-and-roll bands, and talks about how his involvement with art has changed throughout the years with various life seasons. Connect with David Weinraub: https://www.facebook.com/david.weinraub.5Artfully Told links: www.facebook.com/artfullytold | www.artfullytold.podbean.com | elevateartskc@gmail.comSchedule your podcast interview with Artfully Told! https://calendly.com/artfullytold/podcast-interviewArtist's Edge: The Mission of Artist’s EDGE is to raise the level of Business Intelligence, Life Skills and Emotional Intelligence for people who are committed to expressing their passions, their creativity, and their unique genius through their careers, helping them reach higher levels of success with ease. Click here to access all courses! Intro & Outro Music Credits:Bad Ideas (distressed) by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/3412-bad-ideas-distressed-License: http://creativecommons.org/licenses/by/4.0/ SHOW NOTES:Episode 12 - David WeinraubLindsey Dinneen: Hello, and welcome to Artfully Told ,where we share true stories about meaningful encounters with art.[00:00:07] Krista: I think artists help people have different perspectives on every aspect of life.[00:00:13] Roman: All I can do is put my heart into the world.[00:00:15] Elizabeth: It doesn't have to be perfect the first time. It doesn't have to be perfect ever, really. I mean, as long as you, you're enjoying doing it and you're trying your best, that can be good enough.[00:00:23] Elna: Art is something that you can experience with your senses and that you just experience as, as so beautiful.[00:00:32] Lindsey Dinneen: Hello and welcome to another episode of Artfully Told. I'm Lindsey and I am so excited to have as my guest today, David Weinraub, and thank you so much, David, for joining me. I'm so delighted to speak with you today.[00:00:49] David Weinraub: Thank you so much for having me. I'm excited to participate.[00:00:53] Lindsey Dinneen: Absolutely. Well, I would love if you would start by sharing just a little bit about who you are and maybe some of your involvement in art.[00:01:01] David Weinraub: Sure. Well, my name is David. I am a child of the seventies and grew up playing music. That turned into a love of rock and theater. As I continued to grow and after college, I began pursuing a career as an actor and did that and was able to pay my bills for a few years and then found a part-time job that turned into a full-time job in an office that I really enjoyed, and realized I can still continue to do art no matter what. I could still play music, I could still act, but I could also--didn't have to pursue it as my full-time gig, and continued to act. I met my wife. We were the only two people with day jobs on a six night a week dinner theater show, and we dated, got married a few years later, had a kid, and then I kind of dropped out of the art world for a while.[00:01:55] I stopped performing when our son was born and I didn't get back to it until about three years ago, and I've been going nonstop ever since, and I love it. And I love that I can share with my family. I love that I can share it with the world, and I'm just having a great time continuing to make music and, and perform. So that's me in a reader's digest nutshell.[00:02:18]Lindsey Dinneen: Perfect. Yeah. I mean, I know that there are many, many layers to your stories of course, but that's great. I'm so glad you're back into it. And I love that you met your wife through that. That is wonderful.[00:02:29] David Weinraub: Yeah, no, we would be, it was a dinner theater. So, you know, you, you get a paycheck just for performing, but you make more money by waiting tables, and we had day jobs and weren't able to get down to the theater in time for the dinner service before the show. So we would hang out backstage. It would just be the two of us, and that's how we really bonded and fell in love. So the theater has been great for us in many, many ways.[00:02:53] Lindsey Dinneen: It sounds like it. That is awesome. Wonderful. Well, I'd love to hear a little bit about maybe some stories of times where art has impacted you, or even hear a little bit about, you know, the various projects that you're embarking on now.[00:03:06] David Weinraub: Sure. Well, I guess my love of theater started in college. I was a Shakespeare fiend. I was an English major and I loved reading Shakespeare and analyzing Shakespeare, talking about it, and then my senior year, they were going to be doing "Henry the 4th," parts one and two in their entirety in the spring. And I decided in the fall, well, since they're doing it in the spring, I should audition. So they think I'm interested and then I can be a spear carrier, a soldier. And so I can just say I acted in one Shakespeare play. And I auditioned in the fall for a show called the "Prince of Homburg," which is a 16th century German piece very similar to the themes of "Henry the 4th."[00:03:52]So a young upstart Prince doesn't really know how to become a leader and goofs off a lot, but then becomes a leader in his own right. And, I, I got cast in a pretty good role and I loved it. And, then from that point forward, all of my focus turned towards theater. I was able to complete a theater minor in an entire year before graduation. And then right after college, I just kept going with it. So it started with the love of Shakespeare. I worked for the Annapolis Shakespeare--I think it's under new management now--but the Annapolis Shakespeare Company after college. I did some modern dramas and black box theaters in downtown DC, which no longer exist.[00:04:34] And then, I was auditioning a lot in New York while performing in DC and, then, fell into the dinner theater, 'cause I realized if I wanted to make money, I couldn't just do Shakespeare or weird modern dramas. The money was in musicals. And I played in bands in high school, in college as well. So I sang a little bit, but I started taking voice lessons and I got cast in a production of "Jesus Christ Superstar" as Pilot in the Giant Theater in Frederick, Maryland.[00:05:07] And, then I, I just kept doing musicals for awhile. And then I met Catherine and we got married. We worked together on four shows in dinner theater and then did a few more after we got married in community theater in the Northern Virginia area. And then our son was born, and that was amazing, but we dropped out of performing in theater and started attending theater. We became a Shakespeare Theater subscribers and Kennedy Center subscribers. And that was just amazing as well, just to be able to enjoy something from the other side, which when you're performing six nights a week, you don't have as much time to see.[00:05:42]I thought I still needed some sort of creative outlet when he was little, and then a friend of mine who I worked with who was in a band, asked me if I wanted to join his band. And the good thing about playing music--you can kind of take gigs when they become available to you, but also you can rehearse when it works for the whole band. All of us had day jobs. We were just, we called ourselves a bunch of old dudes who just got together and played when we could. And, we were getting more gigs, playing bars and stuff than we were able to take, because people travel for irregular job work and the children's calendars, you know, we had sports for our kids and stuff like that.[00:06:19] And we just played when we could. The band was called the Black Shag Sherpas, and I think they still have a website. I'm not sure if there are any original members left in that band or if they're still playing, but they played some great funky, weird rock, jazz hybrid music along with some covers. So that was fun. So I never stepped away from art or music. I just found an outlet. And then how I got back into it-- the dinner theater where Catherine and I had met closed down and they had a reunion picnic. So people who had worked there from the time it opened in the mid-seventies, till the time it shut down in 2016, everyone was invited.[00:07:06] And, I started talking to friends from the theater who I had not seen in 13 years, and I was telling them about playing in bands and they said, "Oh, you play in bands. Do you think you could get a band together to play the 'Rocky Horror Show?'" And I said, "I think I can." And that is how I got pulled into music, directing the "Rocky Horror Show" for the Workhouse Arts Theater in Lorton. And that's what started my journey into theater nonstop. Once again, began with the "Rocky Horror Show" in 2016.[00:07:39]Lindsey Dinneen:  Wow. That is a really interesting trajectory. I mean, you, you have dabbled in all--well, not dabbled, you're a professional; I didn't mean it like that--but you have gotten to experience so many different outlets for your art. And I love the fact that even if you couldn't do what you had originally started doing throughout your entire career, you've actually helped yourself grow as an artist. Would you say that? That, you know, because you've been able to do so many different things?[00:08:06] David Weinraub: Definitely! I mean, just sitting back as, as an active participant, as an observer, you learn so much from watching others and not, not that I would ever think, "Oh, I can do that better than so and so," 'cause I never thought that, but you, you can enjoy what they are doing and you can learn from the things you are seeing.[00:08:25]Lindsey Dinneen: Yes. Absolutely. Well, do you have any specific things that come to mind as inspiration for maybe a new direction that you took, or just an encounter with art that may have really impacted you and helped you on this trajectory?[00:08:40] David Weinraub: One of the more recent things I worked on, with one of your previous guests, was a production of "Bloody Bloody Andrew Jackson" for Dominion Stage, which is a very difficult piece. Andrew Jackson is a very divisive figure, especially nowadays. He was a horrible, horrible man who grew the size of the United States a quintuple fold from what it was by doing awful, awful things, which were admired at the time by many. His story was turned into a rock musical before "Hamilton" and it ran on Broadway very briefly. It was not well received.[00:09:19] But, working with Dani Guy as the director, when she asked me to be involved, I wanted to, because I loved the music. It is just dirty rock and roll, which I love. And also the band gets to be on stage and interact with the other performers. So that's always fun. I was able to put together--I call them the best band in the world--'cause they are. And, we all listened to one another when we play and we listened to what's going on onstage. So if you show up night one, it might sound a little different than night two if someone plays something or acts in a slightly different way, we're going to react to it, the band or actors too. But working with this collaborative group of people, we made something really, really special and very poignant. And, you know, it sucks that there is no venue for live theater right now, nor should there be 'til it is safe to return to it. But to go out on a note like that was, you know, at the end of February, was not a bad thing to go out on it, to have in my recent memory.[00:10:20]Lindsey Dinneen: Yeah. So Dani did share a little bit about her experience with that too. And it sounds like it was just an incredible experience for everyone involved and brought out a lot of conversation about art. I mean, did--what were the reactions that you kind of encountered personally, positive or negative?[00:10:39]David Weinraub: All positive in terms of, "This was a powerful piece." No one thought that we were doing anything wrong, who I spoke to. You know, we were pointing out, through beauty, we were able to point out some of the horrible things that have happened, and are continuing to happen, in this world, you know, through the power of performance, through the power of rock and roll, and dance and, and movement. I'm struggling to define what it was 'cause it is such a strange piece. But it was so beautiful the way it, it all came together. Does that make any sense?[00:11:12] Lindsey Dinneen: Absolutely. Yes. Yeah. She, she shared about getting some mixed reactions and how she, as the director, wanted to help everyone kind of navigate through some criticism that, you know, all art gets. I mean, we all have dealt with that at some point, and her outlook was so, so amazing to me because she just--I love her approach of using people's criticism to really think through a different perspective. And I think that's a really wonderful thing that she brought to that production in particular. So I know it's kind of, we're kind of in a weird place right now, but do you have anything coming up that you're excited about? Or how, how are you still able to kind of express yourself and be artful in these crazy days?[00:12:01] David Weinraub: Well, the amazing thing about artists is they always find a way to create, regardless of the circumstances. And I have many friends who have created online venues for us to do so. I've worked with a landless theater company as an actor. I did a production of "Puffs" with them last year, which is a "Harry Potter" spoof, and they are going to be releasing very soon some virtual performances. We recorded one, called "The Walking Fred," which is a spoof of "The Walking Dead," as told through the prism of the Flintstones.[00:12:41]So, we recorded it via Zoom and they're putting, you know, special effects on it to make it look like we're, we all have the same backgrounds and that sort of thing. So hopefully that will be coming out soon. So that was a nice outlet to be able to act. And then, I have a friend, who is an amazing actor-singer, and he's also, he, hosts a number of drag brunches and drag bingos as "Lips," and Lips has a new show, which is a virtual drag, a talent show, and he asked me to work on some songs for it. So I was able to write some songs and I, I'm a dirty rock and roll player. I like playing live with groups of people. You know, I will play one instrument at a time, with groups of people, but by doing it this way, and him asking me to write something, I had to learn how to use Garage Band that was able to record myself, you know, multi-track it.[00:13:34] So I'm playing all the instruments for, for this piece. So that should be out soon as well. So "Lips Virtual Drag Cabaret." So I'm, I'm finding things to keep me busy. I'm taking advantage of all that, that others are creating as well. Now that I have more time in the evenings, I'm watching it all. You know, there are so many people putting out--they're doing Zoom play readings. I was able to work with Dani again, and this was just for fun. I don't believe it was recorded, but as a stage reading of the "Duchess of Malfi," which is an amazing, Chekhovian, very dark drama. I don't think it was meant to be a comedy, but it kind of turned into one looking at it through 21st century prism. But we had a lot of fun just reading that. So there, there are always outlets to do things.[00:14:19]Lindsey Dinneen:  Yeah. Now you mentioned writing songs. Was that something you had done before, or is that a little bit newer to you?[00:14:26] David Weinraub: I have written songs for rock bands before, but I'd never recorded in a studio, you know, with engineers hanging around and stuff. But I never pursued it as something that I wanted to get out there and publish. The Black Shag Sherpas, which I mentioned before, we put out a four-song EP, which you could probably find online. But ever since then, since I got back into theater, I really haven't done any writing. So this was a nice outlet to do it once again. So this was just an, a fun, goofy, 1970s, disco rock. I was told to think of superheroes. So I was thinking of, you know, a combination of the "Wonder Woman" theme and, you know, seventies disco era Rolling Stones. And I put that together in my head to come up with a, with a theme song for them.[00:15:13]Lindsey Dinneen: Oh, neat. Well, that sounds incredible. I'm sure that's going to be great. Yeah, that's really neat. So I'm just curious, how has--or if, if it hasn't, that's fine too--but yeah, I guess more accurately, has becoming a father changed the way that you view art or create art?[00:15:33] David Weinraub: Definitely. I'm always looking at things through, through my son's eyes now. Is this something that I think he would appreciate? Not that it always--I don't expect a, he's now 16 years old, so I don't expect him to like everything I like, and he wouldn't be a cool teenager if he did-- but, the answer is yes, it forces you to see things in a different way. And now thinking, like going to museums with him when he was very young, you know, we might take advantage of looking at an impressionist painting for the first time, but seeing it through the eyes of a three-year-old in a stroller, totally changes the way you take something in.[00:16:08] And not that he understood the brushstrokes or the whole backstory of the impressionist or anything, and he just appreciated the art for what it was, you know, to him and seeing something with that freshness without having the 20-plus years of your experience on top of it lends you to appreciate it in a new way, totally different take on this. I don't know if you've ever watched the television show called "Community" from 10 years ago?[00:16:33] Lindsey Dinneen: Yeah, I have. I just actually recently got into it. What a fun show.[00:16:37] David Weinraub: It's a great show and I loved it when it first aired, but he was too young to watch it then. So, we were watching it together now from the beginning and something simple and easily accessible on Netflix, just watching it through his eyes and all of the, the pop culture references that it makes, you know, discussing them with him. And then going back if they talked about, well, you know, all that makes a joke about a Martin Scorsese film, then we can pause and talk about Martin Scorsese, and then we can go back and watch a Scorsese film together. You know, a "Good Fellows" the next day. So, always looking at things through new eyes is, is, you know, through someone else's eyes and someone else's experience--it's convenient when they're in the same house as you, so you can discuss it too.[00:17:21]Lindsey Dinneen: That's a great perspective. And it's, it's so interesting to hear how things change, you know, when you are getting the opportunity to experience them through somebody else's eyes, or with somebody who might also not share your opinion, and, and get to really explore that a bit.[00:17:39] David Weinraub: Yeah, definitely. And while my son has seen many of the shows that I've worked on in the last three years, there are some that he has expressed absolutely no interest in at all once I've told them about it. And, I did a very strange show at the DC Fringe Festival last year, as an actor. It was a show called "Inferno," which was a modern take on Dante's "Inferno" as a musical. It is not for everybody. It, it won like some Best of Fringe Audience Awards. But I, I didn't think that that was something--I told him about it-- and he said, "No, I'm not interested in something that weird at all." And he did not see it, but that's okay.[00:18:18] Lindsey Dinneen: It is okay. Well, and is he interested in being involved? Is he involved in the arts himself or does he just enjoy experiencing it or what does he like?[00:18:27] David Weinraub: He is a very talented drummer. I'm, I'm so jealous. I, I, that's the one thing I never took lessons in, so I don't really know how to play drums. I can fake my way through it, but he is really, really good and takes lessons. And, he started the FaceTime lessons during this time with his teacher, since you can't do it in person, but, yeah, so he, he has some musical ability. He does not like performing in front of people though. He's finishing up his sophomore year in high school. He does stage crew, and he has designed some lighting grids for one of the shows at his school, but he has no desire to act or to, you know, be in marching band or anything like that. And as long as he's enjoying himself playing drums, I want him to keep playing drums. But it's not something that we force, nor do we expect him to do anything just because we tell him he has to.[00:19:23] Lindsey Dinneen: Yeah. Well, he's forging his own path. I love it. Well, thank you. That was so interesting to hear about your life's trajectory and also the different, really unique experiences that you've had and the ways that they've helped you grow and adopt as an artist. And so thank you for sharing about that.  That is really neat what you've been able to do.[00:19:47] David Weinraub: You're very welcome. Thank you for having me.[00:19:50] Lindsey Dinneen: Yeah. Well, if it's okay with you, I always like to ask my guests a couple of questions, completely subjective, just about your views on a couple of things related to art, is that okay?[00:20:00] David Weinraub: Sure.[00:20:01]Lindsey Dinneen: Great. Okay. So the first thing is, how do you personally define art or what is art to you?[00:20:10] David Weinraub: That's not an easy question. I personally, I define art as anything that can enhance an emotion. I can go outside and I can see, you know, a turtle on my back deck who somehow found its way, you know, up the stairs to onto the porch. And, I find beauty in that and therefore that is art. To me, it elicits an emotion when it happens. Some people say that's where they see God in the world. And, I think in some ways, God and art are synonymous.[00:20:54]Lindsey Dinneen: Yeah. I love that answer. That's a pretty unique approach to it that I've heard so far. And I, I like that perspective a lot. Thank you for that. So the second question I have is, what do you think is the most important role of an artist?[00:21:12] David Weinraub: The most important role of an artist is, is to bring out that emotion. This is going to sound really cheesy, but the biggest compliment, I, I--the happiest I've ever been after getting a compliment after a show was when I was music directing "Rock of Ages," which is a very silly show, 1980s rock music. The band, again, is on stage the whole time, just as in "Bloody Bloody Andrew Jackson." The show doesn't have much of a point though, but, if you had seen the show on Broadway, you might've had a fantastic time. If you had seen the show at the Workhouse, we made it look like a real bar and it was a small intimate space. The band was right in the audience's face and yes, we were very well rehearsed and we knew our parts, but we played from the heart. We didn't necessarily play every single note exactly as written. It was not slick. And so that's what someone said to me after the show. That moved me so much because that band was, was reacting to the crowd and reacting to the actors on stage. We weren't just playing, you know, it didn't sound like a recording to them. And, that is what an artist is supposed to do. We're supposed to elicit an emotion. And even if it's, you know, playing an REO Speedwagon song, if it works, it works.[00:22:32]Lindsey Dinneen: Perfect. Okay. And then my final question is, and I'll explain my terms a little bit, but do you think that art should be inclusive or exclusive? And what I mean by that is inclusive referring to an artist who shares a little bit about their work with whoever their audience is. So if that's a dancer, perhaps they share what inspired the choreography, or if that's a painter, maybe it's a title or a brief description. Versus exclusive kind of referring to the artist puts their work out there and then leaves it open to interpretation.[00:23:11]David Weinraub:   I think art is always open to interpretation. However, I think that art should be inclusive. I don't think the point of an artist is to say only a few people can get this. If you don't understand what I'm doing, you are not a smart person. I don't think that's fair. I don't think that's right. I think that art should be made for everybody. Having said that, having participated in that reading of the "Duchess of Malfi," I'm not sure if you could put a production of the "Duchess of Malfi" on stage right now and expect someone who knows nothing about Jacobian-era language to understand every single moment of it. So you have to figure out a way to make that accessible to anyone who might show up. So it is on the, the artist's shoulders to, yes, allow for some interpretation of their art, but also to, to make it accessible to those who may not understand a hundred percent of it. Or like pausing "Community" when I'm watching it with my son, to explain the cultural references.[00:24:18]Lindsey Dinneen: Yeah, because it enriches the experience. Otherwise it would just go flying over and, you know, not be a point of education and conversation. That makes complete sense. Yeah. Love it. Well, thank you again so very much, David, for joining me. I really appreciate it. And I, am very passionate about art and about sharing it, and I'm very grateful for people like you, who do take what they have and what they've developed, their different skill sets over the years, and then they do share that with the world and they give back. And I think, when you choose to do that, you truly make the world a better, more beautiful place. So on behalf of myself, thank you for sharing art with the world. I know I appreciate it.[00:25:05] David Weinraub: And thank you, Lindsey, for bringing it to people's attention. This is a great forum. So thank you again for having me on.[00:25:13] Lindsey Dinneen: Of course. And if people want to stay in touch with you, maybe find out about some of your upcoming productions, whether they're, you know, in person or online, is there a way for them to do that?[00:25:26]David Weinraub: So the best way to just follow me on Facebook, just my name, David Weinraub. I don't have any other social media outlets right now.[00:25:34] Lindsey Dinneen: Perfect. Well, thank you again, David, for being here. Thank you to all of our listeners for joining us again. And if you're feeling as inspired as I am right now, I would love for you to share this episode with a friend or two, and I will catch you next time.[00:25:53] If you have a story to share with us, we would love that so much. And I hope your day has been Artfully Told.[00:26:04] Hey there, Artfully Told listeners. I wanted to share a really amazing resource with you that I think you will find invaluable. This website is called Artists' Edge. The mission of Artists' Edge is to raise the level of business intelligence, life skills, and emotional intelligence for people who are committed to expressing their passions, creativity, and unique genius through their careers, helping them reach higher levels of success with ease. Artists' Edge is the education arm of Deborah Russell Coaching. And she is an awesome person who uses all of her business background and skills to really assist artists become who they want to be. She has a bunch of different products and courses that you can go through as well as personalized coaching. If you're a wannabe artist that wants to turn their passion into a career, or is an already established artist that wants to take their career to the next level, she is the person to talk to you about this. So please follow the link in my comments and show notes.

