Podcasts about Cat on a Hot Tin Roof

Today, I'm thrilled to announce my episode with Broadway favorite Michael Park, who is currently starring in REDWOOD on Broadway through May 18. Tune in to hear some of the stories of his legendary career, including how he almost quit the business before REDWOOD, the joys of performing with Idina Menzel, memorable stage door experiences at DEAR EVAN HANSEN, his extended audition process for HELLO, AGAIN, what he learned from Jerry Zaks on SMOKEY JOE'S CAFE, balancing his role on AS THE WORLD TURNS with Broadway, teaching young actors during the pandemic, how he almost inspired a new Neil Simon play during LITTLE ME, working with stars on HOW TO SUCCEED and CAT ON A HOT TIN ROOF, turning down JAGGED LITTLE PILL and HEAD OVER HEELS, how Rob Ashford was pivotal in his career, why he writes backstories for every role he plays, directing TUCK EVERLASTING at Shenandoah University, and so much more. Don't miss this in-depth conversation with a theater veteran.

This podcast puts you inside the mind of the actor to help other actors feel less alone and to educate actors and non-actors alike about the artistic process and expression of acting.Terry Martin served 17 seasons as Producing Artistic Director of the award-winning WaterTower Theatre in Addison, Texas, where he directed or oversaw more than 150 productions. Under his leadership, WTT grew from a small local theatre company to one of the leading regional theatres in Texas. Before moving to Dallas from NYC, in 1992, he worked in theatre, television, and film both as an actor and director. He directed and acted at The Village Theatre Company, Carnegie Hall Studios, and Theatre at St. Marks, as well as television appearances on ABC's One Life to Live and NBC's To Serve and Protect and in the feature film Tin Men.He trained professionally with Sanford Meisner, Fred Kareman, Wynn Handman, Bill Esper, Sally Johnson, and Lehmann Byck. Prior to his move to Dallas, Terry started his own studio in 1990, and he has continued to teach ongoing professional acting classes and workshops in the Sanford Meisner Technique. He holds a BA from the University of Alabama and presently serves as the Head of Fine Arts at Greenhill School in Addison, Texas.His most recent acting performance on screen is in Wayward Kin (2025) where he plays Judge Burgess and on stage as Big Daddy in Cat On A Hot Tin Roof for The Classical Theatre Project (2022) and in The Absolute Brightness of Leonard Pelkey at Uptown Players Gay History Month Festival (2018). In addition, he appeared on stage at the Dallas Theater Center in Next Fall (2012) and WTT in All My Sons (2015) and Our Town (2010).  In 2008, Terry won a Dallas Fort Worth Theatre Critics' Forum Award as Best Actor for the play Blackbird.  His other WTT acting credits include The Woman in Black, Dinner with Friends, The Guys, Bash: Latter-day Plays, and The Only Thing Worse You Could Have Told Me… (1998 Leon Rabin Award – Actor in a Play, 1998 Dallas Theater Critics Forum Award). FIND TERRY ONLINE: https://www.terrymartinact.net/Subscribe for more!FOLLOW ANYTOWNTikTok Instagram WEBSITE: https://www.anytownactorslab.com

Brian and Shelly discuss the films of Elizabeth Taylor including Cat On A Hot Tin Roof, Who's Afraid Of Virginia Woolf and Night Watch

Tyler discusses and reviews the Best picture winner Gigi as well as the best pic nominees, Auntie Mame, Seperate Tables, The Defiant Ones and Cat on a Hot Tin Roof

One of this month's hottest tickets in London is a new production of the Tennessee Williams play CAT ON A HOT TIN ROOF at the Almeida Theatre. This new staging of the classic American play, directed by Rebecca Frecknall (Cabaret at the Kit Kat Club, A Streetcar Named Desire) stars Daisy Edgar-Jones as Maggie and Kingsley Ben-Adir as Brick. Check out this full review to find out what Mickey-Jo thought of the new production, and whether we might see it transfer to the West End... • 00:00 | introduction 01:43 | the play 10:01 | the production 19:20 | the performances • 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 60,000 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

EPISODE 55 - “Favorite Classic Films of the 1950s ” - 09/30/2024 ** This episode is sponsored brought to you by BetterHelp. Give online therapy a try at betterhelp.com/BENEATH and get on your way to being your best self.” ** The 1950s was a real transitional decade for classic films. As we got further away from WW2, and the Cold War began to rise up prominently, there was a cynicism across the land that influenced the content of many Hollywood movies. Films took on a grittier, more realistic feel, and the subject matters were darker and more controversial. It was the decade that sparked masterpieces like “Sunset Boulevard,” “All About Eve,” “From Here To Eternity,” “Cat On A Hot Tin Roof,” “A Streetcar Named Desire,” “Anatomy of a Murder,” “ Strangers on a Train,” “Shane,” and “High Noon.” Listen as Steve and Nan talk about some special 1950s films that inspire them. SHOW NOTES:  Sources: TCM.com; IMDBPro.com; Wikipedia.com; NewYorkTimes.com RogerEbert.com Movies Mentioned:  No Man of Her Own (1950), starring Barbara Stanwyck, John Lund, and Richard Denning; In A Lonely Place (1950), starring Humphrey Bogart and Gloria Grahame; A Place In The Sun (1951), starring Montgomery Cliff, Elizabeth Taylor, and Shelley Winters; Pick Up On South Street (1953), starring Richard Widmark, Jean Peters, Thelma Ritter, and Richard Kiley; Witness For the Prosecution (1957), starring Charles Laughton, Tyrone Power, Marlene Dietrich, and Elsa Lanchester; A Face In The Crowd (1957), starring Andy Griffith, Patricia Neal, Lee Remick, Walter Matthau, and Anthony Franciosa; Big Country (1958), starring Gregory Peck, Jean Simmons, Carroll Baker, Burl Ives, Charles Bickford and Charlton Heston; Indiscreet (1959), starring Cary Grant and Ingrid Bergman; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Brian and Shelly discuss the films of Elizabeth Taylor including Cat On A Hot Tin Roof, Who's Afraid Of Virginia Woolf and Night Watch

 Listen to the Show Right Click to Save Guests Broadway Across Texas The Girl From the North CountryGaslight Baker Theatre Cat On A Hot Tin RoofWhat We Talked About

 | Artist  | Title  | Album Name  | Album Copyright  |  | Rick Derringer  | Cat On A Hot Tin Roof  | Knighted By The Blues  |  | Lindsay Beaver  | Let's Rock  | Tough As Love  |   |  | Edgar Blues Trio  | Murph Blues  | The Next Step  |   |  | Lucky Carmichael  | Blues With A Feeling  | Down Home Blues, Chicago Vol 3; The Special Stuff 4-4 | Christone Kingfish Ingram  | Long Distance Woman (Intro) (Bonus Track)  | Live In London  |   |  | Pink Anderson  | Baby, Please Don't Go  | Blues Legend  |   |  | John Cee Stannard  | Devil's Own Store  | The Doob Doo Album  |  | Duke Robillard  | Brand New Fool  | Explorer  |   |   |  | Mitch Woods  | Midnight Hour Blues  | Friends Along  The Way  |  | Gráinne Duffy  | Dirt Woman Blues  | Dirt Woman Blues  |   |  | Manitoba Hal (Brolund)  | Who Do You Love  | Live In Ghent Disc 2  |   |  | Duane Eddy  | Trouble in Mind  | Peter Gunn  |   |  | Stompin' Dave's Rockin' Outfit  | Great Balls Of Fire  | Stompin' Dave's Rockin' Outfit  |  | Dione Taylor  | Running  | Spirits In The Water  |  | Big Chief Monk Boudreaux  | Kick Me Down  | Bloodstains and Teardrops  |  | Omar And The Howlers  | Rock 'n' Roll Ball (Live In Bremen 1989)  | Magic Man, Live In Bremen 1989

What was it about Key West that inspired one of the world's greatest playwrights to call this place home from the early 1940s for more than 35 years? Find out when host Elizabeth Harryman Lasley and producer Jason Paton take you to the Tennessee Williams Museum. Founder Dennis Beaver reveals details about some of the playwright's famous works including “The Rose Tattoo” and its film version shot in Key West. Learn about Tennessee Williams the painter, his quirks, his 'Madhouse' writing studio and his annual birthday celebration in the southernmost island city. For more information on Tennessee Williams' life in Key West, go to kwahs.org. For more details and travel inspiration, visit Fla-Keys.com. To call from the United States or Canada, dial 1 (800) FLA-KEYS or contact your travel advisor. Produced by Armchair Productions, the audio experts for the travel industry.

It took us 61 episodes but we finally have an episode based on a play!  This week we are discussing the play, and the very heavily censored movie, Cat On A Hot Tin Roof.  Two of the most beautiful people in hollywood adapting a Tennessee Williams play- you'd think we wouldn't have anything negative to say.....well, you'd be wrong. From no-neck monsters to snowman talking to salad dressing, we cover it all.  Want more? Follow us on Instagram (@pagetoscreenpod) and TikTok (@page.to.screen.podcast) 

Melanie and Ed love watching old movies and dishing on them. This week's movie: CAT ON A HOT TIN ROOF (1958), starring Paul Newman, Elizebeth Taylor, and Berl Ives. Mel and Ed make book recommendations with similar themes. Send podcast comments and suggestions to Melanded@whothehellarewe.com Don't forget to subscribe to the show!  

