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2 episodes with David Cromer
4 episodes with David Cromer
3 episodes with David Cromer
2 episodes with David Cromer
3 episodes with David Cromer
2 episodes with David Cromer
2 episodes with David Cromer
2 episodes with David Cromer
2 episodes with David Cromer
In this episode, we discuss the Broadway production of Good Night, and Good Luck at the Winter Garden Theatre. We look at how the show tackles McCarthyism, the role of media, and the challenges of adapting a story rooted in journalism. We analyze George Clooney's performance, the direction by David Cromer, and the design that brings 1950s America to life. We also talk about the Tony nominations, audience reactions, and what the ending montage means for today's media landscape. Follow and connect with all things @HalfHourPodcast on Instagram, TikTok, and YouTube. Share your thoughts with us on Good Night, and Good Luck on our podcast cover post on Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode of Half Hour with Jeff & Richie, we dive into the Broadway production of Dead Outlaw at the Longacre Theatre. After seeing the show off Broadway, we revisit Elmer McCurdy's strange journey from outlaw to posthumous celebrity. We discuss the musical's folk-rock score by David Yazbek and Erik Della Penna, direction by David Cromer, and performances from Andrew Durand, Jeb Brown, and Julia Knitel. We also talk about the show's seven Tony nominations, design elements, and the mixed reactions from audiences. Share your thoughts on Dead Outlaw with us on our podcast cover post on Instagram, and don't forget to leave a review. Follow and connect with all things @HalfHourPodcast on Instagram, TikTok, and YouTube. Share your thoughts with us on Dead Outlaw on our podcast cover post on Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices
Grangeville is running off-Broadway at Signature Theatre through March 23rd. For more information, visit www.signaturetheatre.org. Follow The Present Stage on Instagram at @thepresentstageThe Present Stage: Conversations with Theater Writers is hosted by Dan Rubins, a theater critic for Slant Magazine. You can also find Dan's reviews on Cast Album Reviews and in The New Yorker's Briefly Noted column.The Present Stage supports the national nonprofit Hear Your Song. If you'd like to learn more about Hear Your Song and how to support empowering youth with serious illnesses to make their voices heard though songwriting, please visit www.hearyoursong.org
In this episode, Jeff and Richie take you on a journey through time and technology with their conversation of "The Antiquities," the thought-provoking Off-Broadway production currently playing at Playwrights Horizons in collaboration with Vineyard Theatre and Goodman Theatre. We explore Jordan Harrison's innovative writing that creates an engaging timeline experience, blending past, present, and future into a compelling narrative. Jeff & Richie dive deep into the play's themes of artificial intelligence, human connection, and the consequences of technological advancement. We discuss David Cromer and Caitlin Sullivan's seamless direction, the immersive museum-like set design, and the strong performances from the diverse ensemble cast. Is "The Antiquities" a glimpse into our future or a cautionary tale? Tune in as we debate the show's relevance in today's tech-driven world and its fresh contribution to the Off-Broadway scene. We'll share our hot takes on the pacing, standout moments, and the questions this production raises about our relationship with technology. Whether you're a theater enthusiast or a tech aficionado, this episode offers insights into one of the new off-broadway shows of the season. Follow and connect with all things @HalfHourPodcast on Instagram, and YouTube. Share your thoughts with us on "The Antiquities" on our podcast cover post on Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices
David Cromer is one of our finest directors. His gift for simple yet profound observation of the human condition makes for must-see theater. He's won all the awards, is sought after and one of the rarest of talents - and, like so many of us, he has experienced depression. Leaders often feel required to set themselves apart from the struggles of the rest of us, and perhaps it is his willingness to speak the bare truth of his experience that makes him a leader worth following. Learn more about your ad choices. Visit megaphone.fm/adchoices
I'm Almost Here runs at Audible's Minetta Lane Theatre through October 5th. For more information, visit www.imalmosttheremusical.com. Follow The Present Stage on Instagram at @thepresentstageThe Present Stage: Conversations with Theater Writers is hosted by Dan Rubins, a theater critic for Slant Magazine. You can also find Dan's reviews on Cast Album Reviews and in The New Yorker's Briefly Noted column.The Present Stage supports the national nonprofit Hear Your Song. If you'd like to learn more about Hear Your Song and how to support empowering youth with serious illnesses to make their voices heard though songwriting, please visit www.hearyoursong.org
Today, I'm thrilled to announce my interview with 2024 Tony nominee for Best Actress in a Play, Betsy Aidem. She was nominated for her staggering performance in Prayer for the French Republic, and you can tune in today to hear more about that process as well as some of the great stories of her legendary career, including the advice she got from Tom Stoppard, crashing auditions with John Malkovich and Des McAnuff, making her Broadway debut at the age of 57, meeting Lucille Ball and Elizabeth Taylor backstage at Steel Magnolias, originating the role of Toni in Appropriate, working with David Cromer on Prayer for the French Republic and other plays, the joy of collaborating with Marian Seldes, what it's like being nominated for a Tony, and so much more. You won't want to miss this interview.
Tony and Jay meet for the first time. We talk about the depth of his character, Primo, in “The Big Night” and why Jay can't find that depth in real like. We also chat about growing up the 9th of 10 kids, the acting scene in Green Bay, WI., tailoring Monk for Tony, auditioning, the struggles of being an actor, & Tony's biggest mistake which lead to his greatest joy, acting in Italian, being a creative producer, the magic of connection in live performance, and why we both wish we were Richard Kind.Bio: Tony Shalhoub is a Tony Award, Golden Globe Award and four-time Emmy Award winning actor with a diverse and extensive resume. Most recently, he returned to the iconic role of the beloved obsessive-compulsive detective Adrian Monk in Peacock's critically acclaimed Mr. Monk's Last Case: A Monk Movie receiving ‘Best Actor' in a ‘Limited Series or Television Movie' nominations from the SAG and Critics Choice Awards. Shalhoub was born and raised in Green Bay, Wisconsin. His father emigrated from Lebanon to the United States as an orphan at age eight. Shalhoub's mother was also Lebanese. Tony spent most of his early acting career in the theater, after graduating from Yale Drama School in 1980. From 1980-1984 Tony was part of the company with the American Repertory Theater in Cambridge, before moving to New York. He met his wife Brooke Adams in 1990 while working together in The Heidi Chronicles. Prior to the Monk movie, Shalhoub portrayed Abe Weissman on Amazon Prime Video's The Marvelous Mrs. Maisel, for which he has won the Primetime Emmy Award for Outstanding Supporting Actor in a Comedy Series and two SAG awards for Outstanding Performance by a Male Actor in a Comedy Series. Most recently he received his third Primetime Emmy nomination for his role in The Marvelous Mrs. Maisel. On the Broadway stage, Shalhoub most recently starred in David Cromer's The Band's Visit at The Ethel Barrymore Theater, winning a Tony for Best Performance by a Leading Actor in a Musical. Prior to that, Tony starred in Terry Kinney's revival of Arthur Miller's The Price opposite Mark Ruffalo and Danny DeVito. Tony's other theater work includes starring in the Broadway productions of Act One, Golden Boy and Conversation With My Father, receiving Tony Award nominations for each performance. Tony also appeared opposite Diane Lane in Lincoln Center's Off-Broadway production of The Mystery of Love & Sex. Tony Shalhoub is perhaps best known for his work as Adrian Monk in the hit USA Network television series Monk where he was Emmy-nominated for ‘Outstanding Lead Actor in a Comedy Series' for eight consecutive years (2003 to 2010), winning in 2003, 2005 and 2006. Additionally, Shalhoub won a Golden Globe Award and two SAG Awards for his work on the show. Other notable TV credits include ‘Antonio Scarpacci' in Wings, Braindead, Stark Raving Mad, Too Big Too Fail and Nurse Jackie, Shalhoub's film credits include Eva Longoria's Flamin' Hot, The Assignment, Pain & Gain, The Men In Black franchise, Galaxy Quest, The Siege, The Man Who Wasn't There, Big Night, Barton Fink as well as voicing the character of ‘Luigi' in the CARS franchise and ‘Master Splinter' in Teenage Mutant Ninja Turtles franchise.
In this episode, we sit down to discuss the off-broadway musical DEAD OUTLAW. Please note that this episode will contain spoilers about the show. If you haven't seen the musical yet, you can catch DEAD OUTLAW playing at Audible Theatre at Minetta Lane Theatre. Dead Outlaw features a book by Tony Award winner Itamar Moses, music & lyrics by Erik Della Penna & Tony Award winner David Yazbek and directed by Tony Award winner David Cromer. Follow and connect with all things @HalfHourPodcast on Instagram, TikTok, and YouTube. Share your thoughts with us on DEAD OUTLAW on our podcast cover post. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode, we discuss Manhattan Theatre Club's production of PRAYER FOR THE FRENCH REPUBLIC, written by Joshua Harmon and directed by David Cromer. We dive into the show's compelling plot, the masterful direction, standout performances, and stunning design, sharing our personal experiences and delving into the show's marketing. Join us as we explore our final thoughts on this thought-provoking piece. Don't forget to subscribe to our channel for all things theatre, and if you're interested in seeing the show, you can find tickets here. Support the show If you liked this episode, don't forget to subscribe to this podcast and leave us a review. Share your thoughts with us on this episode below: On Instagram: @halfhourpodcast On TikTok: @halfhourpodcast On our website: www.twoworldsentertainmentllc.com Learn more about your ad choices. Visit megaphone.fm/adchoices
On today's episode, Matt Tamanini spoke with two of the stars of one of the buzziest shows in New York theatre right now, the star-studded, Uber-intimate production of Uncle Vanya that is playing in a loft down near Union Square. Matt is joined by Tony Award winner David Cromer and read more The post Tell Me More | Episode 60: David Cromer, Julia Chan on the Intimacy of ‘Uncle Vanya’ appeared first on BroadwayRadio.
Katie checks in with star of stage (Selling Kabul and The Profane at Playwrights Horizons, Three Women at 59E59, and most recently Prayer for the French Republic at Manhattan Theatre Club) and screen (Arranged, Daredevil, Inside Amy Schumer, Life and Beth), Francis Benhamou.
In 1944, a Jewish couple in Paris desperately await news of their missing family. More than 70 years later, the couple's great-grandchildren find themselves facing the same question as their ancestors: "Are we safe?"Following five generations of a French Jewish family, the new play “Prayer for the French Republic” is a sweeping look at history, home, and the effects of an ancient hatred. The powerful world premiere comes from acclaimed playwright Joshua Harmon and director David Cromer. Manhattan Theatre Club's world premiere of Prayer for the French Republic opened Tuesday, February 1 at New York City Center – Stage I and is scheduled to run through March 13.Actor and director David Cromer has received a Tony Award - for direction of The Band's Visit, , Drama Desk Award, three Obie Awards, three Lucille Lortel Awards, a Joe A. Callaway Award, four Jeff Awards, and in 2010 was made a MacArthur Foundation Fellow.
