Podcasts about drama league directors project

Estefanía Fadul (estefaniafadul.com) is a Colombian-born, New Hampshire-raised, NYC-based director and creative producer with a passion for new work. Recent directing includes the world premieres of Eva Luna adapted by Caridad Svich from the novel by Isabel Allende (Repertorio Español), The Garbologists by Lindsay Joelle (Philadelphia Theatre Company), The Same Day by Stefan Ivanov (Sfumato Theatre, Bulgaria), Scissoring by C. Quintana (INTAR), and the Drama League-nominated Carla's Quince, which she conceived and developed with The Voting Project Ensemble to mobilize Latiné voters to the polls. She has developed new plays and musicals off-Broadway and regionally at the Public Theater, Chautauqua, Latinx Playwrights Circle, Playwrights' Realm, NYTW, Audible, Goodspeed, Long Wharf, Juilliard, and more. She was on the producing team for Soho Rep.'s first all-ages, site-specific show Washeteria, and is a co-producer on the upcoming world premiere of Raquel Almazan's La Paloma Prisoner. Estefanía is a member of the leadership circle of the Center for Performance and Civic Practice (CPCP), the Drama League Board of Directors, Latinx Theatre Commons advisory committee, Lincoln Center Directors Lab, and SDC. She was the 2020 recipient of New York Stage and Film's Pfaelzer Award, is a New Georges Affiliated Artist, and an alumna of the Advocacy and Leadership Institutes of the National Association of Latino Arts and Cultures, the Drama League Directors Project, O'Neill/NNPN National Directors Fellowship, Clubbed Thumb Directing Fellowship, Civilians' R&D Group, Foeller Fellowship at Williamstown, and Van Lier Fellowship at Repertorio Español. She has a B.A. from Vassar College, where she co-founded Idlewild Theatre Ensemble to create and uplift work by women/fem-aligning artists.

In this episode, I had the pleasure of speaking with visionary Theatre Director, Emma Rosa Went. As a freelance Director, Emma brings to life vivid, heartfelt productions of new and classic-text plays both in NYC and regionally. Her recent creations include: A Midsummer Night’s Dream (Playhouse on Park/CT Shakespeare Festival;) Gallathea (Red Bull, digital reading series;) Hamlet (ISC’s Radio Shakespeare Lab/Tabling the Podcast;) Mirror Game (One Room Plays, Weston Playhouse.) Emma has received both the Classical Directing Fellowship and the First Stage Residency from the Drama League Directors Project and is an alum of the SDCF Observership Program and the OSF FAIR Program. Co-founder of new work development ensemble The Renovationists, Emma is based in New York where she also offers monologue coaching. In this conversation, we discussed the magic of live Theatre, the Play as an Entity, and impermanence. Emma also performs folk song, "What Have Ye Then". Lyrics below. Connect with Emma: https://www.emmawent.com Instagram: https://www.instagram.com/emmarosawent/ ❤️ If you enjoyed this show, consider becoming a member of my Patreon family here: https://www.patreon.com/jacquisavageau ❤️ Follow Jacqui: Spotify: https://open.spotify.com/artist/7HcSkH2EMXzdxPnmiaJud7?si=mFRy1UvARmCwNfw2Hwhe1Q&dl_branch=1 Instagram: https://www.instagram.com/jacquisavageau/ Facebook: https://www.facebook.com/jacquelinesavageau Website: https://www.jacquelinesavageau.com/ ❤️ With music by Raphael Mayer, IG: @rafi.mayer Artwork by Anny Ali, IG: @siamesestitcher ❤️ What Have Ye Then When the earth is thy house And the grave is thy bed Oh, what have ye then? You’ve no thirst for to douse And no hunger for bread Oh, what have he then? You know love’s for the quick A conjuring trick Oh, what have ye then? For the night will grow Full dark and thick Oh, what have ye then?