OOOOOOPSSSSS. I had posted an oldie but greatie of Johns that was our last show in September. It was a weird mixup between my editor and myself. One time out of 200 aint nothing to kick about, but still...ooooooppppss.. Anyhow apologies to all, and especially the darling John.. so now we truly have the new show. Thanks everyone. Thanks to you as well Robert..   The Fab John DiLeo and I talk some interesting casting choices that never did the films. Lots of shockers. My fave is Grace Kelly as Maggie The Cat in Cat On A Hot Tin Roof.."Oh Brick" That, I would have loved to see or at least a couple scenes.  Thanks so much to John for breaking the double digits as a guest on TSOTT. I always have fun.. Mostly, thanks to the listeners. You are the best!! Much love, Grace Johns author page  https://www.amazon.com/stores/John-DiLeo/author/B001HMLJB4?ref=ap_rdr&store_ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=true You can Contact me at              truestoriesoftinseltown@gmail.com   you can listen to podcast  www.truestoriesoftinseltown.com  https://podcasts.apple.com/us/podcast/true-stories-of-tinseltown/id136374488  https://open.spotify.com/show/6iTSF8pIrVTbZ8QqNidVUy?  You can also listen on google play, YouTube, Amazon, I heart radio and anywhere podcasts are played. You can also IM me on my TSOTT Facebook page. I sometimes don't go on for a while, but will try be better at checking messages and posting. Best to email me.. www.facebook.com/truestoriesoftinseltown  

A multiple award-winning theatre director and filmmaker, Cameron Watson is known for his much lauded and box office hits at Antaeus Theatre Company (THE LITTLE FOXES, CAT ON A HOT TIN ROOF, PICNIC and TOP GIRLS) as well as work at Rogue Machine Theatre (COCK), The Fountain Theatre, The Pasadena Playhouse, Ensemble Theatre Company, The Colony Theatre (the now legendary production of TRYING starring Alan Mandell and Rebecca Mozo). His most recent productions were two critically-acclaimed premieres of ON THE OTHER HAND, WE'RE HAPPY at Rogue Machine Theatre and BELOVED at The Road Theatre. Cameron created, wrote and directed the hit comedy series BREAK A HIP. Christina Pickles won a Primetime Emmy Award for her work in the series. Cameron wrote and directed the Miramax feature film OUR VERY OWN, starring Allison Janney, Jason Ritter, Cheryl Hines and Keith Carradine. Ms. Janney received an Independent Spirit Award nomination for her work in the film. ▬▬▬▬▬▬▬▬ Cameron Watson ⌲ IMDb: https://www.imdb.com/name/nm0914534/ ⌲ IG: https://www.instagram.com/ecamwat/?hl=en ⌲ Website: https://www.cameron-watson.com/ ▬▬▬▬▬▬▬▬ The Moving Spotlight Podcast ⌲ iTunes: https://podcasts.apple.com/us/podcast/the-moving-spotlight/id1597207264 ⌲ Spotify: https://open.spotify.com/show/7cjqYAWSFXz2hgCHiAjy27 ⌲ Patreon: https://www.patreon.com/themovingspotlight ⌲ ALL: https://linktr.ee/themovingspotlight ▬▬▬▬▬▬▬▬ #Theatre #Theater #ActingClass #ActingTeacher #AntaeusTheatre #Antaeus #PasadenaPlayhouse #MusicalTheatre #Writer #Script #AllisonJanney #JasonRitter #CherylHines #KeithCarradine #ChristinaPickles #AlanMandell #RebeccaMozo #Emmys #TVTime #iTunes #Actor #ActorsLife #Believe #Success #Inspiration #Netflix #Hulu #Amazon #HBO #AppleTV #Showtime #Acting #Artist #Theatre #Film #YourBestBadActing #Content #CorbinCoyle #JohnRuby #RealFIREacting #TMS_Pod --- Support this podcast: https://anchor.fm/the-moving-spotlight/support

State of the Arts Episode 94 just published! In this thrilling new episode my cohost Anthony Bonilla and I welcome Off Broadway actor, producer and creative director Matt DeRogatis. Teaming up with his mentor RJ Lamb, this mutli-talented stage maestro formed a non-profit organization called Ruth Stage in 2017, which has locations in both New York City and New Jersey. Matt DeRogatis is the chairman and creative director of this organization who produced three critically acclaimed runs of Lone Star by James McLure, followed by The War of the Roses with the help of RJ Lamb, and several Shakespearean adaptation, one of which was directed by Tony Award Nominees Austin Pendleton and Peter Bloch. Matt and RJ became the first stage producers to ever be granted the rights to Cat On A Hot Tin Roof by Tennessee Williams. This was Ruth Stage's most recent production, after the Glass Menagerie. Sadly, RJ Lamb passed away a few months after his production of The Passion of Christ a few years ago. Matt DeRogatis has stepped into into his mentor's demanding position as creative director. Ruth Stage shines on today as a bright star of the deep universe that is the theatrical arts.

Kathy Fabian shares the process of creating props, set dressing, and researching for A Beautiful Noise. If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! ABOUT KATHY FABIAN Fabian's Broadway credits include: The Rose Tattoo, American Son, All My Sons, Burn This, True West, Bernhardt/Hamlet, Pretty Woman, The Parisian Woman, Indecent, Sunday in the Park with George, Falsettos, Fiddler on the Roof, China Doll, On Your Feet, Living On Love, The King and I, An American In Paris, The Real Thing, The Realistic Joneses, If/Then, Rocky, The Bridges of Madison County, I'll Eat You Last, Kinky Boots, Lucky Guy, Breakfast at Tiffany's, The Anarchist, Chaplin, Nice Work If You Can Get It, A Streetcar Named Desire, On a Clear Day You Can See Forever, Stick Fly, Relatively Speaking, Chinglish, The Normal Heart, House of Blue Leaves, Anything Goes, Ghetto Klown, Women on the Verge of a Nervous Breakdown, A Life in the Theatre, Fences, All About Me, A Behanding in Spokane, Race, Fela!, Bye Bye Birdie, A Steady Rain, Waiting for Godot, You're Welcome America, Pal Joey, American Buffalo, Speed the Plow, A Man For All Seasons, Les Liasons Dangereuses, South Pacific, Sunday in the Park with George, The Homecoming, Cyrano de Bergerac, Pygmalion, Old Acquaintance, 110 in the Shade, Talk Radio, Prelude to a Kiss, Spring Awakening, High Fidelity, Barefoot in the Park, Souvenir, Steel Magnolias, Sweet Charity, Match, Fiddler on the Roof, Bobby Boland, Cat On A Hot Tin Roof, and Golda's Balcony. Recent Off Broadway: West Side Story, Stage Around, Tokyo, Mary Jane and Othello, (NYTW) and Turn Me Loose, (Westside Theatre). Recent TV projects include creations for Fosse Verdon, Samantha Bee, and Sesame Street. MENTIONED IN THIS EPISODE: A Beautiful Noise on Instagram: instagram.com/abeautifulnoisemusical A Beautiful Noise on Facebook: facebook.com/ABeautifulNoiseMusical Get Your Tickets: abeautifulnoisethemusical.com --- Come say hi to us! Facebook: @PageToStagePodcast @BroadwayPodcastNetwork Instagram: @PageToStagePodcast @TheMaryDina @BrianSedita @BroadwayPodcastNetwork Twitter: @TheMaryDina @BwayPodNetwork YouTube: @PageToStagePodcast @BroadwayPodcastNetwork #PageToStagePodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Sonoya Mizuno recently made her stage debut as Maggie in the first Off-Broadway production of the Tennessee Williams classic, "Cat On a Hot Tin Roof". The actress slash ballet dancer and now a stage performer speaks candidly about her childhood, and how her uncle who was a stage actor inspired her to pursue acting. She talks about her ballet dancing career, auditioning and getting the role of Kyoko in Alex Garland's "Ex Machina" which was also her first feature film. She would later appear in Garland's other works as well. She shares what made her try theatre and how she got an audition for "Cat On a Hot Tin Roof", the production timeline and how the pandemic affected it, her favorite part about performing on stage, and why she prefers to play characters that are far from her personality. Sonoya Mizuno is an actress and ballet dancer who has appeared in movies, including Alex Garland's works like "Ex Machina" and "Annihilation". Her other film credits include "La La Land", "Beauty and the Beast", and "Crazy Rich Asians". She also appeared in film shows such as the Netflix miniseries "Maniac" and "Devs". Her upcoming works include the HBO Game of Thrones prequel series, "House of the Dragon" and the movie, “Civil War”. She made her stage debut as Maggie in the first Off-Broadway production of the Tennessee Williams classic, "Cat On a Hot Tin Roof". Get tickets to see "Cat On A Hot Tin Roof": https://www.telecharge.com/Off-Broadway/Cat-on-a-Hot-Tin-Roof/Overview Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kathleen Turner is an award-winning American actress and director, celebrated for her acclaimed work in film, television and theater.  With an over forty year career, Kathleen's bold and brave choices as an artist has led to a groundbreaking body of work that has changed cultural perceptions of how women are portrayed on the screen and stage.  Always insisting on playing by her own rules, the two time Golden Globe winner and Academy Award nominee has created some of the most iconic performances in history.  Kathleen Turner's extensive filmography includes her quintessential debut performance as Matty Walker in Body Heat.  Her other memorable films include Crimes of Passion, Romancing the Stone, Prizzi's Honor, Peggy Sue Got Married and War of the Roses.   On the Broadway and London stages, Kathleen is known for her  intrepid performances,  including such starring roles as Maggie in Cat On A Hot Tin Roof and Martha in Who's Afraid of Virginia Woolf, both  for which she received Tony nominations.  Additionally, she originated the role of Mrs. Robinson inThe Graduate for the London and New York stages.We spoke intimately with Kathleen about her drive to challenge herself and  her passion for reinvention , overcoming demons and struggles,  her commitment to activism, which means just as much to her as her art,  and why she'll never quit.

Brian and Shelly discuss the films of Elizabeth Taylor including Cat On A Hot Tin Roof, Who's Afraid Of Virginia Woolf and Night Watch

Join us for Paul Newman's first Oscar nominated role in Tennessee Williams' CAT ON A HOT TIN ROOF.

