Podcast appearances and mentions of Christopher Durang

The City Theater Company in Wilmington is bringing comedy to the stage with its latest production ‘Vanya and Sonia and Masha and Spike.'The Tony Award-winning play by Christopher Durang puts a modern, comedic spin on classic Chekhov characters, following three middle-aged siblings whose quiet life is upended by a surprise visit.In this edition of Arts Playlist, Delaware Public Media's Martin Matheny catches up with the play's director Joseph Pukatsch and the City Theater Company's artistic director Kerry Kristine McElrone to explore the ways the Company is bringing this sharp-edged production to life.

Send us a textBefore the World Premiere of his very first play, Judson Jones streamed into the Playwright's Spotlight. We discussed his background in theatre, film, and television and his journey to writing his first play and any challenges he overcame. We dove into hitting  the flow state, introducing new ideas, the appreciation of new works, storytelling through Post-It notes, working with deadlines, collaborating with designers and the benefits of simplicity and justification as well as eliminating and having an outside eye. We wrap with delving into devices vs dialogue, working with sensitive subject matter, writing out of order, and observing the loss of grace in society. It's a very heartwarming conversation. Enjoy!  His play Canaan Unremembered opened March 24th at the Court Square Theater in Long Island City, New York and runs through April 19th, 2025. For tickets, visit -https://www.theatreeast.org/canaan-unrememberedJudson Jones is a playwright and award-winning producer and director who has had the privilege of collaborating on the premieres of Tim Blake Nelson's Eye Of God, Christopher Durang's The Vietnamizaton of New Jersey, David Crawford's Harvest, Bennett Windheim's Normalcy, Megan O'Brien's The Jungle Book, Daniel MacIvor's The Soldier Dreams, and Devil and the Deep with Air Supply‘s Graham Russell. He serves on the Board of Directors for Texas Dramatists, is a member of Actors' Equity and SAG/AFTRA, and an instructor at the Kanbar Institute of Film & Television, Tisch School of the Arts, NYU and the Stella Adler Studio of Acting.To watch the video format of this episode, visit - https://youtu.be/IiK0f9MXhlELinks to resources mentioned in this episode -Powerhouse Theatre - https://www.vassar.edu/powerhouseWebsite and Socials for Judson Jones -IG - @judsonjonesFacebook - https://www.facebook.com/judson.jonesWebsites and socials for James Elden, PMP, and Playwright's Spotlight -Punk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods                  - @playnoirla IG - @punkmonkeyprods       - @playnoir_la FB - fb.com/playnoir        - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the show

Today's poem will leave you “knowing very well what it was all about.” Happy reading.Gary Soto was born in Fresno, California on April 12, 1952, to working-class Mexican American parents. As a teenager and college student, he worked in the fields of the San Joaquin Valley, chopping beets and cotton and picking grapes. He was not academically motivated as a child, but he became interested in poetry during his high school years. He attended Fresno City College and California State University–Fresno, and he earned an MFA from the University of California–Irvine in 1976.His first collection of poems, The Elements of San Joaquin (University of Pittsburgh Press), won the United States Award of the International Poetry Forum in 1976 and was published in 1977. Since then, Soto has published numerous books of poetry, including You Kiss by th' Book: New Poems from Shakespeare's Line (Chronicle Books, 2016), A Simple Plan (Chronicle Books, 2007), and New and Selected Poems (Chronicle Books, 1995), which was a finalist for the National Book Award.Soto cites his major literary influences as Edward Field, Pablo Neruda, W. S. Merwin, Gabriel García Márquez, Christopher Durang, and E. V. Lucas. Of his work, the writer Joyce Carol Oates has said, “Gary Soto's poems are fast, funny, heartening, and achingly believable, like Polaroid love letters, or snatches of music heard out of a passing car; patches of beauty like patches of sunlight; the very pulse of a life.”Soto has also written three novels, including Amnesia in a Republican County (University of New Mexico Press, 2003); a memoir, Living Up the Street (Strawberry Hill Press, 1985); and numerous young adult and children's books. For the Los Angeles Opera, he wrote the libretto to Nerdlandia, an opera.Soto has received the Andrew Carnegie Medal and fellowships from the California Arts Council, the Guggenheim Foundation, and the National Endowment for the Arts. He lives in Northern California.-bio via Academy of American Poets This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

“Good news!” Today, I'm thrilled to announce my episode with Winnie Holzman, the author of the libretto and screenplay for the musical WICKED. Tune in to hear some of the stories of her legendary career, including what she learned from Betty Comden and Arthur Laurents while studying at NYU, how she came to star in the first production of Christopher Durang's BETTE AND BOO, ideas that came from the stage production of WICKED, learning from the reviews of BIRDS OF PARADISE, her journey to studying at Princeton, what inspired her to adapt THE SEAGULL, why Jon M. Chu was the perfect director for WICKED, one idea that got cut from the musical and the movie, how conversations around the movie changed through the years, the dimensions that Joe Mantello added to the musical, and so much more. You won't want to miss this conversation with a brilliant writer in all mediums!

Welcome to Spell Casting September! We're kicking off our month of witchy wonders on the No More Late Fees with the charming 1999 film Simply Irresistible starring Sarah Michelle Gellar. In this magical rom-com, Gellar plays Amanda, a struggling chef who discovers her culinary creations suddenly possess the power to enchant those who taste them. Join us as we dive into the whimsical world of Amanda and Tom, discuss the film's delicious blend of romance and magic, and explore how Simply Irresistible fits into the late 90s witchy movie trend. Grab your favorite spell book (or recipe book!) and tune in for a fun and enchanting episode. Don't forget to like, comment, and subscribe for more magical movie breakdowns throughout September! Starring: Sarah Michelle Gellar, Sean Patrick Flanery, Patricia Clarkson, Amanda Peet, Dylan Baker, Christopher Durang, Larry Gilliard Jr. and  Betty Buckley Directed By: Mark Tarlov ·Season 4 Episode 23 — No More Late Fees  ⁠https://nomorelatefeespodcast.com⁠ 909-601-NMLF (6653) — Follow Us on Social: Instagram https://www.instagram.com/nomorelatefees  TikTok https://www.tiktok.com/@nomorelatefees  Facebook https://www.facebook.com/nomorelatefees Youtube https://www.youtube.com/@nomorelatefees  Twitter https://x.com/NoMoreLateFees  — CONQUERing ⁠⁠myconquering.com⁠⁠ 10% Off Code: JACKIE10 — NostaBeauty https://nostabeauty.com  20% Off Code: NMLF  --- Support this podcast: https://podcasters.spotify.com/pod/show/nomorelatefees/support

Welcome back to News of the Month, where I talk about a few different entertainment news stories that feel important and/or interesting to me. The stories I'll be talking about this time involve THE LORD OF THE RINGS: THE HUNT FOR GOLLUM, Steven Spielberg's next film, WAKE UP DEAD MAN: A KNIVES OUT MYSTERY, as well as the deaths of Christopher Durang, Susan Buckner, Bernard Hill, Roger Corman, Susan Backlinie, Dabney Coleman, and Richard M. Sherman. 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 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Google⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Breaker⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Overcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠Pocket Casts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠RadioPublic --- Support this podcast: https://podcasters.spotify.com/pod/show/jeffrey-kare/support

What is it that makes one a star? Is it talent? Is it perseverance? Or is it just plain hard work? Perhaps it's all three. We'll discuss this and much, much more in this episode's conversation with Debra Monk.When I was studying Theater in College at what is now Frostburg State University in Frostburg, MD. Our Acting teacher, Dr David Press, would give us acting exercises to perform. Often, he would hold up the example of how Debra Monk, or Deb, as he called her, performed a particular exercise as the best example of how to perform that exercise. Debra was a senior then when I was just a freshman, so our paths did not cross very much when we were there. Over the years, I heard of her success, first on TV getting an Emmy for her performance as Andy Sipowicz's wife in NYPD Blue. Then, while visiting Dr. Press, he told me of her shows on Broadway. I looked her up and told her I was coming to see her in the play Curtains on Broadway. She met me after the show and graciously gave me a backstage tour. Later, while she was performing Laughing Wild, a two person show with Christopher Durang in Boston, I met her for lunch and to talk about old times.  Two years ago, for Episode 3-6, I asked if she wanted to contribute a message to my acting mentor and our mutual teacher, Dr. David Press. She sent me a glowing tribute which was just wonderful. So, earlier this year I contacted her about an interview, and she agreed to sit with me.I'm Tim Rose and this is the Tim Tunes podcast. In this episode, part 1 of 2 of our interview with Debra Monk, we cover multiple topics: from how she got into the business, how she approaches her work, and stories from her career. So, assume your favorite podcast listening position as we delve into the life and times of a true American Treasure.Debra has asked for donations to her favorite charity Broadway Cares/Equity Fights Aids. Just click on the link to find out more and make a donation.Support the Show.Please consider making a one time donation via the Paypal link aboveOr, consider becoming a monthly subscribing patron of the show here:https://www.patreon.com/timtunesAnd get lots of extra documentation and music associated with the show.

In this latest episode of "The OnStage Blog Theatre Podcast", Theatre critic Rachel Wagner is joined by OnStage Blog's Chris Peterson and Greg Ehrhardt to talk about Rachel seeing Of Mice and Men and Pretty Woman on stage (2:50). They also discuss when it is appropriate to walk out on a show before the show is over (14:27), and Christopher Durang's legacy in theatre (20:24). They close the episode by collaborating on a live ranking of 14 movie to stage adaptations from best to worst (22:40)Check out all of their theatre and movie related commentary on onstageblog.com!

We've dragged our feet long enough, but it's time for us to get into Altman's final movie from the year 1987. After all these surprise hits in the 80s Bob era, we finally hit a big old goose egg, and it's Beyond Therapy.  We get into Altman and Christopher Durang's differing scripts, Jeff Goldblum being bad at improv, 80s yuppie freaks, and we try to figure out who is to blame for this movie. We have a lot of laughs though and make a good time out of it, so listen in because this one's a doozy!

Peter Filichia, James Marino, and Michael Portantiere talk about the passing of Christopher Durang. Reviews include Tuesdays with Morrie @ Sea Dog Theater, The Who’s Tommy, Teeth @ Playwrights Horizons, Brynolf & Ljung in Stalker, Corruption @ Lincoln Center Theater, Appropriate @ Belasco, Spring Awakening @ The Center at West read more The post This Week on Broadway for April 7, 2024: Tuesdays with Morrie @ Sea Dog Theater appeared first on BroadwayRadio.

Possible new gig… Prisons sued / NY and Utah… Bird Flu Pandemic is coming?... Breaking News Earthquake… Madonna asks judge to dismiss… JLo re-branding… chewingthefat@theblaze.com Walking Dead / Dead City Casting Call... Breaking News Earthquake update… Disney Plus cracking down… Who Died Today: Adrian Schiller 60 / Christopher Durang 75 / Michael Dewayne Smith 41… A look at lotto… Game Show: What's The Lie? Contestant: Returning Champion, Shy Bishop… Learn more about your ad choices. Visit megaphone.fm/adchoices

NBA News, NFL News, MLB News, WNBA News, NHL News, ABC's Grey's Anatomy, 911, CBS's FBI International, NBC's Chicago Fire, A Farewell to Joe Lieberman, Louis Gossett Jr, Eli Noyes, Chance Perdomo, Tim McGovern, Barbara Rush, Larry Lucchino, Joe Flaherty, Christopher Durang & Vontae Davis. --- Support this podcast: https://podcasters.spotify.com/pod/show/on-the-radar/support

BOB HOPE was a British born American comedian with a career that spanned nearly 80 years with achievements in Vaudeville, Broadway, Film, Television, Network Radio, and 57 USO tours. He appeared in more than 70 feature films including the series of seven Road To...musical comedy films with long time friend Bing Crosby as his partner. Bob Hope was praised for his comedic timing, specializing in one-liners and rapid fire delivery of jokes that were often self deprecating. He is credited with being the father of "stand up comedy." He died on July 27, 2003 at the age of 100 years old. MILTON JUSTICE is an Academy and Emmy Award winning producer. He has moved between film, television, and theater throughout his career. On Broadway he produced Tennessee Williams' Vieux Carre. Off Broadway he produced Jack Heifner's Vanities ( the longest running play in off-Bway history) and Das Luscitania Songspiel written and starring Sigourney Weaver and Christopher Durang. Milton was mentored by the legendary Stella Adler for whom he taught acting classes and became the first Artistic Director of her theater company in Los Angeles. His best selling book, I Don't Need An Acting Class was published in 2021 and his podcast also titled I Don't Need An Acting Class, was recently listed as the 9th most popular entertainment podcast in history. Milton worked for Bob Hope after becoming the first recipient of SMU Theater's Bob Hope Award.

In this Human Meme podcast episode, the voice of AI Howard Stein shares with you an important lesson for every Playwright: "On Owning the Subject." Plus, this episode includes a special shout out to David Boles!

Producer-Director Casey Childs founded Primary Stages, a leading New York City Off-Broadway theater, in 1984. Primary Stages has produced over 175 new plays, giving playwrights the opportunities to see their new works staged, including: Christopher Durang, Tina Howe, John Patrick Shanley, Lee Blessing, David Ives, Donald Margulies, Theresa Rebeck, and A.R. Gurney among many others. Casey directed many of those productions for the company, as well as helming new plays at other Off-Broadway theaters.            He served as the Artistic Program Director for the New Dramatists from 1982-1985 where he worked with numerous leading American playwrights in their early years.Casey's the recipient of the Carnegie Mellon University Commitment to New Playwrights Award, as well as the winner of two Emmy Awards and many nominations for his extensive work in television.               He's a past Vice President of the Directors Guild of America and a past trustee of the National Association of Television Arts and Sciences.              At Primary Stages Casey launched the Einhorn School of Performing Arts, the Fordham/Primary Stages MFA in Playwriting program, and the Primary Stages Off-Broadway Oral History Project, which has documented over 190 interviews with the leaders of the Off-Broadway movement.             Casey's taught at many universities including Duke, Columbia and NYU, and he's currently an Associate Fellow at Grace Hopper College at Yale University. 

In this episode, performer and writer Susan Gross discusses her inspirations, upbringing, and the personal backstory of her one-woman show RUBY with guest interviewer Nathalie Ray. 0:18 Welcome, Susan! 1:02 The Origins of Susan 3:50 Christopher Durang's Influence 6:45: Ruby's Message 8:53: Early Productions of Ruby 10:57: Susan's Future Projects 12:02 Susan the Character vs. Susan the Person 13:10 Advice for Aspiring One-Person Shows 15:21 Will Ruby Return? 16:24 Conclusion  

Jerry Zaks currently directs his 26th Broadway show, The Music Man. He has received four Tony Awards and been nominated eight times. He's also received four Drama Desks, two Outer Critics Circle Awards, and an Obie. His credits include Mrs. Doubtfire, Hello, Dolly!, A Bronx Tale: the musical, Steve Martin's Meteor Shower, Nantucket Sleigh Ride, Shows For Days, Sister Act, The Addams Family, Guys and Dolls, Six Degrees of Separation, Lend Me a Tenor, House of Blue Leaves, The Front Page, A Funny Thing...Forum, Smokey Joe's Café, Anything Goes, La Cage aux Folles, Little Shop of Horrors, The Man Who Came to Dinner, The Foreigner, A Bronx Tale, Laughter on the 23rd Floor, and the original production of Assassins. He began his career directing the extraordinary plays of Christopher Durang including Sister Mary Ignatius..., Beyond Therapy, Baby with the Bath Water, and The Marriage of Bette and Boo. He directed the award-winning film Marvin's Room, starring Meryl Streep and Diane Keaton; and Who Do You Love, which was featured in the Toronto Film Festival. Mr. Zaks is a founding member, and serves on the board, of the Ensemble Studio Theater. He received the SDC's George Abbott Award for Lifetime Achievement in the Theatre. Philanthropic/Activist Causes: Ensemble Studio Theatre

Des del mateix escenari de la Villaroel, i minuts abans de la estrena Rosa Badia parla amb el director de l'espectacle David Selvas i amb tres dels protagonistes Carme Pla, Albert Ribalta i Lide Uranga. David Selvas ens explica on i  com va descobrir aquesta obra, com viuen les estrenes, com va entrar el teatre a les seves vides, quina relació tenen amb la sala Villaroel i Selvas comenta els pròxims projectes que el porten a Madrid d'una banda amb La importancia de ser Frank i també a encarregare-se de l'espectacle de l'encesa dels llums de Nadal. La meravellosa familia Hardwicke de Christopher Durang, ens presenta a la esbojarrada familia  formada pels germans Vanya, Sonia i Masha, els tres amb nom de personatges de Thèjov. “Si tothom prengués antidepresius, Thèjov no hauria trobat de que escriure”

Kevin Adams shares developments in the craft of lighting, assembling his lighting department, and why he enjoys designing pop rock musicals specifically as it relates to 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 KEVIN ADAMS Four-time Tony winner Kevin Adams has designed SpongeBob SquarePants (Tony nom.), Head Over Heels, Hedwig and the Angry Inch (Tony and Outer Critics Award), American Idiot (Tony Award), Spring Awakening (Tony Award; Olivier nom for the West End production), Next To Normal (Tony nom), The 39 Steps (Tony and Drama Desk Awards), Hair (Tony nom), Man And Boy, Everyday Rapture, Passing Strange, Take Me Out, A Class Act, Hedda Gabler with Kate Burton, solo shows by Eve Ensler and John Leguizamo. Off-Broadway he has worked on the original production of Hedwig and the Angry Inch, The Scottsboro Boys, Rent, Carrie, new work by Edward Albee, Eric Bogosian, Christopher Durang, Richard Greenberg, Tony Kushner, Terrence McNally, Neil Simon, Anna Deveare Smith and Paula Vogel. His work has also been seen at the Metropolitan Opera, Steppenwolf Theatre, Yale Rep, Berkeley Rep, Donmar Warehouse, and City Center Encores! On screen, he's worked on Mildred Pierce (HBO), Audra McDonald in concert (Town Hall, Joe's Pub, Lincoln Center), staged concerts featuring Patti Lupone (Gypsy, Candide, Anyone Can Whistle, Sunday in the Park with George and Regina) and Blue Man Group in Las Vegas and the Hollywood Bowl. For his work off-Broadway he has received an Obie for sustained excellence and two Lucille Lortel awards. 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 ambermylar.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

