Podcasts about Dramaturgy

Send your questions or provocations to Adam or Budi here!In this episode, Adam and Budi continue our Grad School Series with Chair of Graduate Acting at NYU Tisch, Carl Cofield. Carl Cofield is the Chair of Graduate Acting at NYU Tisch and has served as the Associate Artistic Director of the Classical Theatre of Harlem since 2018. CTH directing credits include A Midsummer Night's Dream, Twelfth Night, Seize the King, The Bacchae, Antigone, Macbeth, The Tempest, and Dutchman. He also directed  The XIXth (The Nineteenth) at the Old Globe Theatre as well as the world premiere of Kemp Powers' One Night in Miami for Rogue Machine Theater in Los Angeles, and later iterations at Miami New Drama and Denver Center. Other directing venues include Oregon Shakespeare Festival, McCarter Theatre, and Yale Repertory. He has served on faculty at Yale School of Drama, Columbia School of the Arts, Manhattan School of Music, and the New School. Education: MFA in Directing from Columbia University.Support the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: (Intro) Jack Burmeister, (Outro) https://www.purple-planet.comAdditional compositions by @jack_burmeister

Modes What mode are you in right now? You may intuitively know exactly what I'm talking about. Ever interrupt a conversation and the person changes their conversation style/demeanor? That's an example of someone switching modes. Are modes just putting a mask on, or being disingenuous? No, like so many things in experimental psychology, I look […] The post Dramaturgy, Role Theory and Modes first appeared on Alchemy For Life.

HADESTOWN Book, Music, & Lyrics by Anaïs Mitchell | Music by Lucy Simon | Adapted from the novel by Frances Hodgson BurnettWorks Consulted & Reference :Hadestown (Original Libretto) by Anaïs MitchellWorking on A Song: The Lyrics of Hadestown by Anaïs MitchellMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"All I've Ever Known" from  Hadestown (Original Broadway Cast Recording)  | Music & Lyrics by Anaïs Mitchell | Performed by Eva Noblezada, Reeve Carney, Anaïs Mitchell, Hadestown Original Broadway Company"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

It's...uh...live!  Join Mike and Doc as they record their podcast on THE DEVIL in front of a live audience at UC Santa Cruz Center for Monsters Studies' 2024 Festival of Monsters!    We also have video evidence that Mike and Doc are not actually ghosts that haunt your smarphones! Watch the podcast here: https://youtu.be/5yFNEpWMwEk   About this podcast: MONSTERS! They haunt our days and chill our dreaming nights, to paraphrase Emily Dickinson. There's not a population on earth that does not have its own unique monster stories to tell to frighten, but also to instruct on the nature of good and evil, right and wrong. But what happens when monsters get out of control, when the monstrous imagination starts to bleed over into the real world? What are the effects of monsters on real people's real lives? This podcast examines the histories and mysteries of some of our favorite monsters to unlock their secrets and expose their influence on our lives.   About the hosts: Michael Chemers (MFA, PhD) is a Professor of Dramatic Literature in the Department of Theater Arts at UC Santa Cruz. His work on monsters includes The Monster in Theatre History: This Thing of Darkness (London, UK: Routledge 2018). Dr. Chemers is the Founding Director of The Center for Monster Studies. Formerly the Founding Director of the Bachelor of Fine Arts in Dramaturgy Program at Carnegie Mellon University, he joined the faculty of UCSC in 2012. He is also the author of Ghost Light: An Introductory Handbook for Dramaturgy (Carbondale, IL: Southern Illinois University Press, 2010) and Staging Stigma: A Critical Examination of the American Freak Show (New York: Palgrave MacMillan, 2007). Dr. Chemers is also an actor, a juggler, and a writer of drama. Mike Halekakis is an entrepreneur, business owner, internet marketer, software engineer, writer, musician, podcaster, and hardcore situational enthusiast. He is the co-founder of What We Learned, a company that specializes in compassionate training courses on complex adult subjects such as caregiving for people who are sick, planning for death, and administering after the loss of a loved one. He is also the CEO of Moneyfingers Inc., a company that trains people on how to successfully create, market, and sell products on the internet. When not burning the candle at both ends with a blowtorch, Mike loves video games, outdoor festivals, reading comics and novels, role-playing, writing and playing music, hanging out with the world's best cats, and spending time with his amazing wife and their collective worldwide friend-group.

