Podcasts about dead man's cell phone

As the fall arts season kicks off, we review The Children at the Belfry (1:23), Dead Man's Cell Phone at Theatre Inconnu (6:39) and Over the River and Through the Woods at Langham Court Theatre (8:28). Plus we spoke with Paper Street Theatre's Dave Morris about how he programs the longform improv company's season (15:35) and a look ahead at some arts events in October (27:09).

A man dies. His cell phone rings. A woman answers it. Thus begins the whirlwind, international adventure contained in Sarah Ruhl's "Dead Man's Cell Phone." This week on No Script, Jackson and Jacob discuss Ruhl's unique talent at juxtaposing wacky characters with interesting philosophical reflection.  ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast   We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Logo Design: Jacob Mann Christiansen Logo Text: Paralines designed by Lewis Latham of http://lewislatham.co/ ------------------------------ Thanks so much for listening! We’ll see you next week.

In this podcast I give two recent Chicago theater reviews including "Dead Man's Cell Phone" and "Brooke Astor's Last Affair" which is part of the Chicago Musical Theater Festival.

Chandra Bond is an American actress based in Los Angeles, California. Originally from Arizona, she moved to L.A. to pursue her love of acting full time. Including film, T.V. and theatre, she never limits possible opportunities to act. Currently, Chandra is prepping for a production of Dead Man's Cell Phone, by Sarah Ruhl, that will be performed in Washington this November. And although the theatre is a home away from home, she also has a background film production. Both sides of the screen and stage keep her busy; which is just how she prefers it. You can keep up to date with Chandra on her website www.ChandraBond.com or on her Facebook page www.facebook.com/chandrabondactress  

Ebone' Marie – Ebone' studied theatre at Mesa Community College where she has also been seen in the 2014 Mesa Community College production of A Dead Man's Cell Phone as an Ensemble Member. She recently returned to theatre in 2017 production of Black Nativity with Black Theatre Troupe. She has been a Liturgical Dancer for the past 8 years and currently serves as the dance ministry leader at The Carpenter's House of Worship. She is a writer, model, actress and is currently the host of Love Thyself podcast on Vercay Radio. She has a passion for love and wants to share the love with all she encounters.

It's Episode 47 with Gail Liston!We talk about acting, directing, pugs, golden retrievers and her upcoming production of Dead Man's Cell Phone, running October 9-24 at Whidbey Island Center for the Arts.Directed by Phil Jordan.Cast:Jean:  Gail ListonGordon:  Jim CarrollMrs. Gottlieb:  Nancy PfeifferHermia:  Kathy StanleyDwight:  Brian PlebanekThe Other Woman/The Stranger:  Susan HansonGrief Angels:  Melanie Bacon, Peggy Gilmer, Carson Keeley, Loretta Seybert, Rayanna Taber>>More info and tickets.This episode is sponsored by Hedgebrook.

Ashton Marcus Interviews the Cast of Dead Man's Cell Phone @ STAGEStheatre in Fullerton. www.theorangecurtainrev.com https://www.facebook.com/ambtheatre?fref=ts https://www.facebook.com/theorangecurtainrev?fref=ts

Bob Wilcox and Gerry Kowarsky review (1) BLACK PEARL SINGS, by Frank Higgins, at The Black Rep, (2) AWAKE AND SING!, by Clifford Odets, at the New Jewish Theatre, (3) AGNES OF GOD, by John Pielmeier, at Avalon Theatre Co., (4) WHAT THE BUTLER SAW, by Joe Orton, at Forest Park Community College, (5) INTELLIGENT LIFE, by Lauren Dusek Albonico, at HotCity Theatre, (6) THE GOVERNMENT INSPECTOR, by Nikolai Gogol, at Webster Univ., Conservatory, (7) CURTAINS, by Rupert Holmes, John Kander & Fred Ebb, at Kirkwood Theatre Guild, (8) DEAD MAN'S CELL PHONE, by Sarah Ruhl, at Saint Louis University, and (9) BAREFOOT IN THE PARK, by Neil Simon, at Clayton Community Theatre