Les etèries molècules de Txékhov. «La meravellosa família Hardwicke (Vanya and Sonia and Masha and Spike)», de Christopher Durang. Traducció de Cristina Genebat. Intèrprets: Alejandro Bordanove, Paula Jornet, Marta Pérez, Carme Pla, Albert Ribalta i Lide Uranga. Escenografia:. Alejandro Andújar. Vestuari: Alejandro Andújar i Núria Cardoner. Il·luminació: Jaume Ventura. So: Marcel Ferrer. Caracterització: Eva Fernández. Producció executiva: Daniel López-Orós. Cap de producció: Jordi Brunet. Productor delegat: Josep Domènech. Cap tècnic: Jordi Thomàs. Assistent de direcció: Lola Rosales. Regidora: Marta Garolera. Maquinista: Joan Bonany. Transportista: Jaime Abellán. Cap tècnic del teatre: Iker Gabaldón. Construcció de l’escenografia: May, Sol Curiel i Rafa Moro. Realització del vestuari: Maribel Rodríguez. Ajudant de màrqueting i comunicació: Roberta Romero. Premsa: Sandra Costa i Marta Suriol (La Costa Comunicació). Vídeo: Mar Orfila. Fotografies: Kiku Piñol, Mariano Herrera, Marc Sirisi i David Ruano. Disseny gràfic: Enric Jardí. Màrqueting i comunicació: Focus. «Vanya and Sonia and Masha and Spike (La meravellosa família Hardwicke)» va ser produïda originalment per McCarter Theatre, Princeton, N.J. Emily Mann com a directora artística, Timothy J.Shields com a productor executiu i Mara Isaacs com a directora de producció. Produïda l’any 2012 pel Lincoln Center Theater de New York sota la direcció d’André Bishop i Bernard Gersten. Direcció de la versió catalana: David Selvas. Coproducció de Bitò, La Brutal i T de Teatre. La Villarroel, Barcelona, 17 setembre 2022. Veu: Andreu Sotorra Música: These boots are made for Walkin Intèrpretació: La família de Ukeleles Composició: Lee Hazleewood Àlbum: La família de Ukeleles, 2014

Amir Arison stars as Aram Mojtabai on NBC's hit series “The Blacklist. Notable recurring roles in television include work on HBO's “Girls,” the Emmy Award-winning “Homeland,” NBC's “Law & Order: Special Victims Unit,” “Zero Hour,” “Dallas,” “True Justice,” and “State of Georgia,” as well as Julia Stiles' hit web series “Blue.” Recent guest star appearances include “American Horror Story,” “NCIS,” “The Mentalist,” “Major Crimes,” “Once Upon a Time in Wonderland,” “Gossip Girl,” “Fringe” and “See Dad Run,” among others. Arison has also been a series regular on Bryan Singer's acclaimed Digital Series “H+” for Warner Bros. Arison's film credits include “A Merry Friggin' Christmas” with Robin Williams, “Big Words,” “I Hate Valentine's Day” with Nia Vardalos, Tom McCarthy's “The Visitor,” “Today's Special,” “Vamps” with Alicia Silverstone, and the upcoming “Jane Wants a Boyfriend.” Arison also has an extensive background in theater, which includes the New York premieres of Stephen Belber's “The Muscles in Our Toes,” “Aftermath” (Drama League Nominee), Christopher Durang's “Why Torture Is Wrong… ,” Charles Mee's “Queens Boulevard,” “A Very Common Procedure,” “Modern Orthodox,” “Omnium Gatherum” (Pulitzer Finalist), “Candy & Dorothy” and “A First Class Man.” Internationally, Amir starred in Michael Kahn's award-winning “Love's Labour's Lost” (RSC's Complete Works Festival). Notable regional credits include appearances in productions at The Shakespeare Theatre D.C., The Huntington Theatre Company, Yale Repertory Theatre, Paper Mill Playhouse, The Long Wharf Theatre, Portland Center Stage, The Lyric Theatre, Shakespeare Festival of St. Louis, Olney Theatre Center and the Dorset Theatre Festival. Amir grew up in Fort Lauderdale, Florida and attended Columbia University in New York City. He recently made his Broadway debut playing the leading role of Amir in The Kite Runner on Broadway. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this week's show, we're setting up Shalita Grant, actress and founder of the company Four Naturals Hair. Shalita is a Tony-award nominated actress whose career on the stage has included runs at The Public Theater and Lincoln Center Theater, including originating the role of Cassandra in Christopher Durang's comedy Vanya and Sonia and Masha and Spike. Grant is well known for her recurring character on NCIS: New Orleans, Search Party, the Santa Clarita Diet, and the most recent season of YOU. She recently read and loved Octavia Butler's Bloodchild and other short stories and Brene Brown's Power of Vulnerability, and says that she loves fall (especially because of the cozy socks) and could spend a whole autumn season in Barcelona. Her perfect day includes a hike with her girlfriend and a cuddle with her dogs, and she's a snob about pizza. The guest: Shalita Grant The picks: In the Shadow of the Mountain by Silvia Vasquez-Lavado The Verifiers by Jane Pek Trust Exercise by Susan Choi The Gilda Stories by Jewelle Gomez We Are Never Meeting in Real Life by Samantha Irby How to Find a Princess by Alyssa Cole Where to find us: Find our show online at blinddatewithabookpod.com and @bookmeetcute on Twitter and Instagram. Please follow and tell us all the books you've fallen in love with recently.

Dr. Antonios Gasparis, https://www.stonybrookmedicine.edu/ (Stony Brook Medicine) The Director of Stony Brook Medicine's Center for Vein Care, Dr. Antonios Gasparis, talks about the symptoms and risk factors for DVT—Deep-Vein Thrombosis—including the importance of calling doctors before a blood clot becomes potentially life-threatening when/if it travels into the heart. Andrea Schiavoni, Monday Meditation Underwritten by http://www.cynthiadaniels.net/ (Monk Music Studios) One of the stars in the upcoming performance of ‘Vanya and Sonia and Masha and Spike' at LTV this Memorial Day weekend comes on-air with Gianna Volpe to talk about acting in Christopher Durang's comedy alongside the rest of the cast, including her daughter, Anna, whom she said first discovered her love for acting after Andrea enrolled Anna in acting classes at six years old as a means of opening up the initially shy youngster. For tickets and info visit https://www.ltveh.org/ (ltveh.org).

Episode 23 of READING MCCARTHY brings us a great discussion with actor and audiobook narrator Richard Poe.  Poe is known to McCarthy fans as the audiobook narrator of McCarthy's masterwork Blood Meridian.  Richard Poe has been a professional actor since 1970, when he left the army and was soon drafted into the chorus of William Ball's production of Oedipus Rex at the American Conservatory Theater in San Francisco. Later that year he was cast as Rosencrantz in a production of Hamlet starring the 73-year-old Dame Judith Anderson, touring all the major theaters in America, including Carnegie Hall. He then played a variety of roles in many regional theaters before coming to New York in 1985. He has since appeared in thirteen Broadway shows, including the 1988 Best Play Tony Award winning M. Butterfly, 1992 Best Play Nominee Our Country's Good, 2006 Best Musical Revival Winner The Pajama Game, and the 2007 Best Play Revival Winner Journey's End. He created the roles of Father Dan (among others) in Paul Rudnick's groundbreaking comedy Jeffrey, and Leonard in Christopher Durang's Why Torture Is Wrong…And The People Who Love Them. Recently he returned to The American Conservatory Theater, where it all started, and created the role of Edgar Halcyon in the new musical, Tales Of the City, receiving a nomination for Best Actor in a Musical from the Bay Area Critics Association.  Additionally, Richard has had featured roles in several films, including Born on the Fourth of July, Presumed Innocent, Transamerica, Speechless, Burn After Reading, and Delivery Man.  For his performance as Roy in Teresa is a Mother he was named Best Actor in the 2012 New York City Independent Film Festival. On TV he's had recurring roles on several series, including Frasier, A Whole New Ballgame and in several episodes of each of the latter-day Star Trek series.Most interesting for our audience, Richard is a prolific narrator of audiobooks, with over one hundred titles to his credit, including three novels by Cormac Mccarthy, His narration of BLOOD MERIDIAN was nominated for an “Audie” Award.  He won the award in 2004 for his narration of John Steinbeck's East of Eden. Richard is married to Claudia Howard and they live in Brooklyn.Thanks to Thomas Frye, who composed, performed, and produced the theme music and interludes for READING MCCARTHY.  To contact me, please reach out to readingmccarthy(@)gmail.com. Find us on Twitter and Facebook; the website is at readingmccarthy.buzzsprout.com, and if you'd like to support the show you can click on the little heart symbol at the top of the page to buy the show a cappuccino, or you can support us at www.patreon.com/readingmccarthy Support the show (https://www.buymeacoffee.com/rdgmccarthy)

