Podcasts about Court Theatre

One of Aotearoa's most daring and decorated playwrights, Victor Rodger's award-winning 2013 play Black Faggot is back at the Court Theatre. More than a decade on, the play remains painfully relevant.

There's a big weekend in store for Christchurch where the curtain is being raised on the new Court Theatre. The new $56 million playhouse is the theatre's first permanent home since the 2011 earthquake destroyed its Arts Centre venue. 

Berlin is a case study of how things can go wrong when a country has suffered losses and trauma. As its citizens and leaders slowly turn away from collaborative solutions and towards stark divisions in power and a dark fascist vision, slow motion disaster unfolds. Everyone can sense it but no one person has the power to prevent it. Based on the three volume graphic novel Berlin written by Jason Lutes it covers the time period between WWI and WWII  focusing on the conditions needed for fascism to arise. This new theatrical adaptation by Mickle Maher, directed by Charles Newell dives into the stories of 13 characters, illuminating the events through their perspectives. Its world premier was at Court Theatre on Chicago's southside. Listen to this full review by Kim Campbell

The Court Theatre returning to the central city in Christchurch this week, fourteen years on from the devastating quakes that drove it out of the Arts Centre. 

“A Raisin in the Sun” is a Chicago classic. The play by Lorainne Hansberry tells the story of a Black family looking to move out of a cramped South Side apartment and defy social and political limits to realize their dreams. There would be no “A Raisin in the Sun” without Lorraine's father Carl Hansberry, a real estate broker turned civil rights activist who helped end restrictive covenant laws that prevent certain people from buying and living on a property. Reset learns more about Carl Hansberry with Gabrielle Randle-Bent, dramaturg, University of Chicago professor and associate artistic director at the Court Theatre. For a full archive of Reset interviews, head over to wbez.org/reset.

Court Theatre's ‘A Raisin In The Sun' is honoring Lorraine Hansberry's South Side Tale 60 Years After Her Death.The cast of South and West Side natives are bringing a fresh “heartbeat” to the Broadway play nearly 70 years after its debut.Host - Jon HansenReporter - Atavia ReedRead More HereBuy Tickets Here Want to donate to our non-profit newsroom? CLICK HEREWho we areBlock Club Chicago is a 501(c)(3) nonprofit news organization dedicated to delivering reliable, relevant and nonpartisan coverage of Chicago's diverse neighborhoods. We believe all neighborhoods deserve to be covered in a meaningful way.We amplify positive stories, cover development and local school council meetings and serve as watchdogs in neighborhoods often ostracized by traditional news media.Ground-level coverageOur neighborhood-based reporters don't parachute in once to cover a story. They are in the neighborhoods they cover every day building relationships over time with neighbors. We believe this ground-level approach not only builds community but leads to a more accurate portrayal of a neighborhood.Stories that matter to you — every daySince our launch five years ago, we've published more than 25,000 stories from the neighborhoods, covered hundreds of community meetings and send daily and neighborhood newsletters to more than 130,000 Chicagoans. We've built this loyalty by proving to folks we are not only covering their neighborhoods, we are a part of them. Some of us have internalized the national media's narrative of a broken Chicago. We aim to change that by celebrating our neighborhoods and chronicling the resilience of the people who fight every day to make Chicago a better place for all.

In this new podcast, Paul chats with the cast and director of “Falsettos” playing through Dec 15th at the Court Theatre (in cooperation with TimeLine Theatre Company). Set in the late 1970's and early ‘80s, it's the story of a Jewish couple with a son who live on the Upper West Side when the husband falls […]

Edward Gero joins the CONVERSATION during a break in rehearsals for The Lehman Trilogy at the Guthrie Theater in Minneapolis, Minnesota. Gero's performance is another highlight in a distinguished, award-winning career spanning forty-seven years with upwards to one hundred fifty roles and counting including The Originalist at Court Theatre in Chicago, Angels in America at Arena Stage and earlier this year, in the critically-acclaimed production of The Lehman Trilogy at the Shakespeare Theatre Company that has now transferred to the Guthrie and opens September 19, 2024. Stefano Massini's epic multi-generational story, adapted by Ben Power and directed by Arin Arbus, chronicles the true-to-life rise of three Jewish immigrant brothers who built their own version of the American Dream from a small fabric business in 1844 to the international financial firm whose spectacular collapse in 2008 sent global markets spiraling out of control. The Guthrie Theater production includes Gero, Mark Nelson and William Sturdivant in the cast of three who play the Lehman brothers and recreate all of the over fifty other roles. 7 Episode 3 Originally posted September 4, 2024

The guys hop on stage at the Court Theatre in Hyde Park for a live conversation with writer Nambi E. Kelley and director Tasia A. Jones about their new play Stokely: The Unfinished Revolution. The production covers the life of visionary movement thinker and organizer Stokely Carmichael/Kwame Ture, whose work spans from the early work of SNCC across the southern US to decades of Pan-Africanist socialist organizing on the African continent. The creators behind the play talk about the frames they built for the story, the ways that Stokely's drive has impacted their lives, and the healing potential of the archive. SHOW NOTES Learn more about the play - https://tickets.courttheatre.org/Online/default.asp Follow AirGo - instagram.com/airgoradio Find One Million Experiments on tour! - www.respairmedia.com/events Bring us to your community by hitting us up - contact@respairmedia.com CREDITS Hosts & Exec. Producers - Damon Williams and Daniel Kisslinger Associate Producer - Rocío Santos Engagement Producer - Rivka Yeker Digital Media Producer - Troi Valles

For his final production as thirty-year artistic director of Chicago's Tony-winning Court Theatre, Charles Newell transforms Tom Stoppard's Rosencrantz and Guildenstern Are Dead into an unexpectedly joyful celebration of legacy and theater. Newell reveals his lengthy relationship with not only Stoppard's plays but with the man himself, and shares how he cast two halves of a whole; how he chose to respond instinctively to what was happening in rehearsal rather than adhere to an intricate plan; and how he embraced the counterintuitive and seemingly-oxymoronic phrase “joyful requiem.” (PICTURED: Erik Hellman and Nate Burger as Guildenstern and Rosencrantz in the Court Theatre production of Tom Stoppard's Rosencrantz and Guildenstern Are Dead, directed by Charles Newell. Photo by Michael Brosilow.) (Length 20:20)

This week on the Highlight Reel, Si & James debate what makes good comedy after Jimmy Carr takes a crack at a deaf woman in the audience. They also discussed Police pay and whether they should be allowed to strike. The Greens run into more trouble with another MP.   Plus, it's Simon's turn for a smelly work lunch, James goes for a tour of Christchurch's new Court Theatre building and Simon dares to ask why women gasp! LISTEN ABOVE    See omnystudio.com/listener for privacy information.

Melissa details her 2024 Chicago Theatre Week Experience. She saw shows at the Goodman Theatre, Chicago Shakes, TimeLine Theatre, Writers Theatre, and Court Theatre, and she recommends them all! Resources MentionedChicago Theatre WeekLeague of Chicago TheatresChoose ChicagoGoodman TheatreChicago Shakespeare TheaterWriters TheatreCourt TheatreTimeLine Theatre Company Connect with host Melissa Schmitz***Sign up for the 101 Stage Adaptations Newsletter***101 Stage AdaptationsFollow the Podcast on Facebook & InstagramRead Melissa's plays on New Play ExchangeConnect with Melissa on LinkedInWays to support the show:- Buy Me a Coffee- Tell us your thoughts in our Listener Survey!- Give a 5-Star rating- Write a glowing review on Apple Podcasts - Send this episode to a friend- Share on social media (Tag us so we can thank you!)Creators: Host your podcast through Buzzsprout using my affiliate link & get a $20 credit on your paid account. Let your fans directly support you via Buy Me a Coffee (affiliate link).