“In 1810, Clay gets elected to the United States House of Representatives.  So, he's been in the Senate for two months, he's been in his state legislature but in 1810 he goes to the US House of Representatives and it's his first day and he is 34 years old and they're like, you are going to be Speaker of the House...Henry Clay shows up, he doesn't know anybody, he's brand new to Washington, he's relatively young and he makes such a magnetic good impression on the people he's now serving with that they just say this guy is pretty cool, let's make him in charge!" In honor of the election cycle of 2020, Tour Guide Tell All explores the history of political party conventions, past presidential elections, and two key figures who never made it to the highest office in the land.  Part one of this two-part series highlights Henry Clay, the Great Compromiser who is still the second youngest person to hold the post of Speaker of the House and who played a pivotal role in the political maneuverings of the first half of the 19th century. Join us as we discuss politics, the Corrupt Bargain, slavery, westward expansion  - plus Becca might slip in another Broadway reference just for fun! Comments or Questions? Or have an idea for future episodes? Email us tourguidetellall@gmail.com If you’re interested in in more information, we find these sources helpful:Henry Clay Biography - The Department of StateReconsidering Henry Clay - NPRDecatur House & Charlotte Dupuy - White House Historical AssociationHenry Clay Statue - Architect of the CapitolHenry Clay's Mint Julep Recipe from the Willard Hotel - WashingtonianHenry Clay & Humphrey Marshall Duel - Floyd LibraryThe Duel That Wasn't - Today I Found Out"The Corrupt Bargain" from Bloody Bloody Andrew Jackson (Original Cast Recording)You’re Listening To: Becca Grawl, Rebecca FachnerThe Person Responsible for it Sounding Good: Dan KingTechnical & Admin Work Done During Naptime: Canden Arciniega Intro/Outro Music: Well-Seasoned from Audio Hero