This week as we do our annual July tribute to America, we feature Cat On A Hot Tin Roof, as our play.  We also begin Notes From A Small Island and enjoy rather endearingly Bill Bryson's look at Britain from his American perspective.  There's a little extra fun with Navy Lark and we are still working through I'm Sorry I'll Read That Again this time in which Lady Constance is hunted like a fox.  Enjoy.

Our guest today is the incomparable Pat McCorkle, head and founder of McCorkle Casting and a Covid survivor! As actors, we understand the frustration of the industry during the pandemic, so we were eager to hear Pat's point of view from the other side of the table. Rather than talking about zoom fatigue, we discuss its advantages and how it creates more opportunities for people to be seen. We also talk about how scripts have evolved over the last year, her personal experience with covid, and moving forward what's giving her hope in the industry right now.  Enjoy!MCCORKLE CASTING CREDITS:Feature Film: Mental State, Bernard, and Huey, Senior Moment, Year by the Sea, Child of Grace, My Man Is a Loser, Ghost Town, Secret Window, Tony and Tina's Wedding, The Thomas Crown Affair, The 13th Warrior, Madeline, Die Hard with a Vengeance, School Ties, etc., Broadway: Over 50 productions; Amazing Grace, On The Town, End of the Rainbow, The Lieutenant Of Inishmore, The Glass Menagerie, Cat On A Hot Tin Roof, One Flew Over The Cuckoo's Nest, Amadeus, She Loves Me, Blood Brothers, A Few Good Men. Off-Broadway: Over 60 original productions; Clever Little Lies, Becoming Dr. Ruth, Tribes, Our Town, Falling, Toxic Avenger, Freud's Last Session, Almost Maine, Killer Joe, Driving Miss Daisy. Television: Twisted (ABC Family) humans for Sesame Street, Californication (Emmy nomination), Hack (CBS), The Education of Max Bickford (CBS), Chappelle's Show, Strangers with Candy, Barbershop (Comedy Central), and series for Showtime, HBO, TMC.

Kevin Connors has been a professional musical theatre composer and director for more than 40 years. Off-Broadway: PLAY LIKE A WINNER (NYMF award-winner 2016 and 2017), PRIME TIME PROPHET, JUKEBOX SATURDAY NIGHT, THE ABANDONED LOVES OF FREDERICK R., LIFE ANONYMOUS, LOVER: THE VALENTINO MUSICAL, BABES OFF BROADWAY, SALOON AND SUZY Q. Selected regional productions: THE FANTASTICKS, IT'S A WONDERFUL LIFE: A LIVE RADIO PLAY, BABES IN TOYLAND, A CHRISTMAS CAROL, BABY; with such stars as Joan Rivers, Joanna Gleason, James Naughton, Skitch Henderson, and Johnny Mathis. Co-founder Music Theatre of Connecticut in 1987 where he still serves as Executive Artistic Director. He has directed over 100 MTC Equity MainStage productions including NEXT TO NORMAL, THE BRIDGES OF MADISON COUNTY, JEKYLL & HYDE, CABARET, LITTLE SHOP OF HORRORS, EVITA, DOUBT, MASTER CLASS, GYPSY, (all Connecticut Critics' Circle Award Nominations/Winners), and IT'S A WONDERFUL LIFE: A LIVE RADIO PLAY (Moss Hart Award Winner). 2019 BroadwayWorld Award Winner as Best Director for MTC's CAT ON A HOT TIN ROOF and 2020 Connecticut Critics' Circle Award Winner Best Director for MTC's RAGTIME. As a composer he has penned the score for numerous musicals including IT'S A WONDERFUL LIFE: A LIVE RADIO PLAY and A CHRISTMAS CAROL: A LIVE RADIO PLAY (both published by Playscripts, Inc.). He is a ten-time Connecticut Critics' Circle Best Director nominee/winner, the recipient of the Tom Killen Award for Outstanding Contribution to Connecticut Professional Theatre, and served on the faculties of The Hartt School of Music/University of Hartford, Sacred Heart University, the University of Bridgeport and Musical Theatre Works in NYC.

Today's guest is actress and writer Jennifer Grace. Jennifer received her BA from Kansas State University in 1997. She has been working as a professional actor since, most notably in a record-shattering run as Emily Webb in Tony award-winning director David Cromer’s critically acclaimed production of OUR TOWN, which she performed in Chicago, New York and Los Angeles, opposite actors such as Michael Shannon, Helen Hunt and Michael McKean, and for which she was recognized with a Theatre World Award for Outstanding Off-Broadway debut. Other New York theatre credits include: NIKOLAI AND THE OTHERS (Lincoln Center Theatre, world premiere, with Blair Brown, Michael Cerveris, John Glover and Kathryn Erbe) and THE 4TH GRADERS PRESENT AN UNNAMED LOVE SUICIDE (59E59). Selected regional credits: CAT ON A HOT TIN ROOF, TIME & THE CONWAYS, 4.48 PSYCHOSIS, BALM IN GILEAD, ARCADIA, JACK OR THE SUBMISSION, THE SEA GULL, MARAT/SADE, BLOOD WEDDING, and ANGELS IN AMERICA. Film: I SEE YOU (w/Helen Hunt), THE CASSEROLE CLUB (w/ Susan Traylor, Jane Wiedlin), KELLY & CAL (with Juliette Lewis) Television: ”Inside Amy Schumer,” “VEEP,” “Billions,” “Chicago P.D.,” and “The Red Line.” She is also an audiobook narrator, VO artist, and a writer. Proud member of SAG-AFTRA and Actor’s Equity.

Today on Whats's My Frame? I'm joined by casting legend Pat McCorkle! With strong roots in theater and directing, a flair for the unexpected, and tireless perseverance, Pat has left her mark on casting! Raised in central New Jersey, Pat began working in theater during high school. After graduating from Douglass College, she went on to NYU to earn a graduate degree in theater education, with a focus on directing. She was invited by Alan Wasser to join New York's legendary Broadway theater, The Circle in the Square. Pat quickly found herself drawn to casting and the rest as they say is history! She moved to TCG, a non-profit casting clearing house for theaters around the country. During her tenure there, she ran the National Student Auditions. She began working with every major regional theater in the United States and Canada; forging relationships and pipelines to new talent which continue to this day, and established her as a new force on the national theater scene. With Pat's influence in theater firmly established, she branched out into film and television, where she quickly established her company McCorkle Casting. Her eye for spotting young talent continues discovering unknown actors who are future household names. Pat's credit's include YEAR BY THE SEA, THE THOMAS CROWN AFFAIR, DIE HARD WITH A VENGEANCE, END OF THE RAINBOW, CAT ON A HOT TIN ROOF, ONE FLEW OVER THE CUCKOO'S NEXT, A FEW GOOD MEN and CALIFORNICATION to just name a few! Pat resumes includes over 100 Broadway & Off Broadway credits; as well as over 100 Films and Television Productions! Please join me in welcoming a true icon & legend of the casting world, Pat McCorkle to the show! mccorklecasting.com --- Support this podcast: https://anchor.fm/whats-my-frame/support

Episode 33 - Cat On A Hot Tin Roof (1955) by Christopher, John, and Josh

Emmy and Golden Globe-nominated actor Ashley Judd walks LaChina Robinson through her deeply-rooted fandom for the University of Kentucky Wildcats. From courtside chats with Drake to ditching movie sets for games, Judd breaks down her passion for the team.

Noted radio show host Joe Messina joined us for a convention review. The RNC appears to have hit a home run, while the DNC fouled out. The RNC cast America in a positive light, where as the DNC was a scene out of Cat On A Hot Tin Roof. Is it time to start shooting violent looters and rioters? White Antifa and BLM rioters are burning down black businesses. Makes sense right? Did you say there’s rioting going on? I’m shocked. 

Noted radio show host Joe Messina joined us for a convention review. The RNC appears to have hit a home run, while the DNC fouled out. The RNC cast America in a positive light, where as the DNC was a scene out of Cat On A Hot Tin Roof. Is it time to start shooting violent looters and rioters? White Antifa and BLM rioters are burning down black businesses. Makes sense right? Did you say there’s rioting going on? I’m shocked. 