Interview: Boz talks to Heather Gilbert about training and working as a lighting designer, the privilege of training in the same place you want to work, Carnegie Mellon, John Bridges, John Culbert, Theatre Communications Group, the NEA, Topdog/Underdog, Stacy Caballero, Keith Parham, analytical geometry, the alchemy of passions that compose lighting design, Trinity University, Kendra Thulin, David Swayze, Manifest Arts Festival, The Big Funk, Steppenwolf, Suzan Lori Parks, Don Cheadle, Jeffrey Wright, Mos Def, storefront theatre, Buried Child, Everyman, The Libertine, Bar San Miguel, David Cromer, Miracle on 34th Street starring Tracy Letts, The Hypocrites, Sean Graney, The Adding Machine, Our Town, the magic of good artistic partnerships, Sam Rockwell, Sheldon Patinkin, Next to Normal at Writers Theatre, The Band's Visit on Broadway, Come Back Little Sheba at The Huntington, Michael Halberstam, Adam Rapp's The Sound Inside at Williamstown , Studio 54, Franco Colavecchia, Nan Cibula, Bug by Tracy Letts, not apologizing, being process-oriented vs. product-oriented, Macbeth at the NY Shakespeare Festival, Angela Bassett, Alec Baldwin, Zach Braff, Liev Schreiber, Michael C. Hall, and Carrie Coon.FULL TRANSCRIPT (unedited): Speaker 1 (0s): I'm Jen Bosworth and I'm Gina Polizzi. We went to theater school together. We survived it, but we didn't quite understand it. 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all. We survived theater school and you will too. Are we famous? Okay. Hello. Thank you so much for joining me. My Speaker 2 (32s): God. I'm so Speaker 1 (33s): Excited about it. So the first thing we always say is, congratulations, Heather Gilbert, you survived theater school. I did. I did. Okay. And you really survived it with, with a flourish. I would say you're kind of fancy and a big deal Speaker 2 (52s): Is a lighting designer ever really a big deal Speaker 1 (55s): In my view. So we have a lot, the thing that I love about reading about you, and also I know you teach and you're at, but is that there is a, I would say you're a master of your craft based on what I would say that based on what I've read about you and what I know about you and your successes, and also your trajectory during school. And post-school like, if there's a master of a lighting designer, crap, you've you're, you're it. So thank you. Yeah. It's amazing to lo to, to read about you. So one of the things and people also post what you can, for me, I can tell when someone is a bad-ass at what they do, because they don't actually have to promote themselves that other people around them will post till they'll say, oh my gosh, congratulations. So that is a sign that you're a bad ass is that other people are like, I'm shouting out your name without you having, you know what I mean? Like you don't do a lot of self-promotion, Speaker 2 (1m 60s): I'm terrible at it actually, Speaker 1 (2m 1s): Which is, which is amazing that you, that you're able to anyway, other people sing your praises, which I think is like really what we all want as artists, you know? So, yeah. So, okay. So why don't you tell me like how you ended up at the theater school, where you're from, like how that went down? Speaker 2 (2m 19s): So I I'm from I'm from Michigan. I'm also from Texas. I mostly grew up in Texas. Like the important years were there and I was working after, so I went to the theater school for grad school during this super brief period of time when there was a grad degree in design, I was the first lighting designer. I came in with someone else who only lasted the first quarter. He was like super unhappy. He kind of made me, I kind of glommed on to that. And I was like, oh, are we unhappy? I'll be unhappy. I, this Speaker 1 (2m 46s): Complained about everything. Speaker 2 (2m 48s): And then he, he left after first quarter and then it was awesome because they gave me all the things that he was supposed to do. But when I came in, I wasn't, I wasn't interested in the program. If I was going to be the very first person without a cohort, a word we did not use in 1994, there was no cohort. No, we just had classmates. Right. And yeah, he, so he, so, but I knew about him and then he ended up not finishing the program. So I was actually the first lighting master's lighting student since they had left the Goodman. Speaker 1 (3m 19s): Great. Speaker 2 (3m 20s): Yeah. And I had, so I'd been working in Houston doing an internship and Kevin Rigdon, who was the, at the time the resident designer at Steppenwolf had come down and did a show production of our town, which ultimately became a very important part of my life, my adult life in my own career. And so he came down and did our town with Jose Cantero directing. There was this huge thing. And I thought Kevin was great. I thought he was funny. And I loved his work and I was really interested in it. And he was adjunct at the theater school. And he actually told me not to, he was like, don't come I'm adjuncts. And they're just starting this master's program. You kind of want to find a place that's that's has more stuff going on. And then when I decided to apply to grad school the next year, for sure, I was looking at different places and somebody gave me the advice that you should really look at the people who design the team, the design work of the people that you're going to study with, because that's what they're going to teach you. Right. Great, Speaker 1 (4m 17s): Great advice. Speaker 2 (4m 18s): It was, it was really great advice. And the other was to look at the market, right? Like look for a market that you would want to be in. Like, you can get an amazing degree in Idaho. There's actually really good programs there, but the market's not there. And I'll tell ya. I did not realize until I was a college professor. This is so like blind of like the blindness to your privilege. Right. I did not understand the benefits I had in Chicago from going to school in Chicago until I watched my students graduating into it. That's when I realized what I could do for them. And I realized what my professors did for me. Speaker 1 (4m 54s): So interesting. I mean, I think, I think we don't, we don't ever, I don't know anyone that's really hipped. Maybe kids nowadays are young adults are really hip to it, but like, yeah. I mean, I didn't think of thinking of like, okay, well what, what is the sort of the place where I'm landing and who are my connections there? But I am learning now at 46 in Los Angeles that the people that I'm really connected to here in the industry are all from Chicago. Mostly a lot of them are from the theater school. It's crazy. Speaker 2 (5m 25s): It's so interesting. I, it's funny. I've been listening to your podcasts and what I love is like, I feel like it's the best Facebook ever. It's like, so, cause I'm like, oh, listen to all these hour long interviews with people, all due respect to someone who might forgotten existed. Right. You know, like I tumbled down the whole like conversation about the religion. And I was like, oh my God, I forgot all about that. I knew I knew those people. Right. It's just not my life anymore. Right. Speaker 1 (5m 49s): I mean, I I'm. Yeah. I'm also shocked. Like we have people on that, like remember us that I have no recollection of having with. And I think I always talked it up to excessive drinking and dirt back in my day. But like, I think it's just like, that's not our life anymore. Right. We're in a different time, different lifetimes. Speaker 2 (6m 10s): I took it. There's like three levels of people there's like from school. It's like the people that I still know and have to remind myself, I went to school with like, that's the connection. I there's the people that I, that I have no idea what happened to, so I love when they're on your podcast and then there's the people who are famous. So I think that I know what they're doing. Like I have a feeling, I feel like I know what Judy is up to, but I don't know what she's up to. I just know, Speaker 1 (6m 33s): Right. That she works all the time. Then we went to school with her. Right, right. It's so funny. It's, it's a such a wild thing. Okay. So you were like, I'm going to go, Speaker 2 (6m 42s): I'm going to go to grad school. And I looked at Chicago, I looked at DePaul because I really liked Kevin. And then I also looked, I was looking really heavily at Carnegie Mellon and, and he went to, I went to one of those. It's funny. I listen to you guys talk about it with the actors. But I went to one of those, like Roundup audition, interview things in Houston. And I interviewed with both schools at the same time. And Carnegie Mellon was like, well, we've been teaching this class for 20 years. It's a great class. And we've been doing this other thing for 20 years and it's awesome. And I was like, oh my God, you're so boring. And the program is actually massive and huge and revitalized now. But I think at that moment in time, it was just not, they were had a lot of faculty had been there. And then I went to the DePaul one and I talked to John Bridges. I was like, I offer you Chicago. Like I offer you the energy of John Bridges and Chicago. And I was like, oh, this is so much more interesting to me. Yeah. You know? And then I got lucky because what I didn't know is that John Colbert is like, I call him the Clark Kent of lighting design, because he seems super mild-mannered. And he's like Superman, that guy is a genius And a master teacher. And so the fact that I got to study with him for three years and the part of it was him creating curriculum that he felt I needed, even when, and I have these moments with my students now where I'm like, this is what you need to do. And they're like, I don't think that's what I think I would do better. I think this is what I need to study. And John would be like, yeah, you need that other thing. You know, I actually, years after school, a couple of years later, I applied for a, there was a, it's funny, it's funded by the NDA. So you can't call it a, it can't be a grant or fellowship. It just has to be like a program that you're on. But it was one where the theater communications group got money from the NDA and young, like early career designers and directors to observe, assist other artists because you can't make anything. If it's the NDA. Right. It's like the rules that came out of all this stuff in the nineties. Right. And John called me up and was like, you need to apply for that. And I was like, yeah, yeah, yeah, totally applied for that. I was thinking next year. Right. Like you need to apply this year. And I was like, well, yeah, but see, here's the reason and this and that thing. And he was like this year and I was like, but really I was like, you know, this next year. And I was like, this year, this year I'll do it this year. And then I got it. Speaker 1 (9m 4s): Was it amazing? It Speaker 2 (9m 5s): Was, it's an interesting thing. It was amazing in some ways. And in some ways it like slows your career down because you have to do six months worth of work within two years and you for the money and you get paid as you go, but you don't get to make anything. So it can like become a thing where you're like getting to know these amazing people and working with these amazing people. But you also, can't Speaker 1 (9m 28s): Interesting Speaker 2 (9m 29s): And make it, you know, like it slows down like what you can do as your own artist. I will say though, that, as I'm saying these words, even I'm thinking about the people that I worked with and how they function in my life and how important they'd been, like how important some of them still are Speaker 1 (9m 43s): Still in your life. Wow. Yeah. Speaker 2 (9m 45s): They gave me an extension on it as well, because that was also the time that I, I was the associate designer on the first production of top dog underdog. And that was a show that they were actually TCG was trying to get somebody in that room. And they were being like, well, we don't really want somebody to observe us. And I got offered to work on it, but I had worked with the whole team before, so they wouldn't let me do it, but they let me extend it. So they were pretty generous about like, yeah, I'll be making things happen. Wow. Yeah. Okay. And I got into DePaul and so I came to DePaul, I came up and visited and it was, Speaker 1 (10m 16s): And you, you, did you work with, was there, were you working with someone, a lighting designer at DePaul named Keith? Speaker 2 (10m 26s): Yeah. Yeah. Yeah. It's funny when somebody talks about him, I don't know if it was you or Gina talking about him. We'll talk about seeing the scout, the Macbeth that we did that I did with Stacy Cabalero who I, who was my best friend from grad school. Oh yeah. When I think about grad school, like Shawna Flannigan and I were roommates for years after, but, but Stacy and I were super close. We did. So we did like so many of our shows together there and he was talking, it was it, you that he was telling that he commented on the costume. Gina was sitting next to him, but she was talking about it. She was like, and Keith param. And he was like, he was looking at it. He was like, oh my God. And I was like, I literally was listening to the podcast like, oh God, did he say something about my lights? What did he say? What did he say? Then? Then it was about Stacy. And I was like, oh, that's so funny. One of my close friends still. Speaker 1 (11m 14s): So yeah, he was the first person that made me really interested in lighting. And he, when we closed the show, the yellow boat together, he gave me a print of his drawing of the lighting, like, oh wow. With lighting. And I still got it framed. And it was, I was like, oh, well this kind, because I think personally that as actors, we're, we, we have this thing of like, our ego is like crossed all the time. So then we, we have, we have an inflated sense of ego really that we have to build. And we think that acting is the most important thing. And it was the first time it, my land that's garbage. And the first thing to person to really say, to show me like, oh my gosh, look, this is all part of a huge deal. Like I am not the huge deal that lighting is, everything has its place. And then we come together, but I was like, oh, this is, this is an art that really ties the whole show together. Like really? And it's like unsung magic. And I think a lot of actors anyway, just think that the lights up here and that nobody is behind them being the artist, creating that at least young actors, Speaker 2 (12m 30s): Young ones. Yeah. Yeah. So anyway, I think you're right about that in school, it's often Speaker 1 (12m 35s): Lighting for you. Like, what is it, what was it about that? Speaker 2 (12m 39s): You know, it's funny, my mother at one point was like having this big guilt thing that she had never encouraged me into it when I was younger. But like all of the signs did, like, unless you knew this was a thing, it didn't make sense. I was, I loved theater. My grandmother studied theater in New York in the thirties and she taught college. Yeah. She'd studied with a bunch of amazing people. She didn't work professionally, but, but she would take us to theater. Right. So it was a huge influence for my mother then for me. And I loved being an audience member. I never wanted to be on stage. And I haven't been a couple of times. And also now that I'm like, in my fifties, it's so much easier. Like I'm much more willing to jump off the right off the cliff and try whatever. Cause why not? What is it gonna embarrass me right now, please, please. If I didn't embarrass myself to death in my twenties, I think we're good now. You're good. So, yeah, but I, I, I just always like things that related. So I, like, I was interested in photography at one point, but I loved reading. I loved going to the theater. I have this, I was terrible in high school. It trig. I like, oh, I got like, I barely got through trigonometry class. And the second semester of the math track I was on was like analytical or spacial geometry. And it was like, I was a savant. I was like, that's what that 3d grid looks like. I can see that thing in space and I could answer, am I my teacher? And I were both like, what is up? How do I know this really have a good sense of space? And so if you look at the combo of all those things, they all really go together into lighting design. If you, if you know that thing. So when I went to undergrad, I'm in San Antonio at this small college Trinity university, super liberal artsy, sort of the opposite of your, your, what do we call them? We call academic classes and academics. I feel like we did, but they definitely, yeah. Academics. I really was. I had a lot of intense like philosophy classes and religion classes, all super helpful for the career that I have. But I also, my first semester took a intro to theater class and I loved the lighting. And then the second semester we were, I had to register dead last, like first year, dead last, you can't get anything. And a friend of mine that was in my end theater class was like, well, I'm going to, she was going to be a high school drama teacher, her name's Emily Goodpasture. And she decided that she was going to end. So Gilbert and good pasture registering last. She was like, I'm taking this sledding class. Cause I know I have to take all of the design classes and the acting classes for my future career as a drama teacher. And I think she take this learning class with me and I did. And then throughout college I would do other things, but I kept coming back to lighting. I just, I love the magic of the way light reveals form. I love looking at tons of different kinds of light bulbs. You know, my friend wants me to come to become Tik TOK famous and support us by telling people how to light their homes. Speaker 1 (15m 32s): Well, here's the thing that I, I actually, when you just said that, I have to say like, I was like, oh, I wonder what she thinks about filters and add tic-tac and the way people use light and could do you look at photos and videos and things and say, oh, that would be so much better if you just lit it like this. Are you able to do do that? Speaker 2 (15m 53s): Oh, for sure. I mean, I definitely, yeah. Most things in my life revolve around, you know, I always laugh cause I still go in theaters and look up at the lights and people are like, oh, I saw you looking at the lights. And I'm like, do you look at the actors? Of course, I look at the lights, I'm trying to figure out like