Yesterday, I was contacted by someone who, I think it's fair to say, has had a gutsful of the Christchurch City Council. They are someone who is involved with business groups and community groups in Christchurch and they've felt compelled to get in touch after all the goings-on over the last couple of weeks. We've had the chief executive quitting, the chief financial officer quitting, the KPMG report which looked into that $6.5 million budget blowout in the Three Waters division - where we had a whole lot of unapproved spending on hiring more staff. Not to mention all the other comings and goings —generally goings— throughout this year. To the point where the council in New Zealand's second-largest city has no chief executive and no CFO. And other senior people away on “leave”. There's been a lot of that this year. It seems that if you're on leave at the Christchurch City Council, it generally means you've left. Then there's the other crazy stuff going on. Stuff like the money being blown on that beautification trial on Gloucester Street, in the centre of town, near the Turanga central library and where the new Court Theatre's being built. So, quite rightly, people are scratching their heads and wondering what the hell's going on at that outfit. You may have heard that the new Local Government Minister is keeping an eye on things and wants to find out more. It's also being reported that the Auditor-General's office is taking an interest. It says it's been in touch with the council and wants to “further understand” what's going on. Particularly, the $6.5 million in unapproved spending, and the other issue that's emerged in the last few days. This leaked report by external consultants Aurecon which says a lack of leadership and accountability at the council is putting billions of dollars of public assets at risk. These are things like underground pipes, roads, parks and playgrounds, as well as facilities such as libraries, pools and community centres. I understand the report that was leaked is still in draft and not yet finalised. But the council's had the draft since September. As it's being reported, the report talks about the council's ongoing failure to document the condition of many of its core assets and some maintenance is understood to be years behind schedule. So, when you consider all of these things, you can see why this person involved in business and community groups has had enough. They say the majority of Christchurch citizens are sick and tired of the incompetence, and lack of accountability and common sense at the council. And they think the Government needs to step-in and appoint commissioners to take over.We know the Local Government Minister is aware of reports about the city council and is taking his time to get across all the details. He also expects to be briefed on the resignations of the chief executive and the chief financial officer. Personally, I think we're close to needing government intervention. But I don't think we're at that point just yet. Because I think we need to know first whether the departures of the chief executive and the chief financial officer were more than just “resignations”. Because if they were given their marching orders, then that would give me a little bit of confidence that there is some hope that the council can sort out its own mess. But, I tell you what, I'm not far away from joining the call for commissioners to take over. Not far away at all.See omnystudio.com/listener for privacy information.

Christchurch really is putting on a show this week. And I'm not talking about Cup and Show Week.  I'm talking about the city council's ridiculous show of wasteful spending of public money on its beautification trial on that little bit of Gloucester Street where the Turanga central library is on one side, and the new Court Theatre is being built on the other side. The Isaac Theatre Royal is just down the street a bit.  The council's spending $1.4 million on a 10-week trial of changes to that little piece of Gloucester Street and, if it decides that it doesn't really work, it's going to rip it all up again and go back to how it is now.   They're going to bring-in a 10kph speed limit and do some other things to make it prettier. Or, as the council puts it: to make the street “a more inviting space for hospitality, performers and theatre-goers”.  Which is really going to work wonders when you consider all the trucks going to and from the Court Theatre construction site. And today, all that work is getting underway.   This is at the same time as the council is realising that it's going to have to pull the pin on other permanent cycleway and transport projects in the city because the funding it was expecting to get from Waka Kotahi has been put on hold.  So 11 projects designed to make it easier to walk, ride a bike or use public transport in Christchurch.   Total cost for the 11 projects expected to be $26 million. With 90 percent of the money coming from Waka Kotahi's Transport Choices programme, which is funded by the Government's climate change emergency fund.   Just like the money for the Gloucester Street debacle is mostly government money too. $1.2 million in taxpayer money. The rest - ratepayer money. On something that might not even be permanent. A $1.4 million experiment.   And the fact that most of its government money doesn't make it any less wasteful.   So the work on that starts today. And on Wednesday this week, city councillors are going to have to decide how they deal with the fact that they're now going to get less government for these other projects.   By the way, too, all of the money for these other projects is on hold until the new government is in place.  So what the Christchurch City Council has to do, at the very least, is work out how to cut costs on these 11 projects by 10 percent. And councillors are going to get -together on Wednesday to try and suss that one out.  And one of the things they're going to be considering is pulling the plug on is a cycleway project.  Which is where all of this makes absolutely no sense. Because who-on-earth would think that spending $1.4 million on a temporary thing in a location  where there's a construction site operating with trucks coming and going is a good idea? At the same time as your being forced to cut back on other permanent projects.   That's the key point here: spending money on something that could turn out to be temporary, but cutting spending on things that will be permanent. In fact, not just cutting spending. It's looking like the council is going to cut some of these projects altogether. One of them is a new cycleway on the southside of town.     If I had my way, I'd be heading to Gloucester Street and telling the crew in the high-vis jackets to find something else to do.   Because how can these councillors possibly think it makes sense to cut back on permanent projects, but blow more than a million bucks on something that might not be there on the other side of Christmas?   I said months ago that they should have told mayor Phil Mauger to get on the blower to Waka Kotahi and say ‘hey, about that money. We think there are much more important things for you to spend it on, so we're going to say thanks-but-no thanks'.  But, oh no. They're pressing on with the work today. And then, on Wednesday, they're going to decide what they're not going to do about these other projects because there's going to be less money coming from the Government.  What do these council muppets not get? Why is this Gloucester Street thing so obviously nutbar to me, but not to them? The answer lies in the fact that so much of the money for Gloucester Street and these other projects is coming from the taxpayer. Not the ratepayer.  Do you remember when they were talking about Gloucester Street and one councillor said it would be a shame not to do it because they'd miss out on the government money? Remember that?   They've got their noses in the taxpayer's trough and it seems to be impossible for them to pull them out.  LISTEN ABOVESee omnystudio.com/listener for privacy information.

Rebecca Spence (left) and Netta Walker play Eleanor of Aquitaine and Alice Capet, the estranged wife and mistress, respectively, of Henry II, in the Court Theatre production of James Goldman's The Lion in Winter, directed by Ron OJ Parson. Spence and Walker discuss what it's like to be playing the smartest characters in the play; the joy of facing off in their second onstage collaboration; the highly flattering comparison they make to Robert Preston; the privilege of working with such a sensitive ensemble of actors (and a director who trusts them); and how they navigate their power as women in a play with such, as they say in the 12th century, Big Dagger Energy. (Length 20:23) (Photo by Michael Brosilow.)

Episode Notes Leap is no long Crumble the kobold, and he has a new memory to explore! Then, listen in on our chat preparing the scene for Leap to land in! And finally, some wonderful one-on-one chats with our special players! With Steven Youngblood as Leap and game master Morgan Davie, and incredible featured players Caitlin Penhey and Brendon Bennetts as Leap's kobold friends! Check out Brendon's amazing show Dungeons & Comedians, on YouTube and podcasts and LIVE ON STAGE! Also in Christchurch: SCARED SCRIPTLESS at the Court Theatre! Opening music by Nver Avetyan Closing titles by Alexi Action Additional sounds by Nomi Q Bomi Diceratops brings tabletop role-playing games to the Wellington stage, and podcasts too. We are comedians, improvisers, and game designers, and our shows are for everybody. Follow us on Twitter, Instagram, and Facebook. Sign up to our email newsletter for all the latest news! Produced by Taleturn Media. Find out more at https://diceratops-presents.pinecast.co This podcast is powered by Pinecast.

If you're not cringing over the latest decision by the Christchurch City Council, you should be. Because yesterday, councillors sat around the table to decide whether they should spend $1.4 million on a 10-week trial of changes to a little piece of Gloucester Street. These are changes to the stretch of Gloucester Street where the Isaac Theatre Royal is, to make the street “a more inviting space for hospitality, performers and theatre-goers”. So they sat around the table at Council headquarters. Read a report written by council staff which effectively said “don't do it”. And so what did these bozos do? They said ‘nah, let's do it'. Now to be fair. It was a close competition. Nine councillors voted “yes” and eight voted “no”. So nine of them were bozos. But, either way, what it means is just over $1.2 million of taxpayer money and $140,000 of ratepayer money is going to be spent tarting-up that little stretch of Gloucester Street right in the centre of town - where the Turanga central library and the Isaac Theatre Royal are. And where the new Court Theatre is currently being built. And they're going to do the work, trial it for 10 weeks, and if they don't think it's working - they'll change it all back again. This has been on the cards since earlier in the year. Originally, the plan was to make the street one-way. But that part of the plan's gone out the window. They are sticking, however, with the plan to bring in a 10 kilometres per hour speed limit. So the budget is $1.4 million. With 90 percent of the money coming from Waka Kotahi's “Streets for People” programme. So taxpayers. And the rest is being paid for by the Christchurch City Council. So ratepayers. I seem to recall that the $1.4 million is the total budget for making the changes and undoing them if they decide after 10 weeks that it's not really worth it. But, either way, can you think of anything more wasteful? And it's not just the Christchurch City Council at fault here. Although, I reckon they should've just decided yesterday that it was a nutbar waste of money and they should've told the mayor to get on the blower to Waka Kotahi and say ‘hey, about that money. We think there are much more important things for you to spend it on, so we're going to say thanks-but-no thanks'. But did they do that? Of course they didn't. And some of the reasons certain councillors gave for sticking with the plan and spending the money beggars belief. One, in particular. Councillor Jake McLellan. Now it's people like him who give the left a bad name. Because, even though he admitted now isn't the best time to be doing a trial on that bit of Gloucester Street - especially because the Court Theatre is still being built there - he thought it was more important for the council to get its hands on the money coming from Waka Kotahi. How about this for a quote? This is what Councilor Jake McLellan said yesterday. “There will probably not be a better funding opportunity. A subsidy of 90 percent seems a real shame to let slip through our hands.” That's what you call spending money for the sake of spending money. But, as I say, it's not just the muppets at the council to blame. Because if the crowd at Waka Kotahi had their heads screwed on, they'd be on the phone to the council saying they're pulling the plug on the funding. Because how can it justify spending just over $1.2 million of taxpayer money on a 10-week beautification trial? I think it is shameful that Waka Kotahi and the council think this is a good use of taxpayer and ratepayer money to fund what could turn out to be nothing more than an expensive trial and consultation exercise. At a time when the country is facing huge rebuild costs thanks to Cyclone Gabrielle. At a time when our roads are falling apart. It is shameful that the Christchurch City Council hasn't made a symbolic gesture and said to the Government ‘thanks but no thanks' for the money, ‘we think there are much greater needs than blowing money on an experiment.” And it is shameful that Waka Kotahi hasn't stepped-in and pulled the funding from these clowns at the council.See omnystudio.com/listener for privacy information.

