Podcasts about choreographers foundation

Bonny & Robyn welcome Jon Royal to the podcast for the final episode of Season One! Jon Royal is a director, teaching artist, and facilitator who is based in Nashville, TN. In 2004 he received a fellowship to study with Ming Cho Lee and Constance Hoffman, forever changing his approach to art, work, and life. Since then, he has directed, or appeared in productions for In Other People's Shoes, First Stage, Tennessee Performing Arts Center, Nashville Children's Theatre, Nashville Repertory Theatre, Nashville Shakespeare Festival, Nashville Symphony Orchestra, Actor's Bridge Ensemble, Street Theatre Company, Berry College, Nashville School of the Arts, and other organizations. In 2016, he was a member of the Stage Directors and Choreographers Foundation's National Observership Class, in which he had the privilege of working with Liesel Tommy on the Public Theatre's production of Party People. In 2019 he was named Best Theatre Director by the Nashville Scene. Recently, he has begun working behind the camera, directing the concert documentary Walk Together Children: The 150th Anniversary of the Fisk Jubilee Singers, which has been distributed nationally by PBS, and producing The Creswell Story, a student driven film project that studies the history of Nashville's Arts Middle Magnet School for the Performing Arts and its namesake. Jon has been working with youth and students of all ages for over thirty years. He's currently on the faculty of Tennessee Governor's School for the Arts where he teaches Devising Through Community Building. He's also a part of a national design team that develops Shakespeare and Social Justice curriculum for high school classrooms around the country. He facilitates workshops for RACE FORWARD's Government Alliance on Race and Equity cohorts, helping public servants engage with artistic practice to deepen their sense of collaboration in their work. Jon is currently the recipient of Stage Directors and Choreographers Foundation's Lloyd Richards New Futures Residency, where he is an artist in residence at St Louis Black Repertory Company. Special thanks: Berg (music)

Thinking Cap Theatre's Artistic Director Nicole Stodard talks with Stephen Burdman,  founder of New York Classical Theatre about producing and directoring Shakespeare's problematic play The Taming of the Shrew. STEPHENS'S BIO Stephen Burdman founded New York Classical Theatre in 2000 and is the vision behind the creation of Panoramic Theatre. Originally from Los Angeles, he earned a bachelor's degree in Computer Science and planned to become a doctor. During college, Stephen auditioned for a production of Hamlet, and discovered his passion for Shakespeare. That experience completely changed the course of his life. Stephen founded NY Classical to give all people the chance to discover classical masterpieces as he did. Stephen has directed nearly half of Shakespeare canon. To date, he has directed 38 productions for NY Classical. Some of his favorites include: Cymbeline (performed by 7 actors), The Importance of Being Earnest (Two-Ways), Romeo & Juliet (6 actors), The Rivals, The Winter's Tale, Measure for Measure, The Seagull, A {15-Min!} Christmas Carol, Playing Moliere, Henry V (in The Battery and, via ferry boat, Governors Island), Hamlet, King Lear, Misalliance, Mary Stuart, Scapin, and The Triumph of Love. Stephen attended the National Theatre Institute at the Eugene O'Neill Theater Center and later received an MFA in Theatre Directing from the University of California, Irvine. In 1989, he was selected to participate in the first young theatre artist exchange with the (former) Soviet Union and has been a member of the Stage Directors and Choreographers Society since 1994. Stephen received the 2022 Sidney Berger award from the Shakespeare Theatre Association for outstanding talent and commitment to the works of William Shakespeare. He has also been a panelist with the National Endowment for the Arts, the NYC Department of Cultural Affairs, The Alliance of Resident Theatres/New York, and the Stage Directors and Choreographers Foundation. He lives in Central Harlem with his wife, Adena, and son, Zeke. --- Support this podcast: https://podcasters.spotify.com/pod/show/thinking-cap-theatre/support

Sydney Skybetter sits down with artist Raja Feather Kelly to talk about his work in live performance. The two consider airport security and the end of the world, and Raja shares how his personal experiences and creative work shape one another. About Raja:  Choreographer/Director Raja Feather Kelly is the artistic director of dance-theatre-media company the feath3r theory (founded in 2009).  In 2018 the feath3r theory merged with New Brooklyn Theatre. Raja has been awarded a Creative Capital Award (2019), a National Dance Project Production Grant (2019), a Breakout Award from the Stage Directors and Choreographers Foundation (2018), Dance Magazine's inaugural Harkness Promise Award (2018), the Solange MacArthur Award for New Choreography (2016), and is a three-time Princess Grace Award winner (2017, 2018, 2019). He was born in Fort Hood, Texas and holds a B.A. in Dance and English from Connecticut College. Read the transcript, and find more resources in our archive: https://www.are.na/choreographicinterfaces/dwr-ep-10-code-switch-a-conversation-with-raja-feather-kelly Like, subscribe, and review here: https://podcasts.apple.com/us/podcast/dances-with-robots/id1715669152  The Dances with Robots Team Host: Sydney Skybetter Co-Host & Executive Producer: Ariane Michaud Archivist and Web Designer: Kate Gow Podcasting Consultant: Megan Hall Accessibility Consultant: Laurel Lawson Music: Kamala Sankaram Audio Production Consultant: Jim Moses Assistant Editor: Andrew Zukoski Student Associate: Rishika Kartik About CRCI The Conference for Research on Choreographic Interfaces (CRCI) explores the braid of choreography, computation and surveillance through an interdisciplinary lens. Find out more at www.choreographicinterfaces.org  Brown University's Department of Theatre Arts & Performance Studies' Conference for Research on Choreographic Interfaces thanks the Marshall Woods Lectureships Foundation of Fine Arts, the Brown Arts Institute, and the Alfred P. Sloan Foundation for their generous support of this project. The Brown Arts Institute and the Department of Theatre Arts and Performance Studies are part of the Perelman Arts District.  

