Podcast appearances and mentions of Caryl Churchill

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

The Irish premiere of Caryl Churchill's 'Escaped Alone' will be at the Everyman Cork as part of the Cork Midsummer Festival.Director Annabelle Comyn joined Mairead for a chat Hosted on Acast. See acast.com/privacy for more information.

Actress Sorcha Cusack, part of Ireland's legendary acting dynasty, joined Oliver in studio to talk about her remarkable TV career and her return home to star in 'Escaped Alone' by Caryl Churchill. Catch her this month at the Everyman Theatre in Cork and the Project Arts Centre in Dublin. For tickets and more, visit hatchtheatrecompany.com

Director & Choreographer Belle Hansen joins us to chat about Love and Information at Theatre Works, May 29 to June 14.  Written by Caryl Churchill. Love and Information | Theatre Works

Irish novelist Anne Enright is the author of seven novels, including The Gathering, winner of the Booker Prize in 2007. Her 2012 novel The Forgotten Waltz won the Andre Carnegie Medal for Fiction and her novel The Green Road won The Irish Novel of the Year in 2015, the same year that she was appointed as the inaugural Laureate for Irish Fiction. Her latest novel The Wren, The Wren has been shortlisted for the Women's Prize for Fiction 2024.Anne tells John Wilson how her childhood home in the suburbs of Dublin, and holidays spent at the Pollock Holes in Kilkee inform her writing. She recalls her book-devouring household and first reading Ulysses while on a cycling holiday at the age of 14. The play Top Girls by Caryl Churchill was also a creative influence, particularly in the way Churchill wrote dialogue for women who were at the time, so underrepresented on stage. Anne also cites the influence of the writer Angela Carter, both as a writer of contemporary fiction and as her tutor and mentor at the University of East Anglia. Producer: Edwina PitmanArchive and readings used:Extract from The Gathering, read by Anne Enright Extract from The Wren, The Wren, read by Charlotte Pyke Extract from Top Girls by Caryl Churchill, BBC, 1992

Seagulls Discussion Opening February 13 through 17th, sadly too late now for this interview, Kyle sat down with Director Sally Čačić and Lead Performer, Martina Laird-Westib to discuss what Night Ducks is all about as a theatre company and what Seagulls, the production, was like. The Ghost Next Door Podcast: https://podcasts.apple.com/us/podcast/the-ghost-next-door/id1718413223 Night Ducks presents “Seagulls” by Caryl Churchill — onboard the Elbow Entertainment River Cruise for Charity for the Short-Sighted Seagulls Awareness Association with Captain Logan Lawrence, featuring Telekinesis Wonder Valery and her Manager Di! Oh — and some guy called Cliff. Join us for a 1-hour of rollicking absurdist comedy, on board the Elbow River Entertainment “cruise” for a play within a play as we perform Seagulls by Caryl Churchill… cruise ship style! Join the Patreon: www.patreon.com/onstagingpodcast

In the second part of Jonny's chat with director Dominic Cooke they discuss getting the end of Ma Rainey's Black Bottom wrong, some strategies actors use to avoid being vulnerable, Sophie Okonedo and giving her performance up to the gods, experiencing vulnerability as a director and having to be dragged back to see his own shows, his fears for free expression in young writers right now, his long collaboration with Caryl Churchill- and how Caryl was right in her play Seven Jewish Children. Hosted on Acast. See acast.com/privacy for more information.