Actor Kathleen Turner talks about not bringing characters home. Neil wonders if he himself created COVID. ABOUT THE GUEST Among Kathleen Turner’s numerous accolades are Golden Globes for Romancing The Stone and Prizzi’s Honor, an Academy Award nomination for Peggy Sue Got Married, Tony Award nominations for Cat On A Hot Tin Roof and Who’s Afraid Of Virginia Woolf. Most recently she guest starred on The Kominsky Method, Mom and Dolly Parton’s Heartstrings. Her film credits include The Man With Two Brains, Jewel Of The Nile, The Accidental Tourist, The Virgin Suicides, among many others. On Broadway, she has starred in High, The Graduate and Indiscretions. Also a best-selling author, she wrote the books Send Yourself Roses: Thoughts On My Life, Love, and Leading Roles and Kathleen Turner On Acting. ABOUT THE HOST Neil Goldberg is an artist in NYC who makes work that The New York Times has described as “tender, moving and sad but also deeply funny.” His work is in the permanent collection of MoMA, he’s a Guggenheim Fellow, and teaches at the Yale School of Art. More information at neilgoldberg.com. ABOUT THE TITLE SHE’S A TALKER was the name of Neil’s first video project. “One night in the early 90s I was combing my roommate’s cat and found myself saying the words ‘She’s a talker.’ I wondered how many other gay men in NYC might be doing the exact same thing at that very moment. With that, I set out on a project in which I videotaped over 80 gay men in their living room all over NYC, combing their cats and saying ‘She’s a talker.’” A similar spirit of NYC-centric curiosity and absurdity animates the podcast. CREDITS This series is made possible with generous support from Stillpoint Fund. Producer: Devon Guinn Creative Consultants: Aaron Dalton, Molly Donahue Mixer: Andrew Litton Visuals and Sounds: Joshua Graver Theme Song: Jeff Hiller Website: Itai Almor & Jesse Kimotho Social Media: Lourdes Rohan Digital Strategy: Ziv Steinberg Thanks: Jennifer Callahan, Larry Krone, Tod Lippy, Sue Simon, Jonathan Taylor TRANSCRIPTION NEIL: Kathleen Turner, thank you so much for being on SHE'S A TALKER. KATHLEEN: I think this is going to be a pleasure. NEIL: Oh. Let's check in at the end and see. What's something that you find yourself thinking about today, May 16th? KATHLEEN: Oh my. I'll tell you, being able to tolerate this isolation. Because I live alone. I have a wonderful cat, thank you very much, but this really means that I ... I don't have a spouse or a kid or something with me. And I've had a women's poker group for about ... some of them have played together for over 30 years. NEIL: Wow. KATHLEEN: And we get together at least once a month and play poker and eat and have a silly time. And so, we are Zooming together every Sunday evening, but they almost ... well all of them have spouses or people that they are isolating with, but it's hard. It's really hard right now. NEIL: I can totally imagine. Are you finding outside comfort in having your cat there? KATHLEEN: Yes, I do. He's this beautiful black. A little black cat. He can seemingly pretty much sense when I need him. NEIL: This podcast, the mascot of this podcast, is my black cat, Beverly. What's your cat's name and what color are his eyes? KATHLEEN: His name is Simon and his eyes are mostly yellow, sometimes into green. But when I went to get another rescue, I'd had one that died, I've been told that black cats are hard to get adopted out of superstition, or I have found out, being difficult to see in the middle of the night, especially if you have a dark rug. NEIL: Yes. Yeah. Often, if I wake up in the middle of the night, I will mistake certain things for the cat. Let's say I've left my backpack on the floor, and the tender way I touch my backpack makes me kind of think about the backpack differently. If only I touched everything as tenderly as the things I thought are my cat. I know you were born here, but you seem like such a quintessential New Yorker to me. Do you feel that way? KATHLEEN: Oh yeah. I do. I always knew I was coming to New York. I never thought of settling in Los Angeles. And even the time I've spent there working, which is the only reason I go, I'm not comfortable. I'm just not comfortable there at all. Never have been. Never lived there, never invested, which people tell me makes a difference. But no, all I ever wanted was New York, which I consider to be as close to the rest of the world as possible. NEIL: Can you identify what it is about Los Angeles that made you know it wasn't for you? KATHLEEN: Oh, heavens. There's no communication, there's no commune, there's no colony. People get to know each other's cars better than they do the people. They go, "Oh yeah, you're the black BMW 550," or something. You go, "Well, yeah." And it's so isolating. It's so lonely. I don't know how people survive. NEIL: The experience you're describing I connect to in my own way powerfully. My work has always been about New York, and I question everything about my life, but I never question New York, even now. KATHLEEN: Right. NEIL: But this is the first time in my whole time in New York where I'm finding it unpleasant to be on the street. And how are- KATHLEEN: It's hard. NEIL: Yeah. KATHLEEN: It's hard to go out and not being able to see people's faces. NEIL: Yeah. KATHLEEN: I miss that because I love looking at people's faces and seeing how they use them, and it might give me ideas for a character or something. So now this seeing just part of people, and then the shock of seeing somebody with no precautions, without a mask, without anything. NEIL: Yeah. I know. It does bring up a whole level of, for me, among other things, a type of not crankiness, but a like, "What the hell are you doing?" KATHLEEN: Yeah. NEIL: In New York, I can often feel pre-COVID, sort of, I appreciate generally how New York relative to other cities, there's a kind of sense of your body and space. That's something I noticed in LA, for instance, going into a supermarket. The way people occupied space there suggested that they didn't fully take in, "Hey, you know what? We're all sharing this space, so we have to be attuned to the fact that- KATHLEEN: Oh, I agree with that. Yeah, no, I like the unspoken treaties we have. NEIL: Thinking about what you're saying about the masks and not being able to read people's faces, it makes me realize how much I use ... One of my cards is I love mouthing, "Sorry." KATHLEEN: Yeah. Mouthing, "I'm sorry." Yes, I know it. The way somebody moves, holds their lips, you can immediately get a grasp of that person's personality. Does their mouth turn down at the corners in rest, or does it turn up? When they're not thinking about it, when they're not doing anything, what are the signs that their personality is left on their face? I like that stuff. NEIL: First of all, when you're wearing a mask and you want to kind of communicate, I don't know, acknowledgement to someone, do you find you're kind of making a lot of extra use from the nose up or something? KATHLEEN: Well, yeah. I think you kind of see when someone's smiling just from the eyes. I don't know. Yeah, it turns into a kind of sign language, but you use your body for that too. It's its own challenge, but I do miss seeing people's faces. NEIL: Let's just launch right into some of these cards. First card is, "I could see when I get toward the end of my life thinking, 'I'm done with this particular personality, I've worn it out.'" KATHLEEN: It seems to me that I've already had several lives. And I expect that this is the beginning of another. I kind of accept that easily, actually. I like change and having to adapt, it's not frightening to me. NEIL: Where do you think that comes from? KATHLEEN: I think I'm a pretty down to earth person, pretty practical, and some of my experiences fighting rheumatoid arthritis for years and other injuries have just made me more accepting. NEIL: It also seemed like your childhood involved a lot of the need to adapt. KATHLEEN: Oh yeah. A lot of change. NEIL: Yeah. KATHLEEN: Yeah. Yeah. I was the only one of the siblings born in the States, but then we moved to Canada by the time I was three months, and then from there, to Cuba. From Cuba, we had a year or so in Washington, and then Caracas, Venezuela for five years. And then we transferred from Venezuela to London, which was a marvelous thing because it was my high school years, and that's where I was so sure. I became so sure that this was the career I wanted. Many, many actors have had a kind of transitory background, either in the service, or with their parents being high-level executives, or in the military. And I think it kind of makes for good actors, I guess. NEIL: Could you break that down? What about that, do you think? KATHLEEN: Well, I can remember vividly when I went from Venezuela to London thinking, "Well, I can be anybody now. I can be anybody I want to be because nobody there knows me, nobody has any history with me. So how I present myself when I start school or something is completely up to me." And I thought that was rather exhilarating. NEIL: That's interesting. You also in your book talk a lot about the role of empathy in acting. KATHLEEN: Yeah. NEIL: I wonder if having to move around a lot develops empathy. KATHLEEN: Well, I'll tell you one thing it does is it takes away some of your sense of control. These things are out of your control, and that's kind of how I've approached the dealing with the rheumatoid arthritis and other things. I don't control this. Now, if you give up the idea that you control everything around about your life, then you are open to thinking about others and their choices and their needs because you're kind of advocated here. NEIL: So as long as we're talking about thinking about others and empathy, I'd love to talk about this card, which simply says, "Empathy poisoning." And that comes from a place in me where I found myself often as a kid overwhelmed by the empathy I felt for my parents who were going through some tough stuff, and I found that past a certain point, empathy can almost feel toxic. KATHLEEN: Empathy poisoning. If anything, I might get that more from the characters that I play than other people. You play Martha in Virginia Woolf for 500 performances and there's no way you're going to keep yourself completely separate from her. So I would say that that's more empathy poisoning to me than other people. NEIL: So in other words, your empathy with the character can kind of embody itself in you. KATHLEEN: Yeah. Yeah. Oh yes. It's like when you're creating a character, take Martha. At first when you really start to study her, you think, "What is wrong with this woman? She's sitting around drinking endlessly and ruining the one friendship relationship in her life, what the hell?" And then you go a little deeper and you think, "All right, this is 1962, and no women held any tenured position in any university. All their energies and praise came from the status of their husbands." KATHLEEN: She has a husband who has assiduously worked to remain an associate professor for 17 years. She's ambitious, she's intelligent, she has energy, and absolutely no way to use it. What's she going to do? Just host faculty wives teas? And then you start to understand, "Okay, wait a minute now. If I had these endless barriers in my life, how would I fight?" Anyway, you can understand how you would start to really, really feel something for this woman and with her. The rage, I think more than anything. Yeah. NEIL: At the end of a performance, is there a process by which that empathic connection is released, or is it over the course of a run? KATHLEEN: Well, I used to believe that I did not bring any characters home. My ex-husband and my daughter have made it clear that that's not entirely true. Anyway, part of it's the energy at the end of a performance, say. Maybe you just had a standing ovation of 1100 people. It's thrilling, it's fantastic, and you can't just say, "Okay. Well that's all right, now I'm going to go home and have a different life." I have to work it off. I've been known to go up and down the stairs in my building just to get rid of some of this energy that keeps me going. I try to just, I don't know, tire myself a bit, I