In this episode, I welcome Danielle Guy! Danielle is a well-rounded artist who is currently pursuing her passion of directing plays and musicals. She shares about one of the most difficult directing experiences she's had by tackling a very controversial musical.  Get in touch with Danielle Guy: https://danielledirects.com/Artist's Edge: The Mission of Artist’s EDGE is to raise the level of Business Intelligence, Life Skills and Emotional Intelligence for people who are committed to expressing their passions, their creativity, and their unique genius through their careers, helping them reach higher levels of success with ease. Click here to access all courses!Artfully Told links: www.facebook.com/artfullytold | www.artfullytold.podbean.com | elevateartskc@gmail.comSchedule your interview with Artfully Told! https://calendly.com/artfullytold/podcast-interview Intro & Outro Music Credits:Bad Ideas (distressed) by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/3412-bad-ideas-distressed-License: http://creativecommons.org/licenses/by/4.0/ SHOW NOTES:Episode 005 - Danielle GuyLindsey Dinneen: Hello, and welcome to Artfully Told, where we share true stories about meaningful encounters with art.[00:00:06] Krista: I think artists help people have different perspectives on every aspect of life.[00:00:12] Roman: All I can do is put my part out in to the world.[00:00:15] Elizabeth: It doesn't have to be perfect the first time. It doesn't have to be perfect ever really. I mean, as long as you, you're enjoying doing it and you're trying your best, that can be good enough.[00:00:23] Elna: Art is something that you can experience with your senses and that you just experience as, as so beautiful.[00:00:31] Lindsey Dinneen: Well, hello, welcome back to Artfully Told. Thank you so much for joining me again. I'm Lindsey, and I am so excited to have the wonderful Danielle Guy on our podcast today. She is a wonderful human being, but also an artist and just has so many amazing. stories to tell about life, about art, and I'm just so excited to have her. So thank you so much, Danielle, for joining us. We're so happy![00:01:04] Danielle Guy: Yes, and thank you so much for having me.[00:01:07] Lindsey Dinneen: Yay. Well, can you share a little bit about who you are and your involvement in art and all that fun stuff?[00:01:14]Danielle Guy: Yeah, so I have kind of dipped my toes into a lot of different art styles, with dance and music; I was for the longest time a pianist and opera singer, and then I went into theater, which is kind of where I found my, my niche. And I started out acting specifically in classical works, with Shakespeare. But as time has developed, I have really found my position as a director. And it's, it's fun to see how things have changed and morphed over the years from, you know, thinking I was one thing and then leading into this place that I never thought I'd be.  I had a theater company for a while as well, and now I'm just doing freelance, freelance directing work.[00:02:08]Lindsey Dinneen:  Awesome. And, I just have to caveat. So Danielle is my adopted cousin, just to give some context, and I can attest to the fact that she was probably always born for theater, because--do you want to just share a little bit about your birthday parties?[00:02:31] Danielle Guy: Oh, my God. Okay. So I was such a weird kid. So when I think it was the first time we did this, I might have been eight. I had these books that was like Shakespeare for kids. And I got inspired by them and I told my mom that for my birthday, I wanted to have a Shakespeare party and we're going to-- the first one was "12th Night." I was like, we're going to put on a play of "12th Night." And so  I  made all my friends come over and I told them what roles that they would be, and we would create, like, it was probably like 10 to 15 minutes versions of Shakespeare's plays. And we did that for four years.[00:03:23] Lindsey Dinneen: It was so fun.[00:03:24] Danielle Guy: Oh my gosh, thank you! And then remember we used to do the American Girl doll plays all the time.[00:03:31]Lindsey Dinneen: Oh, my gosh, I forgot about that, but you're right, we did. That was so fun.[00:03:35] Danielle Guy: And I was Marta in the Kirsten story, and my death scene was impeccable.[00:03:41] Lindsey Dinneen: I'm sure it was. So all that to say, it really--those of us who've known her, it comes as no surprise that eventually she would become a director and have had her own company and all of that jazz. But no, we had hours and hours of  so much fun putting together these plays. And I think if I remember correctly for "Romeo and Juliet," I'm pretty sure we had to have like a progressive theater experience for the audience because we did the balcony scene, like, on the landing of the stairs or something?[00:04:17] Danielle Guy: Yes. Yeah, it was a, it was definitely situational art . It was very ahead of its time.[00:04:23]Lindsey Dinneen: I hope there's video footage. I don't think I ever want to see it, but just to know it exists.[00:04:28] Danielle Guy: My mom has all of them. I never want to see it ever, but I know it exists.[00:04:34]Lindsey Dinneen:  Yes, those were some great memories right there, but I know you have probably a bazillion stories to tell, but, yeah, we'd love to share with you, and if there's anything in particular that stands out.[00:04:47] Danielle Guy: Yeah. So a lot of things that people don't understand when they think of, like, theater--and I will even say some theaters take themselves a little too seriously. And when you go in there, like this is the vision, this is how it's going to go. And this is how it will always go and there will be no change,  but I feel like a lot of people don't realize the flexibility and also the, the acceptance that you have to have going in as a director, because you see it in like, movies and TV shows all the time of the trope of the director who's a tyrant and everything must go their way, but honestly, we have to answer to a lot of people. And we also have to take into account just what materially you have to work with--there are actors and their limitations. And, you will go into something thinking that it's going to look one way, but the end product is completely different.[00:05:49] And I think the one that, that really showed up as was the past production that I did, which was "Bloody Bloody Andrew Jackson." And I did that at Dominion Stage in Arlington. It's the first one that I did since I moved to the DC area. And just to give you an idea, I was not supposed to direct that musical. At all. I went in first with a proposal for a play called "City of Conversation."[00:06:19] It's a straight play. It's very much up my alley. Typically I do small cast family-led dramas, not musicals. I've done a few here and there, but that was very much my niche, and they really liked that. But then they were trying to flush out their season and they're like, "Well, we really don't have a main stage musical. Do you have a proposal for a main stage musical?" And I had one for "Next to Normal," which is one of my favorite musicals in the entire world. And so they decided after I gave a presentation to go with that and I was like, "Cool." So I am planning this, this four to five person musical that is all about mental health. It's female-driven, all the things that really get me going. And then the Kennedy Center announced that they were going to do "Next to Normal." So our rights got pulled.[00:07:19] Lindsey Dinneen: Oh...[00:07:21] Danielle Guy: I know! And I remember, I will never forget, I was on Instagram and I was just scrolling and I saw the Kennedy Center come up and I was like, "Oh cool. They're announcing what they're doing." I was like, "Awesome. Would love to go see that and that, and oh... oh no. Oh, no." I texted my producer, my executive producer on the board. I was like, "Hey, I don't think we're going to do "Next to Normal." Am I correct in this?" They're like, "Yeah, we're totally not." So our rights got pulled and I didn't know what to do.[00:08:05] And I sat down with my best friend and my fiance, Matt, Matt Calvert . And we were going through the alphabet and we were coming up with musical proposals that I could write for, and A, B, C, and then we, we narrowed it down and there's this musical called "Bloody Bloody Andrew Jackson." And I immediately said no, because "Bloody Bloody Andrew Jackson" is kind of like the cursed production of theater, because it's very controversial. It's-- if anyone has seen "The Book of Mormon," it's satire like that, but not as well written. And also the satire doesn't always come across as satire. Some people take it a little too seriously, and I understand why, because of the writing.[00:09:01]It's a satirical work of the presidency of Andrew Jackson and specifically his removal of the Native Americans from the East and moving them out West. And it's done in a punk rock setting. It's very heavy distortions. It's extremely into, in your face.  This production has been protested by a lot of people because specifically there's one, one number and it called "10 Little Indians." And in the original production, they had a whole bunch of white people dressed up in feathers and garb , and when it came out originally, it was kind of right before all of that really came into view. But especially now it's like, no, we were not going to do that.[00:09:54] Lindsey Dinneen: Yeah.[00:09:55]Danielle Guy: But I created a proposal for it and like five other shows and I did a big old dump for the board and they're like, "That's the one we're going to do." "Bloody Bloody Andrew Jackson" And I remember asking them, I was like, "Are you sure?" And honestly, I think that was a very smart move, especially for what's happening right now. Some people don't know this, President Trump has a portrait of Andrew Jackson in the Oval Office. And Andrew Jackson is one of the most controversial and most xenophobic presidents that we've ever had.[00:10:28]So that's fun. And specifically for Dominion , their theater company, they are not afraid of making those comments or being controversial. So, wow. I was able to do this, but when I went in, I had this this idea where it's like, of course, we're not going to--we're not going to portray the Native Americans with a whole bunch of white people. We're not going to put head dresses on them. We're going to have none of that. Of course, I was like, we're very much going to keep it as respectful as possible. But fortunately with the cast that I had and how brave they were, what it ended up being was just this powerhouse of social justice.[00:11:13]Lindsey Dinneen: Hm.[00:11:14]Danielle Guy: I was very surprised with how young the cast was. Our youngest person was 21, and the dedication that they had to the entire text and they definitely were fearless. I'm sure that a whole bunch of actors, and rightfully so, after the first read through, " Be like, I'm not sure if I can do this". I will never forget the first read through where afterward everyone was dead silent. Like, there is a lot of messed up stuff in that, it's pretty messed up and we're going to lean into it because we kind of have to because of what's happening right now. And I know that a lot of people think, "Oh, art, it's for entertainment. It's, it's fine." It's like, yeah, but also art has to be truthful. And I felt like this was the production that could be very truthful. And by the end, we were going in and we were just like, "We hope people leave. We hope that they're offended that we're making comments," and be like, "This is not okay." And no one did actually, we never had anyone leave, which was surprising to me, considering like the F bomb was dropped every two seconds. But yeah, it's--and there were a lot of times as a director that I feel like I could have held on to my original idea for it, but it wouldn't be as good. It really is letting go and letting your actors and also your team come up with ideas. Like my, my set designer had such a cool idea of making the space into a very, very close setting where the actors were maybe maybe three feet away from the first row.[00:13:06]My set designer, Amber, she made it super colorful. Like the stage was covered in carpets and there were all different colors and she had tapestries that were different designs, all the walls. And it was just very--when you walked in--it felt like your living room, it was very home-y. It was definitely not what I had in mind. And what I had in mind was like rock concert. I don't mind if there's a pit or, you know, if we raise the stage a little bit, and she was like, "No, no, no, we're gonna make this feel kind of like what we did where it's like in your living room." And so that way you were unable to separate yourself from the action and be like, "Well, this is just a story." It's like, "No, you in it, people are able to look at you. They see if you're pulling out your phone."[00:13:57]Lindsey Dinneen: Ooh. Yeah.[00:13:59]Danielle Guy: So yeah, that was very interesting. And that was something I could have been like, "No, I want it to be like that." So glad I did it because it changed everything. And, yeah, it's just one of those things where you need to, to trust other people and their designs and their ideas and just be like, "Cool. If you believe in it, I believe in it."[00:14:18]Lindsey Dinneen: Yeah. That's powerful. So how, how did audiences react? I mean, obviously it was a difficult thing that you were bringing forth and I love what you said about art needs to be truthful. I absolutely agree with you. but so yeah, I mean, what was, what was the audience reaction and how did you feel at the end? How did your cast feel at the end? I mean, that, that is a huge undertaking.[00:14:39]Danielle Guy: Yeah, it was mixed responses. So we actually did have a small protest, not at the production, but before on social media, where an individual who did not want to enter a conversation with us, a dialogue of us being like, "Well, this is how we're changing it. This is what we're doing to make sure that we're showing that, 'Hey, this is not funny about the Native Americans. The Native Americans aren't a joke. Who is the joke is Andrew Jackson in this.'" We would have loved to have that conversation, but they just weren't interested in hearing it, so we had a little bit of a protest, but also we anticipated that. And we also had, I had reached out to a colleague of mine from college who is a Cherokee. He lives in Colorado. And we had talked about it long before we were even in rehearsals and coming up with ideas of how to do this musical, but keep it respectful as well and really to get the correct message across.[00:15:44]And also we had someone who formerly worked at The Smithsonian of  Native Americans come and watch it in rehearsal, just so I can be like, "Hey, if you see anything, because we are doing our best, but I'm sure we've missed something, like, please let us know." I wrote an open letter to audience members about like, "Hey, is this a problematic play?Absolutely. It is. However, this is how we are addressing it and moving forward." So we had put that on social media. It was surprisingly published--we didn't know they were doing this--in the DC Metro Theater Report, which is on Facebook and in print. So that was really cool. We knew that audience members were kind of prepared, even if they didn't know the musical.