Queen of Christchurch's Court Theatre stage, Eilish Moran took some time out of her packed schedule to chat to Penny about her body, her menopause and being in Penny's adaptation of Sense and Sensibility at the Court in February 2023.  Penny was excited to get to know a woman she saw onstage all through her youth and adolescence in such plays as Little Shop of Horrors, The Crucible and so much more.  Eilish was so generous sharing her parent's dementia journeys, her stories of eating disorders and the roles she has both loved and the ones that got away.   Penny,  Eilish and Poppy the dog, enjoyed scones and a coffee in her 19th Century country cottage as they laughed about boobs, puberty and the fact that one of them kept farting.  Book here for Showy Ovaries Live in Auckland on Sat 20th May: https://www.comedyfestival.co.nz/find-a-show/showy-ovaries-live/Book here for The Tempestuous from June 13th: https://www.iticket.co.nz/events/2023/jun/the-tempestuous Book for Eilish's play Appropriate in Christchurch: https://courttheatre.org.nz/whats-on/appropriate/ Support the show

On this edition of The Arts Seciton, host Gary Zidek takes you with on his visit to the Illinois Holocaust Museum and Education for an upclose look at a new exhibit all about the Green Book, which was an important resource for Black Americans over a 30 period between the 30s and 60s. The Dueling Critics, Kerry Reid and Jonathan Abarbanel, will join me to talk about Court Theatre's latest production, FEN. Later in the show, Gary sits down with local historian David Witter to talk about his new book, DISTILLED IN CHICAGO, that profiles Chicago's history of distilleries. And we'll hear from a local doctor-slash-magician who invested in a new theater.

It's enough to make you want to put your head in your hands. When the whole country is trying to work out how we're going to pay for building all those new roads and everything else that needs rebuilding up north because of Cyclone Gabrielle, there's news today that more than $1 million is going to be spent on a stretch of Gloucester Street, in central Christchurch. And what's more, once the so-called “upgrade” happens, it's going to be trialled for 10 weeks and if the council decides 'nah, it doesn't really work', all the work will be undone and it'll go back to what it's like at the moment. The stretch of Gloucester Street I'm talking about is right in the centre of town - where the Turanga central library and the Isaac Theatre Royal are. And where the new Court Theatre is going to be built. The bit, if you're travelling west, that takes you to the intersection where you have to turn left or right, because if you went straight ahead you'd come to the big concrete wall at the new Te Pae Convention Centre. The idea is to make the street more “people friendly” by reducing the speed limit from 30 kph to 10 kph, making it one-way - which will mean you'll only be drive westward towards the convention centre - and there'll be planter boxes and all the other usual stuff that makes streets narrower and slows down traffic. Yhe budget is $1.4M million. With 90 percent of the money coming from Waka Kotahi's “Streets for People” programme and the rest paid for by the Christchurch City Council. Apparently, the $1.4M is the total budget for making the changes and undoing them if they decide after 10 weeks that it's not really worth it. Either way, can you think of anything more wasteful? Blowing nearly $1.5M on, effectively, a piece of public consultation. Because, as part of deciding whether to stick with the changes once they're made, the council will be running an online survey to find out what we all think of them. The city council is saying that the changes are being trialled on Gloucester Street because that's the performing arts precinct. So I imagine they're thinking that with all the people trotting along to the Isaac Theatre Royal and the Convention Centre and the Court Theatre (once it's built), a narrower, slower street would make it more people-friendly and safer. The fly-in-the-ointment there, though, is that piece of land on the Gloucester/Colombo corner - where you've got Turanga and the Convention Centre - where the Court Theatre is going to be one day. If you've been in Christchurch for any period of time over the past 12 years, you'll know that once they start building the Court Theatre, that stretch of Gloucester will be anything but a “street for the people”. There'll be trucks going in and out - the whole she-bang. But that may not be an issue because the money will be spent on all these changes and, after a 10-week trial, the council will do its consultation and it may actually decide that the whole thing's a daft idea and all the work and the changes will be undone and it'll go back to how it is now. And that will be Christchurch making the best use of $1.4 million. And if the changes stay, we will have yet another street in downtown Christchurch that is pretty much a no-go zone for vehicles - one-way, with a 10 kph speed limit. So when does work start? It starts next week. I'm not quite sure how long it's going to take but once it's finished, and it's been in place for 10 weeks, you'll be able to have your say. But I think this shouldn't be allowed to go any further. Sure, the city council is saying that it's getting most of the $1.4 million from the Government - 90 percent of it. But this money would have been approved long before Cyclone Gabrielle and I can't believe no one at the city appears to have looked up from their spreadsheet and Gantt chart and said ‘do you think we should still be going ahead with this?'. That doesn't appear to have happened, and it is shameful on so many fronts. It is shameful that Waka Kotahi and the council think it's a good use of taxpayer and ratepayer money to fund what could turn out to be nothing more than an expensive trial and consultation exercise. And it is shameful that, at a time when the country is facing huge rebuild costs thanks to Cyclone Gabrielle, the Christchurch City Council hasn't made a symbolic gesture and said to the Government ‘thanks, but no thanks' for the money.See omnystudio.com/listener for privacy information.

Live from King's Court Theatre at King William's College, Castletown with the views and opinions of students Bethan, Philip, Robbie, Ned, Mea, Ernst, Bella and Jenna. It's Mannin Line with Andy Wint #iom #manninline #manxradio

Ron OJ Parson is a multiple award-winning director and Resident Artist at the 2022 Tony-winning regional theater Court Theatre in Chicago, where his production of Arsenic and Old Lace opens this Saturday night. Ron's extraordinary range includes over 30 productions of August Wilson's plays, musicals, classics, and world premieres, and he discusses how he approaches each script, regardless of genre; how the best direction is collaboration; bonding with Brian Dennehy and formative mentoring from Marion McClinton and Stephen McKinley Henderson; the art of not doing all that much to the play while you're doing the harder work of just doing the play; how he's one of the folks responsible for it being a golden age of August Wilson in Chicago (and elsewhere); and how believes in the fundamental importance of laughter, not just as entertainment but as catharsis. Can you say #RonaissanceMan? (Length 18:33) (Photo of Ron OJ Parson by Joe Mazza.) The post Ron OJ Parson appeared first on Reduced Shakespeare Company.