Estefanía Fadul, Director, stopped by and talked with us before the pandemic and social distancing. Estefanía Fadul is a Colombian-born, New Hampshire-raised, New York City-based director and producer. She loves working on new plays, musicals, and re-examined classics. Her work aims to connect diverse communities through inventive, visceral, and socially-conscious storytelling. Estefanía's recent directing work includes the world premieres of Christina Quintana's Azul (Southern Rep) and Scissoring (INTAR, off-Broadway), Stefan Ivanov's The Same Day (Sfumato Theatre, Bulgaria), James Anthony Tyler's Around 2 (KeenTeens), and the Spanish-language musical Óye Oyá by Rebecca Martínez and Rodolfo Ortega (Milagro).  Estefanía is a recipient of the Eugene O'Neill Theatre Center/NNPN's National Directors Fellowship (2017), the Foeller Fellowship at the Williamstown Theatre Festival (2017), the Drama League Directors Project's Fall Fellowship (2015) and TV Directing Fellowship (2016), and the Van Lier Fellowship at Repertorio Español (2014-15). She is a member of the New Georges Jam and The Latinx Theatre Commons steering committee, and a former member of The Civilians' R&D Group and the Lincoln Center Theatre Directors Lab.  

On this week's episode, I'm utterly excited, and cheerful, and bubbly for we are going to comment on a short movie called "In France Michelle Is a Man's Name" which tells the story of Michael, a young trans man, who returns home on the rural American West after a period of estrangement from his parents. As a short introduction that won't nearly cover all their accomplishments and who they are - Em Weinstein is a writer and a director of short films, musicals, and interactive installations. Em is an alumnus of the Drama League Directors Project and is a New Georges Associate Artist. Em received an M.F.A. in directing from Yale School of Drama in May 2019. Em’s first short film Candace has played at festivals worldwide including the Mill Valley Film Festival, Outfest, the Rhode Island International Film Festival, and the American Pavilion Emerging LGBTQ Filmmakers Showcase at the Cannes Film Festival, where it won Best Film. Their new film "In France's Michelle Is a Man's Name" which I watched for at least 15 times, is a thought-provoking, self-introspective analysis on the dynamic of masculinity and fatherhood in the lives of queer people. As a nonbinary person, which means that Em fluctuates between the feminine and the masculine realms, tells me during our conversation that one the main reasons why they decided to create the film are based on the need we ought to acquire to reevaluate our genders, and how they can be socially-restrictive and mentally self-degrading if we let it be the primary source of how we mould our personality, therefore who we are. On our talk, we'll analyse some scenes of the film, the subjective meaning and social commentary Em infuses in his work, how growing up in the arts helped them to become self-realised about their gender, parenthood in modern times, how we can nurture positive masculine interactions and unpack what once was considered the norm and much more.

Shakina Nayfack is the Founding Artistic Director of Musical Theatre Factory and the first transwoman to be honored with a Lilly Award recognizing the remarkable contributions to the American Theatre made by women. Her autobiographical ONE WOMAN SHOW has played Joe’s Pub, 54 Below, Sophie’s, TheatreWorks Silicon Valley, Barrington Stage Company, and was the flagship project of her groundbreaking KickStartHer campaign to crowdsource funds for her gender confirmation. She holds a Bachelors Degree in Community Studies, a Minor and a Graduate Certificate in Theatre Arts from the University of California Santa Cruz, as well as an MFA in Experimental Choreography and a PhD in Critical Dance Studies from UC Riverside. Shakina is a proud alumna of the Drama League Directors Project and a member of the Stage Directors and Choreographers union. Her writings on theatre and dance have been published in The Drama Review and the anthology Dancing Across Borders. Her first book Butoh Ritual Mexicano - Alchemy is Dancing is really good but no one buys it because it was published by an obscure academic press in Germany and it's really expensive, so if you want to read it email her and she'll send you a PDF. Song Presentation: "Your Baby Better Covers His Tracks" from Joel B. New's MACKENZIE & THE MISSING BOY. Recorded live at Musical Theatre Factory (mtf.nyc).