Arrenquem el novè episodi del Collita Pròpia amb la ressenya literària que Anna Carreras ha publicat sobre Sigues tu mateix (Navona), Premi Pulitzer de no-ficció, de l'escriptor i redactor del The New Yorker Hua Hsu. L'autora ens explica per què no hauríem de deixar escapar el llibre.De la literatura passem al tarot amb la crònica que Bernat Puigtobella publica sobre la presentació de I llavors em va dir (Poncianes), una aproximació personal i lírica al tarot a mans de la mèdium Amor Estadella i el poeta Oriol Sauleda.Continuem amb les paraules i amb tot allò que ens inspiren amb l'article Una ferida fastigosa de Laia Mauri, on parla de com el llibre Traumacore. Crónicas de una disociación feminista (Traficantes de sueños) li ha fet connectar amb allò gore i desagradable en contra de la "tirania del benestar". L'autora ho explica a l'episodi.I dels llibres passem al teatre perquè Jordi Vilaró ha escrit "El plaer de la incomoditat": una crítica doble de l'espectacle Una còpia de Caryl Churchill, que estarà a la Sala Atrium fins al 17 de març. L'altra ressenya és sobre Purificats de Sarah Kane que estarà al Teatre Tantarantana fins aquest diumenge.I en clau d'actualitat política, no deixeu escapar l'article "El missatge de Navalni per l'esquerra", de Joan Burdeus arran de l'assassinat a Alexei Navalni. L'autor es planteja com aquest acte afectarà l'esquerra en un moment on, com apunta, “la prosperitat baixa i la gent s'espanta i la dreta ofereix identitat”.Finalment, avui estrenem una nova secció, "Fem agenda", on destaquem quines activitats culturals podeu fer aquest cap de setmana, com anar al concert del cantautor VerdCel en el marc del Festival Tradicionàrius, a la celebració dels 30 anys del CCCB o assistir a la 12a edició del Festival Internacional de Circ de Girona que ha arrencat aquest dijous.

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.

Joc de clons. Crítica teatral de l'obra «Una còpia (A number)», de Caryl Churchill. Traducció de l'anglès: Jordi Prat i Coll. Intèrprets: Lluís Marco i Raimon Molins. Creació digital: Joan Rodón. Espai sonor, disseny i programació: Efrén Bellostes. Escenografia i pantalles: Kike Blanco. Caracterització: IA. Il·luminació: Mattia Russo. Ajudanta de direcció i producció: Claudia Manini. Gestió i comunicació: Àlex Bargalló. Materials gràfics i xarxes: Ona Borràs. Fotografia cartell: Midjourney (IA) / Joan Rodón. Atrium Produccions, Direcció: Raimon Molins. Sala Atrium, Barcelona, 13 febrer 2024. Veu: Andreu Sotorra. Música: Nuvole blanche. Interpretació: Ludovico Einaudi. Composició: Ludovico Einaudi. Àlbum: Una mattina, Ludovico Einaudi, 2004.

Oggi a Cult: Marcello Lorrai e Claudio Ricordi su "Prometeo" di Luigi Nono, riproposto a Venezia per il centenario della nascita del compositore; Aldo Grasso presenta la mostra "Non ha l'età" alle Gallerie d'Italia di Torino, dedicata alle immagini del Festival di Sanremo; Monica Nappo sulla sua regia di "Top Girls" di Caryl Churchill; Saul Beretta sui due appuntamenti, alla Reggia di Monza e alla Cascina Cuccagna di Milano, del pianista jazz Ethan Iverson...

Edição de 13 Novembro 2023

Alison Bell and Steve Mouzakis are both actors that can be seen in the Melbourne Theatre Company production of "What If If Only", together with "Escaped Alone" these two Caryl Churchill plays are on right now in a double bill.Get your tickets here:https://www.mtc.com.au/plays-and-tickets/whats-on/season-2023/escaped-alone-and-what-if-if-only/Support this show http://supporter.acast.com/the-saturday-quiz. Hosted on Acast. See acast.com/privacy for more information.

Joe Gfaller joined Metro Theater Company as Managing Director in the summer of 2019. In partnership with Artistic Director Julia Flood, since his arrival MTC has seen record growth in donor and audience households and developed innovative new programs responding to the COVID-19 pandemic from The COVID-19 Memory Project to an all-St. Louis virtual reading of A Christmas Carol featuring Ellie Kemper, Sterling K. Brown, first responders, and many others. ----- Prior to joining MTC, Joe served for 8+ years as Director of Marketing and Public Relations for Opera Theater of Saint Louis, where he received national recognition for his work in building young, diverse, and national travel audiences for the company and in expanding OTSL's civic footprint as producer of the company's Opera Tastings initiative, through artist community tours, and through the creation and growth of the company's Engagement + Inclusion Task Force and Young Friends Steering Committee. He has also served in marketing and/or development roles the Alliance Theater, the American Repertory Theater, and 7 Stages. As a consultant, he has worked with the National Blues Museum, the documentary Flint: The Poisoning of an American City, and the Utah Symphony, among others and served on a wide range of boards. As a professional stage director, he has directed over two dozen productions, including regional premieres by Caryl Churchill, David Mamet, Peter Sinn Nachtreib, and Addae Moon. He serves as adjunct faculty at Webster University in their Arts Management and Leadership MFA program, is a member of the Leadership St. Louis Class of 2013, the LEAD Atlanta Class of 2006, and graduated with honors from Harvard University. ------