The Court Theatre last week won the 2022 Regional Theatre Tony Award. The award recognizes the theater for “Fostering local talent,” according to the American Theater Wing, which manages the award. The Court is the University of Chicago's professional theater company. Its current production, Two Trains Running, is the Court's ninth of ten plays in August Wilson's Century Cycle, which documents Black life in the 20th century. Reset checks in with Charlie Newell, the Court's artistic director, and Ron OJ Parson, director of Two Trains Running. Host: Sasha-Ann Simons Producer: Char Daston Guests: Ron OJ Parson, Angel Ysaguirre

Jacklyn Zeman talks about choosing your path, her long road on General Hospital, and the audition that led to it all!About Jacklyn:Jacklyn Zeman does it all! Mother-Actress-Author-TV/Radio Host- Designer. Now after more than 6,000 episodes as nurse ‘Bobbie Spencer' Chief Surgical RN on ABC's “General Hospital,” she has become one of the most visible and likable actresses on network television. Jackie is a true contemporary and role model to millions of daytime viewers.Born in Englewood, New Jersey, Jacklyn completed her high school studies at age 15 and studied dance at New York University on a scholarship. Within months she was dancing and modeling professionally while continuing her studies. A desire to act on daytime television led Jacklyn to her debut on ABC-TV's, “One Life to Live.” After her character's untimely demise, she was asked to go to Los Angeles to create the role of ‘Bobbie Spencer' on “General Hospital.” Four decades later...Bobbie Spencer lives on and continues to be a fan favorite.Jacklyn is currently appearing as southern belle ‘Sofia Madison' on indie drama “The Bay” produced by LANY. She was invited to join the “The Bay” family by Producer Gregori J Martin in July 2011. She is delighted to have been invited back for all the past seasons; and she is looking forward to the new season of upcoming episodes. “The Bay” shoots on location in Los Angeles and overseas. Episodes live stream on Amazon, Hulu, Popstar! TV, and Peacock.Jacklyn is also currently featured on indie series “Misguided” as ‘Mo'. Jackie has been thrilled to be invited to join the cast for the past few seasons by Producer-Writer-Star Paul Gosselin. ‘Misguided' is produced by Cosmopaulitan Entertainment. Episodes for the new season will shoot on location in Los Angeles. Jacklyn has received two Independent Series Awards (ISA Awards) nominations for Supporting Actress in a comedy/drama for her role as ‘Mo'.In addition to television work, she has performed in off-Broadway and community productions. She guest starred, portraying herself, in the hit stage production of “Menopause the Musical” at the Coronet Theatre in West Hollywood, CA. The sold-out audiences had a chance to see her wearing her song and dance hat. She starred in, “Come Blow Your Horn,” “Barefoot in the Park” and “The Boyfriend.” Under her own production banner she co- produced and co-starred in an original play “Seacliff California”. She has also appeared in “The Current Mrs. Harrison” as Mrs.Harrison at Theatre 68 and as Alain in “Talking With” at the Court Theatre in Los Angeles.Feature film credits include, Gary Marshall's “Young Doctors in Love,” John Hughes' “National Lampoon's Class Reunion,” “The Day the Music Died,” “Deep in the Valley,” “The Groove Tube,” and “The Mission.”Jacklyn received critical acclaim for her starring role in “Montana Crossroads,” an ABC After School Special, and took a break from her busy “General Hospital” schedule to co-star as a lawyer in ABC's Comedy Movie for Television, “Jury Duty.” She has appeared on “Chicago Hope,” “Mike Hammer,” “Love, American Style,” “Fantasy,” “Sledgehammer” and “Madd TV.”Travel, interior design and style, some of her favorite pastimes, has been incorporated into appearances on “Runaway” and “Lifestyles of the Rich and Famous.” Jacklyn is a frequent guest on some of television's top talk and game shows. Her appearances include: “Good Morning America,” “Oprah,” “The View,” “Live with Regis...,” “The Merv Griffin Show,” “Home and Family”, “Lifestyle Magazine”, “Donahue,” “Rosie O'Donnell,” “Master Chef,” “The Florence Henderson Show,” The Suzanne Somers Show,” “Braveheart Women,” “The Dog Whisperer,” “I've got a Secret,” “Hollywood Squares,” “Family Feud” “Wheel of Fortune,” “Catch 21,” and many more.Jacklyn hosted a popular E! Entertainment special, profiling the “Men of Daytime” and co-hosted a series of specials for “Epcot Magazine,” at Disney World for The Disney Channel. She was chosen by ABC Television to co-host ABC Daytime's Greatest Weddings” video and was the sole representative of the network for its advertising campaign.Her interest and flare for interior design lead to appearances on “At Home With,” on the E! Entertainment Network, “Home and Garden,” with Rob Weller, “Treasures in Your Home,” “Great Day America” on the PAX television channel and “Soap Pads” with Kim Zimmer.Jacklyn has co-hosted ABC-TV affiliate morning shows throughout the country, and was recurring co-host for ABC's “Home Show.” She contributed special segments on beauty, interior design, health, fitness and fashion. “I've always had a passion for decorating. It's exciting to design and create a beautiful space that's reflective of one's personal style. I believe a home should be functional, comfortable and colorful - incorporating a mix of sentimental family treasures and new additions for a fresh perspective.” In 2018 Jackie co-hosted “Make This Place Your Home” with Jaime Laurita. The episodes aired on TLC.She was featured on Jamie Jamison's “Home Tips,” a syndicated radio show airing in over 300 markets nationally and hosted “Soap Talk” for The ABC Radio Network. She also hosted “Our Time” on Sirius Satellite Radio. Jackie continues to host and co-host various talk radio shows throughout the country. “I enjoy the personal connection and the challenge of exchanging thoughts and ideas live, on the air. There is always something interesting to explore and discover.”Jackie began designing jewelry for friends and family as a teenager. Her jewelry collections have appeared on QVC, Home Shopping Network, and Shop at Home TV. This provides an outlet for her creativity and sense of fashion. “Jewelry is a valuable gift because it has longevity and it makes a person's heart feel happy.”Add ‘Author' to Jackie's list of achievements. Her first book, Beauty on the Go, was published by Simon and Schuster in 1986. She has written beauty and fitness feature articles for major consumer and Daytime magazines. She has also contributed recipes to more cookbooks than she can count, to help raise money for various charitable organizations. Her most recent book, Turn Your Acting Talent Into a Successful Career has become a fan favorite.As a spokesperson, in national campaigns for major corporations in all forms of media, public relations and marketing teams value her on camera presence and credibility. Categories include beauty and fitness, diet and nutrition, pharmaceutical and educational campaigns. She was chosen to launch the new Excedrin Migraine campaign by Bristol Myers Squibb. She appeared in their television, radio, and national print campaign. Jackie was the national spokesperson for the International Correspondence Schools. She has always valued education and strongly believes education is the key to one's goals.Jackie hosted the very successful and long time running infomercials for Leslie Sansone's fitness videos, “Walk Away the Pounds.” The CD's were one of the nation's top selling exercise programs.She spearheaded the Beauty Logics Skincare run on Home Shopping Network and was the spokeswoman for the Metabolic Trim Plan, a healthy way to stay trim and fit. She guested with Jerry Lewis in a cooking video and has starred in the “Beauty on the Go” and “Soap Star Workout” videos.In August 2011, Jackie joined the team at Semprae Laboratories as the National Spokeswoman for Zestra for their TV, radio and print ads campaign. “This is a valuable opportunity for me to connect and interact with women on the important issues of love, romance, intimacy and sex. There is always something new and exciting to share and to learn.”Jackie has also given her time and energy to help support public awareness programs for organdonors and filmed a video used in hospitals nationally to promote Hepatitis B vaccines to medical workers. As an advocate of health and well being, she has appeared numerous times at Health and Beauty Expos sponsored in major cities.In June, 2000 Jackie received the Gabriel Project's Distinguished Achievement Award for her continued support for African children in critical need of life-saving heart surgery. She has personally traveled to Africa to accompany children back to the United States numerous times over the past 25 years. She has been a board member and the Leukemia Society's Honorary Chair for various events held in New York City. In 1998, she received the Leukemia Society's Charlotte M. Meyers Volunteer Recognition Award. Jackie continues to lend her time and energy to help raise funds for Leukemia research by traveling to New York City in the spring and fall, to work with Jane Elissa on their fundraising events. She has been a spokesperson for the American Heart Association, helping to raise awareness of the women's risk of heart disease and received their Les Etoiles de Coeur Award. Jackie and former “General Hospital” co-star Rick Springfield have co-hosted the annual Dolphin Ball which raised money for Cystic Fibrosis.Industry honors and awards over the years include five Daytime Emmy nominations, including a nomination for Outstanding Lead Actress in 1998, two ISA Award nominations, a Soap Opera Digest Award and the Hollywood International Favorite Actress Award.Jacklyn lives in Los Angeles, and is the proud Momma of her two daughters—Cassidy Zee, born on September 16, 1990, and Lacey Rose, born on July 15, 1992. On December 20, 2019 Cassidy gave birth to Baby Girl Kennedy Elise MacLeod. Gramie Jackie is over the moon thrilled and happy. Jacklyn dedicates herself to maintaining a balance between family, friends,travel and work. Follow the show on social media!                 Instagram: https://instagram.com/thanksforcominginpodcast/                 Twitter: https://twitter.com/tfci_podcast                  Facebook: http://facebook.com/thanksforcominginpodcast/                   Theme Music by Andrew Skrabutenas