[00:16:31] It's like, okay, you're walking into something that you're going to be offended by probably. And so some audience members really got the message and were really into it. And then, and we're like, yes, we see how you were able to show the narrative as truth of, of history and how awful Andrew Jackson is and how that mindset of basically, you know, white supremacy has padded come up again in the name of, nationalism and patriotism.[00:17:04]And then there were some audience members and I was, I always love talking to them where they're like, "Yes, we understand what you're doing, but we still don't think this musical should ever be done because it's just too offensive." And I, there is no right or wrong answer when it comes to art. I don't think that it's ever black and white, your opinion and how you perceive art, is just how you perceive art.[00:17:31] And it's not a right or wrong thing. It's just your reaction. I say the same thing in my day job. I am a sommelier. When you taste wine, when you try wine, you like it, or you don't. I'm the one who is trained to find the notes and everything, but you know, what, if you're not a professional, your main thing is like, "Do I like it?" And that's how you can go with art too.  Do I like this? Yes? No? Cool. It doesn't have to be any deeper than that. If you want to go deeper--absolutely, I love having those conversations--but if someone comes in and absolutely hated it, you hated it. That's cool. It's not your thing.[00:18:12] Yeah, and actually to that point, I'm curious, I imagine you had some people that came in that did hate it because they were uncomfortable and they were, they were frustrated because this stuff is difficult to, to take in. And so did you have anybody who wanted to have a conversation about like, I hated this...[00:18:32] It was super cool. I loved that when someone was like, "I hated it." And I was like, "Cool, I'm not offended. I don't care, but can you tell me why." It's the why that interests me. And we had some really good conversations that came out of it. And one woman who was a little older, I sat down with her. She was related to someone in the cast. A nd she's like, "I just really didn't like it." I was like, "Well, could you explain to me why?" And her whole thing was because there were things that were not factual in the musical--and we can debate artistic license-- but I understand what you're saying. Where she's like, "Especially when you have someone who is as terrible as Andrew Jackson, you don't have to make stuff up to make him more terrible or more likable or what have you. It's like, she definitely wanted it to stick to actual history, and I totally get that. That's totally fine. But it's definitely something I had no power over. I couldn't change the script.[00:19:36]  Lindsey Dinneen: Yeah. I think that's one of the most powerful things that art can do is start conversations that you might not otherwise have unless you're confronted with something that you A) don't understand, B) don't appreciate, C), don't like. I mean, I think there's a lot of value in the conversations that art can bring because, you're right! I mean, there's--like you said earlier on some level, it's like, do you like it or don't you? But at the same time, I love that you can take that and then ask, well, why? And then you have an intelligent conversation about, you know, what you took from that. I love that.[00:20:13] Danielle Guy: Yeah, exactly. And also, and this is something that I talked to my, my cast a lot about--where it's like, people are going to dislike this show. Don't be offended, because that is their right. And that also sparked a conversation in the cast where, you know, we're in a time right now where everyone's offended by something, and then you're offended if someone's offended--it's just all a terrible circle. And I was like, "Guys, this is, we're talking about Andrew Jackson, we're talking about America. And one of the most American things we have is the, the right to express your opinion, that you have a voice-- freedom of speech. So it's like, let them have that freedom of speech because we're definitely exercising it with this. And if you want to be an example for other people, when someone looks at you and says, "I hated your show," just ask why and then say, "Thank you ," and move on.[00:21:10]Lindsey Dinneen: Yes. I love that. And actually I think that gives a lot of freedom because, you're absolutely right. I mean, if you're trying to appeal and this goes for even a quote, end quote "non-controversial" show, right? I mean, in the sense that you're going to have people that walk away and they're like, "That was stupid," or "That was bad," you know what I mean? Like, you're just going to have somebody who doesn't like it and, and having the freedom to say, "It's okay." You're going to have our fans who are grateful and like it, and then you're going to have your critics who are like, "Well, I didn't," and having that freedom as an artist to say, "Well, that's not a reflection on me. Honestly, it's the reflection on them in the sense of, back to your fundamental point, they liked it or they didn't, but it's not you. And I think that actually gives a lot of freedom. I love that perspective.[00:21:54] Danielle Guy: Thank you. I mean, also as artists, it can be difficult because your art is an extension of yourself, so it's hard to differentiate between that. But I think that a way for artists to also protect themselves, is by having that separation. Because, man, it's hard, especially with actors where, when I do workshops for auditions, I'm like, "You're going to get rejected. And you are going to get rejected again and again and again. And it's hard for you to not take that personally, because it is like you offering yourself. But if you want to say sane, you have to be able to look over it, not get over it, but look over it." Or it's like, well, it wasn't this time, but maybe the next. And yeah, just continue going. It's hard. It's a hard world.[00:22:52]Lindsey Dinneen: I've said in the past--to be an artist is to be brave. And I think, just inherently, when you put yourself out there as an artist or you create something--even if you don't identify as, "Oh, I'm an artist", but you created something--I mean, it's brave. It takes guts to put something out into the world and say, "Here you go." And we'll see.[00:23:13]Danielle Guy:  I will say like, one of the most terrifying moments of my life was when my mother went and saw the show.[00:23:18]Lindsey Dinneen: I can imagine.[00:23:19] Danielle Guy: She actually said it in a very good way where she is like, "I didn't like it, but I saw that it was well done," which is also a thing that I think people need to learn where it's just like, you can not like something, but it doesn't mean that it's trash. Honestly I love getting bad reviews. I just love hearing the other side of things, which maybe is like the most theatrical thing that you can do is because you always have to look at the other side of the coin with the character. But yeah, love, love it. I'm weird.[00:23:53]Lindsey Dinneen: No, I mean, I'm going to say that is awesome because I think firstly, it's very tough to read reviews where you're like, "What are you talking about?" So kudos to you.[00:24:02] Danielle Guy: You have to think about what you're going to expel your, your time and energy on. And move on with my life because my life is full of amazing people and I'm doing amazing things and that's all I really want to do with my life. So I'm not going to let a little blip, send me into a spiral.[00:24:20]Lindsey Dinneen: Good for you. Oh my goodness. To all the artists out there who are afraid of a bad review, just remember Danielle's advice. You can, you can look at it and say, "You know what? I will accept a different opinion." And then you just move on because you got more amazing things to do.[00:24:37] Danielle Guy: Exactly.[00:24:38] Lindsey Dinneen: I just have a couple of questions for you if that's okay. So how do you personally define art or what is art to you?[00:24:46] Danielle Guy: Art is expression of truth done a visual way. So where it is taking some form of reality and putting it in a way that can be physicalized, whether it be by, you know, painting or drawing or by moving, or by speaking--just a different way to look at it--that is different from what our normal reality is, which can be quite boring.[00:25:13] Lindsey Dinneen: And what do you think is the most important role of an artist?[00:25:17]Danielle Guy:  Once again, going into the true thing, just tell the truth. I hear this all the time with actors where they're, where they say, "Oh, acting is my escape." And that's, those typically are the actors that are kind of hard to work with because it's not an escape. A lot of these characters are created out of some sense of reality. And I feel like we do them a dishonor by taking someone's potential life or potential situation and putting it on as a mask to escape the reality in our own. So it's just, you know, doing honor to the text doing honor to what has come before us.[00:25:56] Lindsey Dinneen: Yeah. I love that. That's that's a great. Okay. And my last one--I'll kind of explain a little bit, but it's just totally in your personal opinion-- do you feel that art should be inclusive or exclusive? So exclusive kind of being, so an artist puts something out there and there's not necessarily a lot of explanation behind it--what inspired it? Maybe there's not a title to it. Maybe, you know, you just don't have a lot of context, versus inclusive being, you know, the artist describes the inspiration behind it or what they were feeling when they created it or just to provide a little bit more context of what you as the viewer or the observer might gain, I guess, or experience.[00:26:49] Danielle Guy: Oh man. My avant garde is showing so hard. I would say exclusive. I'm just one of those people where it's like, just let the art talk. It takes away the magic when you have to go in and explain everything. It's like when you have to explain a joke, that is, like, not funny anymore.  There's this, video on YouTube that came out several years ago--it was all performance art-- where a woman was sitting at a table and you would go up and sit on the other side of the table and she would just look at you for an entire minute. No words at all. She would look; you give you direct eye contact for an entire minute. There was no explanation why. And, she didn't even advertise this as much where it, she had like a handler who's like, "We're doing this thing, please form a line if you'd like to be involved." And apparently the feedback from people--after their minute was done, it had moved them so much, and it meant different things to everyone. And I feel like to explain that moment would have--or her reason behind it-- what have you, what her goal was? I feel like it would have tarnished that very visceral and primal response that people had.  So yeah,  let it be exclusive. Don't let people always know because sometimes artists don't even have an answer. "I don't know why I did this. It just looked cool." I think, yeah, my avant-garde came out real hard there.[00:28:29] Lindsey Dinneen: It did. But I love asking people that question because we get very different responses, and like art, it's subjective. And so I love it and I love the reasoning behind it . So, do you have, I know this is kind of an odd time, but do you have any upcoming projects or anything that you're working towards?[00:28:46] Danielle Guy: Yeah, so, my main production that's coming up, is my wedding in October. So I'm taking a little bit of a break, and then this time next year, I will be directing "Five Women Wearing the Same Dress," which is a wonderful play. I love it so much. And it's female centered and about life and how we, we think we know our dearest friends, but then, you know, maybe you're a bridesmaid in their wedding and you learned that, you know, nothing about them at all. So yeah, that's my next project that I have on the books.[00:29:23]Lindsey Dinneen: Awesome. And if anyone wants to get in touch with you or follow your artistic journey, do you have any kind of outlet for that? Or even if they wanted to come see that, is there, you know, a way that they can kind of keep in touch?[00:29:37] Danielle Guy: Yeah. So usually I do announce things on my website, which is danielledirects.com. And that's also a link where if you want to get in touch with me, or ask any questions, there will be, like a little conversation box that will send an email to me.[00:29:56]Lindsey Dinneen: Perfect. Awesome. How fancy.[00:29:58] Danielle Guy: I know.[00:29:59]Lindsey Dinneen: Well, thank you so very much for just being a present here and thank you for being a guest; I really appreciate it. And I'm a firm believer that when you put art out into the world, it makes it a better place. And so I just want to thank you personally for, you know, continuing your passion ever since you were eight. But thank you for continuing to produce art and be brave as an artist. And, I just, I know the world is a better place because of it.  [00:30:30] Danielle Guy: Thank you, and thank you so much for asking me to be a part of this. This was so great. Thank you for all that you're doing, especially during crazy times like this and all your passion and art.  I have to brag about you. I've been a fan of you since I was five, so...[00:30:46] Lindsey Dinneen: Awww! Aww, you're sweet. Oh my goodness. Well, thank you again and thank you to everyone who has listened to this, and I hope you feel as inspired as I do. And I just wanted to say that we really appreciate your shares and comments. And we will catch you next time.[00:31:10] If you have a story to share with us, we would love that so much. And I hope your day has been Artfully Told.[00:31:20] Hey there, Artfully Told listeners. I wanted to share a really amazing resource with you that I think you will find invaluable. This website is called Artists' Edge. The mission of Artists' Edge is to raise the level of business intelligence, life skills, and emotional intelligence for people who are committed to expressing their passions, creativity, and unique genius through their careers, helping them reach higher levels of success with ease. Artists' Edge is the education arm of Deborah Russell Coaching, and she is an awesome person who uses all of her business, background and skills to really assist artists become who they want to be. She has a bunch of different courses that you can go through as well as personalized coaching. If you are a wannabe artist that wants to turn their passion into a career, or is an already established artists that wants to take their career to the next level, she is the person to talk to you about this. So please follow the link in my comments and show notes.