A reimagining of Caryl Churchill's ground-breaking and celebrated play, Top Girls, opens this week at the Liverpool Everyman which sets the play – about female ambition and success across centuries and cultures - in Merseyside. Playwright Charlotte Keatley and theatre critic Susannah Clapp discuss the play's themes and its continuing impact forty years after its premiere. Prince Harry's book Spare and the ripples it's created have led to questions about the writing and publication of memoirs. In recent years, there has been a widening of the voices encouraged to write and getting published, but what is the impact on the authors, and should there be a greater duty of care? Agent Rachel Mills and Cathy Rentzenbrink, author of The Last Act of Love, a memoir about losing her brother, join Front Row to discuss. The show must go on has long been the mantra of those working in theatre but last August, David Byrne, Artistic Director of New Diorama Theatre, made an astonishing announcement which began with the words, “The end of the show must go on” and went on to state that the theatre would be closing its doors for at least six months to allow time for an artistic reset. As New Diorama Theatre reopens, David joins Front Row to discuss what the resetting has revealed. Presenter: Nick Ahad Producer: Ekene Akalawu Picture: Top Girls – Lauren Lane as Pope Joan – Photographer's Credit Marc Brenner

Lesley Manville made her debut on the West End stage as a teenager in 1972, and since then has taken on a wide range of roles on stage and screen, including an Oscar-nominated performance in the film Phantom Thread. She was born in Brighton and first enjoyed performing as a singer, winning competitions with her sister. When she was 15, she commuted daily to the Italia Conti stage school in London. Her first professional role was in a West End musical, and in 1974 she joined the cast of the ITV soap opera Emmerdale Farm. After two years she decided to leave, even though the work was well paid, and return to the stage. At the Royal Court in London she appeared in some of the most critically acclaimed new plays of the 1980s including Caryl Churchill's Top Girls, and Andrea Dunbar's Rita, Sue and Bob Too. She has also enjoyed a long collaboration with the film director Mike Leigh, memorably playing the alcoholic Mary in Another Year. Her recent TV roles include starring as Cathy in the popular BBC Two sitcom Mum, for which she won a Royal Television Society Award in 2019. She has also played Princess Margaret in The Crown, including a scene in which Margaret shares her favourite records on a BBC radio progamme. She was appointed a CBE in 2021. DISC ONE: Over The Rainbow - Eva Cassidy DISC TWO: My Brother Jake - Free DISC THREE: O Soave Fanciulla, composed by Giacomo Puccini, performed by Jose Carreras, Richard Stilwell and Teresa Stratas and Metropolitan Opera Chorus, conducted by James Levine DISC FOUR: Sugar on the Floor - Etta James DISC FIVE: You Don't Have To Say You Love Me - Dusty Springfield DISC SIX: Not While I'm Around - Barbra Streisand DISC SEVEN: Make You Feel My Love - Adele DISC EIGHT: Phantom Thread III - Jonny Greenwood BOOK CHOICE: A Botanical Encyclopedia LUXURY ITEM: A bed with linen, duvet and pillows CASTAWAY'S FAVOURITE: Over The Rainbow - Eva Cassidy Presenter Lauren Laverne Producer Sarah Taylor