Interview: We talk to Dave Dastmalchian and John Hoogenakker about a special moment with F. Murray Abraham, finding friendship in a cutthroat environment, having substance abuse and authority issues, mind-f***ery, the cloistered nature of conservatories, using skills gained at TTS on set, taking an eclectic approach to acting, the tricky dance of teaching an art form, PR Casting, Does a Tiger Wear a Necktie, when William Burroughs discovered a copy of the Fledgling Press, a zine which Dave created.FULL TRANSCRIPT:Jen Bosworth-Ramirez (00:00:08):I'm Jen Bosworth Ramirez.Dave Dastmalchian (00:00:10):and I'm Gina Pulice.Jen Bosworth-Ramirez (00:00:11):We went to theater school together. We survived it, but we didn't quite understand it.Dave Dastmalchian (00:00:15):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.Jen Bosworth-Ramirez (00:00:20):We survived theater school and you will too. Are we famous yet?Dave Dastmalchian (00:00:29):So they concocted this plan to make A shelf in our library, like right above the door frame, that goes all the way around the room. So I am not kidding you. So, soJen Bosworth-Ramirez (00:00:49):Pictures, pictures, put them on the website. Okay.Dave Dastmalchian (00:00:53):Here's the deal though? My son, my, my middle child is so smart. He has never helped us with these type of projects before, because he doesn't really like, he traditionally hasn't really liked working with his hands, but this time he wanted to, it was really his idea. He wanted to do it. And he's such a math brain that he insisted on doing heavy. Pre-planning like he made us model, not a, he's calling it a model. It's not really a model. he's like got a piece of paper. He drew plans for it. He did all kinds of measurements. He used. Yeah, it was great. And he goes, listen, if we don't plan it out like this, then we get halfway through and we run into a snag and then we stop working on it, which is exactly what the oldest one. And I have done on a number of projects, including building a full-sized Playhouse on our back -Yes ma'am yes. Ma'am. I spent thousands of dollars on wood and nails and power tools so that we could have this joint project of building a Playhouse. And we didn't think it through one single bit. We, we found some plans on the internet and we went through and we made it. I got, we got all the way to the roof and the roof is what did us in? We couldn't, we couldn't get up high enough on the thing. We didn't have a high enough ladder and it's not in a great enough position. We couldn't put the roof on it, sat there for a year. And then it was time for the bar mitzvah, which we were having the party at our house. So we had to, and we had to take the whole thing down and we never finished it. So the other one goes, listen, we're I don't want to do that. I don't want to go through all this work and give it up. So he planned it and boy did he plan it with an inch of his life and it's going up and it's looking great. And I will send you picturesJen Bosworth-Ramirez (00:02:44):That is done. Oh my gosh. Merry Christmas. [inaudible] freaking Christmas. That's fantastic.Dave Dastmalchian (00:02:51):I have one other cute little story to tell you.Jen Bosworth-Ramirez (00:02:55):I took, well, I told her, um, I told C's, um, hummus story is Sasha and Chrissy and Tilly. Oh. Saw them from afar. Um, we saw them outside. Uh, they're amazing. And they laughed so hard. It was. Yeah. So it's for people that don't know. I mean, we've probably said, I'd probably made you tell it like four times, but you, but my version, this is how I tell it is that, um, your daughter says, mom, what, what kind of stuff do they have to eat in prison? Do they have like bad food? And you're like, yeah, it's probably not that great. She goes like hummus? They cracked up anyway.Dave Dastmalchian (00:03:37):She's she's hilarious. So, um, I was sick yesterday and she came home from the bus. Oh, earlier in the day she had -I was taking her to school and this little girl had these really cute boots on these little there's some, some, Ugg, type boots. She's like, Oh, I love those boots. And I S and she had said something to me about it before. And I said, yeah, you know, I looked for those, but I couldn't, I don't see where they are. I, I, you know, I can't, I can't find any of the information for it. So she comes home yesterday. Oh, this is so sweet. She brings me a plate with sliced up bananas, um, something else, and the little container of yogurt that she got in her lunch that she brought home. Cause this is kind of sugary yogurt that I never buy for her Trix yogurt. And she covered it in saran wrap. And she wrote me a note. I get, well, note, and it's a picture of the two of us. And it said, mom, get, well soon. I love you. And you, and it says at the bottom turnover, turnover, they have such, she goes, I got the information about the boots!Jen Bosworth-Ramirez (00:04:53):I'm telling you. She's genius.Dave Dastmalchian (00:04:56):She writes, You can get them at col that's Kohl's or you could get them at Kohl's or, um, uh, TRG I T get at targetJen Bosworth-Ramirez (00:05:12):She's genius.Dave Dastmalchian (00:05:14):She followed up this morning. She goes, so did you, did you check out Kohl'sSpeaker 4 (00:05:31):[inaudible]?Dave Dastmalchian (00:05:38):Hm. We've moved a lot. I mean, not as much as you, but we've moved a lot in the time that we've been together. 20 whatever years we probably moved, I don't know, 15 times and, or maybe less than that, but, uh, between 10 and 15 times. And we, one of the things that we lug around from place to place is a lot of mementos. A box of mementos turned into two boxes, turned into two boxes each. Now we have kids, they have their boxes. So we're at the point where not only because of this for other reasons, but we have to store all the mementos in a storage facility. This is the dumbest possible thing. I mean, it also has furniture from, Oh, it has furniture. But like, anyway, we store boxes in boxes. Probably those plastic tubs, you know, the big plastic tubs would probably have like six plastic tubs that are of mementos.Jen Bosworth-Ramirez (00:06:40):Wow.Dave Dastmalchian (00:06:41):Aaron has, you know, the, the little plaque he got when he won a tennis tournament in eighth grade is it's like a lot of things. Okay. I've gotten better at paring things down. But then when you have kids, you feel like you shouldn't throw anything away because they're the ones who are going to be going through your stuff one day and who are going to be mad. If you didn't save all of their stuff. Now, of course you cannot save all of their stuff, but like, what's your stance on mementos? What do you keep? What do you toss? What's -do you feel guilty about it, et cetera?Jen Bosworth-Ramirez (00:07:20):It's a great, that's a great topic. I, um, feel mixed. We have, so, yes, we've moved so much and we too have mementos. Um, there's the Marie Kondo, you know, that if it doesn't spark joy, but I don't really believe that. Um, I think people should, uh, do what they want to do for the most part. I don't subscribe to a minimalist thing, but I definitely feel like for everything you keep, you should throw out one thing. So, so, so that goes with clothes that goes, and it is really hard. Now, mementos are different because they have sentimental, they have sentimental value, but I'm remembering having to go through, uh, both dead parents' stuff. And most of it is garbage. Like most of them, most of it is like a lighter that my dad had that was engraved with someone's initials. That weren't his, why he probably stole it from somebody. But, um, but I was like, what, what, what? No. And it was a tremendous amount of emotional work to go through this stuff. And, um, yeah, I say get rid of, most of it. I get rid of most of it.Dave Dastmalchian (00:08:42):I mean, I think what it's about is, cause what, what I did with my dad is so when he died, I was right before I got married and he, so he didn't know that I got married or about any of my kids. So I think I really held onto stuff for kind of a long time, because it just felt like I didn't have time to grieve or process or whatever it is. So there are certain things that I, you know, you have your stages, like things you get rid of, like when Aaron's dad died, he came home wearing all of his father's clothes. He had his, and they were all too big pants and his shoes, well, that stuff has started to, it's been about a year, that stuff is starting to go away. So I remember the phases of getting rid of stuff. And it is something about like, you hold onto the, the stuff is like a placeholder for you doing your grieving. So it's like the more you do the work of going through the grieving that's then you, then you feel okay to get rid of the stuff. And the thing about what the kids is, I know something that they don't know, which is that it feels so precious to them now is not going to feel so precious to them. For example, when they go to college or move out and I say, we need to go through this stuff. Now we need to go through and figure out, you know, what you want. And I'm sure that they're going to want to get rid of a lot of stuff, but they also want to keep like, both boys did TaeKwonDo and went through their black belt. And the trophy for a black belt is like, as tall as a person, that's like five feet tall. Those are in storage. We went to storage to get out the Christmas stuff. And my oldest son, he picks up, he goes, this thing was really like a piece of junk. Like it's, you know, cause trophies are just made of plastic cheap metal. Yeah. So I, that was like, okay, you're going to want to get rid of this. That's a good thing. But with the smaller things, like really precious sentimental notes, I feel like keeping, but listen, not every kid or not, every person writes a card that's worth keeping, I'm sorry to say, butJen Bosworth-Ramirez (00:10:58):Right. And what you don't and what, and I think what you're doing is by getting rid of the sub stuff is what you're actually doing is making your kids job easier when we all croak. So if you think about it that way, like I act, but they should be allowed maybe one tub each.Dave Dastmalchian (00:11:18):Right. And we shouldn't have to worry when it gets no, no, well, they don't, they only have one tub, but then they have things like the trophies or the other things that they don't want to get rid of. Yeah. I'm feeling like what we should do is it is a annual or at least every few years going through making sure this is still so, because it, it was only recently that the older two wanted to get rid of their schoolwork from kindergarten. Wow. Yeah. They really wanted to. And that's the other thing is like, if it is serving some emotional need, I cut it off. I don't want to cut off, but I also don't want to, I know how it is with the whole storage facility. We got a storage facility that's bigger than what we need. We're just going to fill it up like a goldfish, eating too much and filling up its bowlJen Bosworth-Ramirez (00:12:05):And then their stomach explodes. Uh, but I was going to say something that you might do too, is if you're into any kind of ritual is w miles will burn. Um, we will burn stuff in a, in a, like a goodbye stuff. Like, um, if it's sentimental letters and stuff, now it, you know, there's not burning a kindergarten paper on, you know, aardvark, but, but if there's anything have some kind of ritual saying goodbye situation. Um, my sister and I, Oh my gosh. When we went to through the attic, there was a, like a 10 year period where everyone died. Right. And so we had 10 people's ashes. I'm not kidding you. My mother, my father, both three grandparents migrating at Ruth. It was crazy. So we didn't know what to do with all these ashes. We just dumped them in the garden. We are like, and we had a parade of ashes. We just had a ritual. We were like, goodbye, goodbye, aunt, Ruth goodbye. Then they all got mixed together, but we literally headed those cremations of like, not, it was like nine people, but I was like, so you don't want, you don't want stuff to accumulate that, that P that the kiddos are going to have to just go through and be like, I mean, the ashes were fine, but there was so much stuff that I was like, Oh my God, like pictures of people that you cannot name, those got to go. Yeah.Dave Dastmalchian (00:13:31):Right. What about though? Have you ever thrown something away? And then been like, Oh, I wish I hadn't got it.Jen Bosworth-Ramirez (00:13:39):But you know what? They were, it was bigger items, actually. Wasn't sentimental stuff. It was like, my mom had this, a couple of chairs and furniture. It was more big stuff. And it doesn't sound like you have tons of big stuff. Um, it sounds like it's more sentimental stuff. Um, but I, I mostly felt like that chair, I should have hold it. It held onto the chair and some of her of dishes and stuff like that. But at the time I was like, no, it's gotta go. It's gotta go. Um, so the other thing that I would say is don't, um, for people is like, don't make any decisions when you're in a heightened, emotional state, because you will save weird and you will throw out stuff that you will. So like, it's good that you go through it once a year. Not in a crisis, not in a, not, you know, after a huge event, but at like when you like a regular checkup to the storage place,Dave Dastmalchian (00:14:36):I think too, I just had this thought what I should do, especially with papers, take pictures, just take pictures of papers. I can, I can even make a book for each of the kids. Like here is five images of all the crap you wanted me to save that I didn't, but I took a picture of it.Jen Bosworth-Ramirez (00:14:58):Brilliant. You just thought of that. Brilliant. Yeah. You're a Marie Kondo in your own, right?Dave Dastmalchian (00:15:04):Aye. Aye. Listen, pursuant to our conversation about my home decor. I'm like, let's get rid of it. Let's get rid of it all. Like I have a China cabinet. I mean, come on. I, I, I mean, I have China. I have, I have tried, but I don't need to, it doesn't need to be displayed. Like, it's my prize possession. You know what I mean? It can just go to shelf.Jen Bosworth-Ramirez (00:15:22):I guess that, that leads me to the question for you is, and it goes back to our other conversation, which is, um, do you think you just adopted that because it's what you thought you should do.Dave Dastmalchian (00:15:33):It's 100% that, because I, yeah, I, I learned at an early age, like I remember being on the younger side and, uh, going through something, I forget what it was, birthday, old birthday cards and throwing them away. And my mom being like, you're getting rid of them. You know, she keeps everything. She keeps her, yes, she keeps everything. But I, uh, my middle child is my, uh, icon in this way. At summer camp, you send cards, you know, you're in current and they like to receive mail. So I sent a lot of cards and he received a lot of cards. He comes home from camp. This is not this past summer. But the summary for her, I said, did you get all the cards I sent you? He said, yes, I did. And they were so great. And on my last day of camp, I looked through all the letters that you and Gran and I gave him a kiss through with the trash. And when he said it, I, I had this Pang of like, Oh, you throw them in the trash. But of course it served its purpose. The purpose was to give him something to remember us by while he was at camp it, then it was over. Then he was going to come home and be with us. He didn't need to hold onto it.Jen Bosworth-Ramirez (00:16:53):It's not sentimental that way. No. What about clothing? Do you hold onto clothing?Dave Dastmalchian (00:16:58):No, no. I get rid of, I mean, I have my, I have my, I kept my wedding dress and I CA I kept like a few of the kids. Very first ones. These remember the onesies that you made, that you, you, we made at your house. I have the, I have not all of them, but I have some of those, but yeah, I don't get sentimental about clothing. Aaron does. Aaron has his high school, varsity jacket and his first pair of scrubs and his first doctor coat and all this kind of stuff. Oh, wow.Jen Bosworth-Ramirez (00:17:30):Go through your clothing. And you're not a shopper. You don't like to shop for clothes.Dave Dastmalchian (00:17:36):Well, I like to have clothes. I just don't like to shop for them. Yeah, no, I go through, I, yeah, I'll have, did I forget if you were here, you saw my closet. We have, I've never seen your closet. It's technically a walk-in, but not really. It was a very small class. I have always had a very small closet. I've never, I know that if I had a huge closet, I would just collect a bunch of clothes. So it's kind of an and shoe. So it's kind of a good thing that I don't know. That's one thing we sort of keep under control. We, I throw out something maybe like once every week or once every two weeks I get rid of stuff. Really? It's the other stuff. It's the stuff that I feel like I'm supposed to have because I have kids or I'm supposed to have, because, because really a lot of the other people in my life are very sentimental errands. Very sentimental has. My mother is very sentimental. My kids are very sentimental. So I feel like I have to keep all this stuff for them. But I really don't.Jen Bosworth-Ramirez (00:18:31):That was a China cabinet. Was that a purchase that you thought I should have this because I'm an adultDave Dastmalchian (00:18:36):Or did you inherit it? No, we were moving here from the city and we were just both like, well, we need a dining set. And we went to the furniture store was the first time I went to like a real furniture store and they had a matching dining table and chairs with the, with a China cabinet and a, uh, something else. We've got three big pieces. It's all crappy furniture. It was a waste. It was expensive. And it was a waste of money because all furniture that's made past bef you know, since 1950 is crappy furniture, um, dining table. Well, it's big, but it's, it's really like wobbly. It's crappy. It's crappy. So I, I think I'm going to, maybe after the holidays, get rid of the China cabinet, whole King thing. Like it doesn't give me any joy to look at it. It doesn't give, it's just like, here's where we put all the crap that we use on Thanksgiving.Jen Bosworth-Ramirez (00:19:33):Right? It's more of a storage. It's not a showcase for anything special. What you need to do is get so many snow Globes that then you've got you put those in there, maybe, but that's a huge, you don't really need maybe a different kind of case for the snow Globes.Dave Dastmalchian (00:19:48):Something like that would give me joy, some little bauble, something like that. It's just plates and vases and, and somebody who is in my family has started a collection of something for me that I don't care for. But it's like, you know how it is, the person really wants to collect something for you. And they pick something. They, they have something that they collect and then they go, well, would you like a different version of this thing? I collect it. And you know, and I remember saying once, like, Oh, that's pretty. And next thing I know I've got my, what she considers to be my version of her thing. This is not my mother. I have to feel like I have to say this because this is not my mother. And it's, it's stuff that I feel that I have to make sure is out for when this person comes to my house.Jen Bosworth-Ramirez (00:20:43):Understood, understood. I don't, you know, I think everyone like dead in my family. So I, I, I get free from some of that, like, but I do. There's a part of me that goes, Oh, someone is thinking about you that's collecting something for you. It just, maybe they would ask them if they could collect. You know, I don't knowDave Dastmalchian (00:21:05):To me that the collecting impulse, I don't relate to it. I mean, with the exception of maybe that I like these pretty snow gloves, I I'm not, I don't collect anything. And my mother collects everything. She does. She does. She collects, she has a China pattern. She does a crystal pattern. She collects, um, she's a big reader. So she collects books. She, yeah,Jen Bosworth-Ramirez (00:21:35):I remember I remember the house on Wayne, right? And it was a duplex. It was a two floor. She had a lot of nice stuff. She had a lot of nice stuff.Dave Dastmalchian (00:21:44):It is, it's all very nice, but it's, it's stuff. It's a lot of stuff. And I'm just finding that. I'm not as into stuff. As I thought I was,Jen Bosworth-Ramirez (00:21:53):Well, I think the pandemic has done that to people too. It has increased for me. Anyway. It has increased my awareness that like, all this stuff is not going to save us from certain things.Dave Dastmalchian (00:22:06):Not from nothing. It's not going to save you from anything and you have to clean it and you have to store it and you have to move it. And you have to, you feel, for some reason you have to replace it. If it gets broken, like it's just a yoke, it's a yoke. And Aaron and I fantasize. When the kids leave, we're going to get a studio apartment. We're going to have no possessions. And we're going to just do whatever we want. That doesn't have anything to do with buying, maintaining, or storing stuff of anything.Jen Bosworth-Ramirez (00:22:38):That's brilliant. I think that is a great plan. D my only caveat is please do it in California. That's all I have to say. Yes, yes.Jen Bosworth-Ramirez (00:22:58):Today on I Survived theater school. We have the fancy friends, Dave Dastmalchian and John Hoogenakker. I call them fancy friends because that's what they are. They are fancy. They work. And they work all the time and they're delightful human beings literally think,Dave Dastmalchian (00:23:13):and they have fancy last name. I was making the episode art. I'm like, Oh, this is, of course these two have to have the longest, last name so that they really do. I've ever had. We'll just call him Dave. You guys have seen. Yeah. And you guys have seen them. I mean, not necessarily together, but, um, uh, Dave was his first film role was in, uh, the dark night. So he, I would love to have him back Sometime and ask about Heath ledger, because I bet that he's got a lot to tell about that anyway. So Dave has a, mostly a film career. He's also a screenwriter. He has written a few films that are excellent, including, um, Animals and, uh, All Creatures Here Below two excellent films. And John is a lot on television.Jen Bosworth-Ramirez (00:24:07):Gotcha. Uh, he was on Jack Ryan as one of the big, big leads. And he, and they're in an outstanding film called Teacher together. So that's somethingDave Dastmalchian (00:24:18):Right. And the two of them wanted to do the interview together because they're such close friends and they shared a lot of memories. And it was interesting to have as it's our first duo. It was interesting to explore their friendship as a way that they both survived theater school. So please enjoy Dave, the small shin and John who can anchor.Dave Dastmalchian (00:24:40):You got to call her up again and ask her to do all right.Dave Dastmalchian (00:24:44):I'm going to make a note of that right now. Anyway. Congratulations, John and Dave, you survived theater school. No, not barely. You guys. I think you both had excellent theater school careers, but I'd like to hear it from you.Jen Bosworth-Ramirez (00:25:06):Uh, w I'm so glad that you're our first duo that we've had on today. The fancy friends. And I wanted to know about your experience, like together as well as a part, but like my first question for you is, did you love each other right away?Dave Dastmalchian (00:25:22):I don't, I don't know. John, did youDave Dastmalchian (00:25:26):Well, for sure,Dave Dastmalchian (00:25:30):Gina the longest and by the way, so good to see you. It's only been 20 years like this. I mean, we've, we've messaged and emailed a lot, but Jesus, this is amazing. Oh my God. Uh, so I was roommates with Gina and we were very close and then I left school for a year. And so the school moves forward. Jen, you and Gita were in the same grade. You guys all moved forward. And when I came back, it was a whole new group of people to get to know. And John, um, was one of the first people that I knew when I got back. So I felt very out of place. And, um, it was hard to come into because it's such a competitive environment and it's such a, um, intense environment. And I was both competitive and intense. So to jump into the fire with a whole new group of people, to kind of, it's hard, cause you're posturing, you're sizing up, but at the same time, you're looking for connection.Dave Dastmalchian (00:26:27):You're looking for support and it's, it's such a conflict. And John, I'm not going to get emotional today. I swear to God, but it was like one of the first people that extended such, uh, a kind generous since he's got that, that, that inimitable,John Hoogenakker (00:26:46):I'm a cuddler.Dave Dastmalchian (00:26:47):sincerity, which is what makes him such a brilliant actor. But he had that like, look me in the eyes in class and like, Hey, he has a little bit of a draw. Like I'm really excited. You're here. And I want to get to know you and I hope we get to work together. And then we went and hung out at his apartment soon after that and maybe smoke something. This is recorded, sorry, John. And then we watched star Wars stuff together and that was our bond. So that's my version of this story.John Hoogenakker (00:27:16):Um, no, God, we, we had a lot of fun. I have old pictures of you and I, and Iyisha and, uh, snuggling ghanaba, um, you snuggling and which I'm going to send you guys. Um, but, uh, yeah, we, uh, jeez, I just remember, uh, I remember Dave's, um, it bullions from day one, his like drive in his, in his positive energy. And I think, um, that is the thing that ha that has, that has been such a, um, such a driving force in Dave's career, um, is that he just never stops. It comes down to energy and positivity, and he's constantly pumping that into the world. And I think Dave has known for many, many years that it, you know, that that kind of stuff comes back to you. Um, and I think I was drawn to that in Dave, uh, yeah, from the giddy-up, butGina Pulice (00:28:10):Also recognize somehow that he needed you to take on that stare you in the eye and tell him you want to get to know him vibe. Did you know that he felt overwhelmed coming back?John Hoogenakker (00:28:23):Uh, I D I think from my perspective, the thing that drew Dave and I, to one another was a sense that, you know, in the theater school at the time that we were all there was such a, um, there was so, uh, it was a lot of mind fuckery going on. And there was a lot of, um, I think a lot of us in the acting track, especially I know this was the case throughout the school wanted, um, positive reinforcement from teachers. And sometimes I think my perspective was that people were manufacturing emotions and things to achieve that positive reinforcement. And Dave, uh, just seemed to be Dave to me, which I really, really, uh, enjoyed and appreciated. And, um, yeah. And so I think that was, uh, that was, um, it was, it was Dave's, um, his, his sort of genuine vibe that I wasJen Bosworth-Ramirez (00:29:20):Both of you when I've run into you. I mean, you know, I don't, I live in California now, but I've seen you like at PR and Dave ed ran into you, one set of Starbucks in Chicago, the genuineness is unbelievable. So I, I think you're both fancy and I'm sort of sorry, starstruck, I, but when I, but there is sort of, both of you have this sort of face to face, like, look you in the eye, I'm going to have an actual conversation with you. And I think that makes you not only great, great actors, but what's more important to me is great human beings. And I, um, I don't know. I'm just so glad you guys found each other and that you're friends. It's like, no, it's not. That's how I feel. Yeah. That's how I feelDave Dastmalchian (00:30:06):The work and outside of our mutual, passionate love for the theater acting film, um, storytelling, character creation, cinema history, literature, like John. And I did kick it off immediately with a lot of, of, um, you know, kindred kind of passions for things which we all shared because we all were in that, that, that, that vortex. Um, and obviously we were drawn there because we had a passion for this stuff, but, um, you know, I've been through, uh, the ringer in my life outside of my acting career as well. And, and, and John was always one of the first people to show up and be there for me when I needed someone as well, which was you, you're not taught that in the, again, this is about surviving the theater school you're taught, um, that you're in the ensemble family mode during rehearsal. And it felt like kind of, um, during a production, but then it was right back to, you know, this really intensely bizarre, like John there's no better, I guess, adverb than mind fuckery of, um, and, and it was, it was, um, I'm very grateful, um, and, uh, many great, true friendships came out of that time because when you go through something that intense and that trying, but we, um, we, we, I would love to tell a quick story if I can, because we were kind of, we, weren't kind of, we were absolutely ups. We were in trouble a lot, um, because it's no mystery that I had a pretty intense substance abuse problem in college. And John had a pretty serious attitude problem in college. And, uh, neither of us dealt well with authority, although we loved being directed, which has always been a paradox with us. Like we love great directors that get in and like help guide us and shape things. But at the same time, we are the first people to, you know, get our backs up sometimes. And I, um, and I remember John and I were so frustrated that some of the people like he, he, there was this, this feeling of like posturing or presentation that always felt in authentic to us. And we wanted, you know, Chicago, we want to rub real dirt on our faces and smashed glass, and we're going to get in there. And, and we were doing a scene together from, um, uh, Glen Gary, Glen Ross for, um, second year, uh, scene study work with Joe [inaudible]. And it was so intense. It was the Moss era now seen at the Chinese restaurant. John is just needling into me to like, you're gonna, you're gonna get in on this heist, or I'm going to ruin your life. And we loved, like, we got into that so much. It was all space work. And we're in generally John and I were in, I was either in rave clothes or John was in some tide by Bob Marley thing. And, um, and so we had to speak special guests coming to the theater school who was going to do a scene study, uh, workshop. And it was F Murray Abraham. And, um, I'll never forget. We were all so excited, big fans. We go, they did it at a separate location on campus.John Hoogenakker (00:33:07):And it was where it was history of dramatic lit I think,Dave Dastmalchian (00:33:12):where nobody cheated. And he, um, he Through the fees that he was working on so quickly, and he was getting frustrated, like stop with the, stop with the presentation, like w Let's work these.John Hoogenakker (00:33:28):And he was also, he was also like not giving, like he would give a really incisive note and then would be like, all right, now, fuck off and do better in life!Dave Dastmalchian (00:33:38):He didn't want over preparation. He wanted this to be like a malleable Play-Doh Eve kind of moment where we could, so we were not part of that event, John and I were just sitting in the back row, probably like, just like, Whoa, this is so cool, dude. Like "that's F Murray Abraham!"]. And he looked to the crowd. He's like, is that all you got? Cause they had prepared. I don't remember four or five scenes.John Hoogenakker (00:34:01):Yeah. It was like, it looks like, well, it was like two from each classroom. And, and then we had like a break and the teachers were kind of looking around at each other, like, well, that's all I had. And that's all I got Dave, you went toDave Dastmalchian (00:34:15):Slowik Turned to me and John and slowok. goes, "You guys!"Speaker 7 (00:34:18):You guys, can we do it, John? Can we do it here? And John's like, yeah, let's do it.Dave Dastmalchian (00:34:25):What else is in costumes that they've got their props that John and I hopped up with? Uh, we, we may do, right. We got a bottle that we brought from someone else's seen some cups. Um, and we jumped up there and we did this. We did the scene where F Murray had recently done the piece or he was familiar enough with it that he could kind of jump in and, and do with this. But IDave Dastmalchian (00:34:45):Was so proud that day, even Though I knew what F ups we were. And even though I knew that I was, I knew that the work we were putting into and the discipline and the, and the, and the love we were putting into building these characters together and how much we loved playing off one another was, I knew in that moment, this is something I'm going to do with this guy for the rest of my life. And sure enough, we've gone on to do films, two films together, outside of school, we continue to collaborate. Um, I knew in that moment though, I was like, this guy I'm holding onto him for the rest of my life.John Hoogenakker (00:35:18):Dude, I wanna, I want to jump in because that was such, that was, first of all, it was, it was an amazing experience that we were like, we were like greyhounds, just ready to run. And, and we were also, we didn't realize that. So I'm going to, we talk about surviving the theater school. I don't know where to start, but more importantly, I don't know where I should stop. So you guys got to shut me up. Um, so, so, uh, I ran, I got that bottle from my roommate who drank Jamison, like all the time. So I ran across because we were in Seton hall, not Seton hall, but a sanctuary. And I got the bottle and I came back and Dave and I were getting ready and we do the, we do the scene and I knew, we knew that F Murray was going to just like, give us a note and dismiss us. So he gave us this note. And the w the one thing was I had been breaking up this paragraph that I was giving to Dave, you know, kind of feeling my way through it. And she kind of schmacting him and he was like, you know, this David Mamet gives you all of the direction you need with the punctuation, like Shakespeare. And you need to just drive through without taking a break, because that's going to give you more pay off at the end of the, at the end of the scene. And Dave and I looked at each other and we just started doing the scene before he could dismiss us. So we jumped right into it. And he had gone through all the people in our class that had been put forward. He had gone through upperclassmen, and that was the first group, Dave and I were the first two that had the audacity. Did you jump, take the note and jump back in? And we'll when we finished, he was like, that is preparation.Dave Dastmalchian (00:37:01):[inaudible] mother.Gina Pulice (00:37:05):I love that. I love that because what you're telling me in that is you each made a decision where our company is called Undeniable. So you made it, you made a decision to be undeniable. You made a decision to not let him, I'm sure everybody would. I, I'm not sure anybody else in that situation would have been willing to get up and go on and not let him deny you, not let him interrupt you. And you were like 18, 19 years old, which is like even more. So you, you both mentioned mind fuckery, which is a very evergreen theme on our podcast. And I would love to hear a little bit more about as you look back at this time in your life now, uh, and you imagine, cause some of our professors were probably the age then that we are now, what do you make of some of this? How have you reconciled some of what you now consider to be mind. Great. Did it feel like a mind fuckery then, or does it just look that way in the rear view,Jen Bosworth-Ramirez (00:38:09):I'm just going to add a caveat, a quick caveat in that I teach at the theater school. So, um, I, and, and I, um, I'm trying to change the culture there a little bit. And so, um, I, I just always am really hyper aware that like we want, um, say whatever you want, that's what I want to say, whateverDave Dastmalchian (00:38:36):The Vincentian Brotehrs called in the legal team, man, they're coming, you're talking to John and Hey, don't worry. You go first because I know.John Hoogenakker (00:38:52):Yeah, yeah, yeah. Um, I have no idea what I'm going to say. We're on a journey of discovery. No. First of all, to your point, Jen, like I know John and I admire him greatly. I feel like there's gotta be five of him in the planet to achieve all this stuff that he's achieved. And the theater school of today bears little, if any, resemblance to the theater school that Dave and I and you guys, uh, attended. Um, and that said, I don't feel like, uh, the mind fuckery that I, um, felt I was, uh, that I received was the result of, uh, some jerk cadre of teachers sitting around in a circle and being like, who can we -? You know, who can we shit on today? I don't think that's how it was. I think the difference was there was a, a strong, a greater focus on academia. At that point. It was like just giving your life to an institution and, and a philosophy and an approach to doing theater that was, uh, at that time intensely cloistered. Um, didn't allow us to kind of step outside of the school. And we all, uh, to a certain extent kind of knew what we were signing up for. When we came on board, I had been in ROTC when I was in high school. Um, I had competed in debate, so I kind of dealt with a lot of that stuff at the beginning. And I just kind of felt like when I was at theater school, as Dave said, I had a real attitude problem because I was like, I had to take on a lot of debt to go to that school. Um, my family came together and did everything they could to help me, but I, I graduated with a lot of debt. Um, and I kind of felt like, you know what? This is, I'm paying you, but like, we get to have a conversation about this. I know you're the, I know you're the pro I know you've been doing this your entire adult life, but I have questions. And I feel like I'm due an answer and a considered answer. And you don't get to just shut me down because I asked a question and I'm 19 and you're 54. Um, cause I'm here taking on a lot of personal debt that I'm going to carry into my adult life. And you owe me answers. Um, th th that's just, let's just call that an opening, uh, Sally and Dave, you can share it for a little bit,Dave Dastmalchian (00:41:03):Like, you know, it was the perfect place for me to train. The culture was a utterly complicated, complex filled with nuance. Lots of gray area came from a tradition steeped in some really, uh, important and impressive theater movements that were more, um, militaristic and disciplinary and really, um, intense. I'll always be grateful for the tools that I picked up in the theater school to this day, saved me on an almost daily basis sets because the awareness it gave me of my body and my voice, and, you know, the depth of my psychology to be able to solve problems on the fly and repeat, you know, emotional recreations, um, was really important. I will say that there were conflicting philosophies and approaches, which is, I think very healthy. One of the things I loved was that nobody said this is the theater school way. It was like, here's the Joe Slowik way. Here's the Bella Itkin way. Here's the David Avcollie way, here's the Rick Murphy way. You go to these classes, you see what works for you. You see where you're doing the best work, and then you have to grow up quickly and you have to be prepared for this dog, eat dog world of the arts that you're going to be thrown into. Once you graduate here, there is no, you know, um, kind of kind or gentle or entirely psychologically easy way to prepare somebody for the, the, the, the meat grinder that is the show business. And so for all those reasons, I was incredibly grateful. I think there were, there was a lack of oversight when it came to, um, mental wellness with some of the faculty, and I'll always hold them responsible for the fact that they allowed sexual relationships between professors and students. I think it's entirely inappropriate for people in that kind of power, um, in there.John Hoogenakker (00:42:53):It's unbelievable when you look back on it.Dave Dastmalchian (00:42:57):When I think back on the fact that I knew there were teachers that we were meant to listen to and respect and regard and trust with our deepest parts of ourselves who were seduced and having sex with students that breaks my heart. And, and I, I would tell them that to their faces today, if I could see them, but I hope they'll watch. Um, and I also think that, uh, that there was some abusive behavior, um, that I'll never understand other than they were human beings who, um, you know, who were just people that, um, were, uh, that, that, that did, that did some things that may, I like to, I like to believe that they thought they might've been helping push us, or, but some of the things that were either said or done, I go, man, that was, I can remember sitting with Gina one time. And I mean, I I'm a pretty emotionally fragile guy, but I was like on the verge of, of tears, of, of something that had happened with one of the professors that we both really admired, but also we both really kind of feared and, um, and it was just like why, but, but in all, I'm grateful because I'm not one of those people I'll run into people from the theater school who are just carrying so much damage from that time. And I'm so grateful that when I look back on my time at the theater school, in all honesty, it's with a lot of positive, it is I really go, wow. That was an amazing experience. Yes. I have anger, frustration pains about certain things that happen that I can't believe, but I do feel, I feel like it really prepared me for the world in which I'm working now.John Hoogenakker (00:44:37):I totally agree. And I, I, you know, I look back on that time and I kind of feel like what, you know, when I look at things that had that I feel like have gone pear shaped and that I was a part of, I always try and think about what, what could I have done better? And for me, I look back on that period. And I think that I was not, uh, emotionally mature enough or perhaps mature enough in general, to take on board everything that I could have learned, uh, as an actor. And I'm talking about like, uh, technique wise in that program, because I was so emotionally just kind of bombarded with. So, so much of it is, is subjective in the, in the beginning. And we're going into a career where, um, you may go up against four other people in your type, or maybe not in your type who were phenomenal actors, and you may get that job, or you may not. Um, and there could be any number of reasons why you did or you didn't and kind of trying to prepare a child. And let's be honest, if you're not in the master's track, you're still a child, um, for the realities and the emotional rigors of, uh, of what could end up being a career in a full life, doing that stuff would be the greatest act of compassion that an educational center could impart to a child. And I feel like the theater school was like that wasn't even a thing. Um, and, um, you know, I mean, not understanding why, you know, everybody probably makes the case of like, Oh, gee whiz. I was so talented in my hometown. And then I went to the theater school and I was like, Oh my God, everybody's talented. What am I going to do? But you still in class with folks, uh, you know, all these hours a day, all these days a week. And some people are, uh, become darlings. Some people do not. Some people back then, um, were kept on after the first year, after the second year. And some people were not, and there were, there were there, there were like major head scratchers about that, like to go back and to have completed two years and to be respected in the eyes of your peers and presumably in the eyes of your teachers. And then to get that, that letter that, you know, maybe this isn't for you to be able to, to make that determination in another person's life. And in that way is just, it's, it's astounding. That that was what we signed up for. And I'll tell ya, uh, I remember I'll never forget. That was not really made clear. Um, prior to coming to the theater school, like actually sitting there on the first day, I remember sitting cross-legged on the floor and listening to kind of talking, this is the greatest city in the mind of God and His being like, you know, some of you will Graduate. Most of you will not. I remember like, wow, that's pretty intense. Like I was not so clear on the whole half of you are going to get cut the first year and then half the remaining are going to get cut. The second year, that to me was like deeply, uh, ingenuous disingenuous, because what was really happening. And again, the school is a completely different school. Now they've dealt with this stuff. What was happening was they were bringing in free labor that was actually paying them shitloads of money to be free labor, and then kicking them to the curb. They, I think had a pretty good idea at audition, which of these four kids were actually going to make it to graduation. And I think we had some idea of that, but we were literally pitted against one another. I'll give you one example and then I'll shut up and let Dave go again. Um, we did, uh, an intro in second year, lot called Laughing Wild, and it was by Christopher Durang and it's a two-person so two hander, it's a man and it's a woman. And what they did was they cast four males and something like nine females and the director never set the lines. So every night it was literally these kids who still had not been invited back for their third year and could still be cut in a fucking verbal knife fight everyJen Bosworth-Ramirez (00:49:11):This is fucking crazy! Yeah.John Hoogenakker (00:49:13):And you know, it was the director. Like I still had really long hair at that point. Pier said Jason Pierce had really long hair. Uh, Bryan Sharp had really long hair. And I think it was Hunter, uh, Andre. Um, and it was kind of like Ilko didn't really like our long hair. So it was like, you guys all have to look the same. That's what I'm going for. So we all got our haircut and then we commenced to like fighting over these lines. And what we ultimately did was probably pretty cool to look at, but it was also a hot mess. Um, you know, cause he'sJen Bosworth-Ramirez (00:49:49):Totally, no, I mean, I, I think it begs the, so I guess the bigger question here for me and I don't know what you guys think, but, um, th 17, should we be doing this? I, I really, I mean, I know for me, I'm, I'm grateful as hell I went there. I was, I was cut and then asked back, it was a weird thing. I got a letter and then another letter. And then, um, so as a 17 year old or sick, I was 16. Like, this is so much mind fuckery inherent in the system. And w when we went there, I mean, we're all glad we went, but like man kids, I don't know that we should be, if I would, if I had a kid, I don't know that I want my kid to be engaged in a verbal knife fight at 17 with Hunter, Andre. I I'm just, I don't know, but that's, that's a big question.Dave Dastmalchian (00:50:41):I wouldn't put my kids though on the track right now to be actors because of that. But the reality, the harsh reality is that the business of theater and the business of film and television needs 20, 21, 22 year old actors. So to throw them into the best training you can at 18, 19, 20, 21, it sucks. But it's also like it's an exceptional calling to choose the path of the artist. And it's, it's a, it's a, it's more, you know, not to be, you know, uh, whatever ridiculous about it, but it, it, it, it, it is like it's, it's, so it's such an unfair, the world is so unfair. As we know, Jesus Christ turn on the news right now, the world is an unfair place, but the arts are so unfair. And it's like, if someone's going to it's, it's such a complicated question. Cause I do think like right at like 18, maybe that's the earliest. If my kid said, dad, I want to do what you do. I'd say you do as much community theater in high school theater and drama, as you can speech debate, blah, blah, blah. I'm not taking them to a Hollywood audition until they're 18. Um, and if they want to pursue it, I would want them to go study and train somewhere. Like what the theater school is now, you know, at 18. But yeah, it's really complicated. It is. Yeah.John Hoogenakker (00:52:09):I will say that, you know, I was, I was just going to throw this in. When, when I graduated, I got a job working at Chicago Shakespeare, which was started like a couple months after graduation. And I got on stage with, um, Kevin Goodall, Lisa Dodson, Greg Finkler, Brad Armacost, um, all these amazing, uh, classic classic Chicago actors, um, stalwart Chicago actors. And it was the first, uh, it was the first show in the, in their new space. Um, so they had all these great people in the cast. So I got so lucky to be, you know, a messenger in that play. Um, but that was when my personal education in the theater like really started. And that was when I saw like these Titans, uh, kind of dealing with the humdrum rejection of, yeah, I went for another one at PR I didn't get it. Yeah. But it went to blah, blah, blah. And he's a great dude, which is a thing I've always loved about Chicago. It's like, you know, you get to a certain age, it's always the same folks in the room and you kind of are cheering for everybody. You sit in that waiting room, especially PR and it's, it's always a reunion of friends. Um, but I, I, so when I talk to people, parents of child, actors on sets who want to know what I would advise them to do, if these were my kids like Dave, I mean, I kind of, I'm kind of like, you know, if they are still interested in this, when they're 18, I would take all the money that you've saved for college. If you've saved any and just fund their apartment in Los Angeles or Chicago or New York, like start them off when they're that early, because they're four years ahead of the rest of the pack when they graduate. And they will have spent that four years learning at the feet of actual working professionals.Gina Pulice (00:54:08):Yeah. Well, the truth is when somebody wants to be this from the time they're five years old, which probably all of us did, there's no stopping them. I mean, we've heard stories of parents saying, please don't call, study theater, please do something else. And they're going to do what they're going to do, but so let's bring it back to when you guys decided you wanted to go to a conservatory for college. Was that something you knew all along? Did you figure it out later? How did you pick DePaul?Dave Dastmalchian (00:54:37):For me, it was, it was, uh, it was the, it was fate. It was, um, you know, it was truly fate. I mean, it was, it was like a miracle of God. And to me, God works through teachers. It was the power of teachers. I, um, my parents were a mess throughout my, you know, junior high and high school years where I was very much on my own in a lot of regards. And I was a high functioning, um, academically, you know, in the, in the, in the, in a good tier. Um, but I was really, uh, excelling in both speech and football. Those were kind of my two strengths coming through high school. And I didn't see the path towards, um, the academic dreams that I had for college, um, in, in speech or acting or drama for God's sake, but I did through football. So my dream was going into my senior year of high school. I was going to be as yoked as possible, play the best game I could play, get us to state, get a scholarship to go to a better school than I could go to that I knew was at my hands with the amount of money that my mom and I had. And with that scholarship, I was going to try and become a high school football coach who, who ran the drama club. That was my dream for myself, two teachers, my speech coach and our drama teacher said to sat down with me separately and said, you have something you, we will help you if you're, if you're afraid of applying to like arts programs or theater or following a track and drama and hearing that was mindblowing. And they did, they helped me do the research. I looked at SMU, NYU and DePaul. I did a regional audition and then ultimately up to Chicago and my audition was in front of John Jenkins and John Watts. I'll never forget. I was there in cutoff, Jean shorts, a tie dye, Janis Joplin t-shirt and my football socks. And there was a bunch of kids in leotards and jazz shoes who knew what they meant when they were saying things. I did it, my, my monologue was completely wrong. They said, don't do a dialect that I did, uh, a scene from Equis. And then they, we said, don't do a dialect. And I luckily remembered does a tiger wear a neck tie? And I just threw that out there. And it was fate. It was God, it was whatever you choose to believe. But then I got a letter, uh, very soon after that, that, and I was miserable thinking about playing four years of college football. That's important to note, I did not want to do that, but I knew it was a means to an end. My brother was a collegiate athlete and I knew the demands of that and that, that was going to be my life for four years. But for me to get the education I wanted, it was worth it. Um, and I got this letter that not only had I been invited to participate in the theater school program, but I had also been given this, um, this, this huge scholarship, uh, called the Stanley andJohn Hoogenakker (00:57:35):Good for you, Dave, we're all happy for you.Dave Dastmalchian (00:57:39):That's my story. I'm done as John, just going into the story about the buckets. Hey, I left school with a massive amount of Debt as well because my scholarship did not cover living expenses. That's why I had to leave theater school for a year to goJohn Hoogenakker (00:57:58):Dave. Yeah. Dave wanted to live in a four bedroom, three bathroom.Dave Dastmalchian (00:58:03):Gina can tell you where we lived on Lill. What was Our landlord's name?Gina Pulice (00:58:11):Earl Pionke!John Hoogenakker (00:58:15):was Lill, the place. It was like right around the corner from healing earth resources? Like, yeah, that's the one where like a couple like, or an adjacent building had the, uh, the deck collapsed right there. Yeah.Dave Dastmalchian (00:58:31):And the tanks? remember the Space Time tanks, John. The floating tanks?John Hoogenakker (00:58:33):what's that?Dave Dastmalchian (00:58:33):Didn't we go do that together? The tanks, the, that the, the deprivation. The sensory deprivation ones?John Hoogenakker (00:58:38):Oh yeah, yeah, yeah, yeah. Anyway, right there. One of the oldest ones in the city is right there. Yeah. Thanks for, thanks for a, no dude. I'm so happy. So that'd be for you for getting a scholarship to DePaul. That's great. Um, good for you. Um, I didn't get a scholarship. I, uh, no, we, no, I totally very similar story except I was not going to be an athlete, uh, ever. Um, I was in, uh, I was, uh, in speech and debate in high school. I had not done theater since I was a child, like a younger child, uh, because I got, um, braces and my dad who was a, a local actor in Charlotte, um, was like, there's no, there's no market for a kid with braces. So then I was, um, I think at about 10th grade, I started competing in humorous interpretation, which Dave? Yeah. Um, and, and I did really well in that. And so then when I got to, uh, senior year, the drama teacher and I'd never taken drama at the theater at the, uh, high school, you know, she would, uh, she would accompany the speech team on debate trips. She reached out and she was like, Hey, you know, if you want to take this class, you can take the senior level drama class. And she, and my speech coach, uh, Barbara Miller said, you know, you should, you should check out some theater schools, see where you can study. And we, I looked into like, uh, a Julliard I was really interested in because I knew that Robin Williams had gone there, but I think it was more expensive to audition there. And I somehow missed the whole boat on, you know, I think a lot of people, I know Kelly, my wife, um, auditioned at, uh, in Chicago, but for a bunch of schools all at once. Um, and I, uh, I came in like late January, early February, uh, and we stayed, it was going to be a big deal for my family. So we stayed at the Palmer house. Um, and I went and I, again like, like Dave, I was surrounded by all these kids that just seemed so focused. And so like tuned in to this world that all of a sudden seemed very foreign to me and completely unattainable. And like, I was just completely a fish out of water. And, um, and I did, uh, my, my drama teacher had given me a monologue that was, you know, gonna be probably like, does a tire tire wear a neck tie or something, you know, appropriate for the location for the venue. And I didn't, you know, I, we had done, um, a musical called runaways and there was a monologue and runaways that I thought, well, it just really spoke to me. It was about a, a young kid whose mother had passed away. And he was kind of like just mourning her. And I remembered my drama teacher being like, well, it's your life? Good luck. And, um, and I came, came to the school and we did the whole, like, they let us through warmups, which was bizarre. That was Patrice, I think. Um, and then I did my monologue for like Betsy, I believe, and maybe John and possibly bill Brown. Um, and, uh, and I left completely dejected and I told my dad, I was like, well, that's not going to happen. Um, you know,Jen Bosworth-Ramirez (01:02:06):So I have to interrupt and say that everyone we talk to, I am not kidding you. Every single human I've talked to says, I left that place after my audition feeling like, well, I don't, I think I bombed, But no one I've talked to has been like, I nailed that.John Hoogenakker (01:02:26):Well, that's, you know, I that's so, uh, indicative of the way, like the vibe at the time, the teachers weren't like, they weren't there to coddle you and be able to good job. You've really nailed it. I think you're going to go Places said, no DePaul teacher ever. No, no, no. They certainly, certainly they do now. But, uh, but yeah, so we left and I had forgotten my watch. Cause, you know, you had to like all of a sudden, like I don't, I think I just barely remembered to bring sweat pants or something like that. Um, and, uh, so I forgot my watch. So my dad was like, I'm sure you did find bud. And so like the next day or whatever, he calls Melissa Meltzer and he's like, Hey Melissa, I'm wondering, did you guys find a watch? Um, cause John, he lost a watch. You didn't, you didn't find a watch. Huh? Okay. All right. Well, uh, thank you. And then she was like, so how does John feel like he did? And my dad was like, Oh, well, he bombed it. He did very well. I just wanted to make sure we got that watch before we Charlie. And, uh, and she was like, yeah, he's one of you we're sending out a couple, uh, a couple letters of admission right now or whatever acceptance right now. And he's one of them and I just could not believe it. And, um, yeah, it was, it was really, really great. But again, I had no idea what I was signing up for, because if it wasn't DePaul, it was going to be Appalachian state, um, or community college in Charlotte because I mean, I had, I had, uh, I was in AP classes and I had done well on my SATs, but I was not a focused student otherwise. And, uh, didn't have the scores to get into state or Carolina or any of the vaunted, uh, universities in my home state.Gina Pulice (01:04:18):According to my research, you guys did at least two shows together. Uh, uh, yeah, right. Um, I got the Blues and Peter pan, Peter pan,Dave Dastmalchian (01:04:33):The, uh, we did the, um, uh, uh, Glengarry Glen Ross scene together. And then our senior year when we were all very frustrated with the, with the, with the, with the plays that had been mostly, there was some really cool plays that were selected for our fourth year, but we were, we were frustrated collectively John, his wife, Kelly, our friend, Dennis Zack, a whole group of us got together. And we put on our own production of white check. Uh, we worked together, uh, doing that, uh, outside of school and performed at a coffee shop nearby because we were determined to do challenging work that was going to actually give us a chance to do something. So, yeah. But while we were those first four years, and then in the year, since we've done three things together probably or four, yeah,Jen Bosworth-Ramirez (01:05:25):teacher was amazing. Teacher was a good,Dave Dastmalchian (01:05:27):thank you. Thank you. I was so excited when, um, we got John, uh, it's just putting him into anything is going to elevate it. As you guys know you watch any TV show, any movie, any play, you name it. John comes into something he's going to elevate it. But I knew that that relationship I needed that character that I played in teacher had nobody else to ground him. He had nobody else to clean too. He had nobody else to like tu tu tu, tu, tu tu, you know, make me feel any sense of, of my, the characters, much needed humanity for the audience to get on board with him in those moments that John and I got. And John did a lot of stuff that magically woke up. It was a great script, but man, John took it to the, a much, a greater level, but just which is the magic he does. He did the same thing in animals. When I said, we've got to please be in my movie, please. I knew what he would do and sure as he did it, he walked in and everybody was just like, I mean, it's one of the best scenes of a movie that I'm very proud of. It's a 90 minute film filled with scenes that I love, but that is the scene I've probably gone back to, uh, more than any. And I go, God, really proud of the writing I did there, but what he did with little nuanced moments, I've, I've learned a lot watching my friend onstage and on, on, on set and I will continue to, I also watch everything he does obviously because he is my friend, but also because he gets to do a lot of really cool stuff. And, um, but I learned a lot. I learned a lot from, from you, John.John Hoogenakker (01:07:07):I feel the same way about you, man. You, I got to say, Dave has always been an inspiration to me because of, as I mentioned at the beginning of our talk because of the positivity that he puts out into the world. And Dave, you know, as he mentioned earlier, uh, went through the ringer with substance abuse. And, um, I think it's less than 7% of people, uh, who, who have been where you were, uh, ever come back. Um, and so to be one of those people who not just survived, but who thrived in an already incredibly challenging industry, um, is just absolutely astounding. And to, and to continually go back to the well and create, be a force of creativity and, you know, your own engine and guiding your own ship, um, while being, uh, you know, a partner and a father is, um, I, I feel so lucky that I've gotten to lean on you for inspiration and to call you for adviceDave Dastmalchian (01:08:17):Or, you know, it's wonderful. Like it's, I'm so grateful and that's another thing I'm so I'll always thank God for the theater school because of John Hoogenakker, and so many people that have been instrumental in my life. And I think it's important to note too, as far as the friendships that were forged in that time, um, you asked earlier too, there was some, obviously there were some teachers that taught me some wonderful techniques and skills, but also really hurt my heart in some certain ways. But that was it wouldn't be fair to, to neglect and not point out that like I'll never forget it. If there was one person who actually did take time to try, I felt like in her way to teach us ways of coping was Phyllis for me, she talked to me a lot about meditation. She introduced me to some books that were really instrumental to my journey, um, and like really wacky, like psychedelic stuff that I was really invested in thinking about at the time and really cool ways of trying to process depression. I didn't, I wasn't diagnosed at that time and I wasn't getting the proper help that I needed for my depression, but that was really, I I'm so grateful, uh, as well as, you know, the encouragement that someone like her showed, she was a needed angel at the time for me, um, in a dark place. Um, and bridges, I mean, I know he wasn't, um, you know, uh, faculty, he was staff, but that guy, um, recognized and saw some stuff that no one else was willing to address in my self-destruction. And he showed up for me way outside and above and beyond the, the, the roll call of whatever his payroll was or required of himJohn Hoogenakker (01:10:03):And his door was Always open. And as a side note, he attended your wedding. I bel