the craft of what they did or you know, or what the equipment that they got to work with was, and yeah, but I can't, even though I could probably find another career with lighting that is so much more lucrative and I'm sure that that is true, right? The best part of my job for me still is that everyday when I go to work in theater, actors tell stories in front of me on stage live. And that is my favorite thing. I love going to plays. I love seeing performance and I love it live. So the fact that I get to be connected to that in some way and another character in that for me is really awesome. Speaker 1 (16m 39s): That's fantastic. And I I've never thought about it that way, that like, I mean, obviously I've thought about that a little, that the lighting is another character, but again, it's like, there are, there is a human and maybe a team of humans behind that character and that it, that you enjoy hearing the live stories being told. And that's why the theater versus, you know, film and TV, right? Like it's not, I mean, I guess you could still, it could be live on set, but like, you wouldn't be like the designer of a show. I don't even know how it works in television and film. Like the lighting people. Is there a lighting designer behind film and TV? Speaker 2 (17m 21s): There are no. And because there's so many more people on a film, I, and or television, there's more people encompass the single jobs that we do in theater, the DP it'd be the DP and the gray and then the interest and then editing is also a part of what we do. So, so all of those things sort of come together in that way. It's funny, David Swayze, do you remember Dan Swayze? He, so he's in film now and he's doing super well. Yeah. He's an art director and film and, and we have not kept up. We keep up actually better than I do with a lot of people, but it's been a couple of years. Yeah. He, even with the pandemic, it's been a couple of years. Yeah. He, he was talking one time about what he loved about doing television or film, he specifically film. And the thing that he loves about it is that it's, it's so immediate and you can make changes. So like, you can say like, oh, we need to, we, instead of doing it this way, we think this would look better and you can actively do that thing, which in theater set designers can't do that. But the rest of us can, I was like, you're talking about lightening design. I can make the change in the instant. You know, sometimes I have to say, I have to hang a light for tomorrow, but sometimes I can do like, hang on. My moving light will do that for us. Right. This second, you know? So I get to, I get to, it's funny though, we were like super technical or technological. And then all of a sudden it was like projections and sound, which were, you know, a slide projector and a yes. And you know, MiniDisc jumped us and they can craft in the room and we still can't craft in the room in the same way that they can, which I'm actually kind of grateful for. I like that. We get to say like, we're going to think on that. We're gonna let us Speaker 1 (18m 60s): Oh, wait. And think on that. Yeah. You know, that's interesting. Cause I, I, yeah, I liked the idea too of you're you're like a problem solver. Oh Speaker 2 (19m 13s): Yes. Right. Speaker 1 (19m 14s): Yeah. I love problem solvers. I think that they're really great to have in a room because I think it teaches everybody that like there are mysteries to be solved in the theater. And there are people that are trained to solve them that aren't me and they, and that we can work together. But problem solvers, we need the problem-solvers in, in rooms, in the theater. Like it's fantastic. Speaker 2 (19m 46s): But you know, it's interesting. We solve different problems, problems. Like I was years ago, we have this event on the last day of the semester, second semester at Columbia called manifest, which is this massive arts festival. It spills onto the streets. We have puppet show puppet, parades down the street. And we have, it's really fantastic. Photography has like gallery exhibits, super fun. This school is crazy. And I love it. And years ago it poured down rain and they had had this thing that they were going to do. This is pretty so long ago that I think it was 2009, actually it poured down rain. And they'd had this event that they were going to do called manna text. And they were going to, people could submit their phone numbers and they would text and be like, go to this stage. And you'll, if you're the 10th person there you'll get a thing. And texting was still like, we, it, wasn't certainly not the, the way we lived our lives. Right, Speaker 1 (20m 39s): Right. Speaker 2 (20m 41s): Yes. It poured down. And as soon as it pours, like we had an outdoor stage and I always, I, I produced it for the department. I thank God. I don't have to anymore. But I, I had, I always kept the stage free inside so that if anything happened, we could move it in. So we moved everything in and we didn't have lights up in the theater. And I, so I walked downstairs and I started hanging some lights and doing some things and I was working with, oh, this is funny. I was working with Kendra Thulin oh yeah. He was working with me on that because Kendra and I worked together again, somebody, I almost forget I went to school with. And so I started hanging the lights and everything and she's just staring, like she can't do it. And my kids walked in, my students walked in and I was like, okay, here's what I need you to do to finish this up, do this, do this, do this, hang that, get these gels. These from the sides, this from the front, I'll see you guys. They were like, great. And Kendra and I walked out to do something. And she was like, that was amazing. And I was like, it's what we know how to do. And then five hours later Manitex has fallen apart. They can't figure out what to do. And I'm standing there. I've got these two seasoned subscriptions to the department, which I'm pretty sure were free anyway, back then. And I'm like, what am I supposed to do with these? And I turned there, we're doing a musical theater thing. And I turned to a couple of minutes, you'll theater students. And I was like, get these to an audience member. Somehow they went on stage and made this hilarious, adorable competition. That was like a trivia thing, like trivia about musical theater. Right. And they gave them to the winner. And I was like, we all, I, my students would have turned to the human next to them and been like, do you have these, you know, that's why we're all together. That's why Columbia administration is constantly like, you're you have too many majors in your department. It's so unwieldy. And it's like, because it takes a lot of people to create an entire world. Speaker 1 (22m 26s): It really does. That is really true. And everybody solves different problems. Like nobody that does it does. It does take a bunch of people. That's really interesting. And then when you graduated, what did you do? Like, were you like, I mean, really your career kind of took off. I mean, you're co you're pretty fancy lighting cider. So how did you, did you just like, love it and people loved you and you started getting jobs or like how did it work? Speaker 2 (22m 55s): Yeah. There was a couple of stages in it. I, you know, it's funny. I did the big funk and what's hilarious about that to me is that when we did it, I was like, where are we? We are in the front end of someone's apartment. It is bizarre. These people live here in the back of this place and they're letting us do a play in the front and like flash forward, I don't know, 15 years. And I, I am friends with those people. Amazing. I did some moment in conversation. I was like, that was your place that I did that weird shit show with the weird lights in the cans. Like, so I started doing storefront and I S I had started assisting at Steppenwolf while I was at school. So I had, I, at the time that I was in school, I had a foot in both bootcamps. And so it is, I definitely, yeah, I definitely was splitting my time. And so I started doing more assisting it's definite wall. And in the fall, he'll never hear this the fall, right after graduation, I assisted somebody who sort of well known to be difficult business of lighting side. And for whatever reason, we absolutely hit it off. And he is like my brother today. And so I started traveling with him. I started working on projects all over with him and because he was difficult, theater companies would bring me to projects that they wouldn't necessarily bring an assistant on normally, because he's really, he's like the best in the business, but they knew I could handle him. And they knew that I could handle him by saying, I need you to leave the theater right now. And I'll take care of things while you sit her down. And so we, I would go to, I went to New York with him starting in 1998. I assisted actually my second Broadway assisting job was with him. My first one was from Steppenwolf. So I simultaneously was with Steppenwolf and him. And so my assistant career was like really amping up. And I was in these important rooms like Suzan-Lori parks and George Wolfrey top dog underdog with at the time the first production was Don Cheadle and Jeffrey Wright. And then those staff replaced Jeffrey or repost on. And so I was getting to do a lot of those really awesome things. And simultaneously I was doing storefront, right. And, and honing my skills and building my skills and knowing how, like I could watch the people that assisted make these massive shows with so much stuff. And I would think about those ideas. It's exactly what they tell you to do in school. But yeah. And then I would go back to the storefront with 17 lights and some candles, and I could make something that was really interesting because I had a much stronger sense of how equipment worked. You know, Keith always says that his graduate school was assisting per the years that he did. And he particularly assisted this amazing designer named Jim Ingles. And he's like, that was my grad school because I learned how to use our tools and then how to pull back from them. Speaker 1 (25m 35s): And how did you get, I think for people listening, they're going to be, well, how, how did she get to assist at step it, well, how did she get in the room at Steppenwolf? Speaker 2 (25m 44s): It was that guy, Kevin, the one that was my, you know, he taught us, but he, I, he knew I came up here and I reached out and I was like, I really, I want to have, you know, I, I want to work with you. I want to learn from you. And he, it's funny because now he's in Houston. I met him, but he is, he was great. And my second year, because the guy I came in with dropped the program, my second and third year, I was all alone. Like my classes were by myself. And so what John would often do was put me in a class with someone else. So that, like, there was a, for some reason, the third year BFA lighting class in my second year only had one wedding student. So we paired for the class in the class time, we had somebody to sort of like riff on and talk to, and our levels were different. But a lot of the projects that we did, like we spent one full quarter just in the light lab, which we usually, most semester, most years we did just making projects. And like, here's a song like the song by next week, here's a musical theater song. You you're lighting it as if it's musical theater, somebody on there, like something has to represent the chorus, visually something has to represent, how do you, how do you actually change the song as if it's a stage? And we have like little blocks of wood and like little people and things that we would put up and make these vignettes. And so she and I were just sort of at different levels on that, but Kevin was the teacher and it was, I actually had a one-on-one with him. And he said at the beginning of the year, he was like, I just want your, your resume is going to look good when you finish this class. And that was crazily enough. It was the 20th anniversary of Stephan wall. So I was the second assistant on very child. Gosh, that to Gary Sinise director, I worked on every man that Frank Lottie directed, I worked on the Libertine, how much was in. I did, I was an assistant second assistant on all of those shows. And then by the fourth show of that season, I ended up the first assistant who, who stayed with him for a while, but was sort of grooming me to be the next step. And that's how that sort of works sometimes is like we, our assistants move up and become our full peers. And then we train somebody else up in that way. And I, by the fourth show, I was actually getting paid while I was doing it for credit and stuff at school. So I think in those days I wouldn't have gotten in trouble for it today. They would be like, what, what? Speaker 1 (27m 56s): Right. But then you were like, yeah. Speaker 2 (27m 58s): So they didn't know. Right. Speaker 1 (28m 0s): They weren't keeping track of that is so cool. Speaker 2 (28m 3s): So I got to do that. Speaker 1 (28m 4s): Yeah. And then, and then did you, did you, what was the journey like to, did you live in New York? Like, did you live in New York, ever full time? Speaker 2 (28m 13s): Not full time. I spent a lot of time crashing on David Swayze's spare, like his studio floor. I did a lot of that for many years and, and other friends, new Yorkers are particularly skilled in the art of letting you stay with them. And so now, I mean, I joke that I'm the Heather Gilbert school for wayward or Heather Gilbert home for wayward Chicagoans, because I there's so many people who move out of Chicago and come back to do a show and I let them, I let them live in my spare room. My friend, Samantha, who's this brilliant costume designer. I mean, for like two and a half years, we were like, she was like my, my roommate. She came and went, I have somebody coming on the Saturday after Thanksgiving while she does a show, you know? Cause I feel like I'm giving back for all those times that I crashed in New York. So I did a fair amount of assisting and stuff there. I've only, I guess I've only designed about three times there actually. One of them was pretty significant. So yes. Speaker 1 (29m 9s): Talk about that. Let's talk about that. How did that come about? What, what, yeah. That journey of life. Speaker 2 (29m 17s): Yeah. My other job in grad school was I was bartender. I, yeah. I used to bartend at a place called bar San Miguel up on Clark street. Oh yeah. Yeah. It was a non-equity bar. And I started bartending there after, I guess, had our second year. It's funny during that huge heat wave of 95, I went there for the first time with Chris Freeburg and Kate McKernan. Yes. Half a year later I was working there and, and Cromer used to come in there cause it was a theater bar and I met him there. And so our relationship started 26 years ago. Holy shit. Speaker 1 (29m 48s): As tender in a patron. Speaker 2 (29m 50s): Yeah. That's how we met. That's amazing. Yeah. He loves that. I think he loves it. That's part of our origin story because it's funny when we, when he tells it and writes it like in a letter of recommendation or whatever, and, and we didn't work together until 2003, but we've known each other. At one point we quit smoking at the same time. And at one point that was like the most significant thing. And then all of these things that we've done have happened since, but now I'm also still thinking that maybe the most significant thing that we ever did together was quit smoking. That's fantastic. Speaker 1 (30m 18s): It's very significant. And it also, you did it together and it's a real bonding experience when you quit. Something like that. Speaker 2 (30m 26s): Yeah. It was tough. It's been, it's been, it's been 19 years this year. Congratulations. So we started then, and that was the moment also that like I did a show with him finally, and we did this miracle on 34th street that we all were super in need of money at Christmas time. And he wrote this adaptation and it started Tracy Letts, which we think is like the funniest thing in the world now. And so we did that show and then when I started, and then I started teaching shortly thereafter and I started, I did, and I went to LSU for two years in Baton Rouge. And when I came back because I loved teaching students, they're the best thing in the world. Higher education can make you want to pull your hair out. And state schools are often really like that if you're in the arts. So it was a struggle, but I came back here to Columbia, which I had only vaguely known of when we were in school. And that's, I didn't know that everybody who got cut came here until I was teaching here. And then it was funny because when I would, I don't remember when the cuts system stopped, but whatever point it did was after I started here, because you would be doing like the summer sort of advising with incoming students, you do your, your couple of sessions in the summer and kids would come in and their credits would be this really weird number. And I was like, I don't understand why that's not three credits, but it was like two points, 1.3 threes and 2.3 twos. And it was sort of like thirds, but not even HOAs. And I, and I found out that was, that was the sign of somebody who was cut from the theater school because it was the theater school classes that were those year long things, trying to get them into semesters. Right, right. Yeah. I was like, oh yeah, that's what happened to everybody who quit. And so, so, but David talkier and so we, we start teaching a collaboration class together, all really. I didn't know, that's cool for directors and designers. And so then we were going to do a show here at school together, but he, and we started the process and we were like, live, we got to live what we teach them. We got to, we got it. We got to collaborate like that. And we had to pull out of the show because he took adding machine to New York instead. And then he came home from adding machine. And that's when he had been talking about our town that he was going to do with the hypocrites, which was, I worked a lot with the artistic director of the hypocrites I had. I had a long relationship. I, I mean, he's still my friend, he's just second grader, John grainy, Sean and I, Sean was simultaneously, the two of them were sort of like my biggest income and my income through them. And so I, so, but I wasn't a part of the hypocrites. I was eventually, I was not at that