guess. NEIL: Since we're talking about acting, which I'd love to keep talking with you about, next card would be acting. Pretending to notice something when you walk into a room. I could never do that. That, to me, seems like a monumental challenge. KATHLEEN: But if you wanted to talk about what acting is, I'll tell you that acting is a very carefully chosen series of communications, both physically and through the text. It is incredibly deliberate and detailed, and never really spontaneous. I don't do ... what do you call it when you get thrown something and the- NEIL: Improvisation? KATHLEEN: Yes. I'm not good at improv, no. NEIL: But how does one perform surprise? KATHLEEN: Oh. Well, it isn't just performing. You allow yourself to be surprised. This stuff is half physical, half in the body, and half in your mind making the choices, but then you feel them in the body. NEIL: You teach acting, correct? KATHLEEN: I do. I coach, and now I'm starting to teach online a bit, which is very difficult, really, because I can really work on the text. I can really work with them on the meanings and the basic, but I cannot get them on their feet and have them move. Because then I really wouldn't be able to see them well. And so that, I really miss. I miss being in the room with somebody and looking at them from their feet to their head and going, "Okay, wait a minute. You just said, 'I hate you,' and your legs are crossed." It doesn't work like that. The body is not saying the same thing your mouth is. So I miss not being able to be in the room with them, but still, we can do good work. NEIL: Do you feel effective as a teacher? Yeah. Do you feel- KATHLEEN: Yes. Yeah. I find it very fulfilling. I really enjoy it. NEIL: See, I teach art, visual art, and I also find it super fulfilling, and I also feel effective, but sometimes when I step back, and I'm curious how this is for you, recommending references and theory. I do believe it works, but I don't know. I don't know, I sometimes feel like an effective quack or something like that. KATHLEEN: Well, heavens to Betsy. I'm not sure that's our responsibility. We give them what tools we think they can use, but we're not responsible for what they actually do with them. NEIL: I love that you're able to comfortably ... to own that. And it may be a difference between teaching acting and teaching visual art in that I wonder if there's something less mediated, more direct, I wonder, about teaching acting. KATHLEEN: Well in acting, we have a specific text. Chosen words to work with, which is a structure, and I don't know that you have that in art. NEIL: Not really, no. And I think so much of the teaching of art involves almost manufacturing parameters to contain the ideas. The worst thing you can do for a student is to say like, "Make a video," versus, "Make a video that has to be two minutes long and that doesn't use sound and that involves some aspect of memory." Whereas I guess, as an actor, that's such a great point. You always have the text as a kind of infrastructure for your teaching, correct? KATHLEEN: Yes. Yes. NEIL: I love it. Next card. Actors and animals. They're both about commitment. I feel like my cat is never fully other than 100% in what she's doing, and that could just be a question of I don't know if I'm interpreting her correctly. But it seems to me that actors, to be effective, kind of have to have something akin to that. Do you sense a connection? KATHLEEN: I do. I do. I believe very strongly in getting commitment. Again, you make your choices, and then you have to fill them. You have to fill them physically, vocally, mentally. I can tell when an actor hasn't committed to the role they're playing. It's very clear to me. NEIL: And when you look at Simon, are you ever inspired as an actor? KATHLEEN: I look at Simon and I see just a cat boy. He walks around with this swagger with his ass kind of swinging around and you go, "Oh, you're a real Butch, aren't you, cat?" No, I enjoy him that way, yes. NEIL: Oh, I love their embodied presence. I love the way they walk. KATHLEEN: Yeah. NEIL: You mentioned you can tell when actors aren't committed. Next card would be actors who are bad at acting, even in the posters. KATHLEEN: Oh. Wow. Well, that's very poor photography or choice then. I find still photography very difficult because I feel so fake. I feel staged- NEIL: Interesting. KATHLEEN: ... as opposed to the actual doing of the character, which feels quite natural to me. So then I really have to say, "All right. The PR people, the photographer they choose, I'll listen to them." NEIL: That's interesting. So it's sort of that fact that your character, when you're performing, unfolds in time. KATHLEEN: Yeah. He's moving. NEIL: Right. KATHLEEN: And it's stopped in a poster, in a photograph. NEIL: So do you have any tricks for that? Are you trying to kind of- KATHLEEN: No, I've never been very good at it. I don't like being photographed. Just still photography. It makes me uncomfortable to be just still. NEIL: What's your relationship to a fear of failing? KATHLEEN: Oh, I'm going to. I have to. If I don't risk failure, then I'm not going far enough. If you don't, and I say this to all my students as well, look, you go to the point of failure, you will have to risk to the point of failure. Now, sometimes that means, uh-huh (affirmative), yeah, you will go over the edge. But at the other times it means that have pushed yourself further and found more than you had previously, and I think that's our job. NEIL: Do you feel like in acting, is there the notion of having succeeded? KATHLEEN: Yes, I think so. I know when I've done a good performance when I've hit all the marks that I set up for myself. I know when I have done what I hoped and wanted, what I set out to do. I will never forget opening night on Broadway. Well, any opening night on Broadway, but Virginia Woolf, and there were four of us in that play. And when the curtain came down, I was holding onto two of my co-stars, and I said, "Do not ever forget this moment. Don't ever allow yourself to forget this because they are few and far between." NEIL: As a visual artist, you rarely get that experience. KATHLEEN: Yes. NEIL: It's always mediated. I always say I love attention, but I like it kind of bounced off a wall. But what you're describing sounds so powerful, for lack of a better word. KATHLEEN: It is. It's astounding. There's such an extraordinary phenomena in theater where people sit so close, or they used to sit so close to each other. Total strangers. Closer than they sit in their own homes to people and they start to breathe together and they start to hold their breath at the same time and they laugh at the same time. So in a way, they become one body, one person, and it works for them in that they leave the theater feeling that they were part of something. They weren't just the individual that walked in that door to begin with. That it was something more than that. And as they become more attuned to each other and more one, they're easier in a way for me to work with. NEIL: Is there work that has to be front-loaded in a performance to kind of help create that feeling of coalescent? KATHLEEN: A lot of it has to do with the actor's confidence. Because if they see that you feel confident and good about what you're doing, then they'll trust more easily. NEIL: Do you always go out feeling confident, or do you perform confidence? KATHLEEN: I always think that I'm so much more confident in my working self than in my private self that I'm quite sure the decisions I make as an actor are right. But then take me off the stage and give me a decision to make about whether you want to see these people or not and I'm like, "I don't know. I don't know." Yeah. And so it's very difficult sometimes. NEIL: I'd love to do sort of a quick lightning round of a couple of quick cards. First card would be gratuitous eye work in movies. I notice certain actors sort of try and telegraph a type of subtlety or something by way of a whole lot of stuff going on in the eyes that doesn't need to happen. KATHLEEN: That's interesting. Yeah, I can see that. I don't know, I guess. To me, for example, it will be too much smiling also. It's hiding. It's hiding yourself. It's feeling like you're keeping busy and you're doing something, but in fact, you're just dodging. NEIL: One of the cards here says, "Friendships that are tenured." KATHLEEN: That are what? NEIL: Tenured. KATHLEEN: Oh, yes. Well, to me, and this is something that I learned from my mother, for me, women friends. Really strong, interesting women friends are essential. And out of this poker group, we have an investment banker, a gynecologist, a film editor, a retired lawyer. I don't think any of the businesses are repeated, necessarily. And these are women I've met over the years through some reason or another and wanted in my life and said, "Come on. I want you in my life." I will actually say that. KATHLEEN: Anyway, my mom, when she got older, she had three or four very, very important friends in her life, and they would check on each other, and they would celebrate birthdays together, and they'd go to concerts together, and they'd volunteer at the library together. And so there was a constant. She didn't end up feeling that she was that alone. NEIL: People are less surprised by my age as they used to be. It used to be I would tell people, especially students, I'd say, let's say 10 years ago, I'd say, "I'm 45," and there'd be a, "What?" Now, when I tell them I'm 56, they're like, "That's about right." That's what the look says. KATHLEEN: No. For years and years, I always played characters older than I was, and it started with Body Heat, that once I was cast, only then did the director, Larry Kasdan, say, "By the way, how old are you?" And I said, "Well, I'm going to be 26." "No, you're not. No, you're not. You're 29." It was wrong for a woman to be that powerful that young is what he said. So then for years I played women who were older. I was not 42 when I did Peggy Sue Got Married, for God's sake. I don't think it was until Virginia Woolf, where the character is 50, that I actually got to be 50 playing 50. KATHLEEN: And now, I tell you, the thing that I find most extraordinary, I'm turning 66 next month, and I find it fascinating how the looks have changed over the years. How time and everything that contributes to your life has affected how you look or if you care. NEIL: What is your relationship to caring? KATHLEEN: Yeah. I don't. I certainly don't care as much as I know I used to. I still like to look nice as it were, but no, I don't set out to knock somebody out, you know what I mean? NEIL: I'd love to end, if you don't mind, with two questions I like to ask. First question is, fill in the blank for X and Y. What is a bad X you would take over a good Y? KATHLEEN: What is a bad ... Oh. Hell, why would you? Well, I suppose a bad meal but with good company would be doable. NEIL: I love it. And what's something you're looking forward to when this crisis, as it were, is over? KATHLEEN: Oh, getting back on stage. Theater is just shut down. I was booked for the fall at the Guthrie in Minneapolis and looking forward to that, and they've closed their whole fall season. There's to lot of figure out how you can get an audience again. And if you can only sell half the seats, how do you survive? Because these companies need full houses. So there's a lot of figuring out that's going to be there, and whether we survive or not. And I miss it. I miss being on stage. NEIL: What's something that keeps you going? KATHLEEN: Oh, I suppose a kind of a belief. I'm thinking that there will be something after this and there will be changes to be made and understood, and that keeps me going. NEIL: That seems like such a wonderful place to end it. Kathleen Turner, huge, huge, thank you for being on SHE'S A TALKER. I so appreciate it. KATHLEEN: Well, it was good, Neil. You said I'd know at the end. NEIL: Oh, right. KATHLEEN: Yes. It was good. NEIL: Thank you. I really, really appreciate it. KATHLEEN: You're most welcome. NEIL: All right. Have a great rest of your day. KATHLEEN: I'm leaving the meeting. NEIL: All right, bye-bye. KATHLEEN: Bye-bye.  

