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3 episodes with branden jacobs jenkins
3 episodes with branden jacobs jenkins
4 episodes with branden jacobs jenkins
2 episodes with branden jacobs jenkins
2 episodes with branden jacobs jenkins
2 episodes with branden jacobs jenkins
2 episodes with branden jacobs jenkins
2 episodes with branden jacobs jenkins
2 episodes with branden jacobs jenkins
Prime Minister Mark Carney outlines new defence plan for Canada that is less reliant on United States for security. California governor Gavin Newsom says he will sue US President Donald Trump for illegally deploying National Guard during ongoing immigration protests in Los Angeles. Israeli forces seize control of Gaza-bound aid boat, detain Greta Thunberg and other activists onboard. Closing statements begin in the sexual assault trial of 5 former World Junior hockey players. A widow left fighting for thousands of dollars after her late husband's pension was sent to the wrong person. "Maybe Happy Ending" wins best new musical at Tony Awards, and Pulitzer-winning playwright Branden Jacobs-Jenkins wins second Tony for "Purpose."
[REBROADCAST FROM Apr 4, 2025] The new play "Purpose" won the Pulitzer Prize for Drama, and is now nominated for six Tony Awards, including Best Play and Best Performance by an Actor in a Leading Role in a Play for Jon Michael Hill. Hill and playwright Branden Jacobs Jenkins discuss the show, which reveals the secrets within the family of a Civil Rights icon.
Vice President JD Vance headlined the Bitcoin 2025 conference in Las Vegas, pledging President Trump's support for crypto. Vance personally holds up to $500,000 in Bitcoin, and the Trump family also has crypto investments. Interest in trade schools has nearly doubled since 2017 while university enrollment has declined slightly since the pandemic. In "CBS Mornings'" series "Rebuilding America," a school in Wisconsin shows how they're responding to the shift. CBS News' Ian Lee reports. Branden Jacobs-Jenkins and LaTanya Richardson Jackson join "CBS Mornings" to discuss "Purpose," a six-time Tony-nominated drama about an influential family unraveling during a snowstorm. Richardson Jackson is nominated for Best Lead Actress for her role as matriarch Claudine. First on "CBS Mornings" MLB announces its first major investment in women's sports with the launch of the Athletes Unlimited Softball League, kicking off June 7 with national broadcasts and city tours.In our series "Never Too Late," we show it's never too late to learn something new. After being typecast as a news anchor in roles like "Jack Ryan" and "Smile 2," Vladimir Duthiers signed up for acting classes and performed a dramatic scene with a Hollywood star. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
AP's Lisa Dwyer reports on this years Pulitzer winners.
When Mickey-Jo was recently in New York, he saw PURPOSE, the new play from Branden Jacobs Jenkins.The piece was commissioned by Steppenwolf and is currently being performed at the Hayes Theatre in New York in a production directed by Tony Award winner Phylicia Rashad.Check out Mickey-Jo's full review to find out how he responded to this staggering production, its impactful performances and its provocative conversations...•00:00 | introduction01:50 | overview / synopsis07:50 | continuing themes14:03 | climactic thoughts20:39 | material / creatives•get tickets to see MickeyJoTheatre LIVE at the Phoenix Arts Club:https://phoenixartsclub.com/events/mickeyjotheatre-live/About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: MickeyJoTheatre is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 75,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre
After winning three (!) Tonys for his play Appropriate, Branden Jacobs Jenkins is back on Broadway with another epic family drama: Purpose. This time, it's directed by the one-and-only Phylicia Rashad (swoon) and centers a Black Political elite who finds themselves at a crossroads. Chloe and Vogue's Features Editor Marley Marius talk with Branden about identity, writing characters for the stage and how he feels about being back in the Condé Nast offices after his long-ago stint at The New Yorker.PLUS: How does Trump's Tariffs affect customers and the fashion industry? We invite Vogue Business Executive Americas Editor Hilary Milnes to break down the news. Learn about your ad choices: dovetail.prx.org/ad-choices
A new play from Tony Award-winning playwright Branden Jacobs Jenkins follows the family of an aging Civil Rights icon named Solomon Jasper, a famous activist, preacher, and the patriarch of the Solomon family. But Solomon has some secrets, and so does his son, Nazareth, played by Jon Michael Hill. When Nazareth comes home to celebrate his mom's birthday, all of these secrets threaten to come to the surface. Jacobs Jenkins, Lennix, and Hill discuss "Purpose," which is running at the Helen Hayes Theater through July 6.
THE COMEUPPANCEBY BRANDEN JACOBS-JENKINS DIRECTED BY MORGAN GREEN A CO-PRODUCTION WITH WOOLLY MAMMOTH THEATRE COMPANYSet in 2023, Jacobs-Jenkins' witty and moving dark comedy focuses on five friends who reunite 20 years after graduating from a high school in Prince George's County, outside of Washington, D.C. Known as the "Multi-Ethnic Reject Group," the group was once bonded by their outsider status and the traumas of their teenage years. Gathered on a porch ahead of their high school reunion, they reminisce about their younger selves over adult jungle juice and pot as they each reveal how their lives have unfolded since graduation. As the evening continues, they drink, fight, play a truth game, and lament the disappointments of their adult lives. Throughout the evening, they are haunted by a mysterious otherworldly figure that inhabits each character, forcing them to confront the possibility that their past actions may have sealed their present fates irrevocably.Jordan Bellow - EmilioSarah Gliko - KatelynAlana Raquel Bowers - UrsulaTaysha Marie Canales - KristinaJaime Meseda - Francisco/SimonIn this episode, host Darnelle Radford engages with Taysha Canales to discuss the Wilma Theatre's production of 'The Comeuppance' by Branden Jacobs-Jenkins. They explore themes of parenting, community support, character dynamics, and the importance of kindness in the context of the play. Taysha shares her experiences balancing motherhood with her acting career, the significance of the theater community, and the unique challenges of performing in different cities. The conversation delves into the play's exploration of human connections and the impact of the pandemic on personal relationships. In this conversation, Darnelle Radford and Taysha Canales explore the intersection of theater and politics, audience engagement, and the impact of uninterrupted storytelling. They reflect on personal connections to high school, the importance of streaming options for accessibility, and the profound themes of life and death presented in the current production. The discussion concludes with thoughts on the future of theater and the joy of sharing experiences with others.Thank you to our guest(s), Taysha Marie Canales for joining us on today's podcast. The Broad Street Review Podcast is An Em3ry Production. If you would like to be a guest on the podcast, visit us online at em3ry.com Get involved with Broad Street Review. Head on over to our website at www.broadstreetreview.com and click “Get involved” at the top. While you're there, help keep us running and click “Donate” to find out how. There, you can find our social media links. Thank you for your part in keeping the conversation going.