Curtain up on the 50th deep dive of KNOW THE SHOW as Anika and Michael delve into GYPSY, widely considered to be the greatest musical of all time.

Percy and Nick meet with Dr. Mike Sell, scholar of playful literatures, to discuss the ways that TTRPGs function to create participatory dramaturgies between the designers, GMs, players, and audiences.  You can learn more about our guest, Dr. Mike Sell, at his website: https://www.iup.edu/languageliteraturewriting/faculty/sell-mike.html Dungeons and Drama Nerds is produced by Percival Hornak and Nicholas Orvis, and this episode was mixed and edited by Percival Hornak. Our core ensemble are Todd Brian Backus, Jovane Caamano, Anthony Sertel Dean, Christopher Diercksen, Ben Ferber, Kory Flores, Mieko Gavia, Tess Huth, Romana Isabella, Jon Jon Johnson, CJ Linton, C. “Meaks” Meaker, Leo Mock, Dex Phan, and Tristan B. Willis.  Our game of Rae Nedjadi's Our Haunt features Percival Hornak as Prosper, Kory Flores as Jules, Leo Mock as Trinket, and Tristan B. Willis as Romeo.  If you'd like to help us continue exploring the intersections of theatre and tabletop roleplaying games, consider leaving us a review on your podcast app of choice or supporting us - and getting access to our patron-only bonus content - at patreon.com/dungeonsanddramanerds. You can find our social media and website links, including our cast bios, at the linktree in our show notes. And be sure to tune in soon for another episode of Dungeons and Drama Nerds!

In today's episode, I'm joined by Jenni Medway, Head of New Work at Melbourne Theatre Company. With over a decade of experience in dramaturgy within theatre companies, Jenni shares her approach to developing plays, the role of a company dramaturg, and the unique responsibilities that come with programming new works for a state theatre company. As a dramaturg dedicated to new writing, Jenni has so many wonderful insights on finding your voice as a playwright, writing with a specific audience in mind, and the collaboration between a playwright, director and dramaturg when moving from text into production.About Jennifer Medway: Jennifer Medway is a dramaturg with over a decade of experience in developing new Australian plays. She is currently Melbourne Theatre Company's Head of New Work where she runs one of the largest play development programmes in the country. Prior to this, she was Melbourne Theatre Company's Literary Associate. Her past roles include Resident Dramaturg at the Australian Theatre for Young People, Studio Artist at Griffin Theatre Company, and Literary Assistant at Belvoir Street Theatre.We recorded today's conversation at Melbourne Theatre Company on Boon Wurrung and Wurundjeri Woi Wurrung land. I acknowledge and pay my respects to the peoples of the Kulin Nation who are the Traditional Custodians of the land on which MTC is built.Thank you for listening. You can learn more about my work on my website www.emilysheehan.info.

THE SECRET GARDEN  Book & Lyrics by Marsha Norman | Music by Lucy Simon | Adapted from the novel by Frances Hodgson BurnettWorks Consulted & Reference :The Secret Garden (Original Libretto) by Marsha NormanCreating THE SECRET GARDEN Produced by Broadway Podcast NetworkMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Lily's Eyes" from  The Secret Garden (Original Broadway Cast Recording)  | Music by Lucy Simon, Lyrics by Marsha Norman | Performed by Mandy Patinkin & Robert Westenberg  "Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

The mystery unfolds in the Drama Department as the Academic Adventurers close in on their target Johanna Howes - Meredith, Kate O'Sullivan - Potentia, Ross Balch - Harold, Ben Keirnan - DM/NPCs