​​The incredibly generous and wholehearted Casting Director Alaine Alldaffer is my guest on today's episode of the Brian Breaks Character podcast.   She's been casting theatre and television for over 25 years (peep her impressive bio below).    And as a long-time champion for creatives everywhere, Alaine's actionable advice will appeal to you whether you're...   ...a butcher ...a baker ...an actor ...a writer ...a director ...or all of the above (...you multi-hyphenate, you!)   HERE'S A PEEK AT SOME OF THE JUICY TAKEAWAYS:   Why you must define your success by your commitment to the work... that is, ONLY IF you want to have longevity in your career.  How to use creativity in your theatre self-tape auditions so you stand out from the crowd (while also not making a fool of yourself) … oh, and the same rules apply for TV/film!  How to future-pace your self-care so you're better able to be "onto the next thing" rather than wallow in disappointment.     REAL TALK: Alaine's full-time gig is having collaborative conversations with writers, directors, artistic directors, designers, and actors, so don't be fooled by this *feel-good* episode.   Alaine outlines a unique insider's take on the way back to live performance and the newest trends in successful self-tape auditions so you can get into those rooms whether you're a writer, a director, an actor, or... oh, you get the picture!    Want the full tea on Alaine? Alaine Alldaffer received 12 Artios Award nominations, and 2 wins, for Excellence in Casting. For more than two decades, she's served as CD for Playwrights Horizons - casting over 100 productions, where her credits include GREY GARDENS (also for Broadway), CLYBOURNE PARK (also for Broadway), CIRCLE MIRROR TRANSFORMATION (Drama Desk and Obie Awards for Best Ensemble and an Artios Award for Casting), and THE FLICK (Playwrights Horizons and The Barrow Street Theatre). Television credits include ABC's THE KNIGHTS OF PROSPERITY with Sofia Vergara and Associate credits include NBC's ED and USA's MONK. Regional work includes Geffen Playhouse, Huntington Theatre, Arena Stage, Williamstown Theatre Festival, Seattle Rep, ACT, and Berkeley Rep. Notable productions include: DETROIT with David Schwimmer, RAPTURE BLISTER BURN, DEAD MAN'S CELLPHONE with Mary Louise Parker, EVERY TONGUE CONFESS with Phylicia Rashad, A LIFE with David Hyde Pierce, and BETHANY with America Ferrera (Women's Project Theater). And she's worked with some of the most notable contemporary playwrights: Annie Baker, Bruce Norris, Christopher Durang, Craig Lucas, Sarah Ruhl, Gina Gionfriddo, Lynn Nottage, Richard Nelson, Robert O'Hara, and Theresa Rebeck.   Alaine's experience speaks for itself, but you should really hear her speak for herself.   Thank you for tuning in to this episode of Brian Breaks Character!   If you loved this episode, please subscribe and leave an honest review. Your review helps boost the show and gives us the chance to help more creatives get out of suffering for their art and into action. Be sure to leave your IG handle when you do so I can send a VIP episode to say thank you.   Want to learn more? If you're an actor and your goal is to have a fabulous representation, come watch Make Agents Want You for free (https://www.makeagentswantyou.com). That way, you can get off the hamster wheel of reaching out and focus on the acting you were born to do. CONNECT WITH Alaine Website  https://www.alainealldaffer.com/ Playwrights Horizons Soundstage Podcast https://www.playwrightshorizons.org/watch-listen/soundstage/   Subscribe To The Podcast Apple https://podcasts.apple.com/us/podcast/brian-breaks-character/id1570747490   Spotify https://open.spotify.com/show/2A0QC6RYtcULRMtbsIT3yq?si=xu3QstDpS9WkpoQwHVSueg&nd=1   Watch The Uncut Behind-the-scenes Video Of This Episode On Youtube: https://www.youtube.com/user/brianpatacca   Need New Representation? Get In On This Free Training: https://makeagentswantyou.com   Follow Me On Instagram For A First-look At Our Guests And Upcoming Episodes! https://www.instagram.com/briansaysthat   Episode Transcript:  https://brianbreakscharacter.s3.us-west-2.amazonaws.com/EP16+-+Alaine+Alldaffer+-+Transcript.pdf