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional “diversity, equity, and inclusion” initiatives. Complicit Participation: The Liberal Audience for Theater of Racial Justice (Oxford UP, 2024) addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts. In this episode, Ibrahim Fawzy interviews Carrie J. Preston about the intersections of theater, racial justice, and social activism, the concept of “complicit participation,” and allyship. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional “diversity, equity, and inclusion” initiatives. Complicit Participation: The Liberal Audience for Theater of Racial Justice (Oxford UP, 2024) addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts. In this episode, Ibrahim Fawzy interviews Carrie J. Preston about the intersections of theater, racial justice, and social activism, the concept of “complicit participation,” and allyship. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional “diversity, equity, and inclusion” initiatives. Complicit Participation: The Liberal Audience for Theater of Racial Justice (Oxford UP, 2024) addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts. In this episode, Ibrahim Fawzy interviews Carrie J. Preston about the intersections of theater, racial justice, and social activism, the concept of “complicit participation,” and allyship. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional “diversity, equity, and inclusion” initiatives. Complicit Participation: The Liberal Audience for Theater of Racial Justice (Oxford UP, 2024) addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts. In this episode, Ibrahim Fawzy interviews Carrie J. Preston about the intersections of theater, racial justice, and social activism, the concept of “complicit participation,” and allyship. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional “diversity, equity, and inclusion” initiatives. Complicit Participation: The Liberal Audience for Theater of Racial Justice (Oxford UP, 2024) addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts. In this episode, Ibrahim Fawzy interviews Carrie J. Preston about the intersections of theater, racial justice, and social activism, the concept of “complicit participation,” and allyship. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional “diversity, equity, and inclusion” initiatives. Complicit Participation: The Liberal Audience for Theater of Racial Justice (Oxford UP, 2024) addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts. In this episode, Ibrahim Fawzy interviews Carrie J. Preston about the intersections of theater, racial justice, and social activism, the concept of “complicit participation,” and allyship. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional “diversity, equity, and inclusion” initiatives. Complicit Participation: The Liberal Audience for Theater of Racial Justice (Oxford UP, 2024) addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts. In this episode, Ibrahim Fawzy interviews Carrie J. Preston about the intersections of theater, racial justice, and social activism, the concept of “complicit participation,” and allyship. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional “diversity, equity, and inclusion” initiatives. Complicit Participation: The Liberal Audience for Theater of Racial Justice (Oxford UP, 2024) addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts. In this episode, Ibrahim Fawzy interviews Carrie J. Preston about the intersections of theater, racial justice, and social activism, the concept of “complicit participation,” and allyship. Ibrahim Fawzy is a literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature.
Branden Jacobs-Jenkins drew on his youth spent in D.C. and Maryland for his play coming to Woolly Mammoth Theatre this month.
Back in 2022, 2Nerds and an Actor released the inaugural episode of And Guest, and we're ready to keep the good vibes going! If you didn't tune in the first time, now is your chance to catch up on our chat with the Tony Award-winning Playwright, Executive Producer, Writer, and dear friend of ours, Branden Jacobs-Jenkins. We get into his inspiring work with HBO's Watchmen as well as his adaptation of Octavia Butler's Kindred (formerly on FX.) We even get into Branden's guilty pleasure show Alone on the History Channel. Get into it!! Hosted on Acast. See acast.com/privacy for more information.
Listen in behind the scenes with this special episode featuring media room speeches from 2024 Tony Award winners Shaina Taub, Dede Ayite, Tom Scutt, George C. Wolfe, Justin Peck, Ryan Rumery, Nikiya Mathis, Will Brill, Kara Young, Daniel Radcliffe, Kecia Lewis, Branden Jacobs-Jenkins, Sarah Paulson, Jonathan Groff, and Maleah Joi Moon. Guest hosted and edited by fellow Broadway Podcast Network host Sarah Goodman! Make sure to check out her podcast too. Connect with GOOD SHOW: Listen and follow the podcast at http://bpn.fm/goodshow 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
TONY TONY TONY! Sarah had the amazing opportunity to fill in for Alan Seales & The Theatre Podcast at the 77th Annual Tony Awards press room. All the winners are brought to the press room right after they receive their Tony Awards and then all the press folx get to ask questions, it's so fun! Sarah had the time of her life speaking to these incredible artists on Broadway's biggest night. The first half if a designer spotlight! Hear clips from Dede Ayite, Nikiya Mathis, Ryan Rumery, and Cody Spencer. Enjoy highlights from George C. Wolfe, Shaina Taub, Kara Young, Sarah Paulson, Branden Jacobs-Jenkins, Jonathan Groff, and Maleah Joi Moon. Good Show Instagram: @goodshowpodcast Good Show Tik Tok: @goodshowpodcast broadwaycares.org Connect with The Theatre Podcast: Visit: http://bpn.fm/ttp 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
[REBROADCAST FROM JAN. 9, 2024] In the Broadway staging of Branden Jacobs-Jenkins' Obie-winning play "Appropriate," Sarah Paulson stars as Toni, a woman dealing with the fallout from a gruesome discovery among her late father's things. Toni and her brothers, who are cleaning out the old family plantation home, must decide what to do with this explosive artifact. Jacobs-Jenkins, Paulson, and director Lila Neugebauer join us to discuss the show.
Late Night supervising producer Sarah Jenks-Daly chats with playwright Branden Jacobs-Jenkins, whose play Appropriate is currently running on Broadway and is nominated for 8 Tonys.Plus, star of Appropriate Sarah Paulson recommends your next read.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Ten years after its original staging, “Appropriate” has received eight Tony Award nominations. Playwright Branden Jacobs-Jenkins talks about the moments of his life that inspired it.The play tells the story of three siblings reuniting in their family home after the death of their father. Charged with going through his belongings, the children discover troubling relics within the home. They are left to deal with the question of an inheritance, but also this new challenge to their late father's legacy.Jacobs-Jenkins has since staged “Appropriate” several times, been a Pulitzer Prize finalist for two subsequent plays, and been awarded a MacArthur “genius” fellowship. But it wasn't until December 2023 that the playwright made his Broadway debut with “Appropriate,” which is now up for eight Tony Awards, including Best Revival of a Play and Best Performance by an Actress in a Leading Role in a Play for actress Sarah Paulson.Host Kai Wright sits with Brandon Jacobs-Jenkins to discuss the real-life moments that inspired the creation of this show, and the playwright's efforts to understand the complicated inheritances of race in America. Tell us what you think. We're @noteswithkai on Instagram and X (Twitter). Email us at notes@wnyc.org. Send us a voice message by recording yourself on your phone and emailing us, or record one here.Notes from America airs live on Sundays at 6 p.m. ET. The podcast episodes are lightly edited from our live broadcasts.