Bob Wilcox and Gerry Kowarsky review (1) BLACK PEARL SINGS, by Frank Higgins, at The Black Rep, (2) AWAKE AND SING!, by Clifford Odets, at the New Jewish Theatre, (3) AGNES OF GOD, by John Pielmeier, at Avalon Theatre Co., (4) WHAT THE BUTLER SAW, by Joe Orton, at Forest Park Community College, (5) INTELLIGENT LIFE, by Lauren Dusek Albonico, at HotCity Theatre, (6) THE GOVERNMENT INSPECTOR, by Nikolai Gogol, at Webster Univ., Conservatory, (7) CURTAINS, by Rupert Holmes, John Kander & Fred Ebb, at Kirkwood Theatre Guild, (8) DEAD MAN'S CELL PHONE, by Sarah Ruhl, at Saint Louis University, and (9) BAREFOOT IN THE PARK, by Neil Simon, at Clayton Community Theatre.

Playwright Sarah Ruhl, whose "Passion Play" made its New York City debut with the Epic Theater Center, talks about the roots of that play during her graduate work at Brown University, what initially got her musing on the story of the people who appear in passion plays, and why she wrote a third act for its production at Arena Stage more than a decade after its debut in Trinity Rep's New Play Festival. She also talks about growing up in a household that was intellectually and theatrically oriented; her days at the Piven Theater Workshop while in her teens; why she thinks that everyone has an "opera inside"; the visual images that become the starting point for her plays, and whether starting a play, "Dead Man's Cell Phone", in which the title character is deceased at the start, was a handicap; the impact of receiving a MacArthur Foundation "genius grant" on her life and career; the unorthodox gift that gave rise to "In The Next Room or the vibrator play" and why she chose to subtitle the play; and she responds to the suggestion that as her career has progressed, her plays have contained their flights of fancy more with each successive work. Original air date - June 16, 2010.

Playwright Sarah Ruhl, whose "Passion Play" made its New York City debut with the Epic Theater Center, talks about the roots of that play during her graduate work at Brown University, what initially got her musing on the story of the people who appear in passion plays, and why she wrote a third act for its production at Arena Stage more than a decade after its debut in Trinity Rep's New Play Festival. She also talks about growing up in a household that was intellectually and theatrically oriented; her days at the Piven Theater Workshop while in her teens; why she thinks that everyone has an "opera inside"; the visual images that become the starting point for her plays, and whether starting a play, "Dead Man's Cell Phone", in which the title character is deceased at the start, was a handicap; the impact of receiving a MacArthur Foundation "genius grant" on her life and career; the unorthodox gift that gave rise to "In The Next Room or the vibrator play" and why she chose to subtitle the play; and she responds to the suggestion that as her career has progressed, her plays have contained their flights of fancy more with each successive work. Original air date - June 16, 2010.

Tony Award nominee Kathleen Chalfant talks about doing double duty on New York stages right now: as the mother of the title character in "Dead Man's Cell Phone" at Playwrights Horizons and as the latter of the two title characters in "Vita And Virginia" at the Zipper Factory Theater. Chalfant ranges over her extensive career, explaining why she took the role in "Cell Phone" without having even read the script and her heritage as an early staff member at Playwrights Horizons; what Harvey Fierstein taught her about "upstaging"; how "The Jack Benny Show" influenced an aspect of her performance in the landmark "Angels In America"; and how she coped with personal loss during the her acclaimed run in Margaret Edson's "Wit". Original air date - March 7, 2008.

Tony Award nominee Kathleen Chalfant talks about doing double duty on New York stages right now: as the mother of the title character in "Dead Man's Cell Phone" at Playwrights Horizons and as the latter of the two title characters in "Vita And Virginia" at the Zipper Factory Theater. Chalfant ranges over her extensive career, explaining why she took the role in "Cell Phone" without having even read the script and her heritage as an early staff member at Playwrights Horizons; what Harvey Fierstein taught her about "upstaging"; how "The Jack Benny Show" influenced an aspect of her performance in the landmark "Angels In America"; and how she coped with personal loss during the her acclaimed run in Margaret Edson's "Wit". Original air date - March 7, 2008.

Director Anne Bogart discusses the production of Sarah Ruhl's DEAD MAN'S CELL PHONE. Anne talks about technology, the classroom vs. the rehearsal room, and what it’s like to work with the play’s acclaimed lead actor, Mary-Louise Parker. (2007/08 season)