In this episode, Adam and Budi speak with the Head of the Drama Division at Juilliard, Evan Yionoulis.Evan Yionoulis, an Obie award-winning director and nationally-recognized teacher of acting, is  Richard Rodgers dean and director of Juilliard's Drama Division.  Before that, she served twenty years on the faculty of Yale School of Drama, where she was a professor in the practice of acting and directing and a resident director at Yale Repertory Theatre, as well as Lloyd Richards chair of the department of acting from 1998 to 2003. She has directed new plays and classics in New York and across the U.S., enjoying collaborations with major American playwrights, including Adrienne Kennedy and Richard Greenberg. She directed the critically acclaimed world premiere of Kennedy's He Brought Her Heart Back in a Box for Theatre for a New Audience, where she previously directed her Ohio State Murders (Lortel Award for Best Revival) and the Off-Broadway premiere of Howard Brenton's Sore Throats.  She opened Manhattan Theatre Club's Biltmore Theatre (Broadway) with Greenberg's The Violet Hour, directed his Everett Beekin at Lincoln Center Theater, and received an Obie Award for her direction of his Three Days of Rain at Manhattan Theatre Club, having directed the premieres of all three at South Coast Repertory.   At Yale Repertory Theatre, she directed Cymbeline, Richard II, The Master Builder, George F. Walker's Heaven, Brecht's Galileo, Gozzi's The King Stag (which she adapted with her brother, composer Mike Yionoulis and Catherine Sheehy), Caryl Churchill's Owners, the world premiere of Kirsten Greenidge's Bossa Nova, and numerous other productions including Kiss, by Guillermo Calderón. Other credits include productions at the Mark Taper Forum, the Huntington, NY Shakespeare Festival, the Vineyard, Second Stage, Primary Stages, Dallas Theatre Center, Actors Theatre of Louisville, Denver Center, Williamstown Theatre Festival, and many others.  She directed Seven, a documentary theatre piece about extraordinary women from across the globe who work for human rights, in New York, Boston, Washington, Aspen, London, Deauville, and New Delhi. Her short film, Lost and Found, made with Mike Yionoulis, premiered at Cleveland International Film Festival.  Their most recent collaborations are the multi-platform project Redhand Guitar, about five generations of musicians across an American century, and The Dread Pirate Project, about the malleability of identity between the digital and natural worlds.She has received a Princess Grace Foundation Fellowship, Works-in-Progress Grant, and the foundation's prestigious Statuette. She serves as president of the executive board of SDC, the labor union representing stage directors and choreographers. Support the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Support the Theatre of Others - Check out our Merch!Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

In the first of two episodes featuring Metro Theater Company in St Louis, host Luisa Lyons chats with Joe Gfaller, MTC's Managing Director. Tune in to this fun and informative chat to discover:Joe's fascinating journey from high school theatre to working for theatre and opera companies across the United States, How MTC fast forwarded their plans for streaming during the pandemic,Why and how MTC have worked to make productions more accessible to young audiences, and,MTC's upcoming world premier of new musical Spells of the Sea which will be available to stream Feb 16 - March 5, 2023. Purchase tickets to Spells of the Sea here. Joe Gfaller joined the Metro Theater Company team in 2019. During his tenure to date, Metro Theater Company has seen dramatic growth in both its audience base and its donor base. In partnership with Artistic Director Julia Flood, he has co-led the company through its recent evolutions during the COVID-19 pandemic, from its virtual programming to its safe return to live performances. Prior to joining the MTC team, Joe received national recognition for his work in building young, diverse, and national audiences for Opera Theatre of Saint Louis during his tenure as director of marketing and public relations – and for expanding OTSL's civic footprint as the producer of the company's Opera Tastings series, through artist community tours, and the creation and growth of its Engagement + Inclusion Task Force. His career has also included roles with the American Repertory Theater, the Alliance Theater, and 7 Stages, and consulting projects for the National Blues Museum, the Utah Symphony, and the documentary film Flint: The Poisoning of an American City. He has directed over two dozen professional or university productions, including regional premieres by David Mamet, Caryl Churchill, and others. A graduate of Harvard University, he also serves as adjunct faculty at Webster University in the Arts Management and Leadership MFA program. Links: Metro Theater CompanyTwitter FacebookSupport the showFilmed Live Musicals is where musicals come home. Use the searchable database to find musicals filmed on stage to watch from the comfort of your living room! Visit www.filmedlivemusicals.com to learn more. Follow us on Facebook, Instagram, Twitter, and YouTube. You can also support the site at Patreon. Patrons get early access to content, bonus content in the weekly newsletter, and exclusive access to the streaming calendar, no matter how much you pledge. Become a Patron today! Filmed Live Musicals is created by Luisa Lyons, an Australian actor, writer, and musician. Luisa holds a Masters in Music Theatre from London's Royal Central School of Speech and Drama and now lives, works, and plays in New York. Learn more at www.luisalyons.com and follow on Twitter, Instagram, and Facebook.