This is my chat with Christchurch New Zealand's own Lauren Marshall. Lauren is a vocalist, actress, and performer and has displayed her talent around the globe. Lauren has been passionate about the performing arts since she was a child. Growing up in Hawke's Bay, New Zealand, she trained in dance, singing, and drama, and spent her childhood involved in many musicals and productions. She also began writing her own music and playing guitar at 13 years old, finding her vocal strength in soul, blues, jazz, R&B, pop, and musical theatre.​Lauren completed her Bachelor of Performing Arts from the National Academy of Singing and Dramatic Arts in Christchurch, in 2012, where she performed in musicals such as The Music Man, Cats, and Disney's Beauty and the Beast. Soon after she gained professional work as Sandy in The Court Theatre's sell out season of Grease, as well as national touring productions with THETA - Theatre in Health Education Trust. Lauren worked exclusively as an ambassador, model, and dancer with the Napier Art Deco Trust, where she became the face of the annual internationally acclaimed Art Deco Weekend. ​This led to Lauren moving to Melbourne, Australia, where she regularly performed at the infamous Broadway Unplugged sessions, and honed her screen acting skills with Kevin Harrington and Shane Connor at The Actors Coach. Lauren later had the opportunity to travel to Los Angeles, California to train at the Margie Haber Studios in their ISP Screen Acting Intensive, where she worked with leading Hollywood acting professionals in screen acting technique, comedy, and improvisation. Soon after, Lauren was cast in one of the newest and most highly anticipated shows from Royal Caribbean Productions Spectra's Cabaret. She then went on to work with the company as a featured vocalist and vocal captain in original productions of Sequins & Feathers, Live, Love, Legs, The Beautiful Dream, StarWater, and Sonic Odyssey, onboard their vessels. ​In 2020 Lauren completed a contract with Celebrity Cruises Productions as a specialty vocalist, performing in Les Farfadais's Euphoria, as well as multiple other shows. Onboard she debuted her self-produced headliner show Divas Through The Decades to critical acclaim. ​Since returning to New Zealand, Lauren has immersed herself back into the entertainment scene, appearing in sold-out nationwide tours of Tina - Simply The Best, and ABBA - The Dancing Queen Show. Lauren has made a name for herself as a well sought-after vocalist and guitarist, performing solo and in bands regularly around the country. ​In 2021, Lauren collaborated with artist/producer, Wulfie, on his track, Love Won't Run Away, which was released in November. The song signaled her debut as the musical artist LOVETA, with her first EP due to be released in mid-2022. 

In this episode Neil Callin chats with Charlie Williams, Peter Wicks and Lisa Smith from Parodos Theatre Company ahead of their debut production of Much Ado About Nothing, which is playing at The King's Court Theatre from the 7th to 9th April 2022.

There's no business like show business, and the traffic light system is a lot more welcoming of entertainment. Events can happen at red, orange, and green. While none of the country's in green, entertainment at orange is a lot more like normal than people nationwide have experienced for months, if vaccine passes are used. There's a gig on tonight at Tim Ward's San Fran music venue in Wellington tonight, and a performance of Little Shop of Horrors at Christchurch's the Court Theatre where Barbara George is CEO. The pair spoke to Susie Ferguson.

There's no business like show business, and the traffic light system is a lot more welcoming of entertainment. Events can happen at red, orange, and green. While none of the country's in green, entertainment at orange is a lot more like normal than people nationwide have experienced for months, if vaccine passes are used. There's a gig on tonight at Tim Ward's San Fran music venue in Wellington tonight, and a performance of Little Shop of Horrors at Christchurch's the Court Theatre where Barbara George is CEO. The pair spoke to Susie Ferguson.

Amanda Drinkall plays Desdemona in Othello, The Tragedy of the Moor of Venice, at the Court Theater in Chicago – and, as it happens, she's also played Desdemona before with the Back Room Shakespeare Project. Amanda discusses the differences between the two productions and reveals why she continues to be drawn to the role; the appeal of approaching the text irreverently; the advantages of intimacy; further attempts to make #TheatreInTheSurround happen; the question of whether Desdemona is a victim; how we see her through Othello's eyes; how Desdemona is like other Shakespeare heroines like Juliet and Viola; and the importance of grounding tragedy in fierce love. (Length 17:25) (PICTURED: Kelvin Roston, Jr. and Amanda Drinkall in the Court Theatre production of Othello, The Tragedy of the Moor of Venice, directed by Charles Newell and Gabrielle Randle-Bent. Photo by Michael Brosilow.) The post Amanda Drinkall's Desdemona(s) appeared first on Reduced Shakespeare Company.

Chicago's Court Theatre is producing a powerful and intimate production of Shakespeare's The Tragedy of Othello, The Moor of Venice, and they are absolutely leaning into the play's full, proper title. Kelvin Roston Jr. (as Oedipus, left, and Othello, above) stars in the title role and discusses how he was brought in early in the process by directors Charles Newelland Gabrielle Randle-Bent, and shares fantastic insights about he approaches Shakespeare's text; how it's sometimes better to find physical alternatives to the text; the similarities between Shakespeare and August Wilson; how you can't stage a vehicle without getting a good driver; the importance of specificity in language; the power of presenting an epic tragedy on a human scale; the valuable lesson that it's not what or how the classics speak to us, but how and what we say to the classics; and a determination to make the phrase #TheatreInTheSurround happen. Now playing – and streaming! – until December 5, 2021; visit courttheatre.org for more information. (Length 20:34)  The post Othello's Powerful POV appeared first on Reduced Shakespeare Company.

Episode 4 - Released 10.21.21 Langham Court Theater sits in Victoria, British Columbia. Starting as a family residence, this property underwent countless renovations on it's journey to becoming the community theater it is today. Come visit the Langham Court Theater with us - and those who may have never left. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Martine Kei Green-Rogers is an author, educator and dramaturg with decades of experience, having worked as production and new-play dramaturg at theaters all over the country, from the Oregon Shakespeare Festival to Houston's Classical Theatre Company and Chicago's Court Theatre. This past summer she took a leave from her position as associate professor in the Department of Theatre Arts at the State University of New York-New Paltz to become the interim dean of the Division of Liberal Arts (DLA) at UNCSA.In this interview with Pier Carlo Talenti, Martine explains how the key to ensuring a healthy future for the American theater is to cultivate questioning and adventurous minds in artists and audience alike, essentially encouraging all of us to approach art with a dramaturg's curiosity.https://www.martinekeigreenrogers.com/https://whoslouis.com/https://www.signaturetheatre.org/About/Playwrights---Residencies/Branden-Jacobs-Jenkins.aspxhttps://www.jamesijames.com/

Martine Kei Green-Rogers is a freelance dramaturg, theatre educator and author. Her credits include the Oregon Shakespeare Festival, Goodman Theatre, Kennedy Center and Court Theatre. She is the Past President of the Literary Managers and Dramturgs of the Americas and is currently the Interim Dean of the Division of Liberal Arts at the University of North Carolina School of the Arts. Martine obtained her Ph.D. from the Department of Theatre and Drama at the University of Wisconsin-Madison. Denis chats with Martine all about dramaturgy, including her work on Shakespeare, August Wilson and new plays. Tune in to hear why Martine believes dramaturgical skills are life skills and why she tells her students it is irrelevant if they "like" a play.Martine Kei Green-Rogers:Website: www.martinekeigreenrogers.comTwitter: @martinekeiInstagram: @martinekeiPlaywrights' Center:Website: www.pwcenter.orgDenis:Website: denislambertonline.comInstagram: @denis_e_lambertPodcast:Website: thevoraciousstudent.comInstagram: @thevoraciousstudentFacebook: /thevoraciousstudent

On this episode I talked with Adrienne about when she realized she loved performing, her passion for opera that led her to studying opera, participating in Porgy and Bess at Court Theatre in Chicago and deciding she instead wanted to pursue musical theatre, what prepared her for a career in musical theatre and how she became a well-rounded performer, what makes regional theatre so special, how her audition for The Lion King came about and what it was like, what stepping into the world of The Lion King as Nala and making her Broadway debut in The Lion King was like, her favorite stage door memories, deciding to take a small break from The Lion King to play Hattie in the 2nd Revival of Kiss Me Kate on Broadway, bringing herself to the characters she plays on stage, her dream roles, her show she co-hosts on Youtube, 32 Bar Cut, and how the idea for the show came to be, and MUCH MORE! --- Support this podcast: https://anchor.fm/backstagewithbeccab/support

“See the line where the sky meets the sea? It calls me.” Watch the world of Moana brought to life by young, local performers in this musical adaptation of the hit Disney film by The Court Theatre in Christchurch. Thrilling and heart-warming, this coming of age story follows strong-willed Moana as she sets sail across the pacific to save her village and discover the truth about her heritage – including an adventure with legendary demigod Maui! Fun for the whole family, Disney’s Moana JR. features all your favourite songs from the movie, including How Far I’ll Go, Shiny and You’re Welcome. See omnystudio.com/listener for privacy information.