"Populism Yea Yea!" This week Jess & Andrew are joined by the insightful and hilarious Brendon Henderson of Wait in the Wings to talk about the emo musical adaptation of our 7th President's life, "Bloody Bloody Andrew Jackson." It is a hoot to say the least. Social Media: Our WEBSITE Musicals with Cheese on Twitter Jess on Twitter Andrew on Twitter Musicals W/ Cheese on Instagram Jess on Instagram Email us at musicaltheatrelives@gmail.com Use our Affiliate Link

Noddea Skidmore has worked as the Director of Creative and Audience Development at Circle Theatre since 2015. This summer she’ll play Patsy Cline in the musical Always… Patsy Cline. Past Circle Theatre main stage credits include Regina in Rock of Ages (Grand Award Nomination), Joanne in Company, Lady of the Lake in Monty Python’s Spamalot (Grand Award Nomination), Miss Hannigan in Annie (2010), Adelaide in Guys and Dolls, Patsy in Bingo!, Marlene in Daddy’s Dyin’…, Vicki in The Full Monty, and the ensemble of Nine.At Circle she’s had the opportunity to be a part of several Summer Concert Series shows like Edge of the Millennium: Top Hits of 1999, Broadway Babes: Dames of the Stage, Silver Screen: Academy Award-Winning Songs, California Dreamin’: Cool Cali Sounds Past and Present, Leather and Lace: The Women of Rock, and Hits of the ‘80s. Other community credits include Bloody Bloody Andrew Jackson, The Wild Party, and Urinetown at Actors’ Theatre and Elf, Ring of Fire: The Johnny Cash Musical, The Wizard of Oz at Civic Theatre.A popcorn-lover, cinephile, and dreamer/planner of visits to Manhattan and Broadway shows, Noddea lives at home (especially a lot these days!) with her little family - her husband Calin, and two dogs Big and Beatle.Circle Theatre websiteCircle Theatre on InstagramCircle Theatre on FacebookNoddea on InstagramSupport the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=9JCBNUCRNRVKY&source=url)