Conversations with David Hyde Pierce on April 12, 2013. Moderated by Richard Ridge, Broadway World. Emmy and Tony Award winner David Hyde Pierce can be seen on Broadway starring opposite Sigourney Weaver and Kristine Nielsen in Christopher Durang's new comedy, "Vanya and Sonia and Masha and Spike." The show opened in March following sold out runs at Princeton's McCarter Theatre and at Lincoln Center. Pierce made his professional and Broadway debut in 1982 in Durang's "Beyond Therapy" and went on to create roles in Off-Broadway productions of Mark O'Donnell's "That's it Folks!," Richard Greenberg's "The Author's Voice" and Jules Feiffer's "Elliot Loves" before returning to Broadway in "The Heidi Chronicles." In 2005, Pierce originated the role of 'Sir Robin' in the Broadway production of "Monty Python's Spamalot," and was nominated for a Drama Desk Award. In 2007, he won the Tony Award and earned another Drama Desk Award nomination for his role in the musical comedy "Curtains." Perhaps best known for his role on TV's iconic comedy, "Frasier," Pierce earned four Emmy Awards among many other accolades. His film credits include "Little Man Tate," "Sleepless in Seattle," "Nixon," "Down With Love," and the Sundance Film Festival Selection, "The Perfect Host." Follow the SAG-AFTRA Foundation on social media: Instagram: https://www.instagram.com/sagaftraFOUND/ Facebook: https://www.facebook.com/sagaftraFOUNDATION Twitter: https://twitter.com/sagaftraFOUND The SAG-AFTRA Foundation is a 501(c)(3) nonprofit organization dedicated to providing the most comprehensive, educational and state-of-the-art resources to SAG-AFTRA members. The Foundation believes that the contributions made to our culture by performing artists are not only valuable, but essential. The SAG-AFTRA Foundation relies entirely on donations to provide emergency assistance and free educational programs to SAG-AFTRA artists. This conversation is made possible thanks to the generosity of our supporters. Over the past year, the Foundation has given over $6.5 million in disaster relief to more than 7,000 performers. If you are a SAG-AFTRA artist and need help, please ask. And, if you can help, please give at: https://sagaftra.foundation/donate All donations are tax-deductible.