point. Right. And he, he kept talking to the show, but he had to ask the resonance designer, but the resident designer who's my sweet friend now said no. And they brought me on to our town and you know, it's sort of like, the rest is history. Like we, David and I have a long history at that point and we have a, we had a friendship, you know, but we now, you know, we had like the let's let's, you know, talk on the phone and watch Dexter in the middle of the night friendship a little bit before that. But we now have done, I think I, I counted when we opened bug last week and I think we've talked 16 shows together and, and some of them have been really life-changing for both of us. So yeah, Speaker 1 (33m 37s): That is fantastic. And I feel like if you find a collaborator that just I'm recently have, have started working with someone that I just, I work with Gina, and then I work with other people, but like when you find someone like that, where you, you just, it just works out. Like it just works. There's something about it. The only thing you can think of is like, you know, it is some sort of, it almost feels like some kind of cosmic thing that comes together that you are able to do. Great. You can facilitate each other's great work without ending the relationship and having crazy, you know, fights and things that don't lead to total destruction. That's magic. Speaker 2 (34m 24s): Yeah. Well, you know, it's interesting cause directors go, I think they probably do this to actors too. If they have a deep relationship more than anything, they go stuff's right there. Like they just stopped calling and you're like, come on. Right. And Cobra, at one point it was in New York and working with new people and our town had come to a close. Right. Which, cause that sort of kept us together for a long time. We did that show that was over over seven year period of time, all the venues. And so we, we had, you know, we'd, we'd, we'd had a connection and we had done other couple of other new shoot new shows within that time. Yeah, sure. It wasn't just our town. Right. And then we'd done our streetcar that was really successful. And the Sam Rockwell was in really isn't that crazy. I did a person who was Sam Rockwell, who was so lovely. I came up and was like, oh my God, the lighting is so beautiful. I was like, oh, so I will be heard in it. So how do you know? But, Speaker 1 (35m 17s): But he, but even to say it, you know, like what a sweetheart? Yeah. I was at a wedding with him cause he was in a movie with my boss and he was lovely, a lovely and like a pro like a real, Speaker 2 (35m 31s): So I get so excited for him now all the time. So, but we had healed David actually sort of like wasn't calling. And I was like, oh, are we not going to work together anymore? And it's funny because I think in the history of our lives, it will, it's actually a blip, but it felt like a long time. And I was like, okay, well I guess that's okay. Like relationships do shift and, and partnerships do add, nobody wants to somebody forever. Absolutely. But I was like, I actually, we are, I am, you know, I was not a Columbia kid. I'm like, I have a pocket in a thousand ways. But yeah, I did work. I do teach at Columbia and I am a Sheldon Patinkin person. I'm one of his people and Sheldon taught you, you see each other's shows. That is what we do for each other. Right. I was like, I'm going to still see your shows. Right. We have way too much of a history for our friendship to die because we're not, we're not doing right. Right. So I kept, I stayed around. Yeah. I was like, I'm not going to, I'm going to come to me. I'm going to see your things. I'm going to, you know, I'm going to go see the band's visit or I'm going to go also, I get to see the bands visit then come on. Right. Or I'm going to see your comeback, little Sheba with Derek in Boston because I love that. You know? And so when the time rolled around, I found out he was doing a production of next to normal at writers theater. And I loved that show and I had done a production of it that I kept texting him, being like, oh my God, I wish I were doing your production of this. Not that I didn't think that one was great, but it was much more of the sort of flash and trash version. Right. And I wanted to see David's version where there's like a dining room table and people around it. Right. You know? And I just, I was, so I texted him as soon as I heard from our friend Lilianne was like, I will do the show. And he woke up the next morning and he was like, he texted me back. I was like, it was kind of a non David text. I was like, this is very specific and kind, and I he's listing these things, but he was like, these are the, I woke up this morning and I saw your text. And I called Michael Halberstam, who was still the artistic director at the time. And so we have to hire Heather for the show and he said, okay, but we already hired Keith. And I was like, yeah, I fucking knew it. I knew I was going to be too late. I'm reading this text. And David's like, and I screwed up. And these are the reasons why, and he was like, writer's theaters are theater. It's our place. Which just so you know, he'd just done as many shows with Keith as he has with me. But he went through and he was like gave me their reasons that were really lovely. And then he said, Williamstown is going to reach out about a show, Adam rap's new play. And I was like, Williamstown really paid nothing. Why is that my constellation prize? I was totally annoyed. And then Williamston production was a struggle. Like we did this by the way, the play is the sound inside because we have not said the name of it if anybody's listening. And we, so we were, it was a struggle, you know, you have to do it very quickly. It's a big play for, for the, the lead actress in it and the actress in it. And, and it was a struggle for her. She, she definitely was acting out a little bit. Yeah, sure. And, and so, and you don't have much time and you're doing it with people who are, you know, these interns that I it's sort of famously a conversation in the industry right now about specifically how William sound carries those interns. So you're feeling guilty and also they don't know what they're doing as well. So there's a lot of pressure on that. Right. And I loved it. I loved that place so much. I read that play and I was like, oh my God, this is beautiful. It's this beautiful play about what we do when we were in need in our loneliness. And it's just, it's ju it just hit me. I don't know how Adam Rapp, who's this like hyper alpha masculine male actually has that insight into, I think, because it's insight into humanity and thus, he can change it into he's like, well, women feel the same thing men do. We're right. We're not different creatures. Right. So, yeah. Wow. And then, and then the show moved to New York a year later to Broadway to studio 54, which my God, I got to crawl around in studio 54. It took me crawl over that building. I was like, she'll be everything. Where did they keep the drugs? I'm so cute. Right. Right. Yeah. And we, I went up into the there's a dome and I got to go up into the dome and look down into the space and see where they store all the lights. And I got the full tour one day. It's great. The crew is the best crew in the entire world. And we did this beautiful play and people were, you know, it's funny. I, I actually was just, I submitted an application last night at 11:58 PM for full professorship. Like that's the highest level of, of teaching here. Yeah. And when you get tenure, you have to apply for that. But then once you've got it, you actually don't have to apply for anything, a promotion past that. Yeah. So I finally had committed to doing it. And so it's funny, I've been thinking so much about my philosophy of lighting and the way I approach it. But one of the things is that there's that old saw the best line design is lighting. The can't be seen, which is just a load of crap anywhere like Eddie in any scenario, like just say like you and I can't see the light where we are right now. Right. We see it. We know it's there. What they really mean is if I change, if I break the rules of the reality that I set up for you and notice that that's bad lighting design. Right, right. It's like, it's, I was compared to like, weirdly as a lighting professor, I had Meisner in this paper that I was writing yesterday. This document is writing. Cause it's like, it's that idea of living truthfully in imaginary circumstances. It's the same thing for us. We're creating those circumstances and we're trying to make it so that the actors can live in truth and everything has it. And if the rules are light comes out of the floor. Right. And it changes when I take a step, as long as I, as long as we create those rules for the audience. Right. And, and train them, they know what it is and then they follow it. Yeah. Speaker 1 (41m 6s): We'll go with you. It's consistency. It's authenticity. It's telling the truth in the moment and yeah. Staying true to what the vision is, whatever that vision is. But yeah, it also reminds me of like the good lighting is shouldn't be noticed or whatever is like, women should be seen and not heard. It's totally like fuck off. Speaker 2 (41m 28s): So I was talking about something about myself too, and I almost was talking about leadership and I almost said, you know, because I was called bossy as a child, and now we acknowledge that. That just meant I was a leader. Speaker 1 (41m 37s): Yeah. Right. It just meant that. And you know, it's interesting because my recollection of you in college was that you knew what the hell you were doing now. Granted, I mean, everyone has different, you know, I'm sure you didn't always know what you're doing. Cause you're a human being. But like my recollection of you is that you were like, I think maybe because also you were a grad student, right. So, but you definitely had vision. You were someone that I was like, oh, they know what they're doing and, and why they're doing it. So there was this thing about you that I really felt from the little, I knew that like you had motivation or like a, a direction and also a curiosity, but, and a, I just, I just think you were like very early on like a master of your craft, which meant that also masters in my view, like really study and take the shit seriously and have a lot of pride in their work. That was it. Like not a lot of people had a pro. I mean, I can speak for myself. Like it wasn't like, I, I felt like you could stand behind your work. I've always felt that like, when I read stuff about, about you or like when I follow your career, it's like you stand by your work. That's fucking phenomenal, you know? Speaker 2 (42m 55s): Yeah. Thank you. I appreciate that. I feel like a lot of that was also the training that we were getting in the, in the design program because we had, we had such good professors, particularly John, we, we, we had Franco Lovecchio was there for two years. Right. Who was the most wonderful, crazy human in the entire world. He would like, literally, like you'd be drawing in the studio and you'd be like drawing on something. And we all learned that you had to keep tracing paper over a culture, which is something called trace really. But we would, we would have trace taped to our drawing boards so that the minute he sat down, you could throw a trace over it. Or he would just start drawing all over you drawing. And, but he would like nudge you off your chair while he was like, fixing your time for you. And you'd tell him, be standing there watching him doing your work. And you were like, maybe, maybe not, maybe, maybe I'm in school. Maybe I want to learn how to do that. He was so funny though. So great. But then John Colbert has, is like really like taught us like the, that you have to be able to justify the work that you have to understand the rules of the piece that you and the rigor that goes behind that. And Nancy Beulah, who's the same. Who was just this amazing. She's the, she used to let, she used to let you do your project again, to get your grade up a little bit. And I would get like a B plus on something for her and I would do it again. And it wasn't even that I really needed. Like, I wasn't great. I wanted her to think I was working. Like I needed her to have that belief in Speaker 1 (44m 15s): G she, there was something. So she costumed me and said she just, she was so affirming. And also like you, there was something about she, she made me believe that she knew that I was going to be okay and that I was going to be a professional and that I could do it. Like there was, it was amazing. It was so much, there was like a strong confidence that she instilled in me as a costume person, which I, I just felt, again, she stood behind her work too. Like she was a bad-ass like, there was no like, ah, apologizing, there was no apologizing. And I feel like we just spent so much of our lives or at least I have apologizing that when I see someone like a career like yours, I'm like, oh, maybe this comes from not apologized. Like maybe not apologizing for, for us as women as in our work, you know, like this is badass work I'm doing and I'm going to continue to do it. I dunno. It's just a fierceness. Speaker 2 (45m 19s): Well, for me too, I feel like the thing that I'm proudest of in my, in my age and in my success is that I no longer feel like the pressure of having to be complete on the first day of tech. Like, I'm like, I'm going to put an incomplete, that thing up there, and I'm going to start to see how light is moving on these people and what that does. And I know it might not look good, but I'm not going to worry about that. It's going to be okay. You know, I'm going to be able to, I know I will make it look great. I know I can. I know that what I put up there for the first draft is going to be the right first draft, because I know what I'm doing and I know that it doesn't have to be complete. Right. And I'm fine with that. And like, David is really great for that because he has no expectations of that either. Speaker 1 (46m 3s): Yeah. That's fantastic. I mean, that's like really the difference between being product oriented and process oriented, right? Yeah. As an artist. And like, for me as a writer, like writing for TV, my first draft, if it's not, it's, it's terrible. And it's exactly where it's supposed to be. But if I have expectations or get in my own way and feel self-conscious about it, the whole thing is it doesn't work. So it's like, this is a shitty first draft. And by shitty, I mean, wonderful. You know what I mean? Speaker 2 (46m 32s): So wonderful first draft, right? It's never supposed to be the final thing. Totally. We were also taught at school that because we don't stick around for the product, right. We're not part of the product. We, I mean, we are, we're making a product, right. Because we're not ever, once the product goes, our AR is there, we're gone from it that we need to be really process-oriented. And that our process is what's going to get us hired aspect of working with us. Speaker 1 (46m 59s): I love that. And I feel like if we could, if we, I wish I would have learned that more and I'm not, I don't blame anyone for it. I just think it's the way the life is. But like, I'm, that's what I think I've spent my adult career as an artist becoming more process oriented and less product oriented and less and less judgy, right. About my and other people's process of, of like, it doesn't look the same. And so I think when you find a collaborator, which it sounds like David, what is for you that is also, and in the same sort of thought process in terms of how art is created, that's what works, because you're both sound like you're like no expectations for the first thing to be the thing. Like it changes it pivots, it moves, it's moving, it's breathing and moving. And I think that that's probably why your work together is so powerful and profound is that you both have this view life view right. Of art that works together really well. Right. So, and that sounds fine when I find those people. Those are the people I want to stay with and work with. Yeah. Speaker 2 (48m 7s): Yeah. And I think too, like one of the things getting back to sound inside and David, is that like, I, the thing that people often comment on is my use of darkness on stage that I actually commit fully to it, that I don't have a problem having actress speak from the dark. And I did the first time I ever had something that was really dark. I was like, oh God, like, you know, you're taught that, that can't be funny. Right. People actually laugh at things that here in the dark, it turns out. And so, but so being able to like be tiny and focused and just have a little bit of light, you know, and sound inside became that piece, which was like, we created the premise of the play is that this professor is telling the, talking to the audience and we don't really know what that's about. Like, I don't know. And I don't know the answer to that because I almost felt like knowing, like we don't want the audience to fully know. And I felt like if I know too much, then I, it may manifest. And so I never, even though Adam rap became, I tell him that he's the brother. I didn't get no offense to the brother. I did get, but I love Adam and I can ask him anything and talk to him about anything. But I have never asked him the truth of the play, which is, is it happening? Is it my meal? There's a character that we question is the character even real? Is she writing a book as she talks to the audience, this character, a Bella college professor, or is she, or there's a reference to a book at the end of the play that you like? Did she steal that book? And a lot of that was taken, there were a lot more concrete parts of the story when we did it Williamstown and they were taken out for the Broadway production to let the audience sort of float in their own uncertainty more. And so the idea is that Bella, this character who, who is this professor is actually the only fully fleshed out part of the play at the beginning. And that we slowly revealed the world as she creates it as she sort of illustrating it. And so that actually gave me the ability to have this production that was like using little amounts of light, a lot of darkness. Like I like, but also was in a way flashy, because we'd have like a big window on the side, on the wall of the sets. And then all of a sudden it would shift like instantly into a different