How does a new Australian play end up on the main stage? One way is by being commissioned by a theatre company. In today's episode, Dom Mercer, Head of New Work at Belvoir, talks us through this process. We discuss how new plays go from an idea to a story outline, and then through three drafts before they are considered for programming in a main stage season. Dom takes you step by step through the development process within the commissioning model, and shares his provocations for playwrights going through their own drafting process. As a dramaturg of new writing, Dom has so many wonderful insights that are unique to each specific draft and his provocations for playwrights are some of my favourites.About Dom Mercer: Dom Mercer is a dramaturg, director and producer based in Sydney. He is currently Head of New Work at Belvoir. At Belvoir his role has a focus on new writing and artist development, including leading the commissions and supporting the creative development pipeline for Belvoir's main stage productions in the upstairs theatre. He also founded and runs 25A; a curated season of independent works made in Belvoir's Downstairs theatre.We recorded today's conversation at Belvoir on Gadigal land. I acknowledge and pay my respects to the Gadigal people of the Eora nation who are the traditional custodians of the land on which Belvoir St Theatre is built.

If you're looking to explore the transactional nature of relationships when status is on the line… consider this tender-hearted hilarious romp complete with gossip, political intrigue, and romantic complications. Social prestige and customs maintain the delicate ecosystem that is the royal court, but when Moncade, the King's sensitive and widely beloved favorite, is cast out, chaos ensues. As Moncade reckons with his status, the courtiers around him scheme to advance their own agendas using witty prose and undeniably shady tactics. With themes of inner beauty, integrity, and finding meaning within the ordinary, Le Favori calls into question our social ties and asks us what it means to truly value friendship.Hosted by Skye Pagon and Gagarin.Scene by Dorothea Gloria and Samanthia Nixon.Dramaturgy by Sierra RosettaSupport this podcast at — https://redcircle.com/this-is-a-classic-the-expand-the-canon-theatre-podcast/donations

If you're looking for a lush, poetic drama with a powerhouse queer heroine and an intersectional view of indigeneity… consider this moving piece from an eminent Chicana dramatist. Josefa is a pillar of her rural community - unflappable, benevolent, formidable, respected. Why then is there a fresh bloodstain on her floor? As the rest of the village women gather for a ritual to find husbands, Josefa is trapped in her house, frantically trying to prevent her secret from being revealed. This play is a harrowing, verdant exploration of the creation and keeping of a queer utopia, and what it costs to protect it. Capturing the poetry and cultural interrogation of Tennessee Williams with a distinctly feminist viewpoint, Day of the Swallows examines the secrets we're forced to keep and the lengths we go to hide them.Hosted by Gagarin and Skye Pagon.Dramaturgy by James La Bella.Support this podcast at — https://redcircle.com/this-is-a-classic-the-expand-the-canon-theatre-podcast/donations

The house in Harrisville, Rhode Island is not clean. In fact it's filthy, lousy with supernatural yuck. That's bad news for whoever inhabits it, and no one's going to have it worse than the Perrons—father Roger (Ron Livingston), mother Carolyn (Lili Taylor), and their five daughters. When the otherworldly rumblings get out of hand, who they gonna call? In this case, it's the OG Ghostbusters, Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga). To say what happens next would be a spoiler, and we don't do that without a warning. But after our forays into James Wan's Dead Silence and Insidious, allow us to say that The Conjuring is a cool breath of delightfully fetid air. Director, dramaturg, and Columbia University professor Christian Parker joins us for academically incisive commentary. Intro, Debate Society, To Sir With Love (spoiler-free): 00:00-29:12Honor Roll and Detention (spoiler-heavy): 29:13-1:01:32Superlatives (spoiler-heavier): 1:01:33-1:20:57 Director James WanScreenplay Chad Hayes & Carey W. HayesFeaturing Joseph Bishara, John Brotherton, Shanley Caswell, Kyla Deaver, Vera Farmiga, Mackenzie Foy, Joey King, Hayley McFarland, Shannon Kook, Ron Livingston, Patrick Wilson, Lili Taylor Christian Parker is a director, dramaturg, and former Chair of the graduate Theatre Program at Columbia University, where he is currently a professor of Professional Practice, leading the MFA concentration in Dramaturgy.  His work has been on view at the Steppenwolf Theatre, Gulfshore Playhouse, the Rattlestick, the New Harmony Project, the Oregon Shakespeare Festival, and many others. Christian has served as the Associate Artistic Director of Atlantic Theater Company, was on the Tony Awards Nominating Committee for four years, and was a resident at the American Academy in Rome in Spring 2024.  Our theme music is by Edward Elgar and Sir Cubworth.  Music from The Conjuring by Joseph Bishara. For more information on this film, writing by your hosts (on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠our blog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), and other assorted bric-a-brac, visit our website, ⁠⁠⁠⁠⁠⁠scareupod.com⁠⁠⁠⁠⁠⁠⁠⁠. Please subscribe to this podcast via Apple Podcasts, Spotify, or wherever you get yours. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook group⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Dramaturgs serve productions in a variety of ways, which are often dictated by needs of the play and the playwright. Playwright and dramaturg Jacqueline Goldfinger, along with dramaturg and dean of the Theatre School at DePaul University Martine Kei Green-Rogers, join the conversation to discuss the role of the dramaturg in new play development, as well as how to incorporate dramaturgy in the classroom.