Oggi a Cult, il quotidiano culturale di Radio Popolare in onda alle 11.30: il libro “Senza azione” di Antonella Ortelli su un progetto artistico con le detenute di San Vittorie; il doc “Carlo Porta poeta” di Fabio Martina a Casa Manzoni; la rassegna “Dis/abilità In/visibile. I talenti delle persone” a Milano; alla Fondazione Teatro Due va in scena “Top Girls” di Caryl Churchill, diretto da Monica Nappo.

Freaking friends! Follow along this Friday! We are doing the letter, "F" and we are freaking out! Justin talks about the brilliance of Fairview, Erika gushes over Caryl Churchill, and they decide on who is the true "Half-Priced Books Champion" (it's Justin, he writes the episode descriptions). Freaking fasten your seatbelts!Our small theatre shout out is Flowertown Players in Charleston, SC! Give them a follow on Instagram @flowertownplayers.Special thanks to Broadway Licensing for being a script supplier of the show and U92 for being our recording headquarters!If you like the show, feel free to subscribe and give us a five star review! Also, follow us on instagram @justinborak and @actualerikakuhn for any news and notes on upcoming episodes!

Intro: We are in the Great Unraveling - let's knit a new sweater Let Me Run This By You: Thin is In, ETHS Drama teacher Bruce Siewerth's abuse of students, iCarly's creator Dan Schneider's abuse of actors Interview: We talk to Hamilton's own George Washington - Paul Oakley Stovall about family, touring with Hamilton, being fearless, the magic of solving problems behind the scenes, early-age professionalism, quick changes, University of Illinois Urbana- Champaign, almost being a Chemical Engineer, Gary Mills, Don Ilko's quiet championship, Ric Murphy's vocal championship, when Jim Ostholthoff called Paul a supernova, Dr. Bella Itkin's career advice, playing John Proctor in The Crucible and Starbuck in 110 in the Shade, Working by Studs Terkel, Betsy Hamilton, being in Caryl Churchill's Serious Money with Gillian Anderson, Yolanda Androzzo, Minneapolis, playing Jason in Steven Carter's adaptation of Medea called Pecong, the X Files, getting shot in both legs, Matt Scharf, Amy Pietz, Monica Trombetta, performing in Frank Galati's Goodman Theatre's production of Good Person of Setzuan with Cherry Jones, Mary Zimmerman's The Notebooks of Leonardo da Vinci, Journey to the West, working for the Obama Administration, when Phylicia Rashad directed Paul's play Immediate Family at the Goodman and then Mark Taper Forum, KernoForto Productions, Wolf in Waiting with Danilo Carrera, Frederick Douglass, and finding a second home in Ireland.

Andy and Danny discuss the fall of Communism in Romania through Caryl Churchill's play Mad Forest.

On this episode Danny and Andy discuss Caryl Churchill's Soft Cops, why police reform is a pro-police position, and why All Cops are Bastards includes doctors, gym teachers, your boss, and the village executioner.

We preview this weekend's performances of Caryl Churchill's much-discussed play "Far Away," which is being presented by the Fleeing Artists Theater. Joining us will be Alex Metalsky, co-founder and artistic director of the Fleeing Artists Theater, and Mike Zimmerman, who is directing this production.