In this fascinating conversation, Suzanne and Mara go all out to discuss the Yiddish word “Chutzpah” and all its connotations and the ways it is used in everyday life, for both Jews and non-Jews. They also discuss, in provocative detail, other Yiddish words that we know and love.Feel free to tell us what YOUR favorite Yiddish words are. Are there any you would like to see on the podcast? Let us know!About Mara Jill Herman:Mara Jill Herman is a multidisciplinary Jewish artist who endeavors to abolish anti-Semitism, advocates for gender equity, and protects human rights. She performed leading roles all over the country and recently made her Carnegie Hall debut in We Are Here: Songs From The Holocaust. International Tours include Disney On Classic (Mother Gothel) and Jesus Christ Superstar. Mara also produces benefit concerts for various causes.Mara received NYFA's City Artist Corps Grant and YoungArts' Creative Grant for generating original work. She was featured on CBS Mornings with the Queens Theatre Senior Ensemble for Storytelling and Devised Theatre work. For the past decade, she engaged thousands of students, parents, and teachers for YoungArts as a Program Presenter, Adjudicator, and Head Resident Advisor. Currently, Mara teaches for City Center and New York Theatre Workshop.Mara is a 2023 nominee for the Barbara Whitman Award (Stage Directors and Choreographers Foundation).Connect with Mara Jill HermanMara Jill HermanAbout the Show:There's a Word For That! is a weekly podcast that centers around a different word or expression each episode. Host Suzanne Dressler believes in pushing the envelope to explore why and how we use words and the ways this impacts our lives. With a diverse assortment of intelligent, creative, and exciting guests, TAWFT! will force you to analyze and consider words in an entirely original and eye-opening way. Even better? NOTHING is off-limits.Where to Find Me:InstagramTwitterFacebook

***This episode is brought to you by Cinapse. Cinapse is an app that streamlines workflows for film and television crews, cast members, and studio employees. What they are building is truly game changer and I'll be doing a deep dive with them in the upcoming weeks. Follow them @cinapse for more.*** Barbara Whitman is a theater producer who made her Broadway debut producing A Raisin in the Sun, starring Sean Comb and Phylicia Rashad,  An impressive lady, she has won multiple Tony and Drama League Awards for producing musicals like Hedwig and the Angry Inch, Fun Home, The Humans and of course, A Strange Loop, which I was lucky enough to see on Broadway back in August.  In 2021, she established the Barbara Whitman Award at Stage Directors and Choreographers Foundation, SDCF for sure. The award will be given annually to a female, trans, or non-binary early career director.  Currently, Barbara is producing Pulitzer Prize-winning playwright Doug Wright's new play, GOOD NIGHT, OSCAR, starring Sean Hayes. The play will open on Broadway Spring 2023. A native New Yorker, Barbara attended NYU Gallatin School of Individualized Study and received an MFA in Theatre Management and Producing from Columbia University. With roots in the theater, it's no surprise that's she's built a career around this art form. She has a deep passion for story, and especially for outlier stories that  live outside the more commercial broadway fare.  Gems from our chat include: How the definition of a producer has evolved The importance of introducing audiences to live theater Tips on how to get started producing theater Xoxo CG

In this episode, Jennifer talks to Dani Barlow about what it means to be a theater manager. Dani shares helpful tips for creating change, fostering a network of your peers, and having a vision.  They break down the various types of positions on the arts administrative side of things, responsibilities and skillsets that are useful in these roles, and the necessity of these individuals for the creative process.  About Dani:  Dani Barlow (she/her) is a theater manager who currently serves as the Director of the Stage Directors and Choreographers Foundation in New York City. Prior to SDCF she serves as Interim Associate Producer at Woolly Mammoth Theatre Company in DC. She received her Master of Fine Arts from Yale School of Drama in 2020 and during her time there she held the positions of Associate Director of Development and Alumni Affairs for Yale Repertory Theatre and Yale School of Drama, Company Manager of Yale Repertory Theatre, and Yale Management Fellow at Steppenwolf Theatre Company. She has also worked in different administrative capacities prior to graduate school at Woolly Mammoth Theatre Company, Round House Theatre, and Studio Theatre. SDC IG: @sdcfoundation Want to coach with Jennifer? Schedule a session here! https://appt.link/jenniferapple Monologue Sourcing Promo Link! https://empoweredartistcollective.com/podcastpromo Learn more: https://www.empoweredartistcollective.com/podcast EAC IG: @EmpoweredArtistCollective  EAC TikTok: @EmpowerArtistCollective EAC Facebook: https://www.facebook.com/empoweredartistcollective/ Check Out Our Merch! https://www.empoweredartistcollective.threadless.com/ Any thoughts you'd like to share? Email us at EmpoweredArtistCollective@gmail.com