Tom joins the discussion about the movies nominated for Best Picture in 1997 - As Good As It Gets, LA Confidential, Titanic, Good Will Hunting and The Full Monty. Full disclosure - not only was there a miscommunication about the movies we were watching, but Tom's computer decided to implode and some of the audio may be noisy. Apologies in advance. Next episode's movies are Gigi, Separate Tables, Auntie Mame, The Defiant Ones and Cat On A Hot Tin Roof, all nominated in 1958. 0:38 - 1:33 Introductions 1:33 - 5:10 As Good As It Gets 5:10 - 9:32 LA Confidential 9:32 - 26:37 Titanic 26:38 - 45:39 Good Will Hunting 45:40 - 1:00:39 The Full Monty 1:00:40 - 1:08:25 Best Picture Selections Find the podcast on Twitter @nominatedpod Hosted by Haley Mailandt. Logo by Ryan Eaid Winner Winner Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

Episode 38 : 2001 and Beyond with Keir Dullea In this episode you’ll hear Keir Dullea chatting with us about how he came to work on 2001: A Space Odyssey, meeting Stanley Kubrick for the first time, his experiences on the set, and how it all altered the trajectory of his career and changed his life.  He also tells us other fascinating stories, from his love of theatre acting, being involved with the first Broadway revival of Cat On A Hot Tin Roof with Fred Gywnne (who will of course forever be remembered as Herman Munster) to his first major stage role, performing with the legendary Burl Ives, as well as post-Space Odyssey screen roles he remembers fondly, including Paperback Hero and The Fox (with the late great Sandy Dennis), playing Audrey Hepburn’s father onscreen opposite Jennifer Love-Hewitt, and even his love for the inimitable Canadian singer/songwriter Gordon Lightfoot.   Keir also shares something very personal. It wouldn’t feel right calling it an “exclusive” since obtaining such a thing has honestly never been a goal of ours. Better to say it occurred naturally within our conversation, I suppose, when he felt comfortable telling us what he did. Regardless, it was an act of generosity from Keir for which we will remain forever grateful.  Production Credits : Hosted by Jason Furlong / Researched and written by Jason Furlong and Stephen Rigg  / Theme written and performed by Jason Furlong / Produced and edited by Stephen Rigg / Contributions by Mark Lentz & James Marinaccio / Thanks to Simone Odino and Filippo Ulivieri

Cindy Cooper is an award-winning playwright, journalist and author. Her plays have been produced in New York at Primary Stages, the Women’s Project, Wings, Museum of Tolerance, Art and Work Ensemble, New Circle Theatre Company, and elsewhere, and in Chicago, Minneapolis, L.A. Montreal, Jerusalem, Budapest and more. Reviews of Running on Glass last year called the writing “extraordinary” and said “storytelling is, indeed, the mode of Cooper’s script.” Cindy has won awards from Pen and Brush, the Samuel French Play Festival, Malibu International, and is a two-time Jerome Fellow. She is also the author of eight books, including Mockery of Justice, made into a CBS-TV movie; her articles have appeared in Ms., The Nation, Glamour, National Law Journal and more. She lives in New York City. You can read more at her website, cyncooperwriter.net.Lisa Pelikan, director, recently directed Cindy Cooper’s Heaven Scent, Ed Valentine’s Walk With Bright Candles, Christopher Goutman’s For Your Love, and Lori Goodman’s New Leaf with the New Circle Theatre Company. With the Ensemble Studio Theatre she directed Julia Specht’s Our Love Story Is Not Very Interesting. She received the ADA Best Director Award for her direction of ‘night, Mother for which both her actors were nominated and one received the Best Actress Award with the Interact Theatre Company. As an actor, Lisa made her feature film debut as the young 'Julia' in Fred Zinnemann's Julia sharing the title role with Vanessa Redgrave, her television debut as the ingénue in the Hallmark Hall of Fame production of The Country Girl with Jason Robards and Shirley Knight, and her theatrical debut starring as 'Wendla' in Spring's Awakening with the Circle Repertory Theatre. In New York City, Lisa also starred in the world premieres of Panache, (ADA Award for Best Actress in a Comedy), Jim Leonard's The Diviners, and Arthur Miller’s The American Clock. More at lisapelikan.comAnna Ewing Bull: Neighborhood Playhouse Graduate & 35 year Member of AEA Theater: NYC Playwrights Horizons: SMALL WORLD, WEIGHT OF THE WORLD, ALL IT TAKES IS SOMETHING SMALL. NagelburgTheatre: Paul Knox's KHALIGHAT. New Circle Theatre Co: Lori Goodman's THE GREAT DEVOURER, Robyn Burland's MADCAP, 2 plays by Edmund Wilkinson, Ed Valentine's CONSUMPTION. Regional: PA - NOISES OFF; NJ Shakespeare Festival: WAR OF THE ROSES, CAT ON A HOT TIN ROOF, OUR TOWN. Montreal-BROKEN PLACES. Film: DOWN AT THE TRACKS, CRIMES & MISDEMEANORS, NY STORIES. For You, Mom.Julie Voshell: Theatre: Barrow Group -The Pavilion (NY Times:Voshell is “Dryly Funny”); Origin-8, Fast and Fab, According to the Chorus, Letters to Sala /writer-Arlene Hutton;BAM - The Beast; New Circle Theatre Company - Entrepreneur/ Writer- Cindy Cooper;B Street- Asher Lev; Bubbles comedy - Nuyorican, Fabaret; Palm Beach. Film: Al B/Eventually Z (lead), Diva, TBG-Ashes, Scary Movie 5; TV: Diabolical , Shadow of Doubt. Julievoshell.com. Luedtke Agency.

Cindy Cooper is an award-winning playwright, journalist and author. Her plays have been produced in New York at Primary Stages, the Women’s Project, Wings, Museum of Tolerance, Art and Work Ensemble, New Circle Theatre Company, and elsewhere, and in Chicago, Minneapolis, L.A. Montreal, Jerusalem, Budapest and more. Reviews of Running on Glass last year called the writing “extraordinary” and said “storytelling is, indeed, the mode of Cooper’s script.” Cindy has won awards from Pen and Brush, the Samuel French Play Festival, Malibu International, and is a two-time Jerome Fellow. She is also the author of eight books, including Mockery of Justice, made into a CBS-TV movie; her articles have appeared in Ms., The Nation, Glamour, National Law Journal and more. She lives in New York City. You can read more at her website, cyncooperwriter.net.Lisa Pelikan, director, recently directed Cindy Cooper’s Heaven Scent, Ed Valentine’s Walk With Bright Candles, Christopher Goutman’s For Your Love, and Lori Goodman’s New Leaf with the New Circle Theatre Company. With the Ensemble Studio Theatre she directed Julia Specht’s Our Love Story Is Not Very Interesting. She received the ADA Best Director Award for her direction of ‘night, Mother for which both her actors were nominated and one received the Best Actress Award with the Interact Theatre Company. As an actor, Lisa made her feature film debut as the young 'Julia' in Fred Zinnemann's Julia sharing the title role with Vanessa Redgrave, her television debut as the ingénue in the Hallmark Hall of Fame production of The Country Girl with Jason Robards and Shirley Knight, and her theatrical debut starring as 'Wendla' in Spring's Awakening with the Circle Repertory Theatre. In New York City, Lisa also starred in the world premieres of Panache, (ADA Award for Best Actress in a Comedy), Jim Leonard's The Diviners, and Arthur Miller’s The American Clock. More at lisapelikan.comAnna Ewing Bull: Neighborhood Playhouse Graduate & 35 year Member of AEA Theater: NYC Playwrights Horizons: SMALL WORLD, WEIGHT OF THE WORLD, ALL IT TAKES IS SOMETHING SMALL. NagelburgTheatre: Paul Knox's KHALIGHAT. New Circle Theatre Co: Lori Goodman's THE GREAT DEVOURER, Robyn Burland's MADCAP, 2 plays by Edmund Wilkinson, Ed Valentine's CONSUMPTION. Regional: PA - NOISES OFF; NJ Shakespeare Festival: WAR OF THE ROSES, CAT ON A HOT TIN ROOF, OUR TOWN. Montreal-BROKEN PLACES. Film: DOWN AT THE TRACKS, CRIMES & MISDEMEANORS, NY STORIES. For You, Mom.Julie Voshell: Theatre: Barrow Group -The Pavilion (NY Times:Voshell is “Dryly Funny”); Origin-8, Fast and Fab, According to the Chorus, Letters to Sala /writer-Arlene Hutton;BAM - The Beast; New Circle Theatre Company - Entrepreneur/ Writer- Cindy Cooper;B Street- Asher Lev; Bubbles comedy - Nuyorican, Fabaret; Palm Beach. Film: Al B/Eventually Z (lead), Diva, TBG-Ashes, Scary Movie 5; TV: Diabolical , Shadow of Doubt. Julievoshell.com. Luedtke Agency.

Wesley and I discuss and/or mention in passing: Asaad Kelada, Who’s The Boss?, Jerry Mayer, Cat On A Hot Tin Roof, Thornton Wilder, Our Town, Heather McAdam, Sisters, Sela Ward, Thin Is In, Wellesley, Smith, The Bronx, Bowser, Sha Na Na, The Chicken Lady, Mark McKinney, The Kids In The Hall, the CBC, HBO, Justin Schneyer, Pac-Man, The Godfather, Noises Off, Julie Hagerty, Claire Malis, Alex Rocco, Mitzi Hoag, Mary Steenburgen, Toni Collette, Joanna Gleason, Marsha Mason, Gary Indiana, The Music Man, John Tartaglia, Rhoda Gemignani, Ellen Travolta, Lainie Kazan, Andrea Martin, John Waters, The Division, Can’t Hurry Love, Avon, The Dick Van Dyke Show, Rose Marie, Wait For Your Laugh, The Gong Show, A Midsummer Night’s Dream, Madam Trash Heap, Fraggle Rock, Shake & Bake, My Buddy.Connect with Let’s Face The Facts!Website • Twitter • Instagram • Facebook • Patreonhttps://www.facethefactspod.comhttps://www.twitter.com/facethefactspodhttps://www.instagram.com/facethefactspodhttps://www.facebook.com/facethefactspodhttps://www.patreon.com/facethefactspodPlease SUBSCRIBE, RATE, and REVIEW!