This week Meg and Shannon discuss three one acts from Leading Women: Plays for Actresses 2. This episode has everything- too many college references, drunk choreography, YA fiction conspiracies, on stage car accidents. Plays featured in this episode are Lost by Mary Louise Wilson, Medea by Christopher Durang and Wendy Wasserstein, and No Shoulder by Nina Shengold. All references and quotes are protected under fair use. This podcast's goal is to spread a love for theatre and highlight incredible artists and work. Learn more about the Quileute Nation's Move to Higher Ground Initiative at mthg.org Check out the New Play Exchange at newplayexchange.org Content warning for language. Find the podcast on Instagram @stumbleduponpodcast Thank you for listening! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week #onthebeat, I'm talking to Stacy Osei-Kuffour!   Hailing from Chicago, Illinois, Stacy Osei-Kuffour is an Emmy-winning writer, playwright, and actress. Born to a Chicago-native mother and a Ghanaian-born father, Stacy grew up with a love for storytelling. Her goal as an artist is to bring untold stories to the stage and screen, stories that challenge our political, societal, and stereotypical views of the Black experience. Her passion led her to a BFA in drama from NYU and an MFA in playwriting from Hunter College. Her previous plays include: Dirty Blood, Animals (which received an Irv Zarkower Award), The Pearl and The Black Sea (which received an Honorable Mention in The Kilroy's 2015 List), and Hang Man (which received an Honorable Mention in The Kilroy's 2017 List and a production at The Gift Theatre in Chicago). Stacy was also involved in Los Angeles' Ensemble Studio Theatre (EST), Youngblood, MADLAB, and the Nashville Repertory Theatre's Ingram Play Lab alongside Christopher Durang. She has been the recipient of the MacDowell Colony Fellowship and PLAY LA's Humanitas Prize. As of late, Stacy has transitioned into television writing where she has received her first Emmy nomination for Outstanding Writing for a Comedy Series for her work on PEN15, shared with the series creators Maya Erskine and Anna Konkle.  Most recently, Stacy served as a Writer and Story Editor for HBO's critically-acclaimed series and Emmy winning series, Watchmen.  We talk about: how growing up in a "weird" town helped to shape her writer's voice how she gets her ideas out of her head and into the universe character and world building exercises look differently in the playwriting world vs. TV/film her experience in the Watchmen writer's room and more! Thank you so much for listening to the show! Please remember to SUBSCRIBE, RATE, + REVIEW the show- I would really appreciate it. It helps other screenwriters who are interested in this story to find the show a little easier.   If you are interested in becoming a guest, sponsoring the show, or have any other inquiries, please send an email to hi@thebeatsheet.co!   You can listen to every episode of The Beat Sheet on Apple Podcasts, Spotify, Soundcloud, and Stitcher! You can click here to subscribe to the podcast everywhere via this RSS feed!   The official hashtag for the podcast is #beatsheetpod   Please be sure to follow us on social media as well! You can find the show everywhere:   Instagram | @beatsheetpod Twitter | @beatsheetpod Facebook | The Beat Sheet

In this episode READ MORE PLAYS hosts Ricardo Frederick Evans and Jennifer Sassaman discuss the play Vanya and Sonia and Masha and Spike by Christopher Durang!Follow us on Twitter, Facebook, and Instagram for updates and discussions you can participate in -- we can't wait to hear your thoughts! Support us on Patreon (https://www.patreon.com/readmoreplays?fan_landing=true) to get bloopers, dramaturgy, and other bonus content. Music by Kalyn Harewood. Please like and subscribe wherever you get your podcasts.

This conversation was recorded in late May 2020, prior to the murders of George Floyd, Tony McDade, and Rayshard Brooks, and in the wake of the murders of Breonna Taylor, Ahmaud Arbery, and far too many others. We hold their families in our thoughts and wish for swift justice. We’ve attached links in this video and in its description to point you towards just a few of the many ways you can support Black lives, Indigenous lives, and people of color. We hope to not distract from the important work happening in our world, but ally it with light from artists, and to spread leadership and hope. We recognize and stand with the following organizations: Black Lives Matter, blacklivesmatter.com Black Visions Collective, blackvisionsmn.org NAACP Legal Defense Fund, naacpldf.org American Civil Liberties Union, action.aclu.org/give/now National Resource List, linktr.ee/NationalResourcesList Recorded on May 13, 2020 The incomparable director Sheryl Kaller shares her remarkable career with us on this week's episode. Gabriel Stelian-Shanks, Artistic Director, moderates the discussion from Kaller's thoughts on the evolution of women in the field, being a working parent in the theatre, and her work with Terrence McNally, Billy Porter, and Christopher Durang. IN CONVERSATION, The Drama League's acclaimed series of discussions with the directors changing the face of theater, television, and film, is now online! The process of creating art is revealed in these intimate, surprising, and wide-ranging conversations with award-winning creators from around the world. The artists in this video have donated their time and fees to help provide much-needed aid, relief, and programs for stage directors affected by the COVID-19 pandemic. You can help! Donate here: dramaleague.org/ghostlight If you're a director needing assistance, visit our COVID-19 resources and emergency relief programs here:dramaleague.org/covidresources/covid19resources Learn more about Sheryl Kaller: https://www.broadwayworld.com/people/Sheryl-Kaller/ Editing services donated by: https://catalinmedia.com/

GOODBYE to PRIDE MONTH 2020 and HELLO! to our DEEP DIVE into the one and only CHRISTOPHER DURANG!!?!1!!?? Resources below BLM Donation and Education LinkTree: https://linktr.ee/NationalResourcesList Black Owned Businesses in LA: https://docs.google.com/spreadsheets/d/18w-0RBhwBBlXDN9kRV9DVSCAGSCjtHb9K0Pq2YBv18U/htmlview?usp=sharing&pru=AAABcpXptV0*XfoiE2Ay5SJUCEO3tXROGQ&urp=gmail_link MPJI https://marshap.org/ Petitions https://linktr.ee/petitions_123 https://www.change.org/p/andy-beshear-justice-for-breonna-taylor https://www.change.org/p/adams-county-district-attorney-justice-for-elijah-mcclain-48a81830-f891-4b04-ba28-c2625b916b96 SUBSCRIBE. RATE. REVIEW!! SCENE: Sister Mary Ignatius Explains it All to You (performed by Cj Merriman) THEME: Ryan Thomas Johnson Original Song: Pamela Quinn IG: @theatre_theater_pod Twitter: @the_theatre_pod Gmail: theatretheaterpod@gmail.com

Alaine Alldaffer | Casting Director at Playwrights HorizonsAlaine Alldaffer has cast theatre and television for over [25] years. She has received 12 Artios Award Nominations, and 2 wins, for Excellence in Casting. Alaine proudly serves as Casting Director for Playwrights Horizons, a position she has held for more than two decades, casting well over 100 productions throughout her tenure and working with some of the most respected playwrights in the industry including Billy Porter, Annie Baker, Bruce Norris, Christopher Durang, Craig Lucas, Sarah Ruhl, Gina Gionfriddo, Lynn Nottage, Richard Nelson, Robert O'Hara, Danai Gurina, Dominique Morisseau, Heidi Schreck and Theresa Rebeck.Playwrights Horizons casting credits include: A STRANGE LOOP (Pulitzer Prize for Drama 2020), HEROES OF THE FOURTH TURNING (Lortel award for best play) GREY GARDENS with Christine Ebersole (also cast the Broadway transfer); CLYBOURNE PARK with Jeremy Shamos, Annie Parisse and Frank Wood (also cast the Broadway transfer); LOG CABIN by Jordan Harrison with Jesse Tyler Ferguson directed by Pam McKinnon. CIRCLE MIRROR TRANSFORMATION with Reed Birney, Tracee Chimo, Peter Friedman, Deirdre O'Connell and Heidi Schreck (Drama Desk and Obie Awards for Best Ensemble as well as an Artios Award for Casting); THE FLICK with Louisa Krause, Matthew Maher and Aaron Clifton Moten; DETROIT with David Schwimmer, Amy Ryan and John Cullum; RAPTURE BLISTER BURN with Amy Brenneman; DEAD MAN'S CELL PHONE with Mary Louise Parker and RODNEY'S WIFE with David Strathairn and Jessica Chastain. A LIFE with David Hyde Pierce.Other casting credits include: BETHANY with America Ferrera (Women's Project Theater) and EVERY TONGUE CONFESS with Phylicia Rashad.Film and Television credits include: "Ed" for NBC and "Monk" for USA., "Buddy and Grace" directed by Claudia Meyers. In addition to her work with Playwrights Horizons, Alaine also casts for regional theaters including The Huntington Theatre in Boston, The Alley Theatre in Houston, Arena Stage and Studio Theatre in DC, Williamstown Theatre Festival, Seattle Rep., ACT, Berkeley Rep., and People's Light Theatre in Philadelphia, Two Rivers in NJ, Old Globe San Diego and the Goodman in Chicago.She is also a popular acting teacher, teaching acting classes at Columbia, NYU, The New School and Rutgers. Not to mention sold out acting workshops in New York City and around the country.

Mini Month has arrived!  During the month of April, Jackson and Jacob will look at four one acts/short plays. First up? "Sister Mary Ignatius Explains it All for You" by Christopher Durang. This irreverent look at the institution of Catholic education has earned Mr. Durang protests across the country. Listen in to see why! ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We’ll see you next week.

Theo Bosanquet sits down with the one and only Olivier Award winner Janie Dee to discuss her plans for appearing on a much bigger stage. She is to star in the London transfer of Vanya and Sonia and Masha and Spike by Christopher Durang. Whilst appearing there, Dee is to co-produce the inaugural London Climate Change Festival all happening at the Charing Cross Theatre. At the end of the episode, Dee recites Titania's speech from A Midsummer Night’s Dream - just as pertinent today as 400 years ago.

This week Laiken sits down to chat with Ryan McCurdy of Savannah Repertory Theatre. In this episode Laiken and Ryan discuss the recent growth of Savannah's theatre scene, being a union actor, and Savannah Rep's upcoming play "Vania, Sonia, Masha, and Spike." "Written by Christopher Durang and Winner of the 2013 Tony Award for Best Play. Middle-aged siblings Vanya and Sonia share a home in Bucks County, PA, where they bicker and complain about the circumstances of their lives. Suddenly, their moviestar sister, Masha, swoops in with her new boy toy, Spike. Old resentments flare up, eventually leading to threats to sell the house. Also on the scene are sassy maid Cassandra, who can predict the future, and a lovely young aspiring actress named Nina, whose prettiness somewhat worries the imperious Masha." For more information and tickets, click here: https://www.savannahrep.org --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/laikenlove/message Support this podcast: https://anchor.fm/laikenlove/support

"The most important thing is to show up and write every day. Don't wait for inspiration to strike." Kate Gersten is a graduate of the Lila Acheson Wallace Playwrights Program at The Juilliard School under the mentorship of Marsha Norman and Christopher Durang. Her play Benefit of the Doubt was produced at The Juilliard School, and was further developed at the Roundabout where she currently is under commission. Her other plays include A Body of Work, (also developed at Roundabout), The Untitled Priscilla Presley Musical (Ambassador Theatre Group with Dolly Parton), Be Your Best Friend, (2012 O’Neill National Playwrights Conference Finalist, developed at Roundabout), Father Figure, and Exposed! The Curious Case of Shiloh and Zahara (Stage 13, MITF, Outstanding New Play award.) Kate has been a writer on the Golden Globe winning TV series “Mozart in the Jungle” (Amazon), the Golden Globe and Emmy nominated NBC comedy “The Good Place” starring Ted Danson and Kristen Bell, and the upcoming musical comedy “Schmigadoon” from Lorne Michaels and Apple. She has developed two pilots with FOX with Steve McPherson/Lionsgate and Jamie Tarses/Sony respectively, and has developed pilots at Showtime (also with McPherson), and CBS, with Working Title/CBS Studios. Kate is a three-time recipient of the Lincoln Center Le Comte de Nouy Prize. In addition to her studies at Juilliard, Kate did her undergraduate studies at the UCLA School of Theatre, Film and Television.

In this episode, Kevin interviews the speaker and Co-founder of YouPrint, Matt Ham. Matt was a successful businessman and found his desire of telling stories as a turning point leading to the birth of YouPrint. Things you will learn in this episode: Matt’s Origin Story  (2:22) Being Stupid with Money (6:22) Matt's top sales tips (9:38) The truth behind some luxurious lifestyles that you see (11:25) Matt's transition from real estate development to personal development (13:01) Finding validation in being a winner (13:57)   Matt found his desire to speak and tell his story (14:40) The Story of Baby with Bathwater and the birth of YouPrint (16:16) Matt Ham's regrets as a Man (17:40) Fear and Failure (20:01) "If you do what you love, you'll never work a day in your life" (24:11) The importance of Humility in building your community (28:44) The most impactful advice that Matt received (33:55) Which is more important knowledge, action, relationships or luck and why? (37:10) Lightning Segment (38:40)     Tweetable Quotes:
   "Leaders take risks " - John Maxwell "Money only has the power you give it." - Matt Ham "Sales is all about relationship" - Matt Ham "It's okay to fail" - Kevin Mills "Faith shows you who you are" - Matt Ham "Business is a place where you live out who you are" - Matt Ham "Humility is the greatest quality that we can possess." - Matt Ham "The fear of the Lord is the beginning of wisdom" - Matt Ham "Luck is fate played out to people who can't accept fate for what it is" - Matt Ham   Resources mentioned in the episode: Build Your Network by Travis Chappell Redefine Rich: A New Perspective on the Good Life   Baby with the Bathwater by Christopher Durang   You can connect with Matt on Instagram @youprintlife or visit their website at YouPrint.life to know more. He’d love to connect with you.  Share this podcast with your social media followers using this link or listen to any of the past episodes for free here! LEAVE A REVIEW + help someone who wants to explode their business growth by sharing this episode.    You will also love our other podcast episodes  007: Framework Friday - 3 Tips To Improve Your Sales Abilities 008: Making a Cleaner World with Miro Wcislo

The Actor's Nightmare, a collection of Christopher Durang's short plays, is having it's World Premiere this week at the Park Theatre here in London. I sat down in their rehearsal room with director Lydia Parker, and pretty much all of the company to talk about getting their heads around playing many characters in numerous plays in the same production, the language of Durang, working in the round and their own actors nightmares.

Today our guest is the Rev. Jack Gilpin. Jack was ordained in 2012 and is currently the rector of St. John’s, New Milford.   Jack is also a professional actor who has starred in over 35 feature films and has been in many shows on and off Broadway and in regional theaters around the country. Shows including Law and Order,Kate & Allie, and movies including Funny Farmwith Chevy Chase, 21, and Adventureland. Most recently, you can find Jack on the Showtime series Billions playing the character Sean Ayles.    Jack is originally from Roxbury, CT. Jack also recently assisted with the lay preaching course in the Northwest Region. Jack is a graduate from Phillips Exeter Academy and Harvard University. He lives in Roxbury with his wife and they have three grown children.    Welcome Jack!     Jack starts off our conversation discussing how he got into acting— starting from his first gig as the Easter Bunny when he was 5. The feeling of connection and mutuality he felt with the audience, while on stage, has stayed with him since then. During his sophomore year at Harvard, Jack made the decision to pursue acting as his main career. He moved to New York City and worked several years off-off Broadway.    He talked about his early work in theater then about the first real play, which launched his career. That was “Beyond Therapy,”directed by Christopher Durang.   He was ordained a deacon in June 2012 and immediately went off to do two plays, which have been his last two plays. He then got a call to New Milford for a part-time position.    Jack grew up in the Episcopal Church and was given a King James Version bible from his Godmother at his confirmation. Though he didn’t attend church services often, whenever he felt anxious through his high school and college years he would turn to that KJV bible, which had Jesus’ words in red, and he found comfort and grounding.   In 1982, Jack walked in to Grace Church in Manhattan and within six weeks was attending regularly. He said what he was learning through theater, and about life, was best articulated and most truthfully presented in Christian terms in the church. He and his family moved to Roxbury after their third child was born, and he became a licensed Lay Preacher and attended Union Theological Seminary just to get a degree – not intending to pursue ordination.   After his third child went off to college, Jack preached a sermon in Roxbury and was handed a card from a woman who heard the sermon. It asked him: “What are you going to do about this because you have a calling?” He decided to go to a Priest Information Day.... and as he explained, one thing led to another.   Karin asks about Jack’s relationship with acting and the word of Jesus, which he alluded to earlier on. Jack mentions one specific incident in 1979 at the Eugene O'Neill TheaterCenterin Waterford, CT, at the National Playwrights Conference working on new plays. Jack was offered a spot in the conference as the lead and he said his performance was terrible. He knew his focus had been on himself.   In those days he turned to John chapter 3:20: “For every one that doeth evil hateth the light, neither cometh to the light, lest his deeds should be reproved. But he that doeth truth cometh to the light, that his deeds may be made manifest, that they are wrought in God.” This is what he opened the Bible to and he saw the metaphor “come to the light” and the need to “come to the truth.” Truth is an essential component in acting, he explained. He went out the next time and “told the truth” – and it went much better.   Alli asks how Jack marries his role as a priest and as an actor. Jack says that he has had roles within television and movies that only require a couple days spread across a couple weeks rather than a play which requires more time. He mentions how his parish is understanding of his two careers, and they find it fun to see him on television.    He shares ways the two are similar, and “each feeds the other.” One of the main crossovers between the two professions is the attention to listening, which is endless food for the spirit, he says.   Karin asks Jack to talk more about what actors mean by “telling your truth” and might be the same or different from what that might mean to a Christian or even a priest. Jack quotes a conversation between Agnus de Mille and Martha Graham which highlights what “the truth” means to him. This is the quote: During their conversation, de Mille told Martha Graham about her frustration. “I confessed that I had a burning desire to be excellent, but no faith that I could be.”   Graham responded by saying, “There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours, clearly and directly, to keep the channel open.”     Karin asks about whether his experiences as an actor have helped him step into leadership roles in the community. Jack said he’s used to getting up in front of people and he’s not afraid of making a fool of himself. He feels very passionate about his life and about the Baptismal promises. He brings all that to his role of a community leader.   Jack remembers a time 20 years ago, way before his ordination, when he played the role of a priest in a role. He witnessed the response people gave to the collar: they slumped and felt ashamed and judged. Today, as a priest, he loves to disabuse people of the notion that’s he’s here to judge; rather, he wants them to realize the joy that they are invited to experience with Christ.    Alli asks if there are other stories of worlds colliding with his spirituality and his acting. Jack told a story about the Bible he kept in his dressing room. Colleagues quietly and cautiously expressed curiosity and, when no one else was around, they’d ask him about it, and about his church attendance. Jack shared another story about working on Billionswith fellow actors who were cautious about working with a priest.   Both jobs feed each other, he said. He’s not limiting himself, he said, he’s increasing his database ... on both sides!