Prosecutors say the suspect in the Gilgo Beach murder investigation, Rex Heuermann, faces two more murder charges. He's now accused of killing six women.Chains like TJ Maxx, Marshalls and HomeGoods, all which have the same parent company, have begun outfitting workers with body cameras at some stores. It's part of a new growing effort to fight shoplifting in stores.At 99 years old, Command Sgt. Major Henry Armstrong is one of the few remaining D-Day veterans left. He traveled to Normandy for the 80th anniversary of D-Day to revisit the site of the harrowing and pivotal day that shaped his life. CBS News' Charlie D'Agata shares his story.Just two days before D-Day, U.S. Navy Captain Daniel Gallery and his team captured a Nazi submarine in the eastern Atlantic, uncovering a trove of vital intelligence. Charles Lachman, author of "Codename Nemo: The Hunt for a Nazi U-Boat and the Elusive Enigma Machine" and executive producer of "Inside Edition," joins "CBS Mornings" to talk about Operation Nemo and how the course of World War II was changed.After more than a decade, Emmy Award-winning actor Sarah Paulson stars as Toni Lafayette in the Broadway play "Appropriate." The Branden Jacobs-Jenkins play has received eight Tony nominations, including "Best Revival of a Play" and "Best Leading Actress in a Play." Paulson and Jacobs-Jenkins join "CBS Mornings."Actor Glen Powell tells "CBS Mornings" co-anchor Gayle King about the "weird turns" in his new film "Hit Man," how his life has changed since the 2022 box office hit "Top Gun: Maverick" and introduces his family in his hometown of Austin, Texas.After hosting "Wheel of Fortune" for 41 years, Pat Sajak will take his final spin on Friday. Last year, he announced this would be his final season.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
The Tony-nominated star of "Appropriate," Sarah Paulson, and its nominated playwright Branden Jacobs-Jenkins share some real talk about Tony season, reveal how the extended run of "Appropriate" has changed things both for the actors on onstage and for the audiences in the house, and banter about why Paulson should maybe play Prince in "Purple Rain." Learn more about your ad choices. Visit megaphone.fm/adchoices
Purpose is a powerful new work by Branden Jacobs-Jenkins, directed by the legendary Phylicia Rashad (who played Claire Huxtable on “The Cosby Show”). The story revolves around the politically and culturally influential Jasper family which has for decades been a pillar of Black American Politics including in civil rights. But like every family, there are cracks […]
Branden Jacobs-Jenkins (winner of a 2016 Windham-Campbell Prize for Drama) chats with Prize Director Michael Kelleher about British theater legend Caryl Churchill's Far Away, the power of language on the page and stage, and the point of having a playwright at all. Reading list: Far Away by Caryl Churchill • Escaped Alone by Caryl Churchill • Top Girls by Caryl Churchill • Prince • Jasmine Lee Jones on Lorraine Hansberry's A Raisin in the Sun • Cristina and Her Double: Essays by Herta Müller Branden Jacobs-Jenkins is a playwright whose plays include Girls, Everybody (Pulitzer Prize finalist), War, Gloria (Pulitzer Prize finalist), Appropriate (OBIE Award), An Octoroon (OBIE Award), and Neighbors. A Residency Five playwright at Signature Theatre, recent honors include the Charles Wintour Award for Most Promising Playwright from the London Evening Standard, a London Critics' Circle Award for Most Promising Playwriting, a MacArthur Fellowship, the Windham-Campbell Prize for Drama, the Benjamin H. Danks Award from the American Academy of Arts and Letters, the Steinberg Playwriting Award, and the inaugural Tennessee Williams Award. Jacobs-Jenkins has taught at Yale, NYU, Juilliard, Hunter College, and the University of Texas-Austin. The Windham-Campbell Prizes Podcast is a program of The Windham-Campbell Prizes, which are administered by Yale University Library's Beinecke Rare Book and Manuscript Library.
This week, we take on the remake of the 2004 teen movie classic, “Mean Girls”. The original “Mean Girls”, starring Lindsay Lohan and written by Tina Fey, was a phenomenon. It's been called one of the most quotable movies of all time. This new musical remake, based on the original film and the Broadway show, is in theatres now. What did the original film represent for us? Did we need this new version? And what generation is it for? Lilah is joined by the FT's US financial editor Brooke Masters and Life and Art producer Lulu Smyth to figure it out.-------We love hearing from you. Lilah is on Instagram @lilahrap, where she's posting a photo of Breen and his burn book. You can email us at lifeandart@ft.com.-------Links (all FT links get you past the paywall): – “Mean Girls”, written by Tina Fey, is out in cinemas in the US and UK now. – The FT's review of the film is here: https://on.ft.com/3Snt7yJ – Brooke is on X @brookeamasters– We also loved this piece by Miranda Green on modern “Mean Girls” and the impact of social media (June 2023) : https://on.ft.com/48ZWRHy More or Less: – Lulu wants to see more respected male actors in romcoms: specifically Joaquin Phoenix in the next “High School Musical”– Brooke wants to see fewer universe expansions and more original content– Lilah recommends reading new plays – and if you're in New York, seeing Appropriate”, starring Sarah Paulson. The play is written by Branden Jacobs-Jenkins. You can read it online here: https://hilsee.com/ApproPlayText.pdf-------Special FT subscription offers for Life and Art podcast listeners, from 50% off a digital subscription to a $1/£1/€1 trial, are here: http://ft.com/lifeandart-------Original music by Metaphor Music. Mixing and sound design by Breen Turner and Sam Giovinco. Clips courtesy of Paramount Pictures.Read a transcript of this episode on FT.com Hosted on Acast. See acast.com/privacy for more information.
In the Broadway staging of Branden Jacobs-Jenkins Obie-winning play "Appropriate," Sarah Paulson stars as Toni, a woman dealing with the fallout from a gruesome discovery among her late father's things. Toni and her brothers, who are cleaning out the old family plantation home, must decide what to do with this explosive artifact. Jacobs-Jenkins, Paulson, and director Lila Neugebauer join us to discuss the show, which is running at the Hayes Theater through March 3.
Branden Jacobs-Jenkins has become one of America's best know, most lauded playwrights. His plays challenge the status quo -- none more so than "An Octoroon." Written as an adaption of an old American melodrama, "An Octoroon" is wild, shocking, and surprisingly transplants methods of performance from centuries ago. Listen in! ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue. https://www.patreon.com/noscriptpodcast ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at: Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We'll see you next week. ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue. https://www.patreon.com/noscriptpodcast ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at: Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Thanks so much for listening! We'll see you next week.
(Rock Hill, S.C.) -- The Winthrop University Theater Department hosted a performance of "Everybody" by Branden Jacobs-Jenkins, last weekend in the Johnson Hall Studio Theater, which explored the themes of life, death and its meaning. The show was a 21st-century adaptation of the 15th-century morality play "Everyman," as the main travels down a road toward life's greatest mystery. The Palmetto Report's Will Locklin Elliott spoke with Eden Cook, the director of the show.
Riverside Theatre presents “Everybody,” a play where the actors don't know who is playing which part until after they cast lots right before the show begins! This is a new work by acclaimed playwright Branden Jacobs-Jenkins, which riffs off a 15th Century work. In addition to the conceit of assigning roles literally at the last … Continue reading The post Culture Crawl 839 “It's About Death. But Funny” appeared first on Jazz 88.3 KCCK.