Karissa Murrell Myers (she/her) is a Filipino-American theatre artist based out of Chicago. She was also named American Theater Magazine's 2020 Roll Call: 13 Theatre Workers You Should Know for her work in casting. In our conversation, we cover the differences between NY, Hawaii, and Chicago theater scenes, why diversity is so important to her, going to college at 16 years old, beating out every white guy who auditioned for Iago in a Chicago production of The Scottish Play, playing Lady Nijo in Top Girls, not just in Chicago but also in Milwaukee, and her dream of creating a theatre company that fosters and grows artists - and how it may have come true!Trigger Warning: discussions of weight, numbers in pounds, eating disorders, cutting, alcoholism.Calls to Action:Asian Americans Advancing Justice:https://www.advancingjustice-chicago.orgFelines and Canines:https://www.felinescanines.orgEdited by Amelia Driscoll at Summit Podcasting -  https://summitpodcasting.com/Music by Eric Backus -  https://www.ericbackus.com/Artwork by Meredith Montgomery -  https://www.meredithmontgomery.design/

The Play Podcast - 045 - Top Girls Host: Douglas Schatz Guest: Elaine Aston The Play Podcast is a podcast dedicated to exploring the greatest new and classic plays. In each episode we choose a single play to talk about in depth with our expert guest. We discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. Caryl Churchill's play Top Girls was a powerful critique of Thatcherite Britain when it was written in 1982. It's rightly renowned for its theatrical invention and innovative structure, and remains relevant for its enduring questions about the opportunities, and opportunity costs, for women acorss the ages. Professor Elaine Aston joins me to survey this modern classic.

Dan Giovannoni is a prolific writer of plays for young people and adults. His work as a playwright and as a teaching artist demonstrate his belief in how creativity can change the world. Dan has new plays at Barking Gecko and the Melbourne Theatre Company. Also, Maree Johnson, Broadway cast member of Phantom of the Opera now performing on Sydney Harbour, shares her Top Shelf and we explore the 'repertory theatre' model that has inspired Belvoir's rep season of plays by Caryl Churchill and Alana Valentine.

Today on Too Opinionated we talk with Succession's Zoe Winters! Zoë is familiar to New York theatre audiences from her performances in WHITE NOISE at THE PUBLIC, THE LAST MATCH at ROUNDABOUT, THE HARVEST at LCT3/Lincoln Center Theater, Ars Nova's production of SMALL MOUTH SOUNDS at the Signature Theatre about which The New Yorker wrote "...the phenomenal Zoë Winters...plays her anguish from the inside," New York Theatre Workshop's RED SPEEDO, Lincoln Center's SHOWS FOR DAYS, MUCH ADO ABOUT NOTHING at The Public Theater's Shakespeare in the Park, Soho Rep's Obie Award winning AN OCTOROON and NYTW's production of Caryl Churchill's LOVE AND INFORMATION at The Minetta Lane, for which she received rave reviews. Time Out declared "Winters...is one to watch out for - zesty, zany and vibrant, she completely reinvents herself with each new character. Give that gal a romantic comedy or an old-fashioned farce." In the New York Times, Elisabeth Vincentelli wrote: "Give this girl a vehicle already! Zoe is also known for her roles in Hunters, The Good Fight and Madame Secretary! Want to watch: YouTube Meisterkhan Pod Check out the Website: Meisterkhan.com  

Leikritið Ást og upplýsingar var frumsýnt árið 2012 í Royal Court leikhúsinu í London. Í leikritinu eru 100 persónur, leiknar af 15 manna leikhópi í mislöngum senum, sumar aðeins nokkrar sekúndur. Verkið er skrifað af Caryl Churchill sem er meðal helstu núlifandi leikskálda Bretlands. Una Þorleifsdóttir leikstjóri las leikritið þegar það kom út árið 2012. Nú á föstudaginn, 10 árum seinna, fer verkið á svið í Kassanum í Þjóðleikhúsinu. Lóa ræðir við Unu um Caryl. Við heimsækjum Listasafn Reykjanesbæjar þar sem nú stendur yfir sýningin Minningar morgundagsins sem nemendur í sýningarstjórn við Listaháskóla Íslands standa fyrir. Vefnaður tímans, nostalgískar ljósmyndir og draumar koma meðal annars við sögu. Gunnar Ragnarsson kíkti svo á tvær ólíkar bíómyndir. Annars vegar er það japanska myndin Drive My Car sem er tilnefnd sem besta myndin á Óskarsverðlaunahátíðinni á sunnudag og ný íslensk grinmynd: Allra síðasta veiðiferðin.