June is always a busy time for New York City with two major events taking place: one is of course the month-long Gay Pride celebration and the other is the biggest day of the Broadway season -- the Tony Awards. And today's guest ticks off both of those boxes. Jerry Mitchell is a prolific Broadway Director and choreographer as well as a gay advocate with shows like Broadway Bares and Kinky Boots, just to name a few. He is also an eight-time Tony nominee, but he is quick to point out that he's lost out on the award six times. In our conversation, he discusses his creative career, full of fascinating anecdotes, and shares the importance of knowing our worth as artists, loving what we do on and off stage, and the value in saying "yes." Subscribe to WINMI and get bonus episodes with Jerry on Supercast Check out the podcast website and follow WINMI on Instagram or Twitter --------------- Why I'll Never Make It is a top 25 theater podcast hosted by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It is a part of Helium Radio Network and a member of the Broadway Makers Alliance.  Background music in this episode is by John Bartmann (Public Domain) and Blue Dot Sessions (Creative Commons Attribution-NonCommercial 4.0 International License).   Everybody Say Yeah! You've heard what Jerry has to say about Kinky Boots. Now listen as the musical force behind this Tony-winning show is interviewed by ABC News in Australia. Cyndi Lauper has been a source of celebration and inspiration for music lovers since the 1980s. Then she turned her talents to theater, writing the music for this international smash hit.   This Month's Artist Spotlight: Broadway Bares Broadway Bares' 30th anniversary celebration, originally set for June 21, 2020, was postponed because of the COVID-19 pandemic. The in-person event is set to return this month and will more bodacious dancers, fierce queens, and sexy starlets. Broadway Bares was created in 1992 by Mitchell, then a Broadway dancer, as a way to raise awareness and money for those living with HIV/AIDS. In Broadway Bares‘ first year, Mitchell and six of his friends danced on a New York City bar and raised $8,000. Since then, Broadway Bares has raised more than $21 million for Broadway Cares. “Every dollar donated during Broadway Bares helps those across the country affected by HIV/AIDS, COVID-19 and other critical illnesses receive healthy meals, lifesaving medication and more,” Broadway Cares Executive Director Tom Viola said, referring to last year's online presentation. “As we look toward better and brighter days ahead for everyone, I'm so glad that everyone chose to twerk from home with us.”   Final Five with Jerry Mitchell Nine years ago, Jerry Mitchell received the Abbott Award, a lifetime achievement award from the Stage Directors and Choreographers Foundation. The award is named in honor of renowned director George Abbott and is presented to a director or choreographer in recognition of lifetime achievement. That same year he was also nominated for two Tony Awards for choreography and direction in Kinky Boots. Since then he has lived another lifetime of experiences and shows like On Your Feet, Becoming Nancy, Pretty Woman, and the many subsequent incarnations of Kinky Boots. Read more insights and experiences from Mitchell on the WINMI Blog. Follow Jerry - IBDB | Instagram   

In this episode of fluency durell speaks with highly sought after artist and intimacy coordinator Ann C. James.  Ann James has an extensive career in international stage direction and theatre education spanning over three decades.  James recently made her debut as the first Black Intimacy Coordinator of Broadway for Antoinette Nwandu's Pass Over. James is an expert in the burgeoning industry of intimacy direction and institutional consent culture for national arts organizations. In addition to her Broadway credit, she served as Intimacy Director and Sensitivity Specialist  for the provocative Off-Broadway productions of Moises Kaufman's Seven Deadly Sins by Tectonic Theatre Project and Seize the King produced by Classical Theatre of Harlem. On the West Coast, James provides consultation and intimacy coordination for the television and film industry most recently working with Rashida Jones, Mark Wahlberg, Issa Rae, Will Ferrell and Cynthia Enrivo. Her intimacy work has featured James as an expert voice for Theatre Communications Group, HowlRound,  the Society of Stage Directors and Choreographers Foundation, and Lincoln Center's Directors Lab West. Her company, Intimacy Coordinators of Color,has partnerships with ArtsEquity, TimesUp, and A.R.T./New York. James is in the second year of her studies as America's first MFA in Performance Pedagogy with an emphasis in Afrocentric Intimacy Pedagogy at Loyola Marymount University.

Jonathan Moscone is a champion of arts and activism. A long-time theater director and current Chief Producer at the Yerba Buena Center for the Arts (YBCA), he has devoted his career to interweaving arts organizations with civic life and community in an impactful way. With his Civic Engagement practice at YBCA, Moscone has created youth fellowships, artist residencies in the City's public schools, programs to help artists lead financially sustainable lives, and ballot measures to restore city funding to arts and homeless family services. He also serves on numerous community boards, such as the Alice Waters' Edible Schoolyard Project, the Homeless Prenatal Program, and leads the San Francisco Grants for the Arts advisory panel. Moscone's gratifying career would not be complete without his extensive experience in theater production. Before his time at YBCA, Jonathan was the Artistic Director of the California Shakespeare Theater in Berkeley and Orinda for 16 years. He works throughout the Bay Area as a freelance director, putting on shows like "The Life and Adventures of Nicholas Nickleby" for CalShakes in 2005, Bruce Norris' "Clybourne Park" for the American Conservatory Theater (ACT) in 2011, and "Candida" (2011), for which he won the San Francisco Bay Area Theater Critics Circle Award as Best Director of the year. In 2009, Moscone received the inaugural Zelda Fichandler Award from the Stage Directors and Choreographers Foundation for his transformative work in theater. He is also an adjunct faculty member at the ACT's Masters of Fine Arts Program. All successes aside, Jonathan Moscone is one of the kindest people one has the privilege of meeting. He is smart, funny, and genuinely himself in any setting. His down to earth temperament has not only made him an affable director, but a beloved leader in his community. Artists contribute so much to a community's vitality, and through YBCA, Moscone is utilizing his talents and passions to lead the way in Bay Area arts activism. For more information about Jonathan Moscone, please visit: https://ybca.org/person/jonathan-moscone/ Meet Jonathan Moscone!