SEASON 2: EPISODE 9 In this episode, Neil talks to the one person he’s not isolating from: his husband, actor and comedian Jeff Hiller, from TV’s 30 Rock, Broadway’s Bloody Bloody Andrew Jackson, solo shows at Joe’s Pub at the Public Theatre, and many, many others. The podcast has always been about the everyday, and right now our everyday is coronavirus.  ABOUT THE GUEST Jeff Hiller is an actor and comedian has appeared in guest roles on television in “30Rock”, “Crazy Ex-Girlfriend“, “Broad City”, “Difficult People”, “Unbreakable Kimmy Schmidt”, “The McCarthy’s”, “Community”, and a lot of shows that no one remembers. Jeff was a regular on Ali Wentworth’s series Nightcap,  and played Maggie’s new work friend on the third season of “Playing House“. At the movies, Jeff played a snooty waiter to Hugh Dancy and Rose Byrne in “Adam”, a pissed off waiter in the Netflix comedy, Set It Up and got fancy as the head waiter opposite Chloe Grace Moretz and Isabelle Huppert in “Greta”. Jeff also played the Naked Ghost opposite Ricky Gervais in “Ghost Town”. As a stage actor, Jeff originated the role of John Quincy Adams in  Bloody, Bloody Andrew Jackson on Broadway. Off-Broadway, they  took over Bright Colors, Bold Patterns from creator Drew Droege and have performed as part of Shakespeare in the Park in Midsummer Nights Dream and Love’s Labours Lost. Recently they have been presenting solo storytelling shows their solo storytelling show, “Grief Bacon”. ABOUT THE HOST Neil Goldberg is an artist in NYC who makes work that The New York Times has described as “tender, moving and sad but also deeply funny.” His work is in the permanent collection of MoMA, he’s a Guggenheim Fellow, and teaches at the Yale School of Art. More information at neilgoldberg.com. ABOUT THE TITLE SHE'S A TALKER was the name of Neil’s first video project. “One night in the early 90s I was combing my roommate’s cat and found myself saying the words ‘She’s a talker.’ I wondered how many other other gay men in NYC might be doing the exact same thing at that very moment. With that, I set out on a project in which I videotaped over 80 gay men in their living room all over NYC, combing their cats and saying ‘She’s a talker.’” A similar spirit of NYC-centric curiosity and absurdity animates the podcast. CREDITS This series is made possible with generous support from Stillpoint Fund.  Producer: Devon Guinn  Creative Consultants: Aaron Dalton, Molly Donahue  Mixer: Andrew Litton  Visuals and Sounds: Joshua Graver  Theme Song: Jeff Hiller  Website: Itai Almor Media: Justine Lee Interns: Alara Degirmenci, Jonathan Jalbert, Jesse Kimotho, Rachel Wang Thanks: Jennifer Callahan, Nick Rymer, Sue Simon, Maddy Sinnock, Sharon Marcus TRANSCRIPTION Coming soon...