Taking a look at the evolution of playwright Branden Jacobs-Jenkins with special guest LISA DRING Lisa is a writer, director and actor originally from Hilo, Hawaii and Reno, Nevada. Her play SUMO will be co-produced by La Jolla Playhouse and Ma-Yi Theater Company in 2023. She has recently worked on multiple projects with Meow Wolf and was a member of The Geffen Writers' Room. She was honored as a recipient of the 2020/21 PLAY LA Stage Raw/Humanitas Prize. Her play The Wicked One was a finalist for the Relentless Award, a finalist for the Bay Area Playwrights Festival, a finalist for the Seven Devils Playwrights Conference and a semi-finalist for the O'Neill Playwrights Conference. Kaidan Project: Walls Grow Thin, a piece she co-wrote with Chelsea Sutton, was nominated for 7 Ovation Awards including Best Production (winner of 5). Lisa's work has been developed/produced by The New Group, Actors Theatre of Louisville, East West Players, Circle X, SCF @ Son of Semele, Playwrights' Arena, Rogue Artists Ensemble, UCSB Launch Pad Series, The Motor Company and Theatre of NOTE. Lisa has been awarded fellowships at MacDowell, Blue Mountain Center and Yaddo. Her play SUMO was recently named as a finalist for the O'Neill Playwrights Conference. Lisa graduated from the University of Southern California. She was awarded the 2021 Dorothy and Granville Hicks Residency at Yaddo, which honors one promising young writer a year, and was nominated for an Emmy for Welcome to the Blumhouse Live, a project she co-wrote and co-directed with Matt Hill. Shows Discussed: Part 1: An Octoroon Part 2: Gloria Part 3: Everybody SUBSCRIBE. RATE. REVIEW!! THEME and Stingers: Ryan Thomas Johnson IG: @theatre_theater_pod Twitter: @the_theatre_pod Gmail: theatretheaterpod@gmail.com tiktok: @theatre_of_the_absurd LA SPOTLIGHTS: A New BrainIG: @CelebrationThTr www.celebrationtheatre.org Resources below FGM Education Resources https://www.fgmeducation.com/post_resources/fgm-medical-resources/ BLM Donation and Education LinkTree: https://linktr.ee/NationalResourcesList Black Owned Businesses in LA: https://docs.google.com/spreadsheets/d/18w-0RBhwBBlXDN9kRV9DVSCAGSCjtHb9K0Pq2YBv18U/htmlview?usp=sharing&pru=AAABcpXptV0*XfoiE2Ay5SJUCEO3tXROGQ&urp=gmail_link MPJI https://marshap.org/ Petitions https://linktr.ee/petitions_123
Taking a look at the evolution of playwright Branden Jacobs-Jenkins with special guest TEDDY TRICE @teddytrice Shows Discussed: Part 1: An Octoroon Part 2: Gloria Part 3: Everybody SUBSCRIBE. RATE. REVIEW!! THEME and Stingers: Ryan Thomas Johnson IG: @theatre_theater_pod Twitter: @the_theatre_pod Gmail: theatretheaterpod@gmail.com tiktok: @theatre_of_the_absurd LA SPOTLIGHTS: A New BrainIG: @CelebrationThTr www.celebrationtheatre.org ONE ACTS SOMEWHERE: 4/28 and 4/29 @ 7:00p IG: @anemoiallc www.anemoiafilms.com Resources below FGM Education Resources https://www.fgmeducation.com/post_resources/fgm-medical-resources/ BLM Donation and Education LinkTree: https://linktr.ee/NationalResourcesList Black Owned Businesses in LA: https://docs.google.com/spreadsheets/d/18w-0RBhwBBlXDN9kRV9DVSCAGSCjtHb9K0Pq2YBv18U/htmlview?usp=sharing&pru=AAABcpXptV0*XfoiE2Ay5SJUCEO3tXROGQ&urp=gmail_link MPJI https://marshap.org/ Petitions https://linktr.ee/petitions_123
Taking a look at the evolution of playwright Branden Jacobs-Jenkins with special guest KACIE ROGERS @kacie.rogers You can find more info about her one woman show I SELL WINDOWS coming to LA for one night only! Shows Discussed: Part 1: An Octoroon Part 2: Gloria Part 3: Everybody SUBSCRIBE. RATE. REVIEW!! Monologue: An Octoroon - performed by Kacie Rogers THEME and Stingers: Ryan Thomas Johnson IG: @theatre_theater_pod Twitter: @the_theatre_pod Gmail: theatretheaterpod@gmail.com tiktok: @theatre_of_the_absurd LA SPOTLIGHTS: ONE ACTS SOMEWHERE: 4/28 and 4/29 @ 7:00p IG: @anemoiallc www.anemoiafilms.com Resources below FGM Education Resources https://www.fgmeducation.com/post_resources/fgm-medical-resources/ BLM Donation and Education LinkTree: https://linktr.ee/NationalResourcesList Black Owned Businesses in LA: https://docs.google.com/spreadsheets/d/18w-0RBhwBBlXDN9kRV9DVSCAGSCjtHb9K0Pq2YBv18U/htmlview?usp=sharing&pru=AAABcpXptV0*XfoiE2Ay5SJUCEO3tXROGQ&urp=gmail_link MPJI https://marshap.org/ Petitions https://linktr.ee/petitions_123
Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production. Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production. Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production. Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production. Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production. Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production. Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art
Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production. Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography
In this Washington Post Live conversation recorded on Nov. 12, playwright Branden Jacobs-Jenkins discusses his TV adaptation of Octavia Butler's novel “Kindred,” why he thinks TV and movies have “damaged our ability” to understand history, and what he is ultimately trying to show about slavery.
In the 1979 novel "Kindred," author Octavia Butler sent her main character – a Black woman – back to the antebellum south of the 1800s. The sci-fi book is a modern classic – a cornerstone of afro-futurism that made waves in a genre dominated by white men. "Kindred" is still being discovered by new readers today – and by viewers. Branden Jacobs-Jenkins adapted "Kindred" into a new FX series of the same name on Hulu.We speak with Jacobs-Jenkins about making the first on-screen adaptation of the late, and pioneering Octavia Butler's work and why it still resonates with readers, and now viewers, decades later.Want to support 1A? Give to your local public radio station and subscribe to this podcast. Have questions? Find us on Twitter @1A.
In this episode, Steve and Tananarive talk to producer Courtney Lee-Mitchell, who bought the rights to Octavia E. Butler's Kindred years ago and has helped shepherd it to television. Courtney talks about the process of getting Kindred made, from securing the rights to pitching to the road to production. Also: How showrunner Branden Jacobs-Jenkins decided to change some of the events in the novel. A must-listen for anyone interested in how a television show makes it to the air. Learn more about your ad choices. Visit megaphone.fm/adchoices
Welcome to the debut episode of 2Nerds and an Actor and Guest! We're kicking it with some of the folks behind our favorite things and bringing you with us. On this episode of 'And Guest' Playwright and Writer/Executive Producer of FX's Kindred, Branden Jacobs-Jenkins! An old friend of the podcast, we get into his transition from stage to screen, adapting Octavia Butler's work for TV, and consulting on HBO's Watchmen. Stay tuned for more guests! Is 2Nerds And An Actor a part of your podcast ritual? Subscribe on Apple Podcasts, Spotify, Stitcher, YouTube, or that place you find podcasts.
Larry begins the pod by resharing a lovely discussion he had with his daughter Lauren from an episode in 2020 where they dissect the lyrical intricacies of "Have Yourself a Merry Little Christmas" and examine how the song has evolved over time. He's then joined by award-winning playwright Branden Jacobs-Jenkins to discuss his new television show 'Kindred' streaming at FX on Hulu. They begin their conversation by talking about how the show came together, why Branden chose to adapt 'Kindred' from author Octavia Butler's impressive catalog, and the similarities between his show and the '70s TV mini-series 'Roots' (17:48). Next, Branden touches on the challenges of interpreting the chronological, thematic, and sci-fi elements of Butler's novel to the screen (28:11). After the break they explore the psychological layers of some of the show's main characters and shine a light on actor Mallori Johnson's portrayal of the protagonist Dana (49:08). They end the pod by debating the role of 'Kindred' in the current cultural climate and speculate on the future of the show (56:33). Host: Larry Wilmore Guests: Lauren Wilmore and Branden Jacobs-Jenkins Associate Producer: Chris Sutton Learn more about your ad choices. Visit podcastchoices.com/adchoices
A new FX series from creator, writer and showrunner Branden Jacobs-Jenkins adapts Octavia Butler's "Kindred," which follows an African American woman from modern times who experiences episodes of time travel to an antebellum plantation. Series premiers Dec. 13.