Ensemble member Sandra Marquez sits down with Cliff Chamberlain for this insightful and inspiring conversation. Marquez shares stories from her singular childhood in the Central Valley of California, and reflects on her journey in Chicago theatre—and how she hopes to make it easier for the next generation of actors. Plus, Marquez talks about her legendary performances as Clytemnestra, and what it was like to play that single role over the course of four years and three productions. Interview begins at 3:43.Sandra Marquez joined the Steppenwolf Theatre Company ensemble in 2016, where her acting credits include: Nora in A Doll’s House, Part 2, The Roommate, The Doppelgänger (an international farce), Mary Page Marlowe, The Motherf**ker with the Hat, A Streetcar Named Desire, Sonia Flew and One Arm. Directing credits at Steppenwolf include La Ruta and I Am Not Your Perfect Mexican Daughter. At Teatro Vista, where she is a longtime company member and former Associate Artistic Director, she directed Fade, My Mañana Comes, Breakfast Lunch & Dinner and Our Lady of the Underpass. She is the recipient of a Jeff Award for her work in Teatro Vista’s A View from the Bridge. Marquez completed a three-year arc playing Clytemnestra in Court Theatre’s Iphigenia Cycle (Iphigenia at Aulis, Electra and Agamemnon).Learn more at Steppenwolf.orgWant to get in touch? Email halfhour@steppenwolf.orgA transcript of this episode can be found HERE

The Court Theatre in Christchurch has an important milestone coming up this week, it's celebrating 50 years since it first opened. Gay Peek has been a volunteer usher for each one of those years.

Christchurch's Court Theatre has outlived all the other first professional theatres set up on New Zealand. It proudly celebrates its 50th birthday on the 21st of April. Felicity Price, a long time patron and board member,is the perfect person to write the account of the much loved theatre. It follows the Court from its origins, to its numerous different homes over the decades, to some of its most memorable actors and productions. 50 Years of the Court Theatre includes dozens of interviews with people who've been on stage and behind the scenes. That includes long time Artistic Director Elric Hooper. Lynn Freeman talks to Felicity and to Derek Hargreaves, whose own account of his 47 years as secretary to the Court Theatre Trust forms the backbone of the book. He talks about working alongside the Court's two founders, Yvette Bromley and Mervyn Thompson. The History of the Court Theatre is published by Caxton.

Christchurch's Court Theatre has apologised and is recasting, after complaints from the transgender and gender diverse community over a new play.Things I Know to be True has already opened and runs throughout April.A transgender character Mia is played by cisgender actor Simon Leary.Artistic director Dan Pengelly said the Court offered its sincere and unreserved apologies for the distress caused by the casting decisionHe said with the agreement and support of the original cast member, it was taking the necessary steps to recast the role.The play runs until April 17 at the Court - and is being made into a TV series starring Nicole Kidman.In a post on the theatre's Facebook page, it said: "We appreciate the courage of the artists and members of the community who have communicated with us over this issue, we offer our thanks for reaching out."We commit to putting in place measures to ensure this new cast member will be supported, and we are seeking guidance from experts in the trans community."

Scott and Elana welcome Jennifer Glasse to the podcast!  An understudy at The Gift, Writers Theatre, Court Theatre, and Theatre Wit, Jennifer shares what it was like to understudy six roles at once (!), how she courted specific Chicago theatres and got her teaching artist job, and so much more in this extra giggly episode.

Jaymi has been designing around the country for the past twenty years. Some production highlights include: four seasons at Utah Shakespeare Festival where she lit sixteen different productions, Two Trains Running, The Taming of the Shrew and the upcoming Great Expectations at The Oregon Shakespeare Festival. The Wiz and Rocky Horror at Dallas Theater Center, Peter and the Starcatcher and Topdog Underdog at South Coast Repertory, the world premier of The Who and the What at LaJolla Playhouse, Smart Cookie at The Alliance Theater, Frankie and Johnny in the Claire de Lune at Hartford Stage, Orlando and Mary Stuart at The Court Theatre, Among the Thugs and Anna in the Tropics at The Goodman, No Place Like Home, Uncle Vanya, The Dazzle, Absolution and The Ordinary Yearnings of Miriam Buddwing at Steppenwolf, Tug of War at The Getty Villa and the national tour of John Astins Once Upon a Midnight. Some theatre companies she has designed for include Denver Theater Center, Oregon Shakespeare Festival, South Coast Repertory, Utah Shakespeare, LaJolla Playhouse, Dallas Theater Center, Pasadena Playhouse, The Alliance Theater, The Clarence Brown, The Pearl Theater, Victory Gardens, Steppenwolf, The Court Theatre, Marin Theatre Company, Redmoon, Rivendell, Naked Eye, Lookingglass, Milwaukee Repertory, Milwaukee Shakespeare, Madison Repertory, San Jose Repertory, and Hartford Stage. She was a founding member of Naked Eye Theater Company and an ensemble member of The Next Theater and Rivendell Theater Ensemble, all of them Chicago based companies. Other design work has included the scenic and projection design on dozens on productions. She also acted as Architectural Lighting Consultant on over three hundred and fifty private residences and designed four different restaurants within Chicago. In addition, she has designed over fifty various special events for non-for-profits, red carpet events and private parties. As a production manager, she has held many positions. She acted as Senior Production Manager for KBA Marketing who produced more than 10,000 events a year for companies such as Coca-Cola, RJ Reynolds and Nike. She also managed and initiated the groundbreaking citywide theatre festival in Chicago known as Theatre Fever with more than 80 theatre companies leading free workshops and performances for a two-week period. She spent seven years as the Producer for The League of Chicago Theatres facilitating all galas, media events and community conferences. Other production management credits include Outfest Gay and Lesbian Film Festival and Mrs. Ts Triathlon. She received her training from the conservatory program of The Theatre School, DePaul University. In 2003 she was the recipient of the Michael Merrit/ Michael Maggio Emerging Designer Award. She also received a 2010 Joseph Jefferson Award for Mary's Wedding with Rivendell Theater Ensemble and was nominated for a Jeff Award for Orlando at The Court Theater, The Incident with The Next Theatre, Terrible Girls with About Face, Yellowman with The Next Theatre and OffSpring of the Cold War with Walkabout Theatre. She was additionally a winner of a Column Award for Rocky Horror at Dallas Theater Center and was nominated for a Henry Award for her work on Animal Crackers at The Denver Center. Previous teaching credits include adjunct faculty at The School of the Art Institute of Chicago, Associated Colleges of the Midwest and The Theatre School, DePaul University. Her website is available at jaymismith.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/p3-theatre-company/support

Be sure to subscribe for more - Creation Grounds Podcast Know who casts what and measure your way to your bookings with Auditiontrackers.com ________ Nambi E Kelley Imdb IG: Instagram Website: Nambi Chicago native actress, poet, writer/playwright Nambi E Kelley joins me for the 49th episode of The Creation Grounds. We discuss her writing and rewriting process, how does she keep rewrites fresh and inspired when she has hard deadlines, advice to artists about to graduate, overcoming writers block and more. Nambi is currently working on an exciting project that is in talks to potentially be Broadway bound. She served as a writer for season 3 of Showtime's "The Chi" and Her adaptation of Richard Wright's "Native Son" (Sam French, Concord Theatricals) premiered in New York, produced by The Acting Company at The Duke on 42nd Street, July 2019. The world premiere of Native Son was presented to critical acclaim at Court Theatre, and received nominations for 5 Jeff Awards including best adaptation and production of the year, and was the highest grossing production in Court Theatre's 65 year history. Nambi has performed across the country including at the Goodman and Steppenwolf Theatre, and has been seen in numerous TV spots including: Elementary, Person of Interest, Madam Secretary, Chicago PD, Chicago Justice and has toured internationally. In this episode Nambi references Daniel. For listeners who aren't familiar she is referring to Daniel Carlton. ________ Some Questions I Ask: If any author or playwright could pen your life who would it be who would it be? (2:05) What sparked interest in performance and the arts? What's your earliest memory of that? (4:03) What's your research process like for creating a role or script? (6:53) When faced with writer's block what do you do to overcome it? (8:05) What play, role, or script has given you most joy to write or perform? (9:53) How does her writing inform her acting & vice versa if at all (14:11) Advice to artists about to graduate and enter real world, professional world (16:41) What is your rewriting process like? (19:20) When you think of the word creative who comes to mind for you and why? (26:40) Where can people connect with you? (29:29) ____________ You can follow Arron at: Website: ArronLloyd.com Instagram: https://www.instagram.com/arronlloyd/ Facebook: Arron Lloyd Twitter: https://twitter.com/ArronLloyd Twitch: https://www.twitch.tv/arronsl316 TikTok:Arronslloyd Youtube: Arron Lloyd This is NYC merch -