Leikritið Ást og upplýsingar var frumsýnt árið 2012 í Royal Court leikhúsinu í London. Í leikritinu eru 100 persónur, leiknar af 15 manna leikhópi í mislöngum senum, sumar aðeins nokkrar sekúndur. Verkið er skrifað af Caryl Churchill sem er meðal helstu núlifandi leikskálda Bretlands. Una Þorleifsdóttir leikstjóri las leikritið þegar það kom út árið 2012. Nú á föstudaginn, 10 árum seinna, fer verkið á svið í Kassanum í Þjóðleikhúsinu. Lóa ræðir við Unu um Caryl. Við heimsækjum Listasafn Reykjanesbæjar þar sem nú stendur yfir sýningin Minningar morgundagsins sem nemendur í sýningarstjórn við Listaháskóla Íslands standa fyrir. Vefnaður tímans, nostalgískar ljósmyndir og draumar koma meðal annars við sögu. Gunnar Ragnarsson kíkti svo á tvær ólíkar bíómyndir. Annars vegar er það japanska myndin Drive My Car sem er tilnefnd sem besta myndin á Óskarsverðlaunahátíðinni á sunnudag og ný íslensk grinmynd: Allra síðasta veiðiferðin.

Leikritið Ást og upplýsingar var frumsýnt árið 2012 í Royal Court leikhúsinu í London. Í leikritinu eru 100 persónur, leiknar af 15 manna leikhópi í mislöngum senum, sumar aðeins nokkrar sekúndur. Verkið er skrifað af Caryl Churchill sem er meðal helstu núlifandi leikskálda Bretlands. Una Þorleifsdóttir leikstjóri las leikritið þegar það kom út árið 2012. Nú á föstudaginn, 10 árum seinna, fer verkið á svið í Kassanum í Þjóðleikhúsinu. Lóa ræðir við Unu um Caryl. Við heimsækjum Listasafn Reykjanesbæjar þar sem nú stendur yfir sýningin Minningar morgundagsins sem nemendur í sýningarstjórn við Listaháskóla Íslands standa fyrir. Vefnaður tímans, nostalgískar ljósmyndir og draumar koma meðal annars við sögu. Gunnar Ragnarsson kíkti svo á tvær ólíkar bíómyndir. Annars vegar er það japanska myndin Drive My Car sem er tilnefnd sem besta myndin á Óskarsverðlaunahátíðinni á sunnudag og ný íslensk grinmynd: Allra síðasta veiðiferðin.

Welcome back to the 82nd 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 82nd episode we are discussing the National Theatre's 2019 production of Caryl Churchill's Top Girls, directed by Lyndsey Turner, starring Katherine Kingsley in the role of Marlene! Follow us on Instagram/Facebook/Twitter: cohtheatre Follow our panelists: Jillian Robinson – Instagram: @jillian.robinson96 Carly Billings – Instagram/Twitter: @mscarlybillings Aisling Murphy – Personal Website: https://www.aislingmurphy.ca/ // Intermission: https://www.intermissionmagazine.ca/ Grace Walker – TikTok: @notkristenbell // Instagram/Twitter: @gracewalkerrr --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support

Aquest dilluns riurem sobre la mort amb La Cubana. I viurem intensament la vida amb l'artista Alberto Cort

Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before.  In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre (Rowman & Littlefield Publishers, 2019), Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades.  This book covers the heyday of the second wave feminist movement—which saw the growth of female-centric theatre groups—and highlights the work of playwrights such as Caryl Churchill, Pam Gems, and Wendy Wasserstein. Other prominent artists discussed here include playwrights Paula Vogel Lynn and Tony-award winning directors Garry Hynes and Julie Taymor. The volume also examines diversity in contemporary feminist theatre—with discussions of such playwrights as Young Jean Lee and Lynn Nottage—and a look toward the future. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices

We return to our Playwright Series where we look at a single playwright and their large body of work. In this episode, we discuss the life and work of CARYL CHURCHILL. We read the three plays: Owners (1972), Cloud Nine (1979), and Glass. Kill. Bluebeard. Imp (2019) to share our thoughts on Carol Churchill's craft in playwriting. We hope you will check these plays out and listen to our conversation! CARYL CHURCHILL PLAYS: Owners (1972) Cloud Nine (1979) Glass. Kill. Bluebeard. Imp (2019) GLISTENS: Sam's: Alaska Bear Bites Woman's Butt Sarah's: New Netflix docuseries called “Crime Scene the Vanishing at the Cecil Hotel” _____________________________________________ Please support Beckett's Babies by reviewing, sharing an episode with your friends or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.comFor more info, visit our website: www.beckettsbabies.com Theme Music: "Live Like the Kids" by Samuel Johnson, Laura Robertson, Luke O'Dea (APRA) --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support

The photo of a young Sudanese woman chanting on top of a car went viral and became an iconic image in the protests against Omar al-Bashir's rule. What role have women played in the protests? And what is the current status of women in the country? CNN correspondent Nima Elbagir in Khartoum and Associate Fellow, Chatham House and former British ambassador to Sudan Rosalind Marsden discuss.The nurse and spoken word artist Molly Case on her book How to Treat People – A Nurse at Work. How can we live an environmentally friendly life? Dr Tara Shine and Madeleine Murray, who run Change by Degrees, a sustainability consultancy that offers advice to business and communities, and environmental journalist, Lucy Siegle offer for some tips on the ways we can live better, greener lives.Top Girls, the iconic feminist play by Caryl Churchill is currently on stage at the National Theatre in London. Lucy Black, Liv Hill and Katherine Kingsley, three actors from the cast discuss why the play made such an impact when it was first performed in 1982 and why it is still relevant today. It's the final season of Game of Thrones - three fans Danielle Ward, Georgia Humphrey and Ruth Websdale tell us why the series appeals to female viewers.The Shatila Refugee camp in the south of Beirut was originally built in 1949 to house Palestinian refugees. Following the outbreak of civil war in Syria in 2011 tens of thousands of Syrian refugees have fled to Lebanon many of them also taking refuge in the Shatila Camp. The publisher and author Meike Ziervogel talks about the work she is doing with 100 Syrian refugee women who have set up The Shatila Studio, a bespoke needlework business that is attracting orders from outside the camp. BLACKPINK made history by becoming the first female K-Pop band to perform at the festival, Coachella. With a world tour set for this year and their single ‘Kill This Love' climbing the charts in the UK and the US, it looks like they might be poised to break the western pop music market. We discuss the role of women in K-Pop, both as performers and as fans. And what's behind the ‘girl crush' concept? K-Pop dance instructor Tammy Jane Mejia, music journalist Biju Belinky and Dr Haekyung Um from the University of Liverpool discuss.Presenter: Jane Garvey Producer: Dianne McGregor

Dame Glenys Stacey is stepping down as HM Chief Inspector of Probation for England and Wales at the end of May. In her last annual report she was deeply critical of the Probation services saying that privatising offender management was "irredeemably flawed". She looks back at nearly forty years in public service.Premenstrual Dysphoric Disorder (PMDD) is a condition which can lead to severe depression, anxiety and personality change, leaving sufferers feeling suicidal and desperate every month. It is sometimes mis-diagnosed as mental ill health and is estimated to affect 5% of menstruating women. Paula Briggs, a consultant in Reproductive and Sexual health is leading a study looking a new treatments for PMDD.Fifty years ago today (17th April)) a 21-year-old woman from Northern Ireland, Bernadette Devlin, became Britain's youngest ever female MP and the third youngest MP ever when she was elected to Westminster in a by-election in the Mid-Ulster constituency. Historian, Dr Margaret Ward explains why her election was a seismic event at the time.Top Girls, the iconic feminist play by Caryl Churchill is currently on stage at the National Theatre in London. Three actors from the cast join Jenni to discuss why the play made such an impact when it was first performed in 1982 and how relevant it is today.Presenter: Jenni Murray Interviewed guest: Dame Glenys Stacey Interviewed guest: Dr Paula Briggs Interviewed guest: Katherine Kingsley Interviewed guest: Lucy Black Interviewed guest: Liv Hill Producer: Lucinda Montefiore