I recently had the great pleasure of interviewing Vivienne Benesch, who is the Producing Artistic Director of PlayMakers Repertory Company in Chapel Hill, North Carolina. At PlayMakers, she has helmed productions of LIFE OF GALILEO, LEAVING EDEN, THE MAY QUEEN, THREE SISTERS, LOVE ALONE, RED, and IN THE NEXT ROOM (OR THE VIBRATOR PLAY). For 12 seasons, she served as Artistic Director of the renowned Chautauqua Theater Company and Conservatory, presiding over the company’s transformation into one of the best summer theatres and most competitive summer training programs in the country. She directed over fifteen productions at CTC including an acclaimed re-imagining of ROMEO AND JULIET featuring the Chautauqua Symphony Orchestra, Theatre, Opera and Dance companies. She brought CTC’s production of AMADEUS, performed with the Chautauqua Symphony Orchestra and Buffalo Philharmonic, to the Virginia Arts Festival featuring PlayMakers company member Ray Dooley. Vivienne has also directed for the Folger Shakespeare Theatre, The Shakespeare Theatre of New Jersey, Trinity Repertory Company, and Red Bull Theatre, among others. In 2018, she directed the world premiere of Noah Haidle’s BIRTHDAY CANDLES for Detroit Public Theatre and will be directing it again on Broadway, starring Debra Messing in the fall of 2021. As an actress, Vivienne has worked on and off-Broadway, in film and television, at many of the country’s most celebrated theatres, and received an OBIE Award for her performance in Lee Blessing’s GOING TO ST. IVES. Vivienne is a graduate of Brown University and NYU’s Graduate Acting Program. As an educator, she has directed for and served on the faculty of some of the nation’s foremost actor training programs, including The Juilliard School, UNC-Chapel Hill’s Professional Actor Training Program, Brown/Trinity Rep MFA Program and at her alma mater, NYU’s Graduate Acting Program. She is the 2017 recipient of the Zelda Fichandler Award given by the Stage Directors and Choreographers Foundation. For more information, please visit: www.playmakersrep.org If you love this show, please leave us a review. Go to RateThisPodcast.com/karereviewspodcast and follow the simple instructions. Follow Kare Reviews at www.karereviews.net and on Twitter: @KareReviews Also please visit the newly launched Patreon page: https://www.patreon.com/jeffreykare?fan_landing=true Follow Jeffrey Kare on Twitter: @JeffreyKare If you like what you've heard here, please subscribe to any one of the following places where the Kare Reviews Podcast is available. Anchor: https://anchor.fm/jeffrey-kare Apple: itunes.apple.com/us/podcast/kare-reviews-podcast/id1453846013 Google: www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy85NWFhZDFjL3BvZGNhc3QvcnNz Spotify: open.spotify.com/show/6GL69s4zoDQmBcZf3NALTG Breaker: www.breaker.audio/kare-reviews-podcast Overcast: overcast.fm/itunes1453846013/kare-reviews-podcast Pocket Casts: pca.st/47Vw RadioPublic: radiopublic.com/kare-reviews-podcast-6rMdXk --- Support this podcast: https://anchor.fm/jeffrey-kare/support

Questions, Comments, Suggestions - Show email - archivett24@yahoo.com - "When we have hope, we discover powers within ourselves we may have never known- the power to make sacrifices, to endure, to heal, and to love. Once we choose hope, everything is possible." - Christopher Reeves News and Notes: USITT Webinar Schedule - April 13-16 USITT - Facebook New York Times - Closed Theaters Are Nothing New. The Good News Is, They Reopen. London’s playhouses have been shuttered before, by plagues and war for instance, but they have always returned as strong as ever. Playbill.com - Stage Directors and Choreographers Foundation to Distribute Over $300,000 to SDC Members Stage Directions Magazine - Join Shure’s Next Webinar: How to Improve Your Webinar Audio / Shure.com Youtube - Sergei Parajanov Museum in Yerevan, Armenia - Սերգեյ Փարաջանովի թանգարան HiSoUR.com - Art Website

When you look at the scope of Vivienne Benesch’s career thus far, she certainly has an impressive resume, from actress to director to the Producing Artistic Director of http://playmakersrep.org/ (PlayMakers Repertory Company). In fact, it was recently announced that Vivienne will make her Broadway directorial debut next year, directing Debra Messing in Noah Haidle’s play BIRTHDAY CANDLES. But when you speak to Vivienne, it becomes very clear that what is most important to her is building connections and nurturing relationships. Hear what Vivienne has to say about that, the role theater has in strengthening community, and her full-circle journey back to Broadway, this time as a director. About the Guest Vivienne Benesch is in her fourth full season as a theater maker and company member and Producing Artistic Director here at PlayMakers in Chapel Hill. For 12 seasons, she served as Artistic Director of the renowned https://chq.org/chautauqua-theater-company (Chautauqua Theater Company and Conservatory), presiding over the company’s transformation into one of the best summer theatres and most competitive summer training programs in the country. She directed over 15 productions at CTC including an acclaimed re-imagining of ROMEO AND JULIET featuring the Chautauqua Symphony Orchestra, Theatre, Opera and Dance companies. She brought CTC’s production of AMADEUS performed with the Chautauqua Symphony Orchestra and Buffalo Philharmonic, to the Virginia Arts Festival featuring PlayMakers company member Ray Dooley. She has helmed productions of LIFE OF GALILEO, THE MAY QUEEN, THREE SISTERS, LOVE ALONE, RED and IN THE NEXT ROOM for PlayMakers, directed extensively for The Shakespeare Theatre of New Jersey, and directed THE HEIDI CHRONICLES for Trinity Repertory Company. As an actress, Vivienne has worked on and off-Broadway, in film and television, and at many of the country’s most celebrated theatres. She has appeared with Gene Wilder, Al Pacino and Blythe Danner, performed with Maggie Smith in the London revival of Edward Albee’s THE LADY FROM DUBUQUE, and received an OBIE Award for her performance in Lee Blessing’s GOING TO ST. IVES. Vivienne is a graduate of Brown University and NYU’s Graduate Acting Program. As an educator, she has directed for and served on the faculty of some of the nation’s foremost actor training programs, including The Juilliard School, UNC-Chapel Hill’s Professional Actor Training Program, Brown/Trinity Rep MFA Program and at her alma mater, NYU’s Graduate Acting Program. She is the 2017 recipient of the Zelda Finchandler Award given by the Stage Directors and Choreographers Foundation. Connect with RDU on Stage Facebook – @rduonstage Twitter – @rduonstage Instagram – @rduonstage Web http://www.rduonstage.com/ (www.rduonstage.com) Support this podcast

This episode, was recorded at a live One-on-One Conversation event sponsored by Stage Directors and Choreographers Foundation on April 8th, 2019. The event, entitled “STATE OF THE ART: DIRECTING SHAKESPEARE IN THE AMERICAN THEATRE” featured directors Davis McCallum and Erica Schmidt, and was moderated by SDC Foundation Trustee Ethan McSweeny.