time of day. And the shape of the window would change in the color of the window would change, but it was all very graphic. And then eventually within these like sequence of scenes in this office with this window, eventually the final one was this massive projection of a very real window. So, and so I got to work and I worked really closely with the production designer, who was the handsomest person in design. His name is Aaron Ryan. If you ever meet him, you're going to be like, I didn't know that designers looked like that. I thought only actors did. Wow. And he's the best dude in the land. I love him so much. Speaker 1 (50m 33s): So, so I guess yeah. Being mindful of your time, I just want to ask you if you, because we do have a lot of younger folks that listen to the show and that are interested in careers as designers, not just after, you know, now there's like such a, we're trying also to shine a light on designers. Cause it's awesome. Right. We don't, I mean, acting is not the only name of the game here. So what would you say if someone came to you and said, Hey, I'm interested in the theater. What does, what w what kind of person do I, it's kind of a hard question, but what kind of person do I need to be, to be a designer? I know if I'm a designer, Heather, Speaker 2 (51m 26s): I actually am really conscious of like the personality quirks of designers, because I watch it so much in my students. Right. And it's interesting because I am, I can't make a, I can not build a model. I cannot build a model. I, it was hated in school and it, but it's this really sort of detailed private work. And I'm a much, I'm super extroverted, which that doesn't mean all lighting designer extroverted, but like, I have to be able to work out here. Like I don't work here. I have to be able to work openly. I also have to work in public. Everybody is there when actors and designers have that rare thing in which actors and lighting designers, I should say, we, all of our work is done in front of other people. You cannot, like, you might have a smaller room and only a couple people at first, but like, it's still the same and we don't get to make it privately. And then somebody builds it and we go, oh, paint it that way. Or even like, listen to in our headphones. No, you have to be okay with that. You have to be really good with like a super high level of pressure. And you have to let it roll off of you. I worked, I love Sean Graney. This will not surprise anybody who knew Shawn grainy or losing his Shaun could be very difficult in a tech. I'm not the easiest dude, always in the world, but I love him to death. And there was an actor that we used to work with who just would Marvel. We worked with this person so many times and was a big part of the company. And with Marvel, it, me, because Sean would get tense and it'd be like really stressful and like pushing, pushing to get it done faster. And I would just let it all roll off. And it's because I have to be able to do that and know that this is my time. Right. Reclaiming my time. I was like, oh yeah, I do that all the time because I know that this is when I can do the thing. I also have to know when I can say, Hey, you know what? I can do this later. I can do this without people, or it's taking too long and it's slowing us down and it's, it's killing our process. It's not letting us all move forward as a group. And I'll deal with this thing later. Right. But I also know that I have to do it now. And that's the way this process works until somebody changes it, I'm going to do it in the room. And so I will take my time. I have to be able to work as quickly as I can in that. And I have to know that I have to deal with the pressures from other people. Speaker 1 (53m 27s): So it's got a little bit of, it's interesting. It's a it's human relationships that makes with time management mixed with reclaiming your time mixed with knowing when to, yeah. When you can let go and say, okay, I'm going to do, but like, I, I don't think people, at least I'll speak for myself. Younger people think that you need, well, the ones I encounter my students too, like, you need people skills as a designer. Oh, you need people skills. Like, just because you're not an actor doesn't mean you don't, you know, you got to work with people. And I think your, from your interview, it's really clear that like, there's all different kinds of people you're going to work with, and you're not going to get along with all of them, but you can also figure out a way, right. To still have the process, be one of where you get your work done, get rehired. If that's what you want and still be a kind human and work, you know, in the industry. And I think that's really interesting that you, the rolling off the back. Yeah. Because people in tech and in tech and intense situations get bonkers bomb, bonkers, bonkers Speaker 2 (54m 30s): Years ago, I was assisting on a production of the Scottish play in New York that George Wolf was directing that Angela Bassett and Alec Baldwin were starring in and the pressure and the pressure on it was super high. And then everybody who was a secondary person was like, we have Schreiber and Michael Hall and Zach brown. Speaker 1 (54m 48s): I mean, it was our secondary Speaker 2 (54m 50s): People. Cause they were babies that like Zach rabbit just finished school. Like let's start on it. And we, and the pressure was super high. And, and we were on the third floor of the building and the electric shop was in the basement. And my designer was like yelling at me and I would pass it on. I would pass that energy on. And the assistant lighting supervisor took me out for pizza and was like, you can't do that. And he was like, you have to be the wall. And if you can't be the wall, this might not be your job. He's like, you can still be a designer, but assisting might not be the way you got there. And this guy must've been, I mean, he was maybe my age. He was probably younger than me. His name was Todd greatest thing that ever happened to me. Yep. It changed me forever. I was like, you're right. That is my job. And actually, I'm very good at that. I am a cheerleader and I'm a person who cares about people and I have no problem. I mean, there will be times that I'm not trying to say, I'm never put pressure on the people around me. I get impatient too. I'm not a patient person, but, but I can, I can try to protect the people around me. And I, and I love my team that people who make the lighting thing happen, you know, I kept, I, we won the, I did this production bug with David right before the pandemic. And then we just did it again unless we could set them off. And we won the Jeff award for it. As I like to say, we won the Jeff award. Like my team won that award. I didn't do it by myself, but I actually took it into the first day of tech and we put it on the tech table for the second round. And I was like, everybody had my crew put a light on it and they would run the light up. And it was like, everybody may give me notes through the Jeff. The Jeff looks up notes for me. That's hilarious. I will speak to none of you. I will speak to Carrie Coon, Carrie Coon also want to Jeff that she may speak directly to me because what else do you do with an award? There's so weird there, Speaker 1 (56m 30s): Right there, weirdness. And they're weird and they're nice and they're in your effort. And it's the only way we have really, as human acknowledged this stuff, but in a, in a sort of ceremony kind of a way, but like, all right, well, I just thank you for talking Speaker 2 (56m 46s): Absolutely Speaker 1 (56m 47s): Pleasing. And I, I, you know, I just, I'm always left when I talk to someone like you I'm like left with this wish for young women to know that there are so many jobs and careers in the theater that you don't just have to be an actor or an actress or whatever you want to call yourself. There are so many things. And, and by, and for me also, it's like, oh my gosh, please find someone that's doing the thing you might want to do and ask them questions and see if you can get information, you know, like an informational interview, which is essentially what we do on this podcast is do an informational interview with people we went to school with and other people, but like get the information. So thank you for putting the information about your career and your journey out there for us. And we'll, we'll keep in touch and you'll get a copy to review before we air it. And, but just, thank you. Thank you so much. Speaker 2 (57m 45s): Totally. I'll send you guys some pictures I have to please. And, you know, they're printed. I actually had to go into a box and found Speaker 1 (57m 51s): Them. It's a whole thing. Speaker 2 (57m 53s): Yeah. Much like everybody else. I went through all of those during the pandemic. So I was trying to figure if I had one with me and Keith, cause that would be awesome. Speaker 1 (57m 60s): That would be fine. Speaker 2 (58m 3s): It's funny. I love telling people in the, in the lighting community that like I drove her, we've been friends for so long. I drove him home from college for Christmas, his first year of college, you know, and then, and now he's like, like he did his first runway show at studio 54. And then I did my first Broadway show in studio 54. And like, yeah, I really love getting to share all of that with him. And he's a true and great artist. And I just, S
For Video Edition, Please Click and Subscribe Here: https://youtu.be/NtJUud-VifQ NY Arts Review described Seth Sikes as “one of the saviors of the Great American Songbook,” will return to the stage for the first time since 2019. Sikes is one of New York's best-known nightclub performers. All of his previous appearances in New York have sold out. His debut show, which paid tribute to Judy Garland, was named Best Tribute Show by Broadway World. Rex Reed said, “Sikes belted out small gems and big treasures alike to a sold-out house screaming for more. He's already developing a fan base and there's no telling how far Seth Sikes will go.” Seth Sikes will also be making a series of appearances this Summer in Fire Island, The Pines including: SAGE Pines Pride Celebration June 5 Fire Island Pines Art Project June 26 When the Covid pandemic prevented Sikes from performing for live audiences, he created a series of hilarious music videos online that have gone viral, seen by hundreds of thousands. His most recent video, “Ring Them Bells,” was selected to close the globally watched Liza Minnelli 75th birthday tribute. Before becoming one of New York's most talked-about performers, Sikes worked in the theater behind the scenes. He was Assistant Director for The Band's Visit and The Nance on Broadway (starring Nathan Lane and directed by Jack O'Brien), and for Off-Broadway productions of Tribes (directed by David Cromer) and Pageant. https://www.postofficecafe.net/mevents/an-evening-with-seth-sikes
Today's guest is actress and writer Jennifer Grace. Jennifer received her BA from Kansas State University in 1997. She has been working as a professional actor since, most notably in a record-shattering run as Emily Webb in Tony award-winning director David Cromer’s critically acclaimed production of OUR TOWN, which she performed in Chicago, New York and Los Angeles, opposite actors such as Michael Shannon, Helen Hunt and Michael McKean, and for which she was recognized with a Theatre World Award for Outstanding Off-Broadway debut. Other New York theatre credits include: NIKOLAI AND THE OTHERS (Lincoln Center Theatre, world premiere, with Blair Brown, Michael Cerveris, John Glover and Kathryn Erbe) and THE 4TH GRADERS PRESENT AN UNNAMED LOVE SUICIDE (59E59). Selected regional credits: CAT ON A HOT TIN ROOF, TIME & THE CONWAYS, 4.48 PSYCHOSIS, BALM IN GILEAD, ARCADIA, JACK OR THE SUBMISSION, THE SEA GULL, MARAT/SADE, BLOOD WEDDING, and ANGELS IN AMERICA. Film: I SEE YOU (w/Helen Hunt), THE CASSEROLE CLUB (w/ Susan Traylor, Jane Wiedlin), KELLY & CAL (with Juliette Lewis) Television: ”Inside Amy Schumer,” “VEEP,” “Billions,” “Chicago P.D.,” and “The Red Line.” She is also an audiobook narrator, VO artist, and a writer. Proud member of SAG-AFTRA and Actor’s Equity.
In this episode, we talk to acclaimed Broadway director David Cromer, who recently directed The Sound Inside and won the Tony Award for Best Direction of a Musical for The Band's Visit. David chatted with us about the beginning of his career in Chicago, other productions he's directed and acted in, transferring a Broadway show to an audio-only format, being an artist during the pandemic, and much more. Please enjoy this episode of Finding Matt Damon with David Cromer!
The interviews in this episode were recorded over the course of October, November, and December 2020 Directors at their core are creators, leaders, and storytellers, and often the stories they share with audiences bring great success, both artistically and financially. However, the path to financial independence as a director isn’t as clear as one might expect. How can artists, producers, and patrons work together to create a more sustainable and tangible industry for its creative teams, and at what cost – literally. Join Drama League Associate Artistic Director Nilan and Directors Project alumni Danny Sharron along with some of our industry’s most critically-acclaimed directors Saheem Ali, David Cromer, Colette Robert, Jacob Padrón, Leigh Silverman, and Gabriel Stelian-Shanks in a season premiere three-part conversation about the economics of theater, pulling back the curtain on the class divisions built into the commercial and non-profit theater while reimagining a more equitable future for the industry. For more information about Danny Sharron visit: http://www.dannysharron.com/ For more information about Saheem Ali: https://www.saheemali.com/ For more information about David Cromer: https://www.steppenwolf.org/artists/david--cromer/ For more information about Colette Robert: https://www.coletterobert.com/ For more information about Jacob Padrón: http://www.solproject.org/jacob-padroacuten.html For more information about Leigh Silverman: https://sdcweb.org/staff/leigh-silverman/ If you're a director needing assistance, visit our COVID-19 resources and emergency relief programs here: dramaleague.org/covidresources/covid19resources Help support The Drama League: http://bit.ly/DLdonations For a transcript of this episode, click here. Editing Services @catalinmedia
The interviews in this episode were recorded over the course of October, November, and December 2020 Directors at their core are creators, leaders, and storytellers, and often the stories they share with audiences bring great success, both artistically and financially. However, the path to financial independence as a director isn’t as clear as one might expect. How can artists, producers, and patrons work together to create a more sustainable and tangible industry for its creative teams, and at what cost – literally. Join Drama League Associate Artistic Director Nilan and Directors Project alumni Danny Sharron along with some of our industry’s most critically-acclaimed directors Saheem Ali, David Cromer, Colette Robert, Jacob Padrón, Leigh Silverman, and Gabriel Stelian-Shanks in a season premiere three-part conversation about the economics of theater, pulling back the curtain on the class divisions built into the commercial and non-profit theater while reimagining a more equitable future for the industry. For more information about Danny Sharron visit: http://www.dannysharron.com/ For more information about Saheem Ali: https://www.saheemali.com/ For more information about David Cromer: https://www.steppenwolf.org/artists/david--cromer/ For more information about Colette Robert: https://www.coletterobert.com/ For more information about Jacob Padrón: http://www.solproject.org/jacob-padroacuten.html For more information about Leigh Silverman: https://sdcweb.org/staff/leigh-silverman/ If you're a director needing assistance, visit our COVID-19 resources and emergency relief programs here: dramaleague.org/covidresources/covid19resources Help support The Drama League: http://bit.ly/DLdonations For a transcript for this episode, click here. Editing Services @catalinmedia
Kate Dickie has received two BAFTA Scotland Best Actress Awards (Red Road 2006 & Couple in A Hole 2016) as well as BIFA Best Actress for Red Road and a BIFA Best Actress nomination for Couple in a Hole. In international recognition she received the UK Shooting Star at the Berlin Film Festival and Best Actress award Festival Nouveau Cinema Montréal as well a nomination for 2016 Spirit USA. In 2013 Kate received the Spirit of Scotland Screen Award for her Career achievement. Feature film credits include other leading roles in Tell It To The Bees, Boyz in The Woods and The Witch with acclaimed supporting roles in The Silent Storm, For Those in Peril, Filth and Ridley Scott's Prometheus. Kate has been featured in many other full length movies such as Shell, Now is Good, Outcast, Donkeys, Sommers Town and Summer. Her numerous short film appearances include Operator which won BAFTA Best British Short Film Award 2016. Her distinguished television work includes Lysa Arryn in Game of Thrones, The Alienist , The Pillars of The Earth and the award winning BBC drama Five Daughters. Kate has also played leading and featured roles in amongst many others, Vera, One of Us, The Frankenstein Chronicles, Midwinter of The Spirit, By Any Means, The Escape Artist, Injustice, Dive, New Tricks, Garrows Law, He Kills Coppers, and The Vice. Kate was nominated for a Best Actress award BAFTA (Scotland) for the BBC drama Tinsel Town in 2000. Highlights in her stage career include Bad Roads at the Royal Court, directed by Vicky Featherstone, the London production of David Cromer's award winning Our Town at the Almedia Theatre, Aalst (at the Soho, London, touring Australia and UK with National Theatre of Scotland) for which she was nominated for the Best Actress award by UK Theatre Managers' Association, Any Given Day, nominated Best Actress Critics Theatre Scotland and Electra for which she was nominated Best Actress in The Stage awards. Early this year, 2020 Kate played Det. McClelland in THE NEST (BBC) and NATHALIE KINGSTON in the interactive feature film THE COMPLEX. Later this year she will be appearing in action thriller KNUCKLEDUST and as SISTER CONDRON in Michael Caton - Jones OUR LADIES as well as, VERONICA in Cathy Brady's WILDFIRE and QUEEN GUINEVERE in THE GREEN KNIGHT.