This week we do a snapshot of some of the highlights of the man on the Twenty-Dollar bill. But by highlights we mean some of his most infamous policies and ideas.

Jeff Hiller (Broadway’s Bloody Bloody Andrew Jackson) joins Caitlin and Lauren to discuss BROADWAY. We get into the art of Stage Dooring, Test Jeff’s showtune knowledge, and unpack both The Cher Show & American Psycho. Oh, and if you think we don’t manage to mention the Real Housewives of Atlanta, then you don’t know us yet. Connect with us through social media by following @WeStanSocial on instagram, twitter, and TikTok! For all your Jeff Hiller super STAN needs, follow him @boomboomhiller on instagram!

DC Metro Theater Arts editor and publisher Nicole Hertvick is here for an emo telling of the 7th President of the United State's rise to power that fully commits to its premise. Topics include: Emo, Spring Awakening, the Trail of Tears, and (somehow) Cats. We talk about Cats for a minute. And I don't remember how we got there but there it is: Cats. CONTENT WARNING: Some of the songs in Bloody Bloody Andrew Jackson employ some of the seven words you cannot say on television and so may not suit your current listening situation. Featured recordings: Bloody Bloody Andrew Jackson - Original Cast Recording (2010) Join us on PATREON to get our patrons-only podcast The Original Cast at the Movies?  The latest episode has Caroline Dubberly (Hedwig and the Angry Inch - 2014) and Kari Ginsburg (Gypsy, et al.) weighing the merits of everyone's favorite mockumentary about a small-town theatre company and their musical about the history of the small town in which they live that may or may not think dreams are stupid. It's Waiting for Guffman (1996)! Patreon • Twitter • Facebook • Email  

The Tony-nominated director of Bloody Bloody Andrew Jackson, Rocky, Beetlejuice and Moulin Rouge (among others) reflects on his career in theater. See acast.com/privacy for privacy and opt-out information.

Politics, politics, politics. Let’s talk about politics. but the good kind, the musical kind! Bloody Bloody Andrew Jackson is a musical all about a rather misunderstood period of American Politics!- FURTHER READING -Wiki - Show, PoliticianLes Freres CorbusieriTuneswww.theatremakers.com.au- CELEBRITY SHOUTOUTS -Michael Friedman, Alex Timbers, Sebastian Arcelus, Stephanie D'Abruzzo, River Alexander, Bryce Pinkham, Benjamin Walker,

Benjamin Walker is currently giving a Tony-nominated performance as Chris Keller in All My Sons. He has previously been seen on Broadway in American Pscyho, Cat on a Hot Tin Roof, Bloody Bloody Andrew Jackson and more. Walker's screen credits include The Choice and Abraham Lincoln: Vampire Hunter. Follow him on social media at @findthewalker.Hosted by Paul Wontorek, Ryan Lee Gilbert and Caitlin Moynihan

JUST PRESS THE GIANT PLAY BUTTON IF AUDIO PLAYER ABOVE IS NOT WORKINGEpisode 005 with Emily Grove: Theatriss!Discussion includes: over-googling, Bloody Bloody Andrew Jackson, raisins < ramen...

JUST PRESS THE GIANT PLAY BUTTON IF AUDIO PLAYER ABOVE IS NOT WORKINGEpisode 005 with Emily Grove: Theatriss!Discussion includes: over-googling, Bloody Bloody Andrew Jackson, raisins < ramen...

May 31 - June 6, 1997 Today Ken welcomes returning guest Alex Edelman to the show. Ken and Alex discuss shows at Laugh Boston, Alex's status as an international super star, Edinburgh, The Perrier Award, Steve Coogan, Eddie Izzard, Jimmy Carr, MSG, Alan Carr, Steward Lee, the day Mary Tyler Moore passed away, The Great Indoors, Ken's visit to Alex's job, NHL, Lois and Clark, The Dana Carvey Show, how writers' rooms work, The Simpsons, stand up instincts, Young Comedians, Anthony Clarke, Jack Lemon, post-modern culture vs post-apocalyptic culture, Futurama, King of the Hill, the nature of parody, SCTV, the humor or recognition, references for the sake of references, Jimmy Fallon, Barney Miller, multi-cam shows, how hard it is to tell a story in 20 minutes, Seinfeld, The Tony Awards, musical theater, Bloody Bloody Andrew Jackson, The Odd Couple on Ice, reboots, Caddyshack, us vs. them, Fawlty Towers, spec scripts, Fraiser, Newsradio, the rap industry, the soup nazi, Men Behaving Badly, Sarah Silverman, the Friday Shabbat, Steve Martin, The Boston Pops, appreciating Tears in Heaven, M*A*S*H, never being into TGIF, and an all Jeers week.

Bryce Pinkham is a Tony-nominated Broadway favorite, but today is going to talk about his partnership with the American Foundation for Suicide Prevention and his plan to run the New York Marathon in honor of Schlegel. He will be running with a goal of raising $5,000 for the fight to stop suicide. In addition to discussing his #realconvo campaign, Pinkham will also be sharing more about his Broadway career which includes Holiday Inn, A Gentleman's Guide to Love & Murder, Bloody Bloody Andrew Jackson, Ghost The Musical and The Heidi Chronicles. Be sure to follow him on social media at @thebrycecapades.Hosted by Paul Wontorek, Beth Stevens, Caitlin Moynihan

Greg Hildreth is currently starring as Olaf in FROZEN on Broadway. Previous Broadway credits include Rodgers and Hammerstein's Cinderella, Peter and the Starcatcher and Bloody Bloody Andrew Jackson. He also starred in The Robber Bridegroom and received a Lucille Lortel Award nomination for Outstanding Featured Actor in a Musical. Greg has also appeared on The Good Wife and was featured on Laura Osnes’ iconic Broadway.com vlog “The Princess Diary.” Make sure to follow him on social media @Greg_Hildreth.Hosts: Ryan Lee Gilbert, Paul Wontorek, Eric King

What do punk rock and politics have to do with musical theatre?! Well, you're about to find out...