Join us for a special edition of The Michelle Meow Show at The Commonwealth Club, as we welcome the director and the choreographer of "Falsettos," the Tony Award-winning Broadway musical now running at SHN Golden Gate Theatre from March 19–April 14. "Falsettos" tells the story of a charming, intelligent, neurotic gay man named Marvin, his wife, lover, son, their psychiatrist, and the lesbians next door. James Lapine wrote the book and directed the Broadway musical Falsettos in 1992. His extensive experience on stage and film includes directing the films Impromptu (written by his wife, Sarah Kernochan), Earthly Possessions, and Custody. His decades of work on and off Broadway have earned him many honors, including the Tony Award, the Drama Desk Award, and the 2015 Mr. Abbott Award from the Stage Directors and Choreographers Foundation "in recognition of a lifetime of exceptional achievement in the theatre." Spencer Liff has been a resident choreographer for the past nine seasons of "So You Think You Can Dance" on the Fox network, where he was twice nominated for an Emmy Award for outstanding choreography. His other TV credits include the "One Day at a Time" revival, "Dancing With the Stars," "2 Broke Girls," "Parks and Recreation," and many other programs. His stage credits include serving as choreographer for the critically acclaimed Broadway revival of "Spring Awakening," and providing the musical staging for the Tony Award-winning revival of "Hedwig and the Angry Inch," starring Neil Patrick Harris. He won the 2008 Fred Astaire Award as best male dancer on Broadway for his role in "Crybaby." Last minute adds: Special guests William Finn and Jordan Roth! ** This Podcast May Contain Explicit Language ** Learn more about your ad choices. Visit megaphone.fm/adchoices

On episode 72 of SOMEWHERE IN THE SKIES, Ryan presents an exclusive audio documentary based on a relatively unknown UFO event that occurred in New Zealand in 1959.  Eileen Moreland went out to milk the cows one morning in the South Island town of Blenheim. She returned home about eighty minutes later with an extraordinary story. "You may think I am mad,” she told police, “but I saw a flying saucer." After reporting the incident to the police, the local Air Force Base got involved and began to privately investigate the report. What they uncovered, and the events that followed, would both haunt the Air Force investigators and the Moreland family for many years to come. This is the incredible story; "Finding Mrs. Moreland: How One Woman's UFO Claim Exposed Paranoia and Fear in 1950s New Zealand." Set to the backdrop of the Cold War, this little known UFO event was covered in great detail by a New Zealand journalist named Charlie Gates. In association with Gates and the news site, Stuff Limited, this audio documentary consists of Gates' massive article in its entirety. To read an interactive version of the article, CLICK HERE. Special thanks to the voiceover talents of Jim Rees, Megan Mazzoccone, and Steve Mazzoccone. Visit Stuff at: www.stuff.co.nz Guest Bios: Megan McGarvey is a NYC based actor and singer. She recently received her MFA in Performing Arts from Savannah College of Art and Design. Most recently she was seen in an episode of BULL on CBS. Select theater credits include Cabaret(Sharon Playhouse), Hamlet and Measure for Measure(Frog and Peach, NYC), SHREW! (World Premiere Reading; SCAD), Grease(Park Playhouse). Also, Megan just made her stand up comedy debut in NYC. Follow her @megan__mcgarvey for upcoming shows and news. You can also visit her website: www.meganmcgarvey.com Steve Mazzoccone is an actor, director, and playwright. He recently received his MFA in Performing Arts from the Savannah College of Art and Design. NYC acting credits include Ryan Sprague’s Some Just Do It Naturally at Theater Row, Measure for Measure, Twelfth Night and Cymbeline with Frog and Peach Theatre Co. In addition, he’s worked for regional equity theaters and on national tours. Recent NYC directing credits include Blanche in a Wheelchair and The Passion of Athena for the LIC One Act Festival at the Secret Theatre, Absolution at Gallery Players and At the Museum (Best Play Finalist, Best Director Finalist) for the Take Ten Play Festival at the Workshop Theatre. Currently, Steve is assistant directing Shaw’s Heartbreak House Off Broadway for Gingold Theatrical Group. Steve is a proud member of the Stage Directors and Choreographers Foundation’s 2018-2019 Observership Class.  Visit: www.stevemazz.com James Rees is an actor and voice-over artist based in New York. Past credits include: Theatre- "The Cheater's Club" (Abrons Arts Center), "The Bad and the Better" (Playwright's Horizons), "The High Cost of Loving" (Columbia Theatre) Film/TV- The Wolf of Wall Street, The Knick, Experimenter Commercial- Bravo, Vitamin Water, Hendricks Gin (Voice Over). He is currently repped by Baker Management. Patreon: www.patreon.com/somewhereskies Website: www.somewhereintheskies.com Official Store: CLICK HERE Order Ryan's Book by CLICKING HERE Twitter: @SomewhereSkies Instagram: @SomewhereSkiesPod Opening Theme Song, "Ephemeral Reign" by Per Kiilstofte SOMEWHERE IN THE SKIES is produced by Third Kind Productions, in association with eOne Entertainment SOMEWHERE IN THE SKIES is sponsored by HelloFresh. To receive 50% of your first order, use promo code: SOMEWHERE50 at checkout by visiting www.HelloFresh.ca