It's a play about life... or death? Branden Jacobs-Jenkins' play Everybody is an adaption of the famous morality play "Everyman." In his modernization, Jacobs-Jenkins uses form as a storytelling technique, employing several incredible theatrical devices. Listen in as Jackson and Jacob chat about this smart, engaging script. ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue. https://www.patreon.com/noscriptpodcast ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at: Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We'll see you next week. ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue. https://www.patreon.com/noscriptpodcast ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at: Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We'll see you next week.
Playful Musings host, Kristin Post, gives an overview of the play Everybody by Branden Jacobs-Jenkins.
In advance of the 2022 Tony Awards next Sunday, June 12th TALKBACK is thrilled to bring you an exclusive interview with the creatives behind the Tony nominated musical A Strange Loop. Michael R. Jackson, the mind behind the Pulitzer Prize winning musical, and Rona Siddiqui, the show's music director, chat with Christine about what inspires them to create and act in service of all dramatic writers by serving on the board of the Dramatists Guild of America. Michael shares his love of soap operas and Rona tells the story of how she went from training as a classical pianist to a musical theater composer. You won't want to miss it. Dramatic writers start their journey with the blank page. In our fourth season we wanted to honor the craft and inspiration it takes to bring stories to the stage and honor the service of our DG Council members that give their time to make the world for all writers a better place. Our remaining episodes will premiere starting in October 2022. Join us as we talk with theatrical giants Ahrens and Flaherty, Branden Jacobs Jenkins, Charlayne Woodard and more. Learn more about your ad choices. Visit megaphone.fm/adchoices
Audio-described programme notes for the audio described performance of An Octoroon by Branden Jacobs-Jenkins, a radical reboot of Dion Boucicault's The Octoroon.
Helen Meany Helen Meany has been to see An Octoroon. Dr Jorie Lagerway, Associate Professor in Television Studies in UCD takes a look at the legacy of Lena Dunham's Girls and Paul McLoone and Zara Hedderman discuss new music releases by Bloc Party, Sive and Let's Eat Grandma.
This week on No Script, Jackson and Jacob come back to Branden Jacobs-Jenkins. One of America's foremost contemporary playwrights, Jacobs-Jenkins writes plays that are challenging, uncomfortable, and so, so smart. His play Appropriate is a stark portrait of the legacy of racist violence in the American south. ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue. https://www.patreon.com/noscriptpodcast ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at: Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We'll see you next week.
Welcome back to the 83rd episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. The theatres may be closed, but art finds a way to survive! For the time being on this podcast we are rereleasing our past reviews, interviews, roundtables, and duet reviews in remastered audio only versions so you can take your CoH content on the go! For our 83rd episode we bring you a Duet Review of of the Canadian premiere of Gloria by Branden Jacobs-Jenkins, directed by André Sills, currently being presented in Toronto by ARC in association with Crow's Theatre. Join Jillian Robinson and Ryan Borochovitz, as they discuss this satirical peek at the modern workplace, the commodification of trauma in mainstream publishing, and the power of kindness! CORRECTION: Jonelle Sills (André's sister) sang the opera section right after the end of Act 1 and Claud Spadafora sang the song ‘Glitter Witch'. Gloria is playing at Streetcar Crowsnest (345 Carlaw Ave., Toronto, ON) until March 20th, 2022. Tickets can be purchased from the following link: https://www.crowstheatre.com/whats-on/view-all/gloria Follow our panelists: Jillian Robinson – Instagram: @jillian.robinson96 Ryan Borochovitz – [Just send all that love to CoH instead; he won't mind!] --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support
In this two part conversation with MacArthur Genius Branden Jacobs-Jenkins, Shanté and Tav discuss making black theater and television now. In addition to Branden's work on adapting Octavia Butler's novel Kindred (1979) and Alan Moore's Watchmen (1986) to the screen, topics discussed include #WhiteTheaterWeSeeYou , #BlackLiveMatter, and the enduring influence of Performance Studies on all three.Part 2 of 2. See acast.com/privacy for privacy and opt-out information.
Let's Talk About Gloria. Season two - Episode Two: Spoiler Alert.A Public Fit Theatre Company is an award-winning ensemble theatre based in Las Vegas, Nevada. In this episode of Behind the Buzz!, Producing Director Joe Kucan and Artistic Director Ann-Marie Pereth continue the conversation about the first reading of their 2020/2021 season! They are joined by Director Jake Staley and actor Gaby Silveroli to discuss Branden Jacobs-Jenkins' dark X3 comedy; Ann-Marie reveals how a season is chosen; Gaby and Jake reveal the big surprises; and Joe mispronounces a record number of words.Behind the Buzz is a production of A Public Fit Theatre Company in association with Giantleap Industries. Copyright 2021, all rights reserved. See acast.com/privacy for privacy and opt-out information.
Hosts Tav and Shanté welcome playwright Branden Jacobs-Jenkins for this two-part special! Show notes coming soon. See acast.com/privacy for privacy and opt-out information.
We're so excited to finally share our conversation with the brilliant actor Matthew Hancock, who is currently leading the charge back to theaters by starring in the West Coast premiere of the award-winning play An Octoroon at The Fountain Theatre. Yes, people: plays are back, and we couldn't be more thrilled to celebrate Matthew's tremendous success and commemorate this special occasion. Coming to us straight from preview performances, Matthew tells Roger and Lovell all about the demands of rehearsing a play behind masks, the protocols required to bring a live play (!) in person (!!) to audiences today, and why intimate theater in Los Angeles is more vital than ever. Recently spotlighted in the New York Times, this landmark production of An Octoroon (written by none other than Roger and Lovell's college classmate, the transcendent Branden Jacobs-Jenkins!) runs until September 19, 2021, so do not miss it! Go on Instagram to follow Matthew at @imatthewhancock, and learn everything you can about the folx highlighted in this week's Gayborhood Watch: civil rights icons Bayard Rustin and Marsha P. Johnson, activist Mariah Lopez, and John Imperato at the LGBT Center of Los Angeles. And don't forget to follow @rogerq.mason and @lovell.holder on Instagram for all your Gayborhood updates!
Larry Everest on the international struggle to free Iran's political prisoners. His latest piece, “Vicious Wave of Repression Sparks Global Movement to Free Iran's Political Prisoners,” is posted at Counterpunch. Joined by Bahrang, an Iranian-American activist who has been fighting to bring awareness and support for this life or death question. Plus, An Octoroon, written by Branden Jacobs-Jenkins. We talk to actors Matthew Hancock and Rob Nagle, as well as the director, Judith Moreland.
This week on No Script, Jackson and Jacob take on Branden Jacobs-Jenkins Pulitzer Prize-nominated script "Gloria." When a shocking workplace tragedy upends the life of several cubicle employees, questions about the ownership of stories and trauma are raised. This dark comedy is fascinating in its structure! ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue. https://www.patreon.com/noscriptpodcast ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at: Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We’ll see you next week.