Gillian Lynne: On February 4, 1996 the Drama League Directors Project co-hosted with SDCF a moderated discussion between Director/Choreographer Gillian Lynne and musical Director/Arranger Marvin Laird. In this candid discussion of Gillian's life in the theatre - the prolific dancer, choreographer, director of musicals and straight plays speaks of the mentors who helped her develop her comprehensive "theatrical vocabulary". She demystifies the true genesis of Cats, explaining that her participation began over a glass of wine with Andrew Lloyd Webber. She discusses how that musical changed the way actors would be trained in the UK, for the better. She covers her own training and her unlikely entrée into the business of choreographing; developing Jazz ballets with Dudley Moore. She speaks frankly on what it means to be a woman in show business and what steps she is taking to champion the cause of increasing dancer's respect in this industry. Originally recorded - February 1, 1996. Running Time - 1:18:15 ©1996 SDCF

Richard Foreman: Professor/Playwright Steven Drukman sat down with theatre artist Richard Foreman in April of 1997 at Artsconnection to discuss theatrical innovation in an interview co-sponsored by SDCF and the Drama League Directors Project. Foreman illuminates an early career of set design as a teenager in Westchester, NY; as an actor at Brown University; as a playwright at Yale. He confides that his origins as a director stem from an unwillingness of his contemporaries to direct his pieces. Drukman questions the reasoning behind the geometric, psychologically-charged staging of his earlier minimalist works in New York and his progression to the maximally theatric. Foreman discusses his 8-12 week rehearsal process, his admiration for film and irrational imagination. This enlightening interview gives listeners the opportunity to experience the mind of one of avant-garde theatre's pioneers, and his theatre of "infantile impulses". Originally recorded - April 10, 1997. Running Time - 1:23:40 ©1997 SDCF

Robert Wilson: On March 20, 1997, journalist John Rockwell interviewed Robert Wilson at ArtsConnection. This interview, co-sponsored by the SDCFoundation and the Drama League Directors Project, covers the career to date of this visionary artist. Specifically, it focuses on the progression of his avant-garde aesthetic; his use of lighting, movement, text, and sound in his international performance pieces; and his methods for developing these productions. Originally recorded - March 20, 1997. Running Time - 1:14:34 ©1997 SDCF

On February 4, 1996 the Drama League Directors Project co-hosted with SDCF a moderated discussion between Director/Choreographer Gillian Lynne and musical Director/Arranger Marvin Laird. In this candid discussion of Gillian's life in the theatre - the prolific dancer, choreographer, director of musicals and straight plays speaks of the mentors who helped her develop her comprehensive "theatrical vocabulary". She demystifies the true genesis of "Cats", explaining that her participation began over a glass of wine with Andrew Lloyd Webber. She discusses how that musical changed the way actors would be trained in the UK, for the better. She covers her own training and her unlikely entrée into the business of choreographing; developing Jazz ballets with Dudley Moore. She speaks frankly on what it means to be a woman in show business and what steps she is taking to champion the cause of increasing dancer's respect in this industry.

Professor/Playwright Steven Drukman sat down with theatre artist Richard Foreman in April of 1997 at Artsconnection to discuss theatrical innovation in an interview co-sponsored by SDCF and the Drama League Directors Project. Foreman illuminates an early career of set design as a teenager in Westchester, NY; as an actor at Brown University; as a playwright at Yale. He confides that his origins as a director stem from an unwillingness of his contemporaries to direct his pieces. Drukman questions the reasoning behind the geometric, psychologically-charged staging of his earlier minimalist works in New York and his progression to the maximally theatric. Foreman discusses his 8-12 week rehearsal process, his admiration for film and irrational imagination. This enlightening interview gives listeners the opportunity to experience the mind of one of avant-garde theatre's pioneers, and his theatre of "infantile impulses".

On March 20, 1997, journalist John Rockwell interviewed Robert Wilson at ArtsConnection. This interview, co-sponsored by the SDCFoundation and the Drama League Directors Project, covers the career to date of this visionary artist. Specifically, it focuses on the progression of his avant-garde aesthetic; his use of lighting, movement, text, and sound in his international performance pieces; and his methods for developing these productions.