2002 Symposium: Hal Prince: At its 2002 Symposium, Director of Stage Directors and Choreographers Foundation, Joe Miloscia, welcomed everyone to the symposium and introduced then Executive Director of SSDC Barbara Hauptman. Barbara introduced the two speakers: V.P. and Managing Director of The Fan Fox & Leslie R. Samuels Foundation Rob Marx who moderated a talk with accomplished director and producer Hal Prince. The conversation focused on Hal's personal take on the making of new musicals and the fostering of new talent. Topics covered include the importance of mentorship, artistic process, how the relationship between producers and directors has changed, and what institutions are supporting the development of new musicals. This conversation with a true master gives incredible insight into the history and current innovation in musical theatre. Originally recorded - June 1, 2002. Running Time - 1:20:46 © 2002 SDCF

Intellectual Property: In 1996, the Stage Directors and Choreographers Foundation and the Drama League co-sponsored a discussion with then SDC Executive Director Barbara Hauptman, SDC Attorney Ron Shechtman, and director Pamela Berlin moderated by David Diamond about protection of intellectual property rights for stage directors. Through personal anecdotes regarding the controversial productions of Love! Valour! Compassion! originally directed by Joe Mantello and The Most Happy Fella directed by Gerald Gutierrez which set the precedent for future legal battles, the conversation illustrates the extent to which the work of a director can be protected, the methods by which the accused theaters came about the original material, the playwright's perspective on the intellectual property of a director in their own work, and the ways in which a director can protect themselves. Detailed, colorful and extremely informative, this conversation goes far beyond what the internet provides and provides valuable insight into an enduring, controversial issue for any director of new theatrical work. Originally recorded - January 1, 1996. Running Time - 1:22:19 © 1996 SDCF

Directing Shakespeare: What's It All About Willy Part One: On April 28, 2001, Stage Directors and Choreographers Foundation invited Arthur Bartow, Artistic Director of the Drama Department at NYU Tisch, to moderate a conversation between Michael Lupu, Senior Dramaturg at the Guthrie Theater; Mark Bly, Associate Artistic Director of Yale Rep; Louis Scheeder of Classical Studio NYU Tisch; and freelance director Daniel Fish about working on Shakespeare. This discussion gives great insight into the role of dramaturgs in assisting directors; their visions of a successful dramaturg; and how dramaturgs work with the text. This program is the first half of the conversation. Originally recorded - April 28, 2001. Running Time - 1:15:21 © 2001 SDCF

Directing Shakespeare: What's It All About Willy Part 2: On April 28, 2001, Stage Directors and Choreographers Foundation invited Arthur Bartow, Artistic Director of the Drama Department at NYU Tisch, to moderate a conversation between Michael Lupu, Senior Dramaturg at the Guthrie Theater; Mark Bly, Associate Artistic Director of Yale Rep; Louis Scheeder of Classical Studio NYU Tisch; and freelance director Daniel Fish about working on Shakespeare. This discussion gives great insight into the role of dramaturgs in assisting directors; their visions of a successful dramaturg; and how dramaturgs work with the text. This program is the second half of the conversation. Originally recorded - April 28, 2001. Running Time - 1:12:00 © 2001 SDCF

Directing Shakespeare: Casting - It's A Bear: On April 29, 2001 members of a Stage Directors and Choreographers Foundation panel simulated a first casting session of The Winter's Tale. The discussion is moderated by Artistic Producer of the Joseph Papp Public Theatre/New York Shakespeare Festival Rosemarie Tichler and featured Casting Directors Stuart Howard and Jordan Thaler. Originally recorded - April 29, 2001. Running Time - 1:31:35 © 2001 SDCF

Directing Shakespeare: Working the Text: On April 28, 2001, Stage Directors and Choreographers Foundation invited NYU voice and dialect coach Deborah Hecht, Juilliard Chairman of Voice and Speech Ralph Zito, director Mark Lamos, actor Oni Faida Lampley, and actor Boris McGiver for a conversation about the importance of text work. Louis Scheeder, Director and Founder of Classical Studio at NYU Tisch moderates. Topics include speech interpretation, the process of making stylistic choices, and the necessities of physical endurance. Originally recorded - April 28, 2001. Running Time - 1:25:10 © 2001 SDCF

Politics in the Theatre: On October 28, 1985, Stage Directors and Choreographers Foundation invited Peter Zeisler to moderate a panel featuring journalists Thulani Davis and Erika Munk, playwright William Hoffman, and directors Rhoda Levine, Judith Malina, and Emily Mann. They speak in-depth about the role of theatre in society in the past, present, and how it is evolving into the future. In this conversation, theatre's reach and impact is compared to the mediums of film and television. Other topics include how fiction can convey political reality and why particular issues should be examined in the theatre. This lively discussion gets to the heart of the important role theatre plays in community. Originally recorded - October 28, 1985. Running Time - 45:50 © 1985 SDCF

Directing Green: On October 1, 2012, Stage Directors and Choreographers Foundation in partnership with Broadway Green Alliance (BGA) held a conversation entitled Directing Green at the New Amsterdam Theatre in New York. Director/Choreographer John Carrafa, SDC's representative to BGA, led this discussion, which starts with Allen Hershkowitz, Senior Scientist at the Natural Resources Defense Council (NRDC), describing the state of the global environment and the critical role the entertainment industry can play in adopting better practices. He emphasizes that taking even a small step towards better practices makes a difference. After this accessible overview, some of those leading a more environmentally-friendly theatre working on Broadway in diverse fields - Lighting Designer James Bedell, Costume Designer Andrea Lauer, Scenic Designer Donyale Werle, Stage Manager Marjorie Horne, and Bob Usdin, Owner of Showman Fabricators, give insight into the ways that they are taking the environment into account without compromising their art form. By listening to this conversation, artists can discover questions to ask collaborators in pre-production, learn practical methods of conserving resources in rehearsal and tech, and understand why better environmental practices are essential for artists working today. Originally recorded - October 1, 2012. Running Time - 1:24:16 © 2012 SDCF