Rachel Peake is a director and dramaturge of theatre and opera, and is the Artistic Director of the Grand Theatre in London, Ontario. From 2017-2020 she was the Associate Artistic Director of the Citadel Theatre in Edmonton where she led the Citadel's new play development initiatives. Her work has taken her across Canada from Corner Brook Newfoundland to Victoria, BC. Rachel is the recipient of three Jessie Richardson Awards, an Ovation Award, and a Betty Mitchell Award nomination. She is a graduate of Studio 58 and the University of Alberta.   @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com

Rachel Peake is a director and dramaturge of theatre and opera, and is the Artistic Director of the Grand Theatre in London, Ontario. From 2017-2020 she was the Associate Artistic Director of the Citadel Theatre in Edmonton where she led the Citadel's new play development initiatives. Her work has taken her across Canada from Corner Brook Newfoundland to Victoria, BC. Rachel is the recipient of three Jessie Richardson Awards, an Ovation Award, and a Betty Mitchell Award nomination. She is a graduate of Studio 58 and the University of Alberta.   “ATTENTION SPOTIFY LISTENERS: IF you want to WATCH this with VIDEO, you can also subscribe to our video version: https://open.spotify.com/show/5e9KnBRZdjUTXTvCe6Nrqm?si=6639537c61044396” @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com

THE MYSTERY OF EDWIN DROOD  Book, Music, & Lyrics by Rupert Holmes | Based on the novel by Charles Dickens | Original Broadway production produced by New York Shakespeare Festival, Joseph Papp, ProducerWorks Consulted & Reference :The Mystery of Edwin Drood (Original Libretto)The Mystery of Edwin Drood (2012 Revised Libretto)Music Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Perfect Strangers" from  The Mystery of Edwin Drood (The 2013 New Broadway Cast Recording)  | Music & Lyrics by Rupert Holmes | Performed by Stephanie J. Block & Betsy Wolfe"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

This is how it ends. Who will take their bows at curtain call?Content Warnings:Body Horror throughoutGunshots (46:41, 50:42, 54:20)Misophonia (42:53 - 45:00 and 51:43 - 52:01)Car Accident (52:04)(Extra Music used: https://soundcloud.com/myuu/walking-into-darkness)

(CW: Gunshot at 24:39, Drowning, Physical Injury) The final act is fast approaching, but the agents are left without a full cast. As the clock counts down to the masquerade, R Cell races to find the rest of the missing actors…including one of their own.(Additional music used: Victor Orchestra, et al. Asleep in the Deep. 1913. Audio. Retrieved from the Library of Congress, .)

Halfway between worlds, the plot thickens. Most of the team confronts the idea that roles some agents are playing may go deeper than coincidence. And though one agent has found a way back out to their own world, getting back to the team to show them all the way is another matter…

(CW: Body Horror, Eyes, Misophonia at 29:50)All dressed up, now to find someplace to go. The agents are starting to piece together the rules of this strange other-world, but that doesn't mean they've played their full part yet. For that, they'll have to go meet the director.