Today I sit down with the mesmerizing Kathryn Grody. We talk everything from motherhood to acting to being a good human. Not to be missed. Kathryn Grody fled Los Angeles, arrived in New York City, and found herself employed on Broadway in Scapino, . Off-Broadway followed with appearances at Joseph Papp’s Public Theatre including Fishing by Michael Weller, Museum, by Tina Howe, Nasty Rumors and Final Remarks by Susan Miller and Lulu Bett directed by Jack Hofsiss at the Berkshire Theatre Festival. Ms. Grody received Obie Awards for her performances in Top Girls by Caryl Churchill, directed by Max Stafford-Clark and The Marriage of Bette and Boo by Christopher Durang, directed by Jerry Zaks as well as a Drama Desk nomination for her performance in her three character one woman play, A Mom’s Life, all at the Public Theatre. (( Other performances include Dusa Fish Stas and Vi at the Manhattan Theatre Club, The Split at Ensemble Studio Theatre, Cause Maggie’s Afraid of the Dark, The 49 Years by Liz Swados, with Estelle Parsons at the Actors Studio Raw Space, Waxing West by Savianna Stanescous at The Lark, and Victoria Roberts cartoon come to life directed by Linda Mancini at Dixon Place. )) Film appearances include Limbo, written and directed by John Sayles and Men With Guns, also by Mr. Sayles, My Body Guard, directed by Tony Bill, Lemon Sisters with Diane Keaton and Carol Kane, Another Woman by Woody Allen and Reds by Warren Beatty. Ms. Grody’s television appearances include “The Sunset Gang” with Uta Hagen, “Execution of Private Slovik” with Martin Sheen and many after-school specials. (( And of course, Law And Order-Criminal Intent in NYC..)) Kathryn Grody performed with A.C.T. in San Francisco, the Actors Theatre of Louisville and was a company member at the Mark Taper Forum in Los Angeles. ) Her essays have appeared in The Mountain Record, Harpers Bazar, Oprah magazine, and her narrative version of the original Mom’s Life was published by Avon. She appeared in the world premiere of two new Wendy Wasserstein plays, ((directed by Michael Barakeeva ))at Theatre J in Washington D.C., originated the role of Maggie in The Penetration Play by Winter Miller, ((directed by Josh Hec))t at The Mint, performed the classic role of Nell in Beckets Endgame, with Alvin Epstein, Adam Heller and Tony Roberts,(( directed by Charlotte Moore,)) at the Irish Repetory Theatre . She braved the Barrow Street Theatre with Tim Crouch in the Oak Tree, and was proud to participate in the Caryl Churchill reading at NYTW, Seven Jewish Children-a play for Gaza…... She played Hinda in Zuzka Kurtz’s My Inner Soul at The Lion, appeared in the 59th st shorts in Tina Howes’ The Woman Who Lost Her Head and was seen as Hilary Clinton in the Performance Art Biennial, I Feel Your Pain, by Liz Magic Laser..And was Lola in Donald Margulies A Model Apartment, directed by Evan Cabnet.. Falling Apart....together , the sequel of A Mom’s Life, was seen at CSC, directed by Timothy Near..Most recently played Gaby in Susan Millers’ 20th Century Blues, directed by Emily Mann at the Signature. She is a Ususal Suspect at NYTW, works with the IRC and Search For Common Ground and is on the board of Downtown Women For Change., Dances for A Variable Population and Noor Theatre.

Nicole Byer (Nailed It!, Comedians of the World, Why Won't You Date Me?) joins Beth and Sarah to talk about (and rewrite the lyrics to) the song "Contact." She also shares a controversial theory about Tinashe's performance in Rent: Live and explains why every Mimi should have open sores. This episode also covers several other definitely-Rent-related topics, such as: what art teachers wear, the past tense of the word "drink," Christopher Durang, The Rock's acting career, and why Nicole's mom thought Nicole had a serious intestinal health issue. And, if you're a fan of Nailed It!, oh boy is there some good insider info for you in this ep!

Christopher Durang's "Vanya and Sonia and Masha and Spike" is a delightful, character-driven comedy. It won the 2013 Tony Award for Best Play and the Drama Desk Award for Outstanding Play. The script follows three adult siblings as they confront an ever changing world. This week on No Script, listen in as Jackson and Jacob talk Chekhov, technology, and - yes - voodoo. ------------------------------ We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast   ALSO:  BRAND NEW PATREON! https://www.patreon.com/noscriptpodcast ------------------------------ Our theme song is “Blessed” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Logo Design: Jacob Mann Christiansen Logo Text: Paralines designed by Lewis Latham of http://lewislatham.co/ ------------------------------ Thanks so much for listening! We’ll see you next week. ------------------------------

Jenn has just started tech for "Turning Off The Morning News" by Christopher Durang at The McCarter Theatre in Princeton, NJ and grabs some of the cast backstage to check pulses, tap into some of their thoughts about the biz, and find snacks. The wonderful Nicholas Podany shares about agency in the rehearsal room, and Broadway veteran/new skin care addict Robert Sella drops some GEMS while tossing us a new term - "Chief Thunderclouds" --- Support this podcast: https://anchor.fm/touch-podcast/support

Tony Award-winner LAURA BENANTI can now be seen in the Samantha Bee and Jason Jones TBS comedy, The Detour. Additional TV credits include Supergirl, Nashville, guest-starring as songbird Sadie Stone; The Good Wife; and Showtime’s Nurse Jackie. Most recently, Laura co-starred along side Amy Schumer and Keegan Michael Key in Steve Martin’s hit Broadway play, Meteor Shower. In 2016, Laura completed her Tony nominated role (and 5th nomination) as Amalia Balash in the hit Broadway Musical, She Loves Me. Laura also received Outer Critics Circle, Drama League and Drama Desk Award nominations for this role. In addition to television work and her critically acclaimed performance as Elsa Schrader in NBC’s The Sound of Music LIVE, Ms. Benanti is a highly celebrated, stage actress who took Broadway by storm at the age of 18. She received a Drama Desk award, Outer Critics Circle Award and a Tony Award Nomination for her starring role in the Broadway production of Women on the Verge of a Nervous Breakdown for Lincoln Center where she also starred in the Broadway production of Sarah Ruhl’s In the Next Room or The Vibrator Play. Ms. Benanti earned the 2008 Tony Award for Outstanding Featured Actress in a Musical, a Drama Desk and Outer Critics Circle Award for her revelatory portrayal of Gypsy Rose Lee in Gypsy opposite Patti LuPone and directed by Arthur Laurents. Her other Broadway roles include The Wedding Singer, Nine, starring Antonio Banderas, her Tony, Drama Desk and Outer Critics Circle Award-nominated performance of Cinderella in Stephen Sondheim’s Into the Woods and her sultry Tony nominated turn in Swing! Ms. Benanti made her Broadway debut as Maria in The Sound of Music opposite Richard Chamberlain. Other distinguished theater performances include the Public Theater’s production of Christopher Durang’s Why Torture is Wrong and the People Who Love Them, Perdita in The Winter’s Tale at the Williamstown Theatre Festival opposite Kate Burton, Anne in A Little Night Music at the L.A. Opera opposite Victor Garber, Eileen in Wonderful Town opposite Donna Murphy and most recently her portrayal of Rosabella in the Most Happy Fella, both for City Center Encores! Ms. Benanti completed a week-long engagement at the popular New York cabaret club, 54 Below, for which The New York Times hailed her as a “supremely confident” performer whose “bright, full soprano, with its semioperatic heft, can go almost anywhere.” In September 2013, she released her debut album, “In Constant Search of the Right Kind of Attention: Live at 54 Below” on Broadway Records to ecstatic reviews. Laura currently performs her concerts in venues around the country and even recently performed for the President and First Lady of the United States at both the Fords Gala and the Kennedy Center Honors in Washington DC. In 2014, she joined the cast of ABC’s hit series “Nashville” guest-starring as songbird Sadie Stone. Laura also appeared in recurring roles on CBS’s “The Good Wife” and HBO’s “Nurse Jackie.” Laura’s past television credits include a starring role in the NBC series “The Playboy Club” and “Go On” opposite Matthew Perry. She also starred in the F/X original series “Starved”. Ms. Benanti recurred on  “Law and Order: SVU,” “Royal Pains,” and “Eli Stone.” and had appearances on “The Big C” and “Elementary”. She currently resides in Manhattan with her husband Patrick and daughter Ella.

Steve Cooper talks with actor/comic Bill Dawes. Bill is a 3-time Broadway veteran and international headlining comic. Most recently, he appeared on Broadway as Mickey Mantle, and has toured as a stand-up comedian with the USO throughout Iraq, Kuwait, and Afghanistan. As an actor, he has appeared in several award-winning independent films, including Adam, Evenhand and Fiona. He’s had starring roles in two MGM Studio children’s films—Just for Kicks and Recipe for Disaster—and an acting role in the DVD cult hit I Hope They Serve Beer in Hell. On TV, he has been on several hit shows, including Law and Order, Rizzoli and Isles, Sex and the City, OZ and Criminal Intent, As a stage actor, his first role was on Broadway with Sigourney Weaver and Christopher Durang in the play Sex and Longing. He also co-starred on Broadway in the hit Tony-nominated production of LOMBARDI, where he played a lead role as Green Bay Packer Legend Paul Hornung, the Golden Boy. The new movie he stars in Before the Sun Explodes has received rave reviews and can be found on Amazon Prime.

In comedy, timing is everything and the timing is so off in 6th Street Playhouse’s Mrs. Bob Cratchit’s Wild Christmas Binge that the fact that it still manages to extract any laughs at all from its audience is somewhat of a Christmas miracle. Plagued with pre-production challenges ranging from a change in director due to the fires to the untimely passing of its lead actor, director Jared Sakren and his cast have done their best to present local audiences an option for alternative holiday fun. Christopher Durang’s musical parody of Dickens’ A Christmas Carol – with detours through the worlds of Oliver Twist, The Gift of the Magi, and It’s a Wonderful Life amongst others– has not aged well since its 2002 premiere. Full of political and pop cultural references that might have seemed dated even them (Remember Enron and Kenneth Lay? Harry and Leona Helmsley? TV’s Touched by an Angel?), it follows Ebenezer Scrooge (played by Kit Grimm) on his Christmas Eve journey through his past as guided by an incompetent ghost (Debra Harvey, alternating in the role with Serena Flores). Their visit to the Cratchit household reveals an angry and bitter Mrs. Bob Cratchit (played by an appropriately crotchety Tika Moon), who’s fed up with her milquetoast husband (an earnest Conor Woods), their twenty children - most of whom live in the root cellar - and her lot in life. Soon it’s off to the pub for her where she’ll knock back a few followed by a London Bridge plunge into the Thames. Scrooge and Cratchit’s fates become intertwined, as Scrooge finds himself oddly attracted to his underling’s miserable wife and Cratchit wishes she had never been born. The show concludes with a decidedly un-Christmas-like moral – you can be poor, loving, and noble, or rich, mean, and happy. God bless us, everyone! The play contains four original songs by Durang and Michael Friedman that offer a few chuckles, but you won’t be hearing carolers singing any of these any Christmas soon. Dicken’s original story is ripe for parody, and Durang does manage to mine a few silly laughs out of it, but this show never really gets off the ground. There are hints at what Ms. Harvey might have been able to do with the lead role of the ghost with sufficient rehearsal time, but the necessity of her reading from a script played havoc with the show’s pacing. Without a strong, central performance, it was left to the supporting cast to veer out on their own and bring the laughs. The most successful of those were Moon’s bitingly sarcastic Mrs. Cratchit, Laura Levin’s ebullient, cherubic Mrs. Fezziwig, and Eric Weiss’s rubber-limbed not-so-Tiny Tim. Credit to them and the entire ensemble for gamely marching on in the hopes of producing some Christmas cheer. While the punchbowl they’re serving it from is far from full, there’s at least enough in it for a couple of glasses. Mrs. Bob Cratchit’s Wild Christmas Binge plays at Santa Rosa’s 6th Street Playhouse through December 23rd with evening performances at 7:30 pm and matinees at 2:00pm For more information, go to 6thstreetplayhouse.com

The holiday season will soon be upon us and Sonoma County Theatre companies will be providing plenty of opportunities to escape the bumper-to-bumper traffic, full parking lots, and crowded stores that are all too common at this time of year. Some will be presenting traditional Christmas programs while others will be giving audiences some theatrical refuge from this often-overwhelming season. Perhaps the most traditional will be 6th Street Playhouse’s production of Irving Berlin’s White Christmas, a stage musical based on the popular 1954 film starring Bing Crosby and Danny Kaye. It’s the story of a couple of song-and-dance men who come to the rescue of their old Army commander who’s now the proprietor of a failing Vermont lodge. Looks like they’re gonna put on a show to save the lodge, and do it while singing a bunch of classic Irving Berlin songs like “Happy Holidays”, “Blue Skies” and, of course, the title tune. The show opens on the GK Hardt stage December 1st and runs through December 23rd. In their smaller Studio Theatre, 6th Street will be presenting the somewhat less traditional Mrs. Bob Cratchit’s Wild Christmas Binge, playwright Christopher Durang’s manic mash-up of A Christmas Carol, Oliver Twist, It’s a Wonderful Life and some other stories. It’s a very funny show and runs from December 8th to December 23rd. Out in Sonoma, the folks at Sonoma Arts Live will be presenting Inspecting Carol, a comedy about a flailing theatre company trying to get through a disastrous production of A Christmas Carol with the hopes of receiving a financial grant dangling over their heads like mistletoe. The Carl Jordan-directed show opens on November 29th and runs through December 10th. For a wine country take on a couple of holiday classics, you might check out the Raven Players’ A Vintage Christmas. It’s a world premiere production written by Tony Sciullo that’s described as a cross between A Christmas Carol and It’s a Wonderful Life set in wine country. It’s a Raven on the Road production that plays at the Trione Vineyards and Winery in Geyserville from December 1st through December 10th. Travel a little further north and you’ll find The Nutcracker Musical being presented by the Cloverdale Performing Arts Center. It is not the ballet based on Tchaikovsky's Nutcracker Suite (though there should be about one hundred productions of that produced in the next two months.) It’s a musical play based on the original E. T. A. Hoffman story “The Nutcracker and the Mouse King” and has a two-weekend run starting on December 1st. For those seeking a respite from holiday-themed shows, you have a few choices. Santa Rosa’s Left Edge Theatre opens Bakersfield Mist on November 17th. It’s a comedy based on the true story of a Southern California trailer park resident who’s convinced the five-dollar painting she bought at a thrift store is a Jackson Pollack original worth millions. Sebastopol’s Main Stage West is presenting the two-person musical Daddy Long Legs. A turn of the century story most famously turned into a Fred Astaire/Leslie Caron film, it’s a May-December romance set to music. The Spreckels Theatre Company in Rohnert Park is reprising its production of Little Women: the Musical, albeit with a new director and an almost entirely new cast. It opens in Rohnert Park on November 24th. Monte Rio’s Curtain Call Theatre presents Rapture, Blister, Burn, a drama that presents a generational debate over the question “Can today’s woman really have it all?” Finally, for those looking to ring-a-ding-ding in the New Year with the Chairman of the Board, Petaluma’s Cinnabar Theater is presenting My Way: A Musical Tribute to Frank Sinatra. It opens December 15th and runs through mid-January. Sonoma County Theatres are serving up a nice variety of shows for the holiday season. Consider checking one out or make a present of live theatre to a friend or family member. Season tickets to one of your local theatres would make a great gift.

Adam Szymkowicz is a playwright based in New York City. His plays have been produced throughout the U.S., Canada, England, and around the world. Adam’s plays include The Wooden Heart, Deflowering Waldo, Pretty Theft, Food For Fish, Hearts Like Fists, Kodachrome, Marian (or the True Tale of Robin Hood), Rare Birds, Incendiary, Clown Bar, The Adventures of Super Margaret, The Why Overhead, and many others. Adam received a Playwright’s Diploma from Juilliard, an MFA from Columbia University. He has written articles for Howlround, New York Theatre Magazine, and The Brooklyn Rail and has interviewed 1000 playwrights on the Adam Szymkowicz blog. Adam shares with Marc about his inspiration for writing plays, lessons learned from his mentors and teachers including Marsha Norman and Christopher Durang, the questions he always asks before starting a new play, how he likes to work with directors and actors, and his theater heroes and the contemporary playwrights whose work he admires. This post Adam Szymkowicz - Playwright Spotlight appeared first on Talking Theater. Also, please click here to Subscribe. Thanks so much for listening!                    

This week in Mal’s World, Mal Vincent previews the play, “Vanya and Sonia and Masha and Spike” by Christopher Durang, premiering at the Little Theatre of Virginia Beach. Actress Sigourney Weaver played Masha in the Broadway original and Mal recalls the times he met the star and even talked her out of signing a major contract with a movie company. For more information on the local performance of the play which runs through October 8, 2017, visit www.ltvb.com.

This month I talk to playwright Bob Kerr about his dystopian drama Ventilator Blues, and it’s journey from EERS to a full-fledged weekend workshop. We also discuss our ideal fictional drinking mates and Bob bests me in a “Who has had more plays directed by Christopher Durang” contest (for the record the score is 1:0).

Today, Matt Bailey is joined by Hersh Ellis as they recap the 2016 Drama League Gala honoring David Hyde Pierce. You'll hear interviews with Lea DeLaria, Christopher Durang, Billy Porter, John Bolton, Peri Gilpin, and the man of the hour himself! In addition, Matt interviews Hersh, who attended as a guest of the Drama League, […] The post Red Carpet Special: From the 2016 Drama League Gala Honoring David Hyde Pierce-Episode 147 appeared first on Talk For Two.