Mary Overlie and Moises Kaufman: On May 19th, 1999, Stage Directors and Choreographers Foundation hosted a One-on-One Conversation with Moises Kaufman, playwright, director and founder of Tectonic Theater Project, and Mary Overlie, the discoverer of Viewpoints. The two artists discuss the meaning behind theatrical theory and how that relates to their work. Kaufman describes his process in developing The Laramie Project as an exploration of relating theatre to recent current events. He and his company inquire as to the difference between plays about historical events versus plays about current events. Overlie joins the conversation by talking about her roots in classical dance and how that shaped her openness to improvisation. With inspirations including Merce Cunningham and John Cage, Overlie articulates the inception of Viewpoints. Viewpoints is an improvisational system, using elements of Space, Time, Shape, Emotion, Movement and Story. Inspired by her own artistic clash between classicism and post-modern dance, Overlie developed a new way to understand the creation of theatre by combining these forms and understanding the elements involved. As a student of Overlie, Kaufman describes his first memory of seeing her dance at The Kitchen and speaks about how he creates his work. This is an insightful conversation between two artists who thrive on exploration and breaking into new forms within a theatrical setting. Originally recorded - May 19, 1999. Running Time - 1:33:43 © 1999 SDCF

Director Playwright Collaboration: On Tuesday, March 29, 1988, Stage Directors and Choreographers Foundation and New Dramatists hosted a seminar on the director-playwright relationship with directors Tony Giordano, Pamela Berlin, Paul Benedict, and Woodie King, Jr., and writers Steve Carter, Jack Heifner, John Bishop and Reinaldo Povod. This lively ninety-minute conversation includes discussions of the director's role on a new play, what playwrights look for in a director, and colorful nature of the collaboration described as a marriage, an affair and a divorce. Other topics include the role of the producer as mediator and ownership of the play along with several horror stories of disastrous collaborations. Anyone interested in the current national conversation about new play development and playwrights should listen to this podcast to discover just how much and how little the director-playwright relationship has evolved over the past twenty-two years. Originally recorded - March 29, 1988. Running Time - 1:25:49 © 1988 SDCF

2002 Symposium: It's Not Where You Start: In June 2002, the Stage Directors and Choreographers Foundation hosted a panel discussion on how Broadway directors and choreographers got their starts as part of its 3-day Musical Theatre Symposium. The panelists are Susan H. Schulman, Jeff Calhoun, David Warren, Scott Schwartz, Larry Fuller, Lynne Taylor-Corbett and Gabriel Barre. Some fell into their careers by accident while others had it planned all along, and their stories range from years of performing summer stock to meeting Tommy Tune. This conversation is filled with humorous and touching anecdotes featuring Richard Maltby, Carol Haney and Trevor Nunn, among others. The panelists impart valuable advice to emerging professionals, and the Pittsburgh dance class-to-Broadway stories of these successful directors and choreographers will inspire any theatre artist with hopes of the Great White Way. Originally recorded - June 1, 2002. Running Time - 1:19:58 © 2002 SDCF

Mitchell, Ashley, and Mayer on Directing: In 2001, Charles Repole and Joe Miloscia of the Stage Directors and Choreographers Foundation had the opportunity to bring together a trio of Broadway's hottest hit-makers for a special conversation. Michael Mayer, Christopher Ashley, and Jerry Mitchell spent an evening catching up, reminiscing and discussing the intricacies of creating comic plays and musicals. Originally recorded - March 28, 2001. Running Time - 1:22:50 ©2001 SDCF

On July 13, 2013, Stage Directors and Choreographers Foundation hosted a One-on-One Conversation with acclaimed Director, Choreographer, and Movement Director Steven Hoggett ("Blackwatch", "Peter and the Starcatcher", "Once") discussing his artistic vision, career trajectory, and rehearsal processes. Moderated by Ryan Donovan, the conversation explores Steven’s journey from his beginning as a self-sustaining artist in Wales with Frantic Assembly to his big-budget ventures on Broadway and around the world. Topics discussed include staging musical transitions, budgetary and spatial influences on artistic freedom, the unique aspects of the American theatre industry, and the value of deep collaboration when creating theater.

On October 1, 2012, Stage Directors and Choreographers Foundation in partnership with Broadway Green Alliance (BGA) held a conversation entitled "Directing Green" at the New Amsterdam Theatre in New York. Director/Choreographer John Carrafa, SDC’s representative to BGA, led this discussion, which starts with Allen Hershkowitz, Senior Scientist at the Natural Resources Defense Council (NRDC), describing the state of the global environment and the critical role the entertainment industry can play in adopting better practices. He emphasizes that taking even a small step towards better practices makes a difference. After this accessible overview, some of those leading a more environmentally-friendly theatre working on Broadway in diverse fields - Lighting Designer James Bedell, Costume Designer Andrea Lauer, Scenic Designer Donyale Werle, Stage Manager Marjorie Horne, and Bob Usdin, Owner of Showman Fabricators, give insight into the ways that they are taking the environment into account without compromising their artform. By listening to this conversation, artists can discover questions to ask collaborators in pre-production, learn practical methods of conserving resources in rehearsal and tech, and understand why better environmental practices are essential for artists working today.

In 1996, the Stage Directors and Choreographers Foundation and the Drama League co-sponsored a discussion with then SDC Executive Director Barbara Hauptman, SDC Attorney Ron Shechtman, and director Pamela Berlin moderated by David Diamond about protection of intellectual property rights for stage directors. Through personal anecdotes regarding the controversial productions of "Love! Valour! Compassion!" originally directed by Joe Mantello and "The Most Happy Fella" directed by Gerald Gutierrez which set the precedent for future legal battles, the conversation illustrates the extent to which the work of a director can be protected, the methods by which the accused theaters came about the original material, the playwright’s perspective on the intellectual property of a director in their own work, and the ways in which a director can protect themselves. Detailed, colorful and extremely informative, this conversation goes far beyond what the internet provides and provides valuable insight into an enduring, controversial issue for any director of new theatrical work.

On October 28, 1985, Stage Directors and Choreographers Foundation invited Peter Zeisler to moderate a panel featuring journalists Thulani Davis and Erika Munk, playwright William Hoffman, and directors Rhoda Levine, Judith Malina, and Emily Mann. They speak in-depth about the role of theatre in society in the past, present, and how it is evolving into the future. In this conversation, theatre’s reach and impact is compared to the mediums of film and television. Other topics include how fiction can convey political reality and why particular issues should be examined in the theatre. This lively discussion gets to the heart of the important role theatre plays in community.

On April 29, 2001 members of a Stage Directors and Choreographers Foundation panel simulated a first casting session of "The Winter's Tale". The discussion is moderated by Artistic Producer of the Joseph Papp Public Theatre/New York Shakespeare Festival Rosemarie Tichler and featured Casting Directors Stuart Howard and Jordan Thaler.

On April 28, 2001, Stage Directors and Choreographers Foundation invited Arthur Bartow, Artistic Director of the Drama Department at NYU Tisch, to moderate a conversation between Michael Lupu, Senior Dramaturg at the Guthrie Theater; Mark Bly, Associate Artistic Director of Yale Rep; Louis Scheeder of Classical Studio NYU Tisch; and freelance director Daniel Fish about working on Shakespeare. This discussion gives great insight into the role of dramaturgs in assisting directors; their visions of a successful dramaturg; and how dramaturgs work with the text. This program is the second half of the conversation.

On April 28, 2001, Stage Directors and Choreographers Foundation invited Arthur Bartow, Artistic Director of the Drama Department at NYU Tisch, to moderate a conversation between Michael Lupu, Senior Dramaturg at the Guthrie Theater; Mark Bly, Associate Artistic Director of Yale Rep; Louis Scheeder of Classical Studio NYU Tisch; and freelance director Daniel Fish about working on Shakespeare. This discussion gives great insight into the role of dramaturgs in assisting directors; their visions of a successful dramaturg; and how dramaturgs work with the text. This program is the first half of the conversation.

On April 28, 2001, Stage Directors and Choreographers Foundation invited NYU voice and dialect coach Deborah Hecht, Juilliard Chairman of Voice and Speech Ralph Zito, director Mark Lamos, actor Oni Faida Lampley, and actor Boris McGiver for a conversation about the importance of text work. Louis Scheeder, Director and Founder of Classical Studio at NYU Tisch moderates. Topics include speech interpretation, the process of making stylistic choices, and the necessities of physical endurance.

At its 2002 Symposium, Director of Stage Directors and Choreographers Foundation, Joe Miloscia, welcomed everyone to the symposium and introduced then Executive Director of SSDC Barbara Hauptman. Barbara introduced the two speakers: V.P. and Managing Director of The Fan Fox and Leslie R. Samuels Foundation Rob Marx who moderated a talk with accomplished director and producer Hal Prince. The conversation focused on Hal's personal take on the making of new musicals and the fostering of new talent. Topics covered include the importance of mentorship, artistic process, how the relationship between producers and directors has changed, and what institutions are supporting the development of new musicals. This conversation with a true master gives incredible insight into the history and current innovation in musical theatre.

In June 2002, the Stage Directors and Choreographers Foundation hosted a panel discussion on how Broadway directors and choreographers got their starts as part of its 3-day Musical Theatre Symposium. The panelists are Susan H. Schulman, Jeff Calhoun, David Warren, Scott Schwartz, Larry Fuller, Lynne Taylor-Corbett and Gabriel Barre. Some fell into their careers by accident while others had it planned all along, and their stories range from years of performing summer stock to meeting Tommy Tune. This conversation is filled with humorous and touching anecdotes featuring Richard Maltby, Carol Haney and Trevor Nunn, among others. The panelists impart valuable advice to emerging professionals, and the Pittsburgh dance class-to-Broadway stories of these successful directors and choreographers will inspire any theatre artist with hopes of the Great White Way.

On Tuesday, March 29, 1988, Stage Directors and Choreographers Foundation and New Dramatists hosted a seminar on the director-playwright relationship with directors Tony Giordano, Pam Berlin, Paul Benedict, and Woodie King, Jr., and writers Steve Carter, Jack Heifner, John Bishop and Reynaldo Povod. This lively ninety-minute conversation includes discussions of the director's role on a new play, what playwrights look for in a director, and colorful nature of the collaboration described as a marriage, an affair and a divorce. Other topics include the role of the producer as mediator and ownership of the play along with several horror stories of disastrous collaborations. Anyone interested in the current national conversation about new play development and playwrights should listen to this podcast to discover just how much and how little the director-playwright relationship has evolved over the past twenty-two years.

In 2001, Charles Repole and Joe Miloscia of the Stage Directors and Choreographers Foundation had the opportunity to bring together a trio of Broadway's hottest hit-makers for a special conversation. Michael Mayer, Christopher Ashley, and Jerry Mitchell spent an evening catching up, reminiscing and discussing the intricacies of creating comic plays and musicals.

On May 19th, 1999, Stage Directors and Choreographers Foundation hosted a One-on-One Conversation with Moisés Kaufman, director, playwright, and founder of Tectonic Theater Project, and Mary Overlie, the creator of Viewpoints.  Hear these two singular artists discuss theatrical theory and relate it to their work: Kaufman as he creates The Laramie Project with his company, Overlie in developing Viewpoints. This is an insightful conversation between two artists who thrive on exploration and breaking into new forms.