Excerpt:As I write, Ryken and his fellow administrators have been announcing several campus celebrations of their Report's spiritual accomplishments, congratulating themselves publicly and issuing invitations to join them in their joy. Recently they publicized their latest one, announcing they had issued an invitation to the Rev. Dr. Charlie Dates to come and bless them for their surrogate repentance:Dear Wheaton College Community,On behalf of the Historical Review Implementation Task Force, you are invited to attend the Historical Review Symposium on Tuesday, March 12: "Repentance, Responsibility, and Renewal"* * *Support Warhorn here.Music is Rise Up, O Lord, a recording of Psalm 10 by My Soul Among Lions.

Access to the city was hard won, but the agents are finally inside and able to ask questions. However, a mythical city full of fictional characters is not the most reliable place to find information. Surrounded by cryptic answers, strange signs, and all this talk of masks, can the agents trust anything here - even themselves?

(CW: Trypophobia, Medical Horror, Teeth)The body count is rising, and not in the fun way. But a mysterious city in a lost, or nonexistent, land seems to be the best lead the agents have to finally find out what happened to their missing persons. However, nothing is ever simple, and there's still a toll to be paid…

HAIDER IS CONFUSED AT HOW SERGIO OZERIANSKY IS A REAL PERSON AND THE STUFF HE SAID WHEN WE WEREN'T RECORDING WAS SO CRAZY THAT THE NEXT EPISODE IS GOING TO BE BONKERS. FROM EARTH BEING A GIANT PLAY FOLLOWING DRAMATURGICAL THEORY TO NFT SOUL TOKENS...WHAT JUST HAPPENED. HE ALSO RUNS A SCHOOL IN BALI? AND DESIGNS BUILDINGS? O_O IF YOU'RE IN FOR MORE, COME JOIN US 24/7 BETWEEN EPISODES ON OUR DISCORD. Also for humans... What a wild and wonder-filled ride through the cosmos with Sergio Ozeriansky coming to you from Bali! In this episode, we dive headfirst into the quantum soup, skateboarding on the fringes of existential dread, and coming up for air with surprisingly practical life hacks. From sleep paralysis pep talks and benevolent digital souls stashed in Bali temples, to reshaping the very essence of reality with bamboo and iron. It's a no-holds-barred journey into what it means to live, laugh, and maybe even achieve immortality (or at the very least, get a cool NFT of your soul). Pack your existential crisis and your sense of humor, because you're about to embark on an expedition where the map is drawn in invisible ink, and the compass points to wherever your heart desires. --- Send in a voice message: https://podcasters.spotify.com/pod/show/idiotmystic/message

Entering a mysterious trap door isn't usually a great survival strategy, and the odds get worse when it's hidden in a mausoleum. But investigating the lead often requires risks, and R Cell is used to making risky maneuvers…

(CW: Sirens 8:02 - 8:19) The queasy stomachs just add another layer to the rising discomfort R Cell has with each new bit of information they uncover. It seems one very specific version of this script will be the key to unlocking any more answers, a version no one has a copy of. But some of the agents know where they might find the key to their key…

In this episode, Adam and Budi kick of the first book club episode of the year with The Dutchman, by Amiri Baraka. We welcome Taylor Barfield to the discussion, as he joins Budi and Adam in dissecting this classic. Poet, writer, teacher, and political activist Amiri Baraka was born Everett LeRoi Jones in 1934 in Newark, New Jersey. He attended Rutgers University and Howard University, spent three years in the U.S. Air Force, and returned to New York City to attend Columbia University and the New School for Social Research. Baraka was well known for his strident social criticism, often writing in an incendiary style that made it difficult for some audiences and critics to respond with objectivity to his works. Throughout most of his career his method in poetry, drama, fiction, and essays was confrontational, calculated to shock and awaken audiences to the political concerns of black Americans. For decades, Baraka was one of the most prominent voices in the world of American literature.Baraka's legacy as a major poet of the second half of the 20th century remains matched by his importance as a cultural and political leader. His influence on younger writers has been significant and widespread, and as a leader of the Black Arts movement of the 1960s Baraka did much to define and support black literature's mission into the next century. His experimental fiction of the 1960s is considered some of the most significant African-American fiction since that of Jean Toomer.________________________________________________________________________________________________Taylor Barfield is a dramaturg, writer, and theater artist from Baltimore, MD. He served as the Acting Literary Manager at Yale Repertory Theatre in New Haven, CT and the Literary Manager at Two River Theater in Red Bank, NJ. Taylor currently works as a freelance dramaturg and consultant working with organizations such as the Guthrie, BMG, Portland Center Stage, the August Wilson African American Cultural Center, and Yale Repertory Theatre. Taylor received his B.A. in Molecular/Cellular Biology and English Literature from Johns Hopkins University and is a graduate of the Yale School of Drama, where he earned his M.F.A. and D.F.A. in Dramaturgy and Dramatic Criticism. His scholarly work explores how contemporary Black American playwrights re-imagine and re-stage Black theater history. His writing has been published in Vulture, TDF Stages, and the Marginalia Review of Books. He is currently an adjunct professor at NYU Tisch.Support the show2024 Audio Play Festival submissions "Sounds of Home"If you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