Hello everyone! Welcome to 2021. We hope you took a well deserved break over the holiday season and ready to take on whatever the new year has to offer. As for us, we were busy getting this year’s episodes ready for you to listen to! Starting this year with a bang, is the incomparable Allyson Fournier. Of course I’ve heard of the incredible talent that Allyson is, but it wasn’t till I was up north with her that I truly saw what an exceptional person she is. She is loving, hard working, and works so hard to be the best she can be. Which truly is all we can ask anyone for. She wears her heart on her sleeve, something I admire greatly of her. She is a director, writer, actress, and exudes such light while tackling anything she tries. I adore her. Allyson is currently studying directing at the National Theatre School @nts_directing_program, and is assisting Anita Rochon on a production of Everybody by Branden JAcobs-Jenkins. Follow her on instagram @ak4nier and on Tik Tok at @ak4yay Thank you for tuning in to this week’s episode of @broadwhatpodcast and stay tuned for more each week! Original art by @emilienunez For more episodes check out www.broadwhatpodcast.com or search Broad-WHAT? On all podcast platforms
This episode Nancy & Sam are joined by co-director of Coast to Coast Theatre Company and producer from the Norwich Fringe, Molly Farley, to discuss the intense and thought-provoking drama Gloria by Branden Jacob's Jenkins. Not only is it an absolute belter of a play, but Molly is fantastic as our first guest. Topics include: Workplace trauma, selfish journalists, and the absolute tenacity of playwrights who give impossible stage directions.Molly can be found @mollysamfarleyCoast to Coast Theatre can be found @ctctheatrecompHave some feedback? A play you'd like us to cover?Visit the official podcast twitter @playgroundpoddyChat to host Nancy @N_NetherwoodChat to host Sam in person if you happen to recognise him
Show Notes:Intro - On the Needles - Dami - ~hat on the needles soon C.C. -~NaKniSweMo 2020 Sinister Catdigan on US2 (2.75mm), Soundview Fiber Mill 100% Shetland Fingering in the C.C.’s Pink, Charcoal Black, & Natural colourwaysProject bag from Alexandra Brodt & Progress Keeper/Stitch Markers from Ann TudorFinished Projects - Dami - ~NoneC.C. -~NoneFlosstube - Begins at timestamp 11:39Dami - ~NoneC.C. - ~NoneYummies (our current favourite things) - ~Dami's Play~The Nice List Box from The Black Needle Society - Use the code JAVAPURL5 for a discount on your first box of box to box subscriptions (the 6 & 12 month boxes already have a discount built in; not valid on special edition boxes.~Color Street from Creativity by Gidge (Amy)~Crafty Photo A Day Challenge - #GGKCraftyPAD - details for November hereWhat We're Watching, Reading, + Listening To - Please be aware that we do discuss recent tv show episodes that have aired in the last week or so. This is your spoiler warning!Episode 422 Bookshop List~Harvey by Mary Chase - Dami is reading~An Octoroon by Branden Jacobs-Jenkins - Dami is reading~The Shakers... (workshop versions) by Arlene Hutton~The Glass Scientists (webcomic) by Sabrina Cotungo - Dami is readingOctober / November / December 2020 RAL - 15 minutes of reading daily challenge* 88-92 of 92 days - 1 or more giveaways for eBook, everyone gets $1.20 off any single pattern coupon code & 88+ days RAL virtual badge * 61-87 of 92 days - 1 or more giveaways for single pattern, everyone gets 61+ days RAL virtual badge* #GGKRAL202020 RAL Yearlong Challenge~October / November / December* 92 days - 10 entries* 88-91 days - 8 entries* 61-87 days - 5 entries~Read All 366 days - 10 bonus entries~Complete the Modern Mrs. Darcy 2020 Reading Challenge - 12 bonus entries [all or none] (we'll open a thread for you to post this in December 2020)~3 grand prize winners drawn from all the entries~Shameless: A Sexual Reformation by Nadia Bolz-Weber - C.C. finished reading~Unashamed: A Coming-Out Guide for LGBTQ Christians by Amber Cantorna - C.C. is rereading~Harry Potter & the Order of the Phoenix (Harry Potter #5) - C.C. is rereading with Harry Potter & the Sacred Text podcast & Swish and Flick: An All Potter Podcast~Red Rising Saga by Pierce Brown - C.C. finished reading Book 4 & is reading Book 5~I Killed Zoe Spanos by Kit Frick - C.C. finished reading~Road Out of Winter by Alison Stine - C.C. finished reading~Lucy Kincaid Series by Allison Brennan - C.C. finished reading Books 13, 14, & 15, & is reading Book 16~Autoboyography by Christina Lauren - C.C. finished reading~Monk - finished rewatching Season 4 & rewatching Season 5~The Handmaid’s Tale - finished watching Season 1 & watching Season 2~The Masked Singer - watching Season 4~Supernatural - watching Season 15~Star Trek: Discovery - watching Season 3~The Mandalorian - watching Season 2~The Blacklist - watching Season 8~NCIS: LA - watching Season 12~NCIS: New Orleans - watching Season 7~NCIS - watching Season 18~NEXT - watching Season 1~My Favourite Murder podcast~Cabin Pressure~Random Spotify PlaylistsSeptember / October / November Artistic Autumnal AL -*Runs from 1-September through 30-November*Details - any project you knit/crochet/weave/spin/stitch/sew that you can convince us relates to autumn*No WIPS - Your project must be begun no earlier than 1-September and finished no later than 30-November*Each project that you knit/crochet/weave/spin must be at least 20yds/18.3m that you finish and post in the Facebook Group FO Thread counts as 1 entry into the giveaways. If your project is not at least 20yds/18.3m, you need to group it in a single post with other projects that together total at least 20yds/18.3m. For stitching/sewing projects, we’ll leave it to your best judgment. If you wanted our official ruling, PM email us at ggkcspodcast@gmail.com*Feel free to poly-dip in other ALs as long as it fits in with other rules*Please complete our Google form in order to help us make sure you are receiving a prize that you'll actually enjoy using.*Prizes: If you’d like to donate one, email us at ggkcspodcast@gmail.comStitch Marker Sets made & donated by Julia of Pandia's Jewels - 1 Labyrinth & 1 Frankenstein - 2 winners will each win a random setOrange Camper bag by ArtByAna from RhondaJust CrossStitch Volume 37, No. 5 - October 2019Hilde’s Brew pattern by Michelle of Bendy Stitchy DesignsZipper Pouch & mini-skeins from Hillary*Must be a member of the our Facebook group ~ GGKCS Podcast / FlossTube to participate*Social Media Hashtag: #GGKCSAutumn20*Thread will be locked the morning of 1-December and winner(s) drawn on the next podcast following that*For any and all giveaways, prizes, competitions, ALs, etc. that we host, the winner(s) have 30 days from the date of announcement (the date the podcast episode in which the winner was announced goes live) to contact us to claim their prize or it will be forfeited. If this occurs, the prize will be used for another giveaway at our discretion. Thanks for understanding!*There is a Chatter Thread in our Facebook group so we can encourage each other along the way.Ask the Geeks - Originally asked/answered in 2016:Krystal asks:I’ve decided that I would do some charity knitting this year, and I’ve started making preemie hats. I love your pattern, as it’s super easy and looks great. I was wondering a few things: Do you just do an Internet search to find hospitals or NICUs that accept donations? Or, do you call them? I would really like to donate locally if possible. When you send in the donations, do you label them in any way--size, fiber?Misc. - ~The Black Needle Society VIP - Use the code JAVAPURL5 for a discount on your first box of box to box subscriptions (the 6 & 12 month boxes already have a discount built in; not valid on special edition boxes.~Support the Podcast, Become A Patron~Support the Podcast, Join us on YouTube~Each week, we create a list on Bookshop of all the books we talk about in that week's episode. Bookshop is an online bookstore with a mission to financially support local, independent bookstores. If you purchase a book from our list, we earn a commission & local, independent bookstores also earn money from your purchase.~Want another way to help support our podcast? Throughout our website, links to books, tv shows, movies, etc. are Amazon Affiliate Links. We receive a portion of what you spend when you click through our website to shop on Amazon. What we receive helps us with the costs associated with producing this podcast as well as with prizes & shipping for giveaways. Thanks in advance for your support!If you are in the UK, please click this link, Amazon.co.uk, or the banner below to shop:If you are in Canada, please click this link, Amazon.ca or the banner below to shop:~For any and all giveaways, prizes, competitions, ALs, etc. that we host, the winner(s) have 30 days from the date of announcement (the date the podcast episode in which the winner was announced goes live) to contact us to claim their prize or it will be forfeited. If this occurs, the prize will be used for another giveaway at our discretion. Thanks for understanding!Find Us Online -C.C. - (she/her)~ on Instagram as CC_JavaPurlDami - (they/them)~ on Instagram as damisdoodlesPink Purl - ~on Instagram as pinkiepurlJavaPurl Designs~ JavaPurl Designs websiteGGKCS -~ our Facebook group ~ GGKCS Podcast / FlossTube~ our Facebook page~ email us: ggkcspodcast@gmail.com~ on Apple Podcasts~ on YouTube~ Support the Podcast, Become a PatronUntil next time,
Covid-19 had Ed and John feeling low, but now they’re all riled up. John’s avoiding joggers, chopping vegetables, and working on his Grease 4 spec script. Ed’s in a logjam at Target, trying to remember the bones of the hand, and getting schooled on roller skates. Together they discuss the unproduced Grease 3, escalators for grocery carts, H. C. Carrillo, the Brooks Brothers Riot, what Some Lovers try, The Country of Ice Cream Star, John Boos, Maangchi, Branden Jacobs-Jenkins, Jessica Lee, Lockwood on Updike, and the new Otessa Moshfegh.