Kate Dickie has received two BAFTA Scotland Best Actress Awards (Red Road 2006 & Couple in A Hole 2016) as well as BIFA Best Actress for Red Road and a BIFA Best Actress nomination for Couple in a Hole. In international recognition she received the UK Shooting Star at the Berlin Film Festival and Best Actress award Festival Nouveau Cinema Montréal as well a nomination for 2016 Spirit USA. In 2013 Kate received the Spirit of Scotland Screen Award for her Career achievement. Feature film credits include other leading roles in Tell It To The Bees, Boyz in The Woods and The Witch with acclaimed supporting roles in The Silent Storm, For Those in Peril, Filth and Ridley Scott's Prometheus. Kate has been featured in many other full length movies such as Shell, Now is Good, Outcast, Donkeys, Sommers Town and Summer. Her numerous short film appearances include Operator which won BAFTA Best British Short Film Award 2016. Her distinguished television work includes Lysa Arryn in Game of Thrones, The Alienist , The Pillars of The Earth and the award winning BBC drama Five Daughters. Kate has also played leading and featured roles in amongst many others, Vera, One of Us, The Frankenstein Chronicles, Midwinter of The Spirit, By Any Means, The Escape Artist, Injustice, Dive, New Tricks, Garrows Law, He Kills Coppers, and The Vice. Kate was nominated for a Best Actress award BAFTA (Scotland) for the BBC drama Tinsel Town in 2000. Highlights in her stage career include Bad Roads at the Royal Court, directed by Vicky Featherstone, the London production of David Cromer's award winning Our Town at the Almedia Theatre, Aalst (at the Soho, London, touring Australia and UK with National Theatre of Scotland) for which she was nominated for the Best Actress award by UK Theatre Managers' Association, Any Given Day, nominated Best Actress Critics Theatre Scotland and Electra for which she was nominated Best Actress in The Stage awards. Early this year, 2020 Kate played Det. McClelland in THE NEST (BBC) and NATHALIE KINGSTON in the interactive feature film THE COMPLEX. Later this year she will be appearing in action thriller KNUCKLEDUST and as SISTER CONDRON in Michael Caton - Jones OUR LADIES as well as, VERONICA in Cathy Brady's WILDFIRE and QUEEN GUINEVERE in THE GREEN KNIGHT.
The interviews in this episode were recorded over the course of October, November, and December 2020 Directors at their core are creators, leaders, and storytellers, and often the stories they share with audiences bring great success, both artistically and financially. However, the path to financial independence as a director isn’t as clear as one might expect. How can artists, producers, and patrons work together to create a more sustainable and tangible industry for its creative teams, and at what cost – literally. Join Drama League Associate Artistic Director Nilan and Directors Project alumni Danny Sharron along with some of our industry’s most critically-acclaimed directors Saheem Ali, David Cromer, Colette Robert, Jacob Padrón, Leigh Silverman, and Gabriel Stelian-Shanks in a season premiere three-part conversation about the economics of theater, pulling back the curtain on the class divisions built into the commercial and non-profit theater while reimagining a more equitable future for the industry. For more information about Danny Sharron visit: http://www.dannysharron.com/ For more information about Saheem Ali: https://www.saheemali.com/ For more information about David Cromer: https://www.steppenwolf.org/artists/david--cromer/ For more information about Colette Robert: https://www.coletterobert.com/ For more information about Jacob Padrón: http://www.solproject.org/jacob-padroacuten.html For more information about Leigh Silverman: https://sdcweb.org/staff/leigh-silverman/ If you're a director needing assistance, visit our COVID-19 resources and emergency relief programs here: dramaleague.org/covidresources/covid19resources Help support The Drama League: http://bit.ly/DLdonations For a transcript for this episode, click here. Editing Services @catalinmedia
A work of startling originality when it debuted in 1938, Thornton Wilder's Our Town evolved to be seen by some as a vintage slice of early 20th Century Americana, rather than being fully appreciated for its complex and eternal themes and its deceptively simple form. Another day’s Begun: Thornton Wilder’s Our Town in the Twentieth Century is a new book that shines a light on the play's continued impact in the 21st century and makes a case for the healing powers of Wilder's text to a world confronting multiple crises. In this episode I am joined by the author, Howard Sherman.Howard is an arts administrator, advocate and writer based in New York City. He was executive director of the American Theatre Wing from 2003 to 2011 and during that time, his varied responsibilities included incorporating SpringboardNYC, the Theatre Intern Group and The Jonathan Larson Grants into ATW’s programming. Howard also conceived the book The Play That Changed My Life; and served on the Tony Awards Management and Administration Committees.During his tenure at the American Theatre Wing, he was executive producer of the company’s long running television program Working in the Theatre, hosting 30 panel conversations among the more than 80 shows he produced, and as creator of the audio program Downstage Centre, he interviewed 325 theatre luminaries in a seven-year span.Howard was the first General Manager of Goodspeed Musicals, working on 24 new and classic musicals, including the U.S. premieres of Alan Ayckbourn's work and Andrew Lloyd Webber’s By Jeeves. He has moderated artist conversations for public audiences for more than 30 years, having begun by leading post-performance discussions with such noted figures as Athol Fugard and JoAnne Akalaitis at the Annenberg Center in Philadelphia.He currently writes a weekly column on U.S. theatre for The Stage in London and writes monthly for Stage Directions magazine. In January 2021 he releases the book in which he appraises and celebrates Thornton Wilder’s classic of American drama; Our Town, through the eyes of the folk 'who have spent time in Grover's Corners'.Howard joined Stages from Manhattan in a fascinating conversation about this classic play, and to ponder the future challenge for the Broadway theatre and stages beyond.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where all good podcasts are found.
Stage Manager Supply Co Podcast Episode 11 // David CromerThis week I chat with Tony award winner David Cromer about his varied career as a director and actor. Hot topics include: stage management and director relationships, Everytown for Gun Safety: https://everytown.org/✨ l i n k s ✨INSERT✨ c r e d i t s ✨Music by Mark Generous - Pure Chamomile - https://thmatc.co/?l=7E4C5D3B
The Friends took a break last week because Diep was out of town. But this week, they're coming back in time to talk about the Tony Awards. It's happening! And the Friends have opinions about what the awards ceremony should look like this year. This week's guest is actor Daniel K. Isaac, who is a recurring character on the Showtime television show Billions. But did you know that Isaac is a big theater nerd? He has multiple binders and drawers dedicated to all the playbills he's collected over his 11 years in NYC and he shares some of his favorites, plus gives tips on how he could afford to buy theater tickets when he was still a struggling artist. Here are links to things the Friends talked about this episode: What theater stuff Daniel K. Isaac has been up to in quarantine: a 24 Hour plays monologue, Pride Plays, the Homebound Project, and BD Wong's Songs From an Unmade Bed. Isaac's [ UNTITLED GAY SEX & CONVERSION THERAPY PLAY ] Some of Isaac's favorite theater memories: Our Town directed by David Cromer, Brief Encounter at St Ann’s Warehouse, Circle Mirror Transformations by Annie Baker, Awake and Sing from National Asian American Theater Company, Natasha, Pierre & The Great Comet of 1812 when it first premiered at Ars Nova, Scenes From a Marriage directed by Ivo Van Hove. The Expecting, a new horror show on Quibi that Isaac is in that will premiere this fall. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tony winners David Cromer, Katrina Lenk and Itamar Moses continue their discussion of The Band's Visit with host Joe Bunker. The Band's Visit: Part Two includes Katrina Lenk & Tony Shlhoub's performance of 'Itgara'a / Something Different' from the Grammy-winning original cast album of The Band's Visit. We would love you to tell us what you think about Piece by Piece. You can find us on Facebook, Twitter & Instagram.
Stage Manager Supply Co Podcast Episode 5 // Heather Gilbert ✨This week I chat with Heather Gilbert about her career in Lighting Design! Hot topics include: her Drama Desk Award for Lighting Design of a play for The Sound Inside, designing Our Town directed by David Cromer, teaching at Columbia College Chicago, and a touching story from a preview of Our Town. Dig Deep: https://www.digdeep.org/✨ l i n k s ✨Heather Gilbert: http://hgilbertdesign.comDrama Desk Awards Nominees & Winners 2020: https://www.dramadeskawards.com/nominees/Trinity University: https://new.trinity.eduThe Theatre School | DePaul University: https://theatre.depaul.edu/Pages/default.aspxThe Sound Inside (Bway NYT Review): https://www.nytimes.com/2019/10/17/theater/the-sound-inside-review.htmlOur Town @ Barrow St. NYT Review: https://www.nytimes.com/2009/02/27/theater/reviews/27town.htmlMs. Blakk for President: https://www.nytimes.com/2019/06/04/theater/ms-blakk-for-president-review-tarell-mccraney.htmlStudio Theatre: https://www.studiotheatre.orgMilwaukee Rep: https://www.milwaukeerep.comActors Theatre of Louisville: https://www.actorstheatre.orgHuntington Theatre Company: https://www.huntingtontheatre.orgWilliamstown Theatre Festival: www.wtfestival.orgGoodman Theatre: https://www.goodmantheatre.orgLookingglass Theatre Company: https://lookingglasstheatre.orgColumbia College Chicago: https://www.colum.eduWriters Theatre: https://www.writerstheatre.orgSteppenwolf Theatre: https://www.steppenwolf.orgBug @ Steppenwolf (Chi Tribune Review): https://www.chicagotribune.com/entertainment/theater/reviews/ct-ent-bug-steppenwolf-review-0205-20200204-o4ksoshisvdddffaqpewaromji-story.htmlThe Hypocrites: https://the-hypocrites.com✨ c r e d i t s ✨Music by Mark Generous - Pure Chamomile - https://thmatc.co/?l=7E4C5D3B
Four Tony winners join Joe Bunker to discuss The Band's Visit, which swept the boards at the 2018 Tony Awards, winning ten, including those for Best Musical, Book & Score. Joe's guests are director David Cromer, actress Katrina Lenk, librettist Itamar Moses, and composer/lyricist David Yazbek. The Band's Visit: Part One includes anecdotes, conversation, clips from the Grammy-winning original cast album, and... the PBP Band's Visit Quiz! Please tell us what you think about Piece by Piece. You can find us on Facebook, Twitter & Instagram.