Hear more shows like this at https://entertalkradio.com/makingit Michael Cole is an American actor. His career includes a leading role as Pete Cochrane on the television crime drama The Mod Squad, which ran 1968 to 1973. Cole has appeared in numerous films and TV shows, beginning in 1961 with a role in the film drama, Forbid Them Not. Other film credits include the role of Mark in the 1966 science fiction film, The Bubble, later re-titled Fantastic Invasion of Planet Earth, Spivey in the western Chuka (1967), Alan Miller in The Last Child (1971), which was nominated for a Golden Globe Award,a nd as Cliff Norris in Beg, Borrow or Steal (1973). He did a great deal of stage work after The Mod Squad went off the air, such as Cat On A Hot Tin Roof.

This time we go from Charles Bronson to Burl Ives with the 1975 Alistair McLean adaptation Breakheart Pass starring Bronson, Jill Ireland and Richard Crenna, then we move back to 1958 for the adaptation of Tennessee Williams' Pulitzer Prize winning play Cat On A Hot Tin Roof starring Elizabeth Taylor, Paul Newman and Burl Ives. Could two movies be any more different?   You can support the podcast at patreon.com/paleocinema for as little as $US1 a month and the YouTube channel is at https://www.youtube.com/channel/UCG3hwNZQ6FyrJVyE50fUqRQ?view_as=subscriber 

HB Studio had a panel and we moderated! We talk Sierra Boggess in West Side Story, creating new works, and actors asking the question "Am I right for this role?" Big thanks to panelists Annie Henk, Tonilyn Sideco, and Peter J. Kuo, sound engineer Alexandra Chludzinska, and The New School. HB Studio Panel: https://hbstudio.org/calendar/race-casting-and-representation-a-panel-discussion-live-podcast/ Sierra Boggess and West Side Story: http://www.playbill.com/article/sierra-boggess-withdraws-from-west-side-story-concert  Linda Park and Cat On A Hot Tin Roof: http://www.laweekly.com/arts/for-the-first-time-ever-an-asian-american-has-been-cast-in-a-classic-tennessee-williams-role-8049025 Who's Afraid of Virginia Woolf and the Edward Albee Estate: https://www.nytimes.com/2017/05/21/theater/a-black-actor-in-virginia-woolf-not-happening-albee-estate-says.html 

How many nights as a teenager did I sit in my room in Queens, watching The Mod Squad, dreaming of being Peggy Lipton… tonight I kinda was-ish––Michael Cole’s wing woman. As much as I adored Pete Cochran, I love Michael Cole, more… his warmth, sensitivity, empathy, humanity––he was overcome with emotion more times than I can count. He jumped into every story he told, acting out each one… and, did so with passion and conviction. He spoke at length, and in depth, of his tough and troubled childhood, his devotion and love for his mother and brother––the alcohol, which he started, oh so young, and which was his constant companion though homelessness, insane success, and the in the in-between… the genuine soul connection with Peggy and Clarence, which carries forward to this day… starring in Cat On A Hot Tin Roof, and his unusual preparation… how he went from zero to 100 in a moment… the pain he’s carried about his father, and is releasing with his son thanks to the love of Shelley, who changed everything. The angry young man, who always loved with all his heart, to the gentle soul who sobered up, fathered up, and shares a magical romance with his beautiful bride of 23 ish years. Every time he laughed, smiled, I saw that gorgeous teen idol before me. Ridiculously grateful I got to live this day… can’t wait to have him back at Women Who Write and share him with the babes. I Played The White Guy just dropped. If you’re not going to be in living room June 26th and get a signed copy, you can grab it here https://amzn.to/2IIsVUx Michael Cole on The Road Taken, Celebrity Maps to Success Wed, 5/23 7 pm PT With Louise Palanker Live on the Facebook Full show replay here https://bit.ly/2LsfA4u All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj This week's BROADcast is brought to you by Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for tresses like the stars she coifs, and regular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/ Her fabulous Ruby Begonia Products can be purchased and shipped from http://www.frendsbeauty.com/

Here we are again. Getting to be a regular thing this, eh? Well, we're thrilled you're here for this, episode 34 of the Two Shot Podcast with the Welsh-wonder that is LISA PALFREY.This week Craig and Producer Griff travelled to London with guests lined up but nowhere to record, it being a Sunday and that. In steps KEVIN PROCTOR to save the day with his Soho office. CHEERS KEVIN!!!We sat down with Lisa to talk about her Welsh background and growing up and struggles with authority amongst plenty of other stuff.You may know Lisa from all sorts of things; the movie Pride (with past T.S.P. guests Joe Gilgun) or maybe Line Of Duty S3 or even on stage recently in Cat On A Hot Tin Roof in London.It's a cracking episode and we're thrilled to have her on. This is episode 34 with LISA PALFREY. Enjoy. Facebook- search 'Two Shot Podcast' Twitter- @twoshotpod Instagram- @twoshotpod If you've enjoyed listening then please click through to https://www.patreon.com/twoshotpod to make a donation to the running costs of the show. You'll get bonus pictures, video and audio in return. Nice one. See acast.com/privacy for privacy and opt-out information.

Joy Carlin, noted actor and director, in conversation with host Richard Wolinsky. A former member of ACT's acting company and interim Artistic Director at Berkeley Rep, Joy Carlin has a noted career as both actor and director. She currently directs George Bernard Shaw's first produced play, “Widowers' Houses” at Aurora Theatre Company in Berkeley. The play, which focuses on housing, slum lords, urban development and the gap between rich and poor, was written in 1895 and produced three years later, and began a long and lengthy career for Shaw, recognized today as one of the greatest playwrights in the English language. Joy Carlin has directed several plays for Aurora and A.C.T. and has acted in television and film along with theater, including a recent role in “Blue Jasmine.” Later this spring she will star in the play “Marjorie Prime” at Marin Theatre Company. Aurora Theatre website Joy Carlin's biography: Joy Carlin was born in Boston, grew up in Chicago, was graduated from the University of Chicago, attended Yale Drama School, and studied with Lee Strasberg in New York City.  An original member of Chicago's Playwrights' Theatre, she has appeared on Broadway with FROM THE SECOND CITY, in off-Broadway productions, with regional and summer theatres and in television and films.  From 1964-69 she was a lecturer and taught acting in the Drama Department at UC Berkeley.  Since 1969 she has been a leading actress, director and teacher with the American Conservatory Theater where she was an Associate Artistic Director from 1987 until 1992, heading up their Plays-in-Progress program (producing 5 new plays a season), and organizing community outreach activities. There she directed THE HOUSE OF BERNARDA ALBA, THE LADY'S NOT FOR BURNING, THE DOCTOR'S DILEMMA, GOLDEN BOY, MARCO MILLIONS, HAPGOOD and the premiere of Jane Anderson's FOOD AND SHELTER, and she performed many roles, winning seventeen Bay Area Critics Circle and L.A. Dramalogue Awards for both her acting and directing. From 1981-84 she was an Actor and Resident Director at the Berkeley Repertory Theatre and served as its Interim Artistic Director from January 1983 to August 1984. She is the recipient of the 1997 Bay Area Critics Circle Barbara Bladen Porter award for continued excellence in her career as actor and director. A few of her favorite roles have been Bananas in THE HOUSE OF BLUE LEAVES, Birdie in THE LITTLE FOXES, Mme. Ranevskaya in THE CHERRY ORCHARD, Emily Dickinson in THE BELLE OF AMHERST, Amanda in THE GLASS MENAGERIE, Enid in THE FLOATING LIGHTBULB, Lady Wishfort in THE WAY OF THE WORLD, Big Mama in CAT ON A HOT TIN ROOF, Addie in MISSING PERSONS and Mag Folan in THE BEAUTY QUEEN OF LEENANE. Ms. Carlin has served on many panels and advisory committees, among them the California Arts Council, Educational Theatre Association, Artists Alliance, Ashland's OSFA Artistic Director Search Committee, Regional Vice President of the Literary Managers and Dramaturgs of the Americas. She has also directed for The San Jose Repertory Theatre (PASSION PLAY, THE COUNTRY GIRL, DEATH OF A SALESMAN and THE SISTERS ROSENSWEIG), the Oregon Shakespeare Festival, A Contemporary Theatre in Seattle, the Berkeley Stage Company, the Pacific Jewish Theatre, The Aurora Theatre, THE San Francisco Playhouse, The Jewel Theatre of Santa Cruz and the Shanghai Youth Drama Troupe where she directed YOU CAN'T TAKE IT WITH YOU. Most recently she appeared in Woody Allen's film  BLUE JASMINE, directed WIDOWERS' HOUSES running at TheAurora Theatre and will appear as MARJORIE PRIME at MarinTheatre Co. in May. The post Interview: Joy Carlin, director, “Widowers' Houses” at Aurora appeared first on KPFA.

CU's production of Cat On A Hot Tin Roof has catfights breaking out all over, while Clare tries to take down Brandon (sexually) with every weapon in her (sexual) arsenal. JOIN THE AWT CLUB

CU's production of Cat On A Hot Tin Roof has catfights breaking out all over, while Clare tries to take down Brandon (sexually) with every weapon in her (sexual) arsenal. See acast.com/privacy for privacy and opt-out information.