Eric Ting, director of “Gloria” a play by Branden Jacobs-Jenkins, which runs at ACT's Strand Theatre through April 12, 2020, is interviewed by Richard Wolinsky. The play takes place in an office of cubicles at one of America's leading magazines. Three editors and an intern talk about their life in the office. They are joined by a member of the fact-checking team, and at times, by Gloria, who also works for the magazine. The rest of the play is a surprise. ACT website. Eric Ting discusses spoilers for the play “Gloria” https://kpfa.org/wp-content/uploads/2020/03/Eric-Ting-Spoilers.mp3 jQuery(document).ready(function($) { var media = $('#audio-332049-1'); media.on('canplay', function (ev) { this.currentTime = 0; }); }); The post Interview: Eric Ting, director, “Gloria” at ACT Strand appeared first on KPFA.
KPFA theatre critic Richard Wolinsky reviews “Gloria” by Branden Jacobs-Jenkins at ACT's Strand theatre through April 12, 2020. ACT website Text of review (minus actuality) Sitting in a cubicle in an office, no matter how great the job or its prospects, can be a debilitating experience. At last that's the way playwright Branden Jacobs-Jenkins saw his brief time working at the fabled New Yorker magazine several years ago. It's also true that TV shows like The Office, in particular, or, of course, several dozen other sitcoms over the years, have covered cubicle life more fully than any two hour play ever could, which is why Jacobs-Jenkins goes so much deeper in the funny and shocking “Gloria,” a Pulitzer Prize finalist in 2014, now a production at ACT's Strand Theatre through April 12th. Eric Ting, director of the production Gloria is one of those plays takes a sudden turn at the end of Act One, an event for which there seems to be no foreshadowing, so it's a little hard to talk about themes except in the most general sense. But one thing is very clear from Act One, that Branden-Jacobs Jenkins is a very funny writer. It's non-stop laughter as the four characters in adjoining cubicles complain and babble about their lives, their future their disappointments, and of course, the stultifying role of management in their lives. It's hard to single out any of the six member cast, though special kudos go to the fast talking Melanie Arii Mah as the non-stop office gossip. Lauren English is so different in her two roles that you have to pinch yourself to remember it's the same actress. These folks are all really, really good. As with many plays in which the funny dialogue in Act One gives way to a more serious aftermath in Act II, some audiences might feel let down. But that's part of the plan, because Gloria examines how the contour of our lives are often shaped by sudden events out of our control, and that a play may end, but our own lives continue to go on. Gloria, by Branden Jacobs-Jenkins, directed by Eric Ting, plays at ACT's Strand Theatre through April 12th. For more information you can go to act-sf.org. I'm Richard Wolinsky on Bay Area theatre for KPFA. The post Review: Gloria by Branden Jacobs-Jenkins, at ACT Strand appeared first on KPFA.
Branden Jacobs-Jenkins writes some of the most challenging plays I’ve read and seen. That’s partially due to the fact that his plays are each distinct in form, namely the way each play is delivered is as important as the story itself. Branden is a writer who is fascinated by the history of storytelling, from the Greeks to the Middle Ages, and within American drama, from the Civil War through the 20th century. In our interview, we talked about how he draws on old plays to examine how we experience the same themes today.Branden’s plays, which include Neighbors, Appropriate, An Octoroon, Gloria, War, Everybody, and Girls, have won a host of awards including the MacArthur Fellowship. Branden is also a Pulitzer Prize finalist, a theater professor, and a consulting producer on the HBO series Watchmen. Talking to Branden was a true pleasure. He is scholarly, perceptive, and genuine. If you haven’t seen or read Branden’s plays, I encourage you to check them out. His work will challenging you in the best way.Links:https://www.macfound.org/fellows/958/https://www.theparisreview.org/blog/2015/05/28/branden-jacob-jenkins-on-his-play-neighbors/ See acast.com/privacy for privacy and opt-out information.
Acting UP, a new podcast for young, political theatre-makers. Episode 1.1 This week hosts Francesca Amewudah-Rivers and John Livesey speak to Pulitzer-prize nominated Playwright Branden Jacobs-Jenkins about American politics, Black British writing and some of the creatives who've inspired him the most!
Enjoy a rare treat from Melbourne Theatre Company at MPavilion over three summer evenings as MTC presents a series exploring different facets of modern theatre practice. Hear play-readings of new Australian dramatic works commissioned by MTC and enjoy a discussion of the theatrical process with special international guest director Lila Neugebauer. Here they discussed the warp and weft of theatre, its role in shaping the future, and how it works both here and overseas. Make new discoveries and see how flashes of inspiration play an important part in the development of new and exciting theatre that speaks to the problems and possibilities of our time. In demand by America’s finest new generation of writers, from Pulitzer Prize winner Annie Baker to Pulitzer Prize finalist Branden Jacobs-Jenkins, Lila Neugebauer will discuss the commercial pressures of being an artist in New York, and nurturing playwrights in such a public, pressure-cooker environment.
The director and writer reflect on their production of An Octoroon. Ned Bennett directed Pomona at the Orange Tree Theatre, National Theatre and Royal Exchange; The Crocodile at the Manchester International Festival and Yen at the Royal Court and the Royal Exchange. He won the UK Theatre Award for Best Director for Pomona and Yen Branden Jacobs-Jenkins won the 2014 Obie Award for Best New American Play for Appropriate and An Octoroon. He was a finalist for the 2016 Pulitzer Prize for Drama for Gloria, and was named a MacArthur Fellow in 2016.