[REBROADCAST] Director David Cromer, playwright Adam Rapp, and actor Mary Louise Parker join us to discuss the play, “The Sound Inside.” Outer Critics Circle honors: OUTSTANDING NEW BROADWAY PLAY OUTSTANDING DIRECTOR OF A PLAY OUTSTANDING ACTOR IN A PLAY OUTSTANDING ACTRESS IN A PLAY OUTSTANDING LIGHTING DESIGN OUTSTANDING PROJECTION DESIGN OUTSTANDING SOUND DESIGN
Acclaimed performer Seth Sikes joins us for the second episode of the Feinstein's/54 Below Podcast. A cabaret singer whose award-winning show Seth Sikes Sings Judy Garland has been performed across the country, Seth has been called “the best male singer of his generation on the cabaret scene” by Theatre Scene and “one of the saviors of the Great American Songbook as we continue into the 21st century” by NY Arts Review. In addition to his Garland tribute shows, his repertoire also includes homages to other great ladies of song and theater, such as Liza Minelli, Bernadette Peters, and others. Off-stage, Seth is a director whose credits include assistant director on shows such as Tribes and The Nance. Most recently, he served as the associate director for the Tony winning musical The Band's Visit directed by his long time collaborator David Cromer. This New Year's Eve, Seth and his seven-piece band will usher in a new decade with a roaring 20s show at Feinstein's/54 Below! Seth sat down with our Director of Marketing, Nella Vera to chat about his upcoming show, his obsession with Judy Garland, and about his journey from Paris, Texas to NYC. For tickets and information visit: https://54below.com/events/seth-sikes-new-years-eve/ Connect with Seth on Twitter and Instagram: @sethsikes See Seth sing “Get Happy”: https://youtu.be/CY7jgP-MHfI See Seth sing “Zing Went the Strings of My Heart”: https://youtu.be/BRcrFMvbk1c Credits This podcast is hosted by Nella Vera and Adrian Karnani and produced by Grace Benigni, with support from the Feinstein's/54 Below marketing staff. Artwork by Philip Romano. Follow Nella on Twitter at @spinstripes and Adrian on Instagram at @adriankarnani. Learn more about your ad choices. Visit megaphone.fm/adchoices
Will Hochman is a Brooklyn-born actor making his Broadway debut in the play The Sound Inside written by pulitzer prize finalist Adam Rapp, directed by Tony-winner David Cromer, and starring alongside Tony-winner Mary-Louise Parker. After growing up primarily focusing on sports, he eventually graduated college with an economics degree before deciding to pursue performing full time (he took his first acting class his Junior year of college!). After college, he did production work, learning the behind-the-scenes of some of the industry in order to better understand and navigate it. Interview content begins at 2:19. Closing standards begin at 40:14. Connect with Will: Twitter: @willhochman IG: @willhochman https://soundinsidebroadway.com/ - playing until Jan 12th, 2020 Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcastTheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Thank you to our friends Jukebox The Ghost for our intro and outro music. You can find them on Instagram, Twitter, and Facebook @jukeboxtheghost or via the web via jukeboxtheghost.com. A very special thanks to our patrons who help make this podcast possible! Cheryl Hodges-Selden, Paul Seales, David Seales If you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support!
Closing Alert: The Sound Inside closes 12 Jan 2020.In this episode, we explore "The Sound Inside" starring Mary-Louise Parker. In it, The Critic gushes over David Cromer, Easy reminds her of his acting in 'The Waverly Gallery', and we both are having second thoughts about including a giant two-minute long outtake which has spoilers and makes no sense. Enjoy! I've heard of bad, but come on, nothing comes close to this Google Doc with opening and closing dates: https://bit.ly/2YAKIEY
Closing Alert: The Sound Inside closes 12 Jan 2020.In this episode, we explore "The Sound Inside" starring Mary-Louise Parker. In it, The Critic gushes over David Cromer, Easy reminds her of his acting in 'The Waverly Gallery', and we both are having second thoughts about including a giant two-minute long outtake which has spoilers and makes no sense. Enjoy! I've heard of bad, but come on, nothing comes close to this Google Doc with opening and closing dates: https://bit.ly/2YAKIEY
Adam Rapp is an American novelist, Broadway playwright, screenwriter, musician and film director. His play, Red Light Winter, was a Pulitzer Prize finalist in 2006. The interview took place at Studio 54 immediately after I caught his incredible new Broadway play, The Sound Inside, and I was thrilled to be able to ask him about his formidable career, his creative process, and how you can nurture boundless creativity in your own life. The Sound Inside, a psychological thriller about the relationship between a tenured professor and a student, is now showing at Studio 54 in New York City. Tony Award winner David Cromer directs co-stars Mary-Louise Parker and Will Hochman in his Broadway debut. Purchase tickets at www.Broadway.com Please share and leave a review on Apple Podcasts! About Our Sponsor Motherhood Unstressed CBD is comprised of USA grown, organic, hemp intended to help you battle stress and anxiety naturally. Use the code BUCKHEAD to save 10% on your next order! And retailers, wholesale options available! More at Motherhoodunstressed.com Follow us on Instagram @motherhoodunstressed
The Tony-winning director visits the critics and breaks down his artistic process on 'The Waverly Gallery' and 'The Band's Visit,' and explains his love affair with the Windy City.
David Cromer is starring in The Waverly Gallery. A Tony winner for directing The Band's Visit, Cromer has also directed Broadway shows The House of Blue Leaves and Brighton Beach Memoirs. He has also appeared as a performer in A Raisin in the Sun. Cromer has received a Tony Award, Drama Desk Award, three Obie Awards, three Lucille Lortel Awards, a Joe A. Callaway Award, four Jeff Awards, and in 2010 was made a MacArthur Foundation Fellow. Follow him on social media at @davidmcromer!Hosted by Caitlin Moynihan, Ryan Lee Gilbert and Eric King.
While Frank is out of town, we welcome Ross Fraser, founding co-host of Booth One, back to the studio. He is clearly excited to be back behind a microphone and in rare form. Gary and Roscoe revisit some favorite topics such as, "Where are the Movie Stars?" and a new shark attack on Cape Cod. Roscoe shares his favorite news story of prior week about a woman in a stolen car trying to elude police in (where else?) Florida, by jumping into a pasture with a herd of cows, who then take chase. You cannot make this stuff up. We talk about the recent passing of the great Aretha Franklin. In 2008, Rolling Stone named her the greatest singer of the rock era, ahead of Ray Charles, Elvis Presley, Sam Cooke, and John Lennon. Check out this list! Friend of the show David Cromer will be appearing on Broadway in The Waverly Gallery this fall with Elaine May, Joan Allen, Michael Ceres, and Lucas Hedges. It previews on September 27 and opens October 27. We were already planning a trip to see Alexandra Billings in her Broadway debut in The Nap, but now have two great reasons to venture east. We have been invited to appear on After Hours with Rick Kogan on August 26. If you miss hearing it live, we'll post the link to the recording on our next episode. Both Gary and Roscoe recommend the book Something Wonderful, Rogers and Hammerstein's Broadway Revolution. Kiss of Death: Patricia Morison Learn about the actress Cole Porter discovered for his Broadway Production of Kiss Me Kate, who recently died at 103. From her NYT obituary: "The critics loved both her and the show — Brooks Atkinson of The New York Times praised her as “an agile and humorous actress who is not afraid of slapstick and who can sing enchantingly” — and so did the public."
Cast and creators of the Broadway hit, The Band's Visit, discuss this deeply human and humorous musical. Composer and lyricist David Yazbek, librettist Itamar Moses, director David Cromer, producer Orin Wolf, and cast members Katrina Lenk and Ari’el Stachel sit down with Michael Paulson, theater reporter for The New York Times. The conversation was recorded on April 15, 2018 in front of a live audience at New York’s 92nd Street Y.
The endlessly fascinating Jennifer Engstrom graces us in the Booth today. Jen is a long-time ensemble member of A Red Orchid Theatre (as is our last guest, playwright Brett Neveu). She has appeared in over a dozen productions there and at many other great Chicago theaters (as well as in productions in London and New York). She grew up on a farm outside of Huxley, Iowa and made her way to the big city via the College of DuPage theatre program, where she soon became active in the speech department. And who coached and encouraged her in a career in the performing arts? None other than our own Frank Tourangeau! Frank was a professor and head of the speech department during Jennifer's time there and served as her mentor and teacher. Frank relates how he cast her in the play Whose Life is it Anyway? as the lead made famous on Broadway and the West End by Tom Conti, and revived some years later with Mary Tyler Moore in the starring role. By all accounts, Jen was luminous in the part. BTW, when Gary was working in Emanuel Azenberg's office, he was a stand-in for Tom Conti for several rehearsals on the Broadway production. In addition to her numerous acting roles, Jennifer has had an interesting career as an understudy around Chicago. We discuss her going on as Blanche DuBois at the last minute in a Writers Theatre production of A Streetcar Named Desire, directed by David Cromer. Though she knew the blocking and the lines well, her costumes had not been finished and there was a mad scramble to devise a proper wardrobe track for that performance (which Gary and producer Betsy were privileged to see!). She also stepped in for Amy Morton in the Steppenwolf Theatre production of Taylor Mac's HIR when Ms. Morton turned her ankle on stage prior to the first preview. Jennifer had learned all the lines and after a rushed blocking rehearsal, kept the curtain up for the first preview audience in stellar fashion. To quote the wonderful stage manager, Laura Glenn, "She was a total professional and I was so grateful she was there." Among Jennifer's favorite playwrights are Tennessee Williams, Edward Albee and newcomer Jen Silverman, whose play Witch will get a world premiere production at Writers Theatre in the fall. Two items of show biz interest - The Play That Goes Wrong is closing on Broadway in August. One of the most hilarious shows that Gary and Frank have ever seen, a national tour is scheduled so don't miss this gem of a show if it comes to your town. And the five-and-a-half hour adaptation of Roberto Bolano's mammoth novel 2066 can be seen on streaming video soon. In an unusual arrangement, a filmed version of the Goodman Theatre's production will be available free, unlimited streaming for at least two years. Frank was a big fan of this production. You may have to watch in installments given it's extraordinary length, but you're unlikely to see another production of it anywhere any time soon. Jennifer has created and performs a one-woman show called Excuse My Dust, A Dorothy Parker Portfolio, in which she embodies the writer and humorist in an evening of theatrical monologues from Parker's writings. Dorothy Parker was an original member of the Algonquin Round Table and a unique coiner of the cutting remark. Gary and Betsy are going to the Red Orchid spring fundraiser at which Jennifer is performing selections from Excuse My Dust. More to report on our next episode. We play a little Chat Pack with Jennifer and find that she would like to be a rock star for a month, a la Beyonce. And people often ask her how she learns all those lines! Kiss of Death: Anne V. Coates, Admired Editor of Acclaimed Movies One of the most celebrated film editors of her era, Ms. Coates won an Oscar for her work on Lawrence of Arabia directed by David Lean and starring Peter O'Toole. The film editor's craft is often called "the invisible art," but is one of the most vital ingredients in the alchemy of filmmaking.
Gary reports on the wonderful time we had at the Writers Theatre Gala at the Four Seasons. We were guests of Mary Pat & Andy Studdert. It was such a fun evening, featuring sensational entertainment with a Motown theme. Our table mates were all a blast, including great Chicago actor, Rob Lindley. Gary also profiles Mary Pat, who is Booth One's Creative Consultant. We met her doing a live podcast at Writers during their production of Company. Hear excerpts from that event on episode 39. Mary Pat was in the audience and was excellent at the Sondheim trivia contest. She's been a friend, fan, and extremely helpful advisor ever since. She is also a magnificent photographer and has taken some unforgettable shots of elephants (our favorite) in Africa as well other wildlife and nature photos. She mounts these photos on greeting cards and has started to make boxed sets. Mary Pat is launching a business with these cards as well as totally unique gift tags (also made from the photos). You'll be the first to hear how you can purchase those. Speaking of photos, Peggy Vagenius, who shot Gary and Betsy's wedding (beautifully and was so much fun!), is in the studio to do a photo shoot with Gary and Frank (their first together). "The Cher Show" is running in Chicago from June 12 - July 15 before moving to Broadway. Frank is a huge fan and has tickets for July 1st. We look forward to his report! Did you know that Cher's Mom was an actress who appeared on "I Love Lucy"? The episode he describes which was filmed in Paris sounds fabulous! Check out Georgia Holt's Wiki. What a story! For starters, her mother was 13 when she had her. Stormy Daniels is coming to the Admiral in Chicago in June as part of her current strip club tour. Gary is hoping to go and do a remote broadcast. Details to follow. Frank will be in Prague, so GZ will be looking for another date. We talk about the ritual of "The Gypsy Robe", a great Broadway tradition for long-serving chorus members. Check out the really interesting description of the rules here. Frank has a good friend Brian O'Brien, who has been a robe recipient! Basking sharks have recently been seen aggregating in the Atlantic from Nova Scotia to Long Island. They are HUGE, but Gary of course does not believe they are not dangerous to humans. One of our listeners, Mary Lesch, has been spotted wearing a T-shirt that says, "Lake Michigan - no sharks". Another statement Gary is leery about. Frank reviews a play called "Women Alone Laughing Eating Salad", which features his friend and former student Jen Engstrom, someone we have long admired for her work as an ensemble member of A Red Orchid Theatre and with director David Cromer. Frank recommends it highly. Running through May 12. Kiss of Death: Milos Forman, One of Gary's heroes! "A filmmaker who challenged Hollywood with his subversive touch and twice directed movies that won the Oscar for best picture, died on Friday in a hospital in Danbury, Conn. He was 86."