Inspiring award-winning performances from your talent: Crossover applications to business leadership from the theatrical development process with Charles Newell, Artistic Director of Court Theatre in Chicago A CEO’s Virtual Mentor Episode 24   Welcome to Episode 24, Season 5, of the Leadership Lyceum: A CEO's Virtual Mentor®. I'm joined in the program today by Charles Newell, the Marilyn F. Vitale Artistic Director of the renowned and critically acclaimed Court Theatre in Chicago. This interview was recorded in the summer of 2019 as the Court Theatre's production of the play, The Adventures of Augie March, had completed its record-breaking performance run. We had intended to publish this episode early this year in 2020, but COVID hit and it seemed a little bold to put this out at the early stage of the pandemic. The world had other pressing items that deserved attention. But now, in the middle of the holiday season, we've been without live theater and entertainment for nine months, we thought this interview might be not only informative, but also soothing at this stage of the pandemic.   This interview is timeless and gets deep into a theatrical production's creative process as seen through the mind's eye of the director. In general, we, as an audience of entertainment, be it sports or the performing arts, are often spoiled with the perfection and professionalism of the finished product. But what is involved or required from a leadership perspective to develop and burnish the performance into the form to which we are also accustomed? What goes on in the business of theater has crossover applications to all business leaders. We'll cover a wide range of topics in today's program. We'll outline the organizational form of the Court Theatre, including its governance, funding and management structure. But the majority of our time will be spent stepping through the phases of the creation of a production from script selection to closing night.   Program Guide A CEO’s Virtual Mentor Episode 24 Inspiring award-winning performances from your talent with Charles Newell, Artistic Director of Court Theatre in Chicago 0:00     Introduction to the program and Charles Newell, Artistic Director of the Court Theatre in Chicago 3:20     Court Theatre’s history, governance structure, funding sources and unique structure with the University of Chicago. 5:09     Achieving high caliber of performances on a smaller budget than peers theater companies in Chicago 7:25     Unique mission and social-societal outcomes of Court Theatre in the realm of national theater. 10:39   Break 1 11:19   Phase 1 of the Theatrical Development Process: Finding and developing a script. 17:11   Break 2 17:27   Phase 2 of the Theatrical Development Process: Developing the look and feel of the production. Revealing the collaborative creative process. 25:01   Break 3 25:35   Phase 3 of the Theatrical Development Process: The Casting Process. Dealing with barriers and constraints. 32:45   Break 4 34:51   Phase 4 of the Theatrical Development Process: Production development, rehearsal, and refinement. Inspiring and motivating actors to perform at their best. 39:20   Break 5 39:46   Phase 5 of the Theatrical Development Process: The arc of production and performance evolution from opening night to closing night. Keeping a production evolving and improving in the absence of continuous rehearsals. 49:33   Break 6 50:03   Retrospective self-reflection on the evolution of a theater director. 55:06   Conclusion and coming attractions.   We would like to express our special thanks to the clients of Lyceum Leadership Consulting that enable us to bring you this podcast. Thanks for listening.  We can’t improve without your feedback – write us through our website www.LeadershipLyceum.com and subscribe wherever you listen to your podcasts.  See you next time.   Informative and Helpful Links   https://www.courttheatre.org/ http://manualcinema.com/   Biographies of Guests Mr. Charles Newell Charles Newell is the Marilyn F. Vitale Artistic Director of Court Theatre. He was awarded the SDCF Zelda Fichandler Award, “which recognizes an outstanding director or choreographer who is transforming the regional arts landscape through singular creativity and artistry in theatre.” Charlie has been Artistic Director at Court Theatre since 1994, where he has directed over 50 productions. He made his Chicago directorial debut in 1993 with The Triumph of Love, which won the Joseph Jefferson Award for Best Production. Charlie’s productions of Man of La Mancha and Caroline, or Change have also won Best Production Jeffs. Other directorial highlights at Court include All My Sons, The Hard Problem,  Man in the Ring; One Man, Two Guvnors; Satchmo at the Waldorf; Agamemnon; The Secret Garden; Iphigenia in Aulis; M. Butterfly; The Misanthrope; Tartuffe; Proof; Angels in America; An Iliad; Porgy and Bess; Three Tall Women; Titus Andronicus; Arcadia; Uncle Vanya; Raisin; The Glass Menagerie; Travesties; Who’s Afraid of Virginia Woolf?; The Invention of Love; and Hamlet. Charlie has also directed at Goodman Theatre (Rock ‘n’ Roll), Guthrie Theater (The History Cycle, Cymbeline), Arena Stage, John Houseman’s The Acting Company (Staff Repertory Director), the California and Alabama Shakespeare Festivals, Juilliard, and New York University. He has served on the Board of TCG, as well as on several panels for the NEA. Opera directing credits include Marc Blitzstein’s Regina (Lyric Opera), Rigoletto (Opera Theatre of St. Louis), Don Giovanni and The Jewel Box (Chicago Opera Theater), and Carousel (Glimmerglass). Charlie was the recipient of the 1992 TCG Alan Schneider Director Award, and has been nominated for 16 Joseph Jefferson Director Awards, winning four times. In 2012, Charlie was honored by the League of Chicago Theatres with its Artistic Achievement Award.   Your host Thomas B. Linquist is the Founder and Managing Director of Lyceum Leadership Consulting and Lyceum Leadership Productions. Over his 15 years in management and leadership consulting he has served a wide array of corporate clients.  This includes leadership assessment and search for chief executive officers, chief financial officers, chief operating officers and boards of directors.  He holds an MBA from the University of Chicago and over his 30-year career has served in a variety of roles: as an engineer with Shell Oil Company, a banker with ABN AMRO Bank, and as treasurer was the youngest corporate officer in the 150+ year history at Peoples Energy Company in Chicago.  He is an expert on hiring and promotion decisions and leadership development.  Over the course of his search career, he has interviewed thousands of leaders. Thanks for listening.  We can’t improve without your feedback – write us through our website www.LeadershipLyceum.com and subscribe wherever you listen to your podcasts.  Please rate us and spread the word among your fellow executives and board colleagues.   Program Disclaimer The only purpose of the podcast is to educate, inform and entertain. The information shared is based on the collection of experiences of each of the guests interviewed and should not be considered or substituted for professional advice. Guests who speak in this podcast express their own opinions, experience and conclusions, and neither The Leadership Lyceum LLC nor any company providing financial support endorses or opposes any particular content, recommendation or methodology discussed in this podcast.   Follow Leadership Lyceum on: Our website: www.LeadershipLyceum.com LinkedIn: The Leadership Lyceum LLC Twitter: @LeaderLyceum https://twitter.com/LeaderLyceum Email us: info@LeadershipLyceum.com   Thanks for listening.  We can’t improve without your feedback – write us through our website www.LeadershipLyceum.com and subscribe wherever you listen to your podcasts.  Please rate us and spread the word among your fellow executives and board colleagues.  This podcast Leadership Lyceum: A CEO’s Virtual Mentor has been a production of The Leadership Lyceum LLC. Copyright 2020. All rights reserved.