This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! 1. Karel Sloane-Boekbinder, Ashe Cultural Arts Center's Programs Assistant, Theatre, Visual Art and Education along with guest curator Gason Ayisyin, join us to talk about the current exhibit: MAAFA: Creativity, Faith, Tradition and Resilience through August 23 at the Power House. 2. Cheryl Patrice Derricotte's Ghost Ships 3. Britney Fraizer (God, Understanding) joins us to talk about Everybody, by Branden Jacobs-Jenkins, currently at Cal Shakes (Tues.-Sun., Aug. 5) dir. by Nataki Garrett. Visit calshakes.org Thursday 8/2- Public Viewing 1-4 pm Fuller Funeral Home 4647 International Blvd Oakland, CA 94601 Friday 8/3- Funeral Service 11am Acts Full Gospel COGIC 134 66 Ave Oakland, CA
Stream podcast episodes on demand from www.bitesz.com (mobile friendly). Gloria (MTC Production) Editorial assistant Dean stumbles into work, hungover from last night’s mortifying party at Gloria’s house. Surrounded by his ambitious co-workers in their Manhattan magazine office, the only thing that matters is how fast you can climb the journalistic ladder of success and get your name in print. Today is just another ordinary day until suddenly it’s not and the stakes for who gets the story become higher than ever. Branden Jacobs-Jenkins’ explosive Pulitzer Prize finalist Gloria is a fresh and surprising new satire that takes a scathing look at office politics, our exploitative, media-saturated age and holds up a cracked mirror to American culture. This Australian premiere is directed by Lee Lewis (Hay Fever) featuring a favourite of stage and screen, Lisa McCune (Cabaret) like you’ve never seen her before, with Callan Colley (Three Sisters), Jordan Fraser-Trumble (The Legend of Ben Hall), Jane Harber (Offspring), Aileen Huynh (Cleverman) and Peter Paltos (Minnie & Liraz). For more details, visit: http://www.mtc.com.au/plays-and-tickets/season-2018/gloria/ Theatre First RSS feed: https://audioboom.com/channels/4839371.rss Subscribe, rate and review Theatre First at all good podcatcher apps, including Apple Podcasts (formerly iTunes), Stitcher, Pocket Casts, audioBoom, CastBox.FM, Podbean etc. If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you. #theatre #stage #reviews #melbourne #australia #gloria #mtc #lisamccune #callancolley #jordanfraser-trumble Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.
KPFA theater critic Richard Wolinsky reviews “An Octoroon” by Branden Jacobs Jenkins, directed by Eric Ting, at Berkeley Rep, extended to July 29, 2017. Berkeley Rep website The post Review: An Octoroon, at Berkeley Rep appeared first on KPFA.
Edgar Wright's film Baby Driver is a high-octane thriller about a getaway driver who has to do "one last job" before he can get out of a life of crime. It has a fantastic soundtrack, but is that enough? Gloria at The Hampstead Theatre is a play by Pulitzer-nominated American playwright Branden Jacobs-Jenkins. It's comic drama about ambition, office warfare and hierarchies Thomas Keneally's latest novel Crimes Of The Father deals with a fictionalised sex abuse case against the Catholic church in 1990s Australia Tate Liverpool has a new exhibition: Germany, Portraying A Nation 1919-1933, looking at the work of painter Otto Dix and photographer August Sander capturing life between the wars Netflix new series Gypsy is about a therapist who develops intimate and possibly dangerous relationships with people in her patients' lives Tom Sutcliffe's guests are Rowan Pelling, Rosie Boycott and Cahal Dallat. The producer is Oliver Jones.
We’re baaaaack and so excited to be here! Liz, Jose and Lindsay discuss six new shows from beyond Broadway in New York City. What we saw: The Great American Drama, created by Connor Sampson, The New York Neo-Futurists (00:59) En El Nombre De Salomé, written by Marco Antonio Rodríguez, Repertorio[...]
Diep, David, and Lindsay discuss and dissect the latest in NYC theater. But first, a big thank you for Liz Richards for creating these gorgeous and hilarious pieces of Maxamoo swag. Get your favorite Maxamooism at our store. We discuss: War by Branden Jacobs-Jenkins at LCT3 (2:28) The Taming of[...]
What we’re excited to see at the theater (and in a few cases outside the theater) in New York City in May: Daphne’s Dive by Quiara Alegría Hudes at Signature Theater The Town Hall Affair by The Wooster Group at The Performing Garage Fly By Night by Duke Riley at Brooklyn Navy Yard[...]
Among the many striking aspects of the 2016 presidential race is this: 'political correctness' is regularly touted as one of our greatest societal evils. But it's not just Republican candidates: 68 percent of all Americans think 'P.C.' is a big problem, according to this Fairleigh Dickinson University poll. The question is, why? In this episode [click "Listen" above], we explore how the policing of language can cause anxiety for many of us, while also forcing us to think about race and gender and other issues. Additionally, we turned to people who think about words for a living—writers—and put this question to them: Does "political correctness" shape today's art and expression? And if so, is that a problem or a necessity? Below are just a few of their responses. Feel free to weigh in! 1) Mohsin Hamid, author of How to Get Filthy Rich in Rising Asia and frequent contributor to the NYT Book Review. “I think power shapes language: what we can say, what we choose to say. And of course power shapes art. ‘Political correctness’ is just a description for certain ways in which some aspects of power are affecting language. There are many other ways. Think of what happened to Jeremiah Wright, President Obama's former preacher, when he violated the norms of ‘patriotic correctness’ in his sermons that were posted online. A firestorm. There are also issues of ‘religious correctness’ that one faces in, for example, Pakistan, where I live. The list goes on and on. And no artist is unaffected by them.” 2) Branden Jacobs-Jenkins, playwright, An Octoroon and Appropriate, says: 3) Teju Cole, pictured below, author of Open City and photography critic at The New York Times Magazine. “I must have missed when political correctness enslaved human beings, killed them with infected blankets, exiled them from their homes, prevented them from voting, sexually assaulted them, and destroyed their neighborhoods with malign economic policy and bad policing. We have a number of very serious problems — ongoing issues or the aftermath of historical issues — to think about; political correctness is not one of those serious problems. I personally love political correctness because a vehement opposition to it is a pretty reliable way of flagging those who want to be jerks about other people's pain without having to pay any social price for being so.” Teju Cole (Martin Lengemann) 4) Young Jean Lee, filmmaker and playwright (Straight White Men), says: 5) Julia Alvarez, author of How the Garcia Girls Lost Their Accents and A Wedding in Haiti. “The writers I most respect are inclusive and diverse and their works include and even humanize politically-incorrect characters. (Just think of Flannery O'Connor's!) These writers do not legislate or promote a certain point of view, but they increase our level of awareness about the world we live in. I love the Chekhov quote that the task of the artist is not to solve the problem but to state it correctly. A character might be racist or a situation in a story unpalatable, even offensive, but if these work in the service of the story/poem, then an artist should not censor herself with other considerations. But writer has to have a certain level of awareness, even if her characters and the situations they are in do not. We, as readers, have to feel that those deeper issues are being addressed and a more capacious vision being sought.” 6) Manil Suri, author of The City of Devi and The Death of Vishnu. “Political correctness is such an obvious and juicy target when artists allow themselves to fall victim to it that I feel it should be one's moral duty to go after it with the sharpest implement available. I'm sure I succumb to it myself on occasion (being Third World and gay and a person of color, etc) but can only hope someone shows enough mercy to puncture the 'art' that results.” What do you think? Listen to my question and then click on "Reply" and tell me. We may use your comment for a future story!
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