Nominated - Best Director - The Band's Visit
05:13 - How Jacob got started in technical theatre and at Light Opera Works. http://www.musictheaterworks.com 07:11 - "Disgraced" / the first time Jacob was doing focus work with lighting. 09:06 - American Theater Company. https://www.atcweb.org 09:16 - David Cromer! https://en.wikipedia.org/wiki/David_Cromer 11:06 - Oak Park Festival Theatre. http://oakparkfestival.com 19:14 - The 24 Hour Bring Your Own Theater festival. http://www.byotproductions.com 23:54 - Really long title of a play Jacob directed at The 24 Hour BYOT: The Dissent and Disapproving Complaints caused by Habitual Use of Artificial Correspondence 30:05 - Jacob doesn't have a formal degree, developed his resume on his own and through referrals. 40:55 - What Jacob learned from Chicago Fringe. http://chicagofringe.org 42:20 - Superman, Black Man, Me. https://www.youtube.com/watch?v=54_GkkscMyA 46:03 - The play, "ID" and No Shame. http://www.wearetheagency.org/no-shame/ https://www.facebook.com/NoShameTheatre/ http://www.noshame.org/chicago/index11.htm http://www.thelincolnloft.com/no-shame-theatre.html 58:40 - Jacob is on the Short List Committee for the Chicago Humanities Festival. https://chicagohumanities.org Follow us on Twitter or Facebook Intro Music: "Are You Famous, Yet?" - Laura Scruggs. Outro Music: "AYFY 1" - Christopher Kriz
Our special guest in the Booth this week is Sean Graney, the highly acclaimed Artistic Director of one of our favorite Chicago off-Loop theater companies, The Hypocrites. While Roscoe continues to recover from his health condition, Gary goes one-on-one with Sean in a lively and informative discussion of Graney's background, his founding of The Hypocrites 20 years ago, his experiences with acting, playwriting, adapting and directing, and a host of other theatre-related topics. Sean began his theatrical life in Boston. After school, he chose Chicago as the place to lay down his creative roots. Sean has received wide recognition for his vibrant and forceful productions of Gilbert & Sullivan's The Mikado, Pirates of Penzance and HMS Pinafore, and his ground-breaking All Our Tragic, a tour de force adaptation of the 32 extant Greek tragedies, performed in one 12-hour cycle (with meal breaks, of course!). Gary asks Sean about his approach to running a theater company, the nature of collaboration, and his style of working to adapt classic pieces of the theater canon. We also discuss the recent developments within The Hypocrites that have led Sean to cease current operations and to reorganize the company under a different business model. It's fascinating conversation and a must-listen for anyone who is considering starting a theater company or is struggling to remain viable in this rapidly changing cultural environment. Sean reveals what he's working on now and how this new show - related to All Our Tragic - will be developed and work-shopped in several environments. Cannot wait... Along the way, Gary mentions another long-running operation that has recently announced it is ceasing its presentations - Ringling Bros. and Barnum & Bailey circus, The Greatest Show on Earth. Declining attendance and low ticket sales, attributed in part to the removal of the elephant acts from the show, have led the Feld Corporation to pull up the tent stakes and call it a day, after 146 years of bringing live circus entertainment to millions of young and old alike. Grateful to have seen the show this past November and will always have fond memories of watching the childrens' delight at the spectacle. Gary relates his experience seeing the documentary film, "The Best Worst Thing That Ever Could Have Happened," an account of the making of, and untimely demise of, the Sondheim/Prince musical Merrily We Roll Along. This fine film from director Lonny Price is a treasure trove of original production footage, audition tapes, and interviews with all the leading participants, including original cast members and Sondheim himself. It's not in wide release so you'll have to seek out your favorite art house or local film forum. But it is well worth the effort. A must-see for all theatre fans or musical geeks - like us! Finally, Sean and Gary discuss the recent benefit performance of their award-winning production of Our Town, directed by and featuring David Cromer, in a staged reading at the Steppenwolf Theatre. It was an emotional evening, and the Chicago theater community was out in force to show their affection and solidarity for a struggling company of brothers and sisters. To support The Hypocrites in their reorganization, or to donate to their mission of presenting challenging and engaging theater, go to www.the-hypocrites.com or click here to get to their donate page. Kiss of Death Roberta Peters - Coloratura Soprano With a Dramatic Entrance Ms. Peters was possessed of a light, fleet instrument and a prudent awareness of what her voice could and could not do. In 1951, she was thrust into the limelight as a last minute replacement for an ailing soprano in the Metropolitan Opera's production of "Don Giovanni". Like her contemporary Patrice Munsel (previously profiled in Episode 42), Ms. Peters came of age during the Golden Age of television, and became familiar to audiences around the world through her many guest appearances on ...
Seth Sikes joines Rated G Radio tonight to talk about his performance career paying tribute to Liza Minnelli. Seth will be appearing at the famed "54 Below" on May 2nd at 9:30 p.m. est. Call 323 657-1493 to ask this popular entertaininer a question and join the fun! Seth Sikes is a singer and director in New York. He recently played packed houses at 54 Below with his Judy Garland tribute concert, backed by a seven-piece band. Time Out New York called him "The Theatre Elf," as Sikes is best known in the theatre behind the scenes as an assistant director. He was the Assistant Director of The Nance, on Broadway (starring Nathan Lane and directed by Jack O'Brien), and of the Off-Broadway productions of Tribes (directed by David Cromer) and and Pageant. His other Assistant Director credits include Sondheim: The Birthday Concert (directed by Lonny Price), and Sweet Bird of Youth (direted by David Cromer and starring Diane Lane). In his Judy Garland show, Sikes recounts how Garland captivated him as a young boy growing up on a farm outside of Paris, TX, and recreates her thrilling, swinging arrangements with a fantastic band.
Seth Sikes joines Rated G Radio tonight to talk about his performance career paying tribute to Liza Minnelli. Seth will be appearing at the famed "54 Below" on May 2nd at 9:30 p.m. est. Call 323 657-1493 to ask this popular entertaininer a question and join the fun! Seth Sikes is a singer and director in New York. He recently played packed houses at 54 Below with his Judy Garland tribute concert, backed by a seven-piece band. Time Out New York called him "The Theatre Elf," as Sikes is best known in the theatre behind the scenes as an assistant director. He was the Assistant Director of The Nance, on Broadway (starring Nathan Lane and directed by Jack O'Brien), and of the Off-Broadway productions of Tribes (directed by David Cromer) and and Pageant. His other Assistant Director credits include Sondheim: The Birthday Concert (directed by Lonny Price), and Sweet Bird of Youth (direted by David Cromer and starring Diane Lane). In his Judy Garland show, Sikes recounts how Garland captivated him as a young boy growing up on a farm outside of Paris, TX, and recreates her thrilling, swinging arrangements with a fantastic band.
Philip Fisher talks to American actor/director David Cromer about the striking new production of an American classic Our Town at the Almeida Theatre in London in which he stars. They also talk about his career and aspirations. Our Town runs at the Almeida Theatre in London from 10 October to 29 November 2014. For more information, see www.almeida.co.uk. Image credit: Marc Brenner.
Jeremy Deller and Fiona McCarthy have each curated an exhibition looking at the art of William Morris. David Cromer's production of Thornton Wilder's Our Town was an off Broadway hit. Now the actor director is staging it in London. Ken Burns won an Emmy for his documentary about The American Civil War. Anne McElvoy has been watching his new series The Roosevelts: An Intimate History and discusses it with historian Charlie Laderman and DD Guttenplan, who writes for The International Herald Tribune, The Nation and The New York Times.
David Cromer and Michael Halberstam: In May 2011 SDCF hosted a One on One Conversation with freelance director David Cromer and Artistic Director of Writers' Theater Michael Halberstam. The conversation covers how they come to their projects, previews and reviews, the danger of facing no obstacles in a process, and their artistic approach. Michael and David shed light on collaboration, the role of director and artistic director, new work vs. classics, and the differences between theatre in Chicago and theatre in New York City. This lively discussion between two good friends, who often collaborate, provides an honest look at creative methods and artistic leadership. Originally recorded - May 7, 2011. Running Time - 1:26:36 © 2011 SDCF
The latest edition of Downstage Center goes backstage with "Tribes", the provocative new play written by Nina Raine. Director David Cromer and actor Jeff Still discuss the play and the challenges they faced with the subject matter, deaf theatre, their friendship, and the Chicago theatre scene, among other topics.
The latest edition of Downstage Center goes backstage with "Tribes", the provocative new play written by Nina Raine. Director David Cromer and actor Jeff Still discuss the play and the challenges they faced with the subject matter, deaf theatre, their friendship, and the Chicago theatre scene, among other topics.
This week's podcast interview focuses on the production of Joanthan Larson's Rent, which is currently playing at American Theatre Company, co-produced by About Face Theatre. Director David Cromer and cast members Derrick Trumbly (Roger) and Eduardo Placer (Angel) talk with Anne Nicholson Weber about Cromer's re-examination of the iconic show and reconfiguration of the ATC space, Trumbly's performance of "One Song Glory" and Placer's experience learning a role in four days to step into a production that had already opened.
In May 2011 SDCF hosted a One on One Conversation with freelance director David Cromer and Artistic Director of Writers' Theater Michael Halberstam. The conversation covers how they come to their projects, previews and reviews, the danger of facing no obstacles in a process, and their artistic approach. Michael and David shed light on collaboration, the role of director and artistic director, new work vs. classics, and the differences between theatre in Chicago and theatre in New York City. This lively discussion between two good friends, who often collaborate, provides an honest look at creative methods and artistic leadership.
On October 18, 2010, SDCF hosted a sixty-minute discussion on Stage Direction, Chicago Style at Steppenwolf Theatre moderated by Sheldon Patinkin and featuring panelists Seth Bockley, Timothy Douglas, Gary Griffin, Kimberly Senior and Dennis Zacek. The panel discusses Chicago's actor-based process, from actor-based companies such as Lookingglass to the exploratory rehearsal process embraced by Chicago directors. Topics include the influence of Second City, the dynamic system of mentorship amongst Chicago directors and the sense that in Chicago one is "allowed to fail." This conversation gives an inspiring look at one of the country's great theatre cities and the values it runs on. Afterward, David Cromer presented the 2010 Zelda Fichandler Award to director Michael Halberstam of Writers' Theatre.
Director David Cromer discusses his most recent New York project, Andrew Bovell's "When The Rain Stops Falling" at Lincoln Center Theater, and how even he had to be reassured that the play's intertwining timeline does grow clearer to the audience as the show goes along. He also recounts the story of how he came to direct and appear in "Our Town", and what it's been like to "put in" actors to replace himself multiple times during the play's lengthy New York run; talks about the series of schools he attended without ever finishing; explains how Columbia College launched him into a successful acting career in Chicago, despite his lack of a degree, and how the size of, and fluidity between, Chicago theatre companies fostered his career as a director; shares what he considers the pinnacle of his acting career; reveals how most of his directing projects all stem from a single book; describes what it was like to work with playwright Austin Pendleton on the premiere of "Orson's Shadow" after years of working almost exclusively without an author in residence; considers his feelings about his new-found New York success, and why he'll always go back to Chicago; and reflects on the unfortunate circumstances that surrounded "The Neil Simon Plays" earlier this season, particularly not being able to open "Broadway Bound". Original air date - April 14, 2010.
Director David Cromer discusses his most recent New York project, Andrew Bovell's "When The Rain Stops Falling" at Lincoln Center Theater, and how even he had to be reassured that the play's intertwining timeline does grow clearer to the audience as the show goes along. He also recounts the story of how he came to direct and appear in "Our Town", and what it's been like to "put in" actors to replace himself multiple times during the play's lengthy New York run; talks about the series of schools he attended without ever finishing; explains how Columbia College launched him into a successful acting career in Chicago, despite his lack of a degree, and how the size of, and fluidity between, Chicago theatre companies fostered his career as a director; shares what he considers the pinnacle of his acting career; reveals how most of his directing projects all stem from a single book; describes what it was like to work with playwright Austin Pendleton on the premiere of "Orson's Shadow" after years of working almost exclusively without an author in residence; considers his feelings about his new-found New York success, and why he'll always go back to Chicago; and reflects on the unfortunate circumstances that surrounded "The Neil Simon Plays" earlier this season, particularly not being able to open "Broadway Bound". Original air date - April 14, 2010.
Producer Emanuel Azenberg talks about the upcoming repertory production of "Brighton Beach Memoirs" and "Broadway Bound", including the choice of David Cromer as director, whether the plays are being revised for the tandem run, and why he thinks they'll make audiences think of these plays -- and Neil Simon himself -- in a whole new way. He also discusses how he began his career as part of a group of softball and poker playing buddies that included Robert Redford, James and William Goldman, and on occasion Carl Reiner; how he came to be Neil Simon's exclusive producer on every play since 1972's "The Sunshine Boys"; how he's handled the challenge of dealing with shows that haven't succeeded, including "Fools", "Division Street" and "Einstein and the Polar Bear"; why he has dared to produce the supposedly cursed "Scottish Play" on Broadway not just once, but twice; what he sought to impart to his students at Yale and later Duke University about theatre over some 25 years and how he feels that students have changed over that time; shows he's done for love and shows he's done for money; what has drawn him to be involved in the upcoming revival of "Ragtime"; and why he thinks the much-admired "Side Show" didn't succeed on Broadway, and possibly never will. Original air date - October 19, 2009.
Producer Emanuel Azenberg talks about the upcoming repertory production of "Brighton Beach Memoirs" and "Broadway Bound", including the choice of David Cromer as director, whether the plays are being revised for the tandem run, and why he thinks they'll make audiences think of these plays -- and Neil Simon himself -- in a whole new way. He also discusses how he began his career as part of a group of softball and poker playing buddies that included Robert Redford, James and William Goldman, and on occasion Carl Reiner; how he came to be Neil Simon's exclusive producer on every play since 1972's "The Sunshine Boys"; how he's handled the challenge of dealing with shows that haven't succeeded, including "Fools", "Division Street" and "Einstein and the Polar Bear"; why he has dared to produce the supposedly cursed "Scottish Play" on Broadway not just once, but twice; what he sought to impart to his students at Yale and later Duke University about theatre over some 25 years and how he feels that students have changed over that time; shows he's done for love and shows he's done for money; what has drawn him to be involved in the upcoming revival of "Ragtime"; and why he thinks the much-admired "Side Show" didn't succeed on Broadway, and possibly never will. Original air date - October 19, 2009.
Episode devoted to Thornton Wilder’s “Our Town,” one of the most frequently performed plays in the world. Guests include Wilder nephew and expert, Tappan Wilder; writer Jeremy McCarter of “Newsweek” and David Cromer, director of the 2009 revival.
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