A truce with the unknown is never easy, if that's even what just happened? What R Cell does know is that getting access to the mausoleum is now crucial to their continued investigations. Unfortunately, dead men tell no tales…and turns out that isn't limited to pop-culture pirates.

It's rare that R Cell has a subject matter expert to assist them, but as clues and “coinkydinks” pile up, maybe it's never been more important. Lore and theory meet observation and reality head-to-head as the agents and the academic try to make sense out of what they've discovered, and make a plan for what they can do about it.

Past collides with the present as the investigation continues. A mysterious phone call leads Ross and Regan to someone with both a bizarre story connected to the theatre and an unexpected connection to a previous agent of R Cell. Meanwhile, River and Rowan try to connect the dots between three brothers who know too little of their own history, and too much of R Cell's.(Extra music used: https://soundcloud.com/myuu/scent-of-night)

If you're looking for a madcap Comedy of Errors with chaotic Gen-Z wit…consider this arch, rollicking take on love and freedom from German dramatist Charlotte Von Stein. Once upon a time, Menonda was happily in a relationship – until her brother, bent on destroying all romantic love, got between her and her beloved. Now, due to a mistaken kidnapping and several misplaced identities, she finds herself held captive under the same roof as both her jilted lover and her bumbling brother. Will the lovers reunite? Will the kidnapping be avenged? Does anyone know what's going on? A confetti of comedy's favorite pleasures served up with a healthy dose of camp, this is the perfect piece for any theater looking to engage a younger crowd in the classics.Hosted by Gagarin and Shannon Corenthin.Scene performed by Nazlah Black and Danielle Cohn. Edited by Steven Baek. Dramaturgy by James La Bella. Support this podcast at — https://redcircle.com/this-is-a-classic-the-expand-the-canon-theatre-podcast/donations

Indie theatre has a certain reputation for unusual concepts, but last night's show seemed weird even by those standards. Still, a new day dawns, and now R Cell finds themselves looking for information someplace even more unsettling than the theatre…a place they had hoped to never visit again, lest they find themselves never leaving.

Compared to some investigations, R Cell has uncovered an unexpected wealth of information to add to the file. Though some of the team is still shaken from a glimpse of something they aren't sure they were meant to see, there will certainly be time to ponder that after the comedy show. No late seating!

Reading may be R Cell's most dangerous pastime, but it can still only get them so far in an investigation before the boots (and Regan's sensible heels) need to hit the pavement. River and Ross head out to investigate a theatre which may or may not exist, while Rowan and Regan follow up on the contacts of the play's enigmatic missing director.

A new year means a new mission, and this one is a far cry from R Cell's usual fare. On the surface, a missing persons case hardly seems like it would be linked to the Unnatural, but the Agents know by now that anything can hide sinister supernatural secrets…even something as straightforward as a stage play.

Content warning: This episode contains mentions of murder and butchery.Conversations with Peter J. Kuo, Annette Lee, and Jihye Kim about experiences in theatre that have brought them up close and personal with the strange, beautiful, and taboo.Jihye mentions Egalia's Daughters by Gerd Brantenberg and "I am More" directed by Ilha Lee.Hosted, produced, and edited by Katherine