This week Julie and Zane will chat with James Gauci about which of life's truths can be gleaned from Bloody Bloody Andrew Jackson!- FURTHER READING -Wiki - Show, PoliticianLes Freres CorbusieriTuneswww.theatremakers.com.au- CELEBRITY SHOUTOUTS -Michael Friedman, Alex Timbers, Sebastian Arcelus, Stephanie D'Abruzzo, River Alexander, Bryce Pinkham, Benjamin Walker,

Jeff Hiller and Jenn Harris are two hilarious New York City based actors. You may recognize Jeff from 30 Rock or Bloody Bloody Andrew Jackson, or Jenn from the film Gayby or Off-Broadway's Silence! The Musical. Jeff and Jenn have their own hysterical podcast, Touche, which touches on being in the middle of their lives and their careers. In this unique episode, Erik, Jeff, and Jenn discuss the life of a working actor, the power of creating one's own content, and what arts administrators can do to best collaborate with artists.

Justin Levine is a NYC-based composer, writer, performer, music director, and arranger. His wide range of credits include serving as the music director for and performing in the Broadway musical Bloody Bloody Andrew Jackson and Love's Labour's Lost at the Delacorte Theater in Central Park. Listen in as Justin discusses growing up in a musical family on Long Island, his freshman year piano man gig, and some of the lessons he's learned in working closely with David Byrne. www.justinlevineonline.com

Alex Timbers is a two-time Tony-nominated writer and director and the recipient of Golden Globe, Drama Desk, Outer Critics Circle, and London Evening Standard Awards, as well as two OBIE and Lucille Lortel Awards. He is the recipient of the 2016 Jerome Robbins Award. His Broadway directing credits include Oh Hello! On Broadway, Rocky, Peter and the Starcatcher (2012 Tony Award nomination for Best Director), Bloody Bloody Andrew Jackson (2011 Tony Award nomination for Best Book), and The Pee-wee Herman Show. His Off-Broadway credits include Here Lies Love, and The Robber Bridegroom. He is a co-creator of the Amazon series Mozart in the Jungle which won the 2016 Golden Globe Award for Best Television Series - Musical or Comedy. Oh Hello! on Broadway was filmed for Netflix and The Pee-wee Herman Show was filmed for HBO and received a 2011 Emmy nomination.   Tune into this, our 98th podcast, to hear talk about his experimental beginnings and . . . Why most new theater companies never make it past the first year, and how he made sure his did. How a log line of a project helps him decide to do it . . . or not. What a right-wing Christian preacher has to do with his success. What’s going to become of the “immersive” movement. How he matches up the people he wants to work with, with the projects he’s working on (or how The Robber Bridegroom came to be). Keep up with me: @KenDavenportBway www.theproducersperspective.com Learn more about your ad choices. Visit megaphone.fm/adchoices

It's early May, and you know what that means...time for our super belated Presidents' Day Special episode!! Judith and Leah and *special guest* Anne chat about our favorite president-related musicals including 1776, Assassins, and Bloody Bloody Andrew Jackson. Everyone learns a valuable lesson, that "life is more than sexual combustibility."

Jeff Hiller, a for-real star of stage and screen (Bloody Bloody Andrew Jackson, 30 Rock, Ghost Town) talks to us about the maybe-not-totally-recognized genre of celebrity autobiography, particualry the audio book version where the author read their own. Anthony talks about the William Shatner/Ben Folds musical collaboration "Has Been" and Will discusses being off of Facebook.

Bob Wilcox and Gerry Kowarsky review (1) ALL IS CALM: THE CHRISTMAS TRUCE OF 1914, by Peter Rothstein, at Mustard Seed Theatre, (2) MOTOWN THE MUSICAL, by Berry Gordy, at the Fox Theatre, (3) BOOM TOWN, by Jeff Daniels, at West End Players Guild, (4) SPOOKY ACTION AT A DISTANCE, by Will Coleman, and ORDERS, by Kevin Ferguson, at The Tesseract Theatre Co., (5) THE RESIDENTS OF CRAIGSLIST, by Lucy Cashion & Will Bonfiglio, at Equally Represented Arts, (6) SPRING AWAKENING, by Steven Sater & Duncan Sheik, at the Webster Univ. Conservatory, (7) SHE KILLS MONSTERS, by Qui Nguyen, St. Louis Univ., and (8) BLOODY BLOODY ANDREW JACKSON, by Alex Timbers & Michael Friedman, at Washington Univ.

In Conversation with... Alex Timbers: Directors rarely get the opportunity to spend time and share ideas in a room with other directors. This new one-on-one conversation series was conceived by director Thomas Kail to give himself, and his peers, an opportunity to do just that. This series of conversations explores topics that stretch from finding the spark in their work, making a life as a director, and how they landed on this side of the table. Each director's vision is distinct, and their way of working is their own, but this series also addresses all they have in common beyond the shared title. In June 2011, Thomas Kail sat in conversation with Alex Timbers (Bloody Bloody Andrew Jackson, Peter and the Starcatcher) at the SDC Offices. Their discussion explores how they followed their respective impulse to start their own theater company, and delves into the challenge of creating new work. They also address their inspirations and those who have influenced them as directors. Originally recorded - June 1, 2011. Running Time - 1:04:56 © 2011 SDCF

On today’s Arts Magazine, Michael Hogge is happy to have Ben Wager (Bass) in the studio to talk about the Kansas City Lyric Opera’s production of La Boheme. Later, at […] The post “La Boheme” & “Bloody, Bloody, Andrew Jackson” appeared first on KKFI.

JBN sits down with actress and voice/text/dialect coach Amy Jo Jackson. Her bio is filled with an array of cool projects, most recently as the dialect coach on the Tony Award-winning musical KINKY BOOTS, and as an actor in Exit, Pursued by a Bear's DANI GIRL. Ms. Jackson is a 2013 IRNE and Elliot Norton nominee for her role as "Female Soloist" in Speakeasy Stage Company's production of BLOODY BLOODY ANDREW JACKSON, has collaborated with such respected theatre companies as The Flea, The Pearl, Prospect Theater, The Cell, and is the dialect coach on the new Maltby & Shire musical BEHIND THE PAINTING. Amy Jo can currently be seen in Empirical Rogue’s SUICIDE?!, and is the Voice & Text Director on the upcoming MYSTERIES at The Flea. (www.amyjojackson.com) Song Premiere: "Cute White Boy" from Joel B. New's STANDALONE: A SONG CYCLE. (www.joelbnew.com). Accompanied by Mike Pettry (www.mikepettry.com)

Production Manager Ruth Sternberg is the primary facilitator in executing a stage production within its given financial parameters. She discusses with the director and designers what they want to achieve and provides staffing and resources for each play. After 10 years at Trinity Rep with Oskar Eustis, they both moved to the Public Theater where they work on 6 stages, "Shakespeare in the Park" at the Delacorte Theater, and off-site productions such as "Passing Strange", "Hair", "Bloody Bloody Andrew Jackson", and "The Merchant of Venice" on Broadway. Sternberg loves that her job always brings a new challenge, such as the one seen here for "Kicking a Dead Horse".

Production Manager Ruth Sternberg is the primary facilitator in executing a stage production within its given financial parameters. She discusses with the director and designers what they want to achieve and provides staffing and resources for each play. After 10 years at Trinity Rep with Oskar Eustis, they both moved to the Public Theater where they work on 6 stages, "Shakespeare in the Park" at the Delacorte Theater, and off-site productions such as "Passing Strange", "Hair", "Bloody Bloody Andrew Jackson", and "The Merchant of Venice" on Broadway. Sternberg loves that her job always brings a new challenge, such as the one seen here for "Kicking a Dead Horse".

In recognition of the new Broadway musical, "Bloody Bloody Andrew Jackson," all tonight's music will spotlight an American President. Also, a review of "Bloody Bloody Andrew Jackson."

Writer/director Alex Timbers and composer Michael Friedman discuss “Bloody Bloody Andrew Jackson,” their "emo" musical about the 7th President of the US. Also, UK critic Mark Shenton and London’s notorious West End Whingers review Broadway’s latest fare.