This week, we caught up with WMPAC Director John Zirkle about why he loves Manual Cinema so much, and spoke over the phone with Manual Cinema Co-Artistic Directors Julia Miller and Sarah Fornace about their adaptation of "A Christmas Carol."SARAH FORNACE is a director, puppeteer, choreographer, and narrative designer based in Chicago. She is a co-Artistic Director of Manual Cinema. Outside of Manual Cinema, Sarah has worked as a performer or choreographer with Redmoon Theatre, Lookingglass Theatre Company, Court Theatre, Steppenwolf Garage, and Blair Thomas and Co. Most recently, Sarah wrote the story mode for the video game Rivals of Aether. In 2017, she directed and edited the first episode of the web series, The Doula is IN. In 2016, she directed and devised an “animotion” production of Shakespeare’s Hamlet with Rokoko Studios for HamletScen at Kromborg Castle in Elsinore, Denmark.JULIA MILLER is a director, puppeteer, and puppet designer. With Manual Cinema she has directed Mementos Mori and The End of TV as well as created original roles in Ada/Ava (Ada), Lula del Ray (Lula’s Mother), The Magic City (Helen), and Hansel und Gretel (Hansel). In Chicago she has worked as a performer and puppeteer with Redmoon Theatre and Blair Thomas and Co. She spent several years training in devised theatre, clown and mask with Double Edge Theatre, Carlos García Estevez and at the Academia dell’Arte in Arezzo, Italy. She is a co-producer of the new web series The Doula is IN, and has directed and edited several episodes.

Content Warning: This podcast includes strong language This was recorded at a live alumni event at The Court Theatre in Christchurch on Wednesday the 21st of October. Professor of Theatre David O'Donnell spoke with three of the University’s theatre alumni about their roles, the impact of Covid-19 and their career highlights. Hosted by: Professor David O'Donnell Panel: - Dan Pengelly, Artistic Director, The Court Theatre - Melanie Luckman, Co-founder and Artistic Director, Cubbin Theatre Company - Holly Chappell-Eason, Co-Artistic Director of Two Productions and Artistic Director of Little Andromeda

The Creative New Zealand Arts Pasifika Awards 2020 recognise innovation and excellence in Pacific Arts and their contribution to the rich diversity of Aotearoa as a multi-cultural Pacific nation.   Eight Pasifika artists were acknowledged yesterday, across seven categories with an online video announcement, as well as an intimate celebration with the Arts Council of New Zealand. We’re joined now by Tanya Muagututi’a, recipient of the Special recognition Award for the Creative New Zealand Arts Pasifika Awards 2020. This award recognises an individual whose work, influence and commitment have raised the standards, expectations and reputation of Pacific Arts and artists. Tanya has been an integral part of the award-winning arts company Pacific Underground since 1992.  From 2000 to 2010, along with husband and Music Director Pos Mavaega, the company presented the Christchurch Pacific Arts Festival developing multiple platforms for and by Pacific artists. After relocating to Auckland, Tanya worked on major events Pasifika, Diwali, Lantern and Auckland Arts and Christchurch Arts Festivals. She has also worked in theatre with Auckland Theatre Company, Mangere Arts Centre, continuing today with the Court Theatre, Okāreka Dance Company and No.3 Roskill Theatre. She was the recipient of an Adam NZ Playmarket Award, is a freelance Producer, still creating with the Pacific Underground family to nurture the next generation of emerging artists. See omnystudio.com/listener for privacy information.

Ellie Neal is an actor, singer and author. Since graduating from Toi Whakaari in Wellington, Ellie has gone on to play some of the most iconic roles in music theatre, including Glinda in Wicked, and Elle Woods in The Court Theatre's Legally Blonde which was her first professional acting gig. Ellie joins the podcast to talk about growing up in the UK. She details the events that led to her landing the role of Elle. And of course we get the story behind Ellie's pen name, E.J. Eden and the inspiration for her new book “I Am Marked”. So wherever you are, whatever you're doing, enjoy a conversation with Ellie on Broadway and Other Kiwi Dreams.•• Get the first chapter of "I Am Marked" here: www.ejeden.comFollow Ellie on Instagram: @e.j_eden_author •••• Broadway and Other Kiwi Dreams is hosted, edited and produced by James Shera.•• Support the podcast on Patreon: patreon.com/kiwidreamspodcast•• Website: kiwidreamspodcast.com•• Facebook: facebook.com/kiwidreamspod•• Instagram: instagram.com/kiwidreamspod•• Twitter: twitter.com/kiwidreamspod•• Music: Oh My by Las Lunas and Frigga - https://www.epidemicsound.com/track/wYOpCrP3nf •• Podcast Art: [“Light Bulb” Font: Chris Spooner - https://blog.spoongraphics.co.uk/ ; Brick Wall Background: freepik.com - Background photo created by kjpargeter - www.freepik.com] See acast.com/privacy for privacy and opt-out information.

The Whole Artist with Courtney Rioux: Conversations with artists about acting, purpose, and the journey to finding wholeness. This week, Courtney sits down with actress, writer and diversity & inclusion consultant, Tania Richard, to discuss the trauma of racism, the need for healing and the search for joy. The aim of The Whole Artist with Courtney Rioux is to not just make you a better actor, but to help you live a more fulfilled life. Follow Courtney Rioux on Social Media Website | Instagram | Twitter | Facebook TANIA RICHARD: Tania recently appeared in School Girls; or the African Mean Girls Play at The Goodman Theatre. She has performed on Broadway, with Steppenwolf Theatre Company, The Court Theatre, and The Second City, among others. She is currently the producer and host of Tania's Take: race, culture and the culture of race. She was previously the co-host of the podcast Race Bait. Her video series A Minute on Racism is on Facebook. Her books are My So-Called Unexpected Life: The 10 Things I Did to Meet and Marry My Man, Be A Stepmom, Have Babies & Embrace the Life I Never Knew I Wanted; and Unexpected Life: Interviews About Embracing the Unexpected. She's also an award-winning playwright. She has appeared on Chicago Fire, Chicago Justice, Chicago PD, Empire, Proven Innocent, The Chi, Work in Progress as well as multiple commercials. Tania has been featured on NPR's All Things Considered, The Story, The John Howell show on WLS, The Chicago Tribune and on WTTW's Chicago Tonight speaking on issues of culture, race, equity and inclusion. Find Tania On The Internet: Website (www.taniarichard.com) Instagram (https://www.instagram.com/taniastake/) Tania's Take Podcast (https://podcasts.apple.com/us/podcast/tanias-take-race-culture-and-the-culture-of-race/id1450118710) A Minute on Racism (https://www.facebook.com/A-Minute-on-Racism-1733338013549408/) Tania's Books on Amazon (https://www.amazon.com/Tania-Richard/e/B00L4C7S80/ref=dp_byline_cont_ebooks_1) ### Credits: Photography by Joe Mazza, Brave Lux. For more information, go to http://bravelux.com/ Music by Blythe Martin Productions. For more info, please contact Jamie and Erik at erik@SoundAnswer.com This is a PodClubhouse original production. Produced, engineered and edited at PodClubouse Studios. --- Send in a voice message: https://anchor.fm/courtneyrioux/message Support this podcast: https://anchor.fm/courtneyrioux/support

Today I am joined by Actor, Theatre Company Co-Owner and Sloth enthusiast, Nomi Cohen. Nomi joins the podcast to talk about how she went from dressing up and performing as a cat in her youth, to dressing up and performing as a cat 2 decades later, in her cabaret show PUSS. Nomi details the unexpected process that led to her playing the role of Roxy in the Court Theatre's production of Chicago. And of course, we get a glimpse of the upcoming adventures of Nomi's sloth stuffed animal, Mr Spleen. So wherever you are, whatever you're doing, enjoy a conversation with Nomi on Broadway… and Other Kiwi Dreams •• You can find Nomi on Instagram: @the_nomi_cohen•• You can find Blackboard Theatre Collective on Facebook: @blackboardtheatreco and Instagram: @blackboardtheatrecollective•• Broadway and Other Kiwi Dreams is hosted, edited and produced by James Shera.•• Support the podcast on Patreon: patreon.com/kiwidreamspodcast•• Website: kiwidreamspodcast.com•• Facebook: facebook.com/kiwidreamspod•• Instagram: instagram.com/kiwidreamspod•• Twitter: twitter.com/kiwidreamspod•• Music: Oh My by Las Lunas and Frigga - https://www.epidemicsound.com/track/wYOpCrP3nf •• Podcast Art: [“Light Bulb” Font: Chris Spooner - https://blog.spoongraphics.co.uk/ ; Brick Wall Background: freepik.com - Background photo created by kjpargeter - www.freepik.com] See acast.com/privacy for privacy and opt-out information.

In the second to last episode, Rob is joined by Sarah Gitenstein and Jared Fernley to chat about the Steve Martin all genre movie LA STORY. We're all over the place but it was delightful. Remakes begin @ 38:30: Rob does some recasting; And Sarah and Jared have a main pitch with a 1A and maybe a 1B. See Jared in the Amazon Original Series Patriot which should be out soon. And go see Sarah's work as Assistant Director in Harvey at Court Theatre.