Stephen Byrd has pursued his interest in producing high quality entertainment vehicles for many years. As President/ CEO of the American Cinema Group, Inc., he has raised capital for, and invested in several TV & Film projects. He formed Front Row Productions, Inc. which is dedicated solely to producing quality theatrical productions. As the Producer of the first African American Broadway production of Tennessee Williams' Cat On A Hot Tin Roof, which was the highest grossing play on Broadway in 2008, he also won the Laurence Olivier Award, for Best Revival of A Play for his production of the same show on London's West End. Other shows he has produced include Eclipsed, The Trip to Bountiful, and A Streetcar Named Desire.  He was named as one of the most important African Americans in the theatre by The New York Daily News. Stephen sat down with me to talk about the mission statement of his company and . . . How he describes his target audience. How he assembled an all-star cast for his very first show – and the long process it took to get there. Why he didn’t cast Lupita Nyong’o the first time she auditioned for one of his shows. How Stephen believes we can make Broadway’s audiences more diverse. What’s the most important thing for movie stars to learn when they do Broadway. Enjoy Mr. Byrd! Keep up with me: @KenDavenportBway www.theproducersperspective.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

Patricia Sarnataro is a multi-disciplinary artist blending a distinctive sense of fashion with her talents as a costume designer, image consultant and interior designer. A native New Yorker, she's worked on numerous stage productions on Broadway, including productions of Cat On A Hot Tin Roof, Dangerous Games and Grease, along with scores of off-Broadway and major theatrical productions around the country.In addition to her work on a plethora of TV commercials, television shows and feature films, Patricia also works with private clients to define and design their personal style and living spaces at home and work. Apart from her commercial design work, Patricia is also a painter, creating works that are so detail-specific, they can easily be mistaken for photographs.In today's episode, Patricia talks about balancing the many creative disciplines she enjoys as well as the challenges and opportunities that freelancers face. She encourages creators to be compassionate and gentle with themselves and to get out of the way and allow their art to come into the world.“Have faith in yourself. Keep on doing what you're doing, whatever it is. Be kind to yourself. Be compassionate to yourself and your work, whatever that may be – and don't give up. Just keep on being a seeker of what's inside and what's outside.” ~ Patricia Sarnataro

Upstaging On The Town! is a bonus series where Jeremy, Adrian, and Drew talk about productions they've seen together. This episode, we discuss Triad Stage's production of Cat On A Hot Tin Roof.

Larry talks about the difference between staying in a nice hotel for vacation and staying in a nice hotel for work. Then he conjures up an imaginary night by himself in a Las Vegas hotel and still doesn't even think of cheating on his wife. Plus a recitation of "A Farewell" by Tennyson and "Cat On A Hot Tin Roof" on Magic Movie Moment. Quote Of The Week: "I was let go because my company moved to the moon." Producer: Colonel Jeff Fox Audio Engineer: Dr. Chris Laxamana

An attempt to understand and survive. Inspired by Tennessee Williams.

HR Interview Anton Troy Anton, the grandson of a renowned stunt man and rodeo cowboy, spent his childhood in backstage dressing rooms beside his single mother, a professional mime and children's entertainer. A native of San Diego, Anton moved with his mother to Las Vegas at an early age. He struggled with being fatherless. But he loved to listen to his grandmother tell stories about his grandfather. She would talk about his grandfather's work on movies like Ben Hur; series like Gunsmoke and as Jimmy Cagney's stunt double. Acting became a way to deal with his feelings and gave him the strength to reinvent himself. Anton is known for his quiet intensity, complex presence and old soul charm. This has led to his being cast to play highly shaded characters. www.AntonTroy.com   Featured Song "Burning Sun"  by www.SaintTone.com  

Episode 26: Youtube Fireside Chat. Cat on a Hot Tin Roof   Craig and Lindsay are off to New York this week! And one of the plays that has just opened on Broadway is Cat On A Hot Tin Roof staring Scarlet Johansson. Lindsay and Craig discuss the play, and look at YouTube clips from various productions. Show Notes Wikipedia on Cat on a Hot Tin Roof From the original Broadway Production http://www.youtube.com/watch?v=fQexr1f2TsE Paul Newman and Elizabeth Taylor Film http://www.youtube.com/watch?v=OchpaSIYrDY&NR=1 Natalie Wood and Robert Wagner http://www.youtube.com/watch?v=qms4jiC3oh0 Jessica Lange and Tommy Lee Jones http://www.youtube.com/watch?v=imGf6o-HIO0 Subscribe to The Theatrefolk Podcast On iTunes. On Stitcher. Episode Transcript Lindsay: Welcome to TFP, The Theatrefolk Podcast. I'm Lindsay Price, resident playwright for Theatrefolk. Hello. I hope you're well. Thanks for listening. Today, it's the first YouTube Fireside Chat of 2013, woop, woop! But first, let's do some Theatrefolk news. Okay, so last week in the Theatrefolk news, I talked about going to the Arkansas Thespian Festival, only I didn't call it the Arkansas Thespian Festival. I called it the Ar-kan-sas Thespian Festival, and I'm sure that if you're from Arkansas, hearing something called Ar-kan-sas is unsatisfying. So I just wanted to say that, yes, I do know it's Arkansas, and I just get things flipped and turned around sometimes, and I apologize. So that's news number one. News number two is that we've got new plays, two new plays, so fresh from the printers they've still got new play smell to them. The first is a lovely sendup of Lord of the Flies by playwright Clint Snyder, who is a new-to-Theatrefolk playwright—love that—and it's called Lord of the Pies. When Franny cannot open the door out of the pie shop, anarchy, the apocalypse, Scotch tape, and a talking lemon pie all converge in one great piece of pie, of course. And then we have one of my plays, yay! I'm doing jazz hands for those of you who don't have the visual part of a podcast, [laughs] which is everybody. And this is a new play of mine, it's called Backspace. And in this play, for the characters, to write is to go to war, and ideas resist with every fiber of their being. It's imagistic. It explores personification in a vivid theatrical manner – where else can you bring a typewriter to life? And it's been through a really long journey to get to this point. And I have to say I'm pretty thrilled with its theatricality, and I know and I can say without a shadow of a doubt, it will be an awesome competition piece…of pie? Of course. Lastly, where, oh where can you find this podcast? We post new episodes every Wednesday at Theatrefolk.com and on our Facebook page and on our Twitter page, and you can find us on the Stitcher app, and you can subscribe TFP on iTunes. All you have to do is search on the word “Theatrefolk.” Hello, here we are. It is Craig. Craig, hello. Craig: And Lindsay. Lindsay: And me! And the weather outside is frightful, but the fire is oh so delightful. [Laughs] Craig: For the YouTube Fireside Chat! Lindsay: Woo-hoo! We're cozied up in front of the computer with mugs of hot coco and a thick computer-generated fire. It's the first YouTube Fireside Chat of 2013. This week, actually today, the day that this podcast is going to be posted, where are we going, Craig? Craig: New York. Lindsay: Yay! That's right. So when we go see shows in the Big Apple, Craig, you can verify this, unless we're…it's something dead set on seeing, like Follies, we don't have a plan. We don't buy tickets in advance. We just go to the TKTS booth and see what's playing, and wing it from there, right? Craig: Yeah, that's the fun of it, I think, because there's so much to do and so much going on that it's just fun to go and just pick something on a whim and go. It's very spontaneous. Lindsay: Uh-huh. So for this chat,

On this week's episode of the Talk Theatre In Chicago podcast Tom Williams talks with Jon Steinhagen about his current role as Big Daddy in Cat On A Hot Tin Roof which is currently playing at the Raven Theatre.

The production team of "Gypsy" and "Cat On A Hot Tin Roof" - publicist Shirley Herz, casting director Stuart Howard, playwright/director Arthur Laurents, general manager/associate producer Alecia Parker, and producers Barry Weissler and Fran Weissler - talk about many aspects of production from casting to advertising to corporate investors, booking pre-Broadway tour stops, and their other productions of "Fiddler on the Roof", "La Cage aux Folles", and "My One and Only".

The production team of Gypsy and Cat On A Hot Tin Roof -- publicist Shirley Herz, casting director Stuart Howard, playwright/director Arthur Laurents (Tony winner for Hallelujah, Baby! and La Cage aux Folles), general manager/associate producer Alecia Parker, and six-time Tony Award-winning producers Barry Weissler and Fran Weissler -- talk about many aspects of production from casting to advertising to corporate investors, booking pre-Broadway tour stops, and their other productions of Fiddler on the Roof, La Cage aux Folles, and My One and Only.

In a startlingly candid interview, actor James Earl Jones talks about what drew him to playing the role of Big Daddy in the current revival of "Cat on a Hot Tin Roof" and his views on the play being performed by African-American actors. He also charts his journey from stuttering youth to acclaimed actor, including his early training (in part at the American Theatre Wing School), his appearance in the acclaimed 1960 production of Genet's "Les Blancs" with co-stars including Cicely Tyson and Maya Angelou, his years with the fledgling New York Shakespeare Festival, his landmark performances in "The Great White Hope" and "Fences", his experiences working with playwright Athol Fugard and director Lloyd Richards, and why he never wants to be anyone's mentor. Original air date - April 11, 2008.

In a startlingly candid interview, actor James Earl Jones talks about what drew him to playing the role of Big Daddy in the current revival of "Cat on a Hot Tin Roof" and his views on the play being performed by African-American actors. He also charts his journey from stuttering youth to acclaimed actor, including his early training (in part at the American Theatre Wing School), his appearance in the acclaimed 1960 production of Genet's "Les Blancs" with co-stars including Cicely Tyson and Maya Angelou, his years with the fledgling New York Shakespeare Festival, his landmark performances in "The Great White Hope" and "Fences", his experiences working with playwright Athol Fugard and director Lloyd Richards, and why he never wants to be anyone's mentor. Original air date - April 11, 2008.

In a startlingly candid interview, actor James Earl Jones (Tony winner a Best Actor in a Play for 1969’s The Great White Hope and 1987’s Fences) talks about what drew him to playing the role of Big Daddy in the current revival of Cat on a Hot Tin Roof and his views on the play being performed by African-American actors. He also charts his journey from stuttering youth to acclaimed actor, including his early training (in part at the American Theatre Wing School), his appearance in the acclaimed 1960 production of Genet's Les Blancs with co-stars including Cicely Tyson and Maya Angelou, his years with the fledgling New York Shakespeare Festival, his landmark performances in The Great White Hope and Fences, his experiences working with playwright Athol Fugard and director Lloyd Richards, and why he never wants to be anyone's mentor.

Actress Elizabeth Ashley and critic John Lahr discuss the background of Tennessee William's play Cat On A Hot Tin Roof, now being revived on Broadway. Ashley starred in the play's 1975 revival and Lahr is writing a biography of the playwright.