Today, Matt Bailey is joined by Hersh Ellis as they recap the 2016 Drama League Gala honoring David Hyde Pierce. You’ll hear interviews with Lea DeLaria, Christopher Durang, Billy Porter, John Bolton, Peri Gilpin, and the man of the hour himself! In addition, Matt interviews Hersh, who attended as a guest of the Drama League, […] The post Red Carpet Special: From the 2016 Drama League Gala Honoring David Hyde Pierce-Episode 147 appeared first on Talk For Two.

What follows is an unedited conversation with actress Abby Lee who will be performing the role of Masha in IU Theatre’s production of the 2013 Tony Award winning play by Christopher Durang, Vanya and Sonia and Masha and Spike. Durang’s play revolves around the relationships of three middle-aged single siblings, two of whom live together, …

Julie began her adult-travels through Earth School as an actress in NYC,  obsessing over yoga, astrology, meditation, and Louise Hay on the side. She had a thing for commercials, and was blessed with many, hawking everything from Diet Coke, to Volkswagen.  She worked her way through the NY theater scene and was gifted the amazing opportunity to originate roles for both Christopher Durang and Neil Simon (on Broadway!).    Then one day, while deep in a dark night of the soul, her guides told her to leave acting. Trusting the inner call, she promptly dialed up her agents...  and the path was chosen.  What followed next was a journey of intense human learnings, blissful soul-discoveries, and every emotion in between. Shamanic travels, yogic trainings, New Thought teachings... the journey was filled with wisdom, and what she learned through it all was that the human-ness is holy, and this life is too precious for words. She finds that laughter is the greatest medicine, and love is the greatest healer. Whichever path you choose to get there, those two seem to remain infinitely true.  Licensed as a Spiritual Practitioner through the Agape International Spiritual Center in 2010, Julie has a knack for helping others to access high truth, connect to their team in the unseen, download pristine guidance from Higher Self, and have fun doing it.  In other words... unpack the BS, and embrace an authentic life of joyful expression and contribution.  She does this through individual sessions, classes, workshops, and writings.  Her unique blueprint to joy involves dogs, nature, laughing wayyyy too loud, and dancing wildly.  Find her at: www.practicalmystics.com and julieelizabethday.com

Hey everybody! Big thanks to everyone who came out to see my live interview with Benjamin Scheuer, and artistic director, Tracy Brigden after the sneak peek performance of The Lion at City Theatre!  It was a wonderful evening.  I truly was not prepared to watch the show and hear Ben's story pour out of him and into each person in the audience.  My heart hurt so badly after the last song ended, and I was so worked up to go on stage and conduct the interview!  If you have not seen this show, you must.  The music is incredible, and the story makes you want to go out and live each moment of your life to the fullest.  To grab the people you love and make sure they know it, and to appreciate everything you have. You can preorder Songs From The Lion on his site before it drops June 3rd, and by doing so you get two songs instantly!  Also check out the photo book of his journey with cancer called Between Two Spaces. 50% of the proceeds go to the Leukemia Lymphoma Society.  Check out his music video for one of my favorite songs Weather The Storm Ben was truly a joy to chat with, and I had THE best time doing so, as I am sure you will gather from the recording. I could have sat there all day and talked to him.  So much so, that I am positive you will hear him on the show again one day. ;) A huge Thank you to City Theatre's crew for inviting me out to be a part of this magical evening. City Theatre is giving away a free pair of tickets to the show Hand Of God in their upcoming season!  Choose any of these to enter, the more you do the more times your name is entered. Share this link and tag 3 friends on Facebook.  Subscribe to Marta On The Move Follow and Tag 3 friends on Instagram Follow and Retweet on Twitter Winner will be drawn and announced on Sunday May 29th!  Good Luck! This episode is brought to you by City Theatre, now in its 41st season. Located on Pittsburgh’s historic South Side, City Theatre specializes in new plays, commissioning and producing work by playwrights including Daniel Beaty, Jessica Dickey, Christopher Durang, Michael Hollinger, Willy Holtzman, Tarell Alvin McCraney, and Madeleine George. Under the leadership of Artistic Director Tracy Brigden, Managing Director James McNeel, and a 37-member Board of Directors, City Theatre’s mission is to provide an artistic home for the development and production of contemporary plays of substance and ideas that engage and challenge a diverse audience. CityTheatreCompany.org

Pajama Party Pod/Line is back!  Join me and my great friendJohn Schalcosky from The Odd,Fascinating and Mysterious History of Pittsburgh as we gettogether and do what we do best, converse and uncover funmysteries.   John and I's favorite thing is a great story,hidden secret, or hunt, and we love to bring our love of it to allof you!  Reminder to subscribe to my newsletter below! Only subscribers this week will get an extra nugget of goldthat John found. For this podcast, we wanted to highlight Crazy Summer Stories ofPittsburgh.  All of us are waiting for the warm weather tocome, so this will help get you through.  John drops someinsane mysteries on me, and once again I am flabbergasted the wholeshow. I find out these stories when you do, as we both listen in! Look for more of our episodes, and write in to let us knowwhat you want to hear!  We will dig it up! (No punintended) This episode is brought to you by City Theatre! Make sure youget your tickets to my live event there on May 12th!  I willbe onstage right after the production of The Lion. Listeners to MOTM get tickets for just $20with promo code "MARTAROARS"  Come say hi to me! City Theatre is now in its 41st season. Located on Pittsburgh’shistoric South Side, City Theatre specializes in new plays,commissioning and producing work by playwrights including DanielBeaty, Jessica Dickey, Christopher Durang, Michael Hollinger, WillyHoltzman, Tarell Alvin McCraney, and Madeleine George. Under theleadership of Artistic Director Tracy Brigden, Managing DirectorJames McNeel, and a 37-member Board of Directors, City Theatre’smission is to provide an artistic home for the development andproduction of contemporary plays of substance and ideas that engageand challenge a diverse audience. CityTheatreCompany.org Also sponsored by Levity Pgh all listeners get$5 off all their floats with code "Marta" If you missed my fun promo video that we recorded during thisshow, check it out here. Photos and video by Jacob Finch

Welcome to episode nine of Stage Savvy: The Podcast, hosted by Angie Fiedler Sutton and Jen Morris.This show clocks in at a little over 30 minutes. This episode was our favorite playwrights: Steven Dietz for Jen, Christopher Durang for Angie. A very brief who they are, highlights of what they’ve written, and where you can go for more info. See show notes here.

Welcome to episode nine of Stage Savvy: The Podcast, hosted by Angie Fiedler Sutton and Jen Morris.This show clocks in at a little over 30 minutes. This episode was our favorite playwrights: Steven Dietz for Jen, Christopher Durang for Angie. A very brief who they are, highlights of what they’ve written, and where you can go for more info. See show notes here.

Bob Wilcox and Gerry Kowarsky review (1) VANYA AND SONYA AND MASHA AND SPIKE, by Christopher Durang, at the Repertory Theatre of St. Louis, (2) KINKY BOOTS, by Harvey Fierstein & Cyndi Lauper, at the Fox Theatre, (3) PARFUMERIE, by Miklos Laszlo, at The Alpha Players of Florissant, (4) BLOOD REIGNS: THE WAR OF THE ROSES TRILOGY, by William Shakespeare, at St. Louis Shakespeare, (5) AFFLICTED: DAUGHTERS OF SALEM, by Laurie Brooks, at Metro Theater Co., (6) BRIEFS: A FESTIVAL OF SHORT LGBT PLAYS, at That Uppity Theatre Co. and Vital VOICE Magazine, (7) SKY SKY SKY, by Elizabeth Birkenmeier, at Washington Univ., and (8) HONK!, by Anthony Drewe & George Stiles, at Webster Univ. Conservatory.

This week, Kira sits down with comedian and dad, Bill Dawes. As an actor, he has appeared in several award-winning independent films, including Adam, Evenhand and Fiona. He's had starring roles in two MGM Studio children's films—Just for Kicks and Recipe for Disaster—and an acting role in the DVD cult hit I Hope They Serve Beer in Hell. On TV, Bill has been on several hit shows, including Law and Order, Rizzoli and Isles, Sex and the City, OZ, and Criminal Intent, As a stage actor, Bill's first role was on Broadway with Sigourney Weaver and Christopher Durang in the play Sex and Longing. He most recent stage turn was on Broadway in the hit Tony-nominated production of “LOMBARDI,” where he played a lead role as Green Bay Packer Legend Paul Hornung, the “Golden Boy.” Be sure to rate and comment on iTunes. Also, you can find the show on Stitcher.

Ron Lagomarsino: Fresh off of the successful opening of Driving Miss Daisy starring Dana Ivey and Morgan Freeman, Director Ron Lagomarsino sat down with SDCF's Steve Kaplan in January of 1988 to discuss directing comedy for the stage. In this, the third installation in a series of three interviews devoted to the topic, the listener will notice similarities in the directorial philosophies of these comedic helmers. (Other series interviews include directors Gene Saks and Jerry Zaks - available on Masters of the Stage at a future date or by request from SDC Foundation). Mr. Lagomarsino discusses what he looks for from actors in casting a comedy, and the trust he must develop with them once the cast is formed. He speaks fondly on the experiences of directing Dana Ivey in Daisy and collaborating with Christopher Durang on Laughing Wild, both at Playwrights Horizons. He concludes by revealing how he so adroitly shifts his style to fit pieces like Hay Fever, Laughing Wild and Noises Off - by not pretending to have all the answers. Ultimately, this organic process may be what endears him to his casts. Originally recorded - January 18, 1988. Running Time - 1:15:13 ©1988 SDCF

Movie Meltdown - Episode 267 This week we head back to one of those conventions we always go to, and we loiter around with two of our favorite people - Andy and Ken! Then we hang out with this week's special guest co-hosts - L.C. Holt  and Lane Hughes! They are two actors who have been in quite a few films including Pop Skull, VHS and VHS 2... but these days they are better known as the lamb mask and the fox mask from You're Next! So we take this opportunity to sit down and not only talk about their introduction to the film world, but also their love of horror and more specifically - the state of horror movies today.  And as we scatter through the air - like bugs, we also discuss... Godzilla, Oldboy, Matthew McConaughey, tearing your hand off, taking an AZT break, Noel Coward, Jack Nicholson, roofing nails everywhere in Alabama, A Nightmare on Elm Street, killing Randy, Dexter, old wrestling, Trigger Man, Bud Spencer and Terence Hill, wolves, glitter, a slow burn, watching trailers, the ghost that terrorized, Easy Rider, Elliott Gould and George Segal, Can't Stop the Music, building up expectaions, Christopher Durang, The Killing, Ti West, John Russo, Frozen, the milkshake, Only God Forgives, movie fanboys, Spider-Man 2, early slasher films, picking up a guitar, Amy Seimetz, Mick Foley, The Sacrament, 'cause you guys geeked out real good right there, MST3K, getting caught up in the hate, Spike Lee, Patrick, Marvel movies, The Burning, Bryan Cranston, tetanus of the sphincter, Brad Dourif, the fifteenth superficial wound, Martin, having three concussions, The Dorm that Dripped Blood, A. J. Bowen, it's fun to play the bad guy... when you play the bad guy, you get to do everything you would never get to do in life... you get to live vicariously... and in a way... you get to vent, a lot of the things you could never vent... it's great anger managenment I think, Friday the 13th, Brandon Carroll, 90 DV tapes, Five Easy Pieces, The Guest, stepping on a nail, Doug Bradley, Rooney Mara, the new Universal Monsters, one of the best seasons of television of any show ever, The Innkeepers, California Split, gushing over movies, Pacific Rim, Halloween, being a masked killer, spaghetti and milkshakes.  "...we're villians, you know... we're anti-heroes... I'd love to play the boy next door - but that will never happen!" 

On this episode, Bob Wilcox and Gerry Kowarsky interview Nancy Bell--actress, teacher, playwright, and director--after reviewing (1) MRS. SORKEN, by Christopher Durang, and THE DUCK VARIATIONS, by David Mamet, at Mustard Seed Theatre, (2) PRISCILLA QUEEN OF THE DESERT THE MUSICAL, by Stephen Elliott & Allan Scott, at the Fox Theatre, and (3) SPLENDOR IN THE GRASS, adapted by F. Andrew Leslie from William Inge, at the Clayton Community Theatre.

The panel of performers - Joan Copeland ("Another Time"), Jeff Daniels ("Redwood Curtain"), Christopher Durang (Sondheim's "Putting It Together"), Robert Foxworth ("Candida"), Robert Klein ("The Sisters Rosenszweig"), Mary McCann (David Mamet's "Oleanna"), Steven Rea ("Someone Who'll Watch Over Me"), Martin Short ("The Goodbye Girl"), and Mary Steenburgen ("Candida") - compare the different styles of their current productions, their performing backgrounds, discipline and stamina, actors who write, and returning to the stage after working in television and film.

Fresh off of the successful opening of "Driving Miss Daisy" starring Dana Ivey and Morgan Freeman, Director Ron Lagomarsino sat down with SDCF's Steve Kaplan in January of 1988 to discuss directing comedy for the stage. In this, the third installation in a series of three interviews devoted to the topic, the listener will notice similarities in the directorial philosophies of these comedic helmers. (Other series interviews include directors Gene Saks and Jerry Zaks - available on Masters of the Stage at a future date or by request from SDCFoundation). Mr. Lagomarsino discusses what he looks for from actors in casting a comedy, and the trust he must develop with them once the cast is formed. He speaks fondly on the experiences of directing Dana Ivey in "Daisy" and collaborating with Christopher Durang on "Laughing Wild", both at Playwrights Horizons. He concludes by revealing how he so adroitly shifts his style to fit pieces like "Hay Fever", "Laughing Wild" and "Noises Off" - by not pretending to have all the answers. Ultimately, this organic process may be what endears him to his casts.

No Refund Theatre is holding auditions for the FOUR shows that will open our Fall ‘09 season! NON-THEATRE MAJORS ARE MORE THAN WELCOME! These shows are: Sept 11-12: “A Night of One Acts,” featuring works by David Ives and Christopher Durang, directed by Johnna Scrabis Sept 18-19: “Steel Magnolias” by Robert Harling, directed by Buddy Ruse Oct 2-3: “All My Sons” by Arthur Miller, directed by Jesse Cramer Oct 9-10: “The Taming of the Shrew” by William Shakespeare, directed by Mark Celeste Auditions will be held MONDAY, April 20, through WEDNESDAY, April 22. The auditions will run from 6 p.m. to 9 p.m. in Chambers Building lobby each evening. FOR AUDITIONS PLEASE: 1) SIGN UP FOR AN AUDITION TIME on the sheets posted on the door to the NRT office in 318 HUB (It’s right by the elevators on the 3rd floor). When you come to audition at your scheduled time, we’ll have you all initial by your sign-up time. *We will still accept walk-in auditions but be prepared to wait for an opening. 2) PREPARE A ONE-MINUTE MONOLOGUE that you feel matches the tone of the role you’d like to audition for. If you’re not auditioning for a specific role, just pick a monologue that shows you off. BUT DO NOT EXCEED ONE MINUTE. ********************************************************************************************** RECAP: -AUDITIONS WILL BE HELD MONDAY-WEDNESDAY ONLY! -SIGN UP FOR A TIME IN ADVANCE ON THE SHEET POSTED ON THE DOOR TO THE HUB NRT OFFICE — ROOM 318. Although we will accept walk-ins, we advise you to sign up if you are busy and need to get in and out of auditions quickly! We’ll be trying to get through 4-6 people every 20 minutes. -PREPARE A MONOLOGUE, OR USE ONE OF OURS AVAILABLE AT AUDITIONS! (BUT KEEP IT TO 1 MINUTE, PLEASE.) **********************************************************************************************

UCF Conservatory Theatre presents An Evening of Theatre by Christopher Durang - 3 one-act plays that poke fun at theatre. The show is directed by Lani Harris; performances are Thursdays, Fridays and Saturdays at 8pm and Sundays at 2pm through March 1; call the Box Office at 407-823-1500.Today's Calendar Events: UCF Music Department ConcertsFor others, see Red Chair Project.com

The panel of theatre professionals -- playwright Michael J. Chepiga (Getting and Spending), choreographer Graciela Daniele (Ragtime), playwright/director Christopher Durang (Sex and Longing), director Garry Hynes (Best Director Tony Award for The Beauty Queen of Leenane), and director Joe Mantello (2003 for Best Direction for Take Me Out and 2004 for Assassins) -- discuss how they got their start, auditioning actors, controversy surrounding a play, and taking on alternate roles of choreographer, actor, or director.

The panel of theatre professionals - playwright Michael J. Chepiga ("Getting and Spending"), choreographer Graciela Daniele ("Ragtime"), playwright/director Christopher Durang ("Sex and Longing"), director Garry Hynes ("The Beauty Queen of Leenane"), and director Joe Mantello ("Corpus Christi") - discuss how they got their start, auditioning actors, controversy surrounding a play, and taking on alternate roles of choreographer, actor, or director.

The writers' life is the topic for authors Christopher Durang ("Miss Witherspoon"), Lisa Kron ("Well"), Marsha Norman ("The Color Purple"), John Patrick Shanley ("Defiance") and Diana Son ("Satellites").

The writers' life is the topic for authors Christopher Durang (Miss Witherspoon), Lisa Kron (Well), Marsha Norman (The Color Purple and a Tony Award for The Secret Garden), John Patrick Shanley (2005 Tony Award for his Best Play Doubt) and Diana Son (Satellites).

Playwright Christopher Durang contemplates issues of faith, family, humor and falling space debris during the concurrent runs of his new play "Miss Witherspoon" in New York and his new musical "Adrift in Macao" in Philadelphia. Original airdate - December 2, 2005.

Playwright Christopher Durang contemplates issues of faith, family, humor and falling space debris during the concurrent runs of his new play "Miss Witherspoon" in New York and his new musical "Adrift in Macao" in Philadelphia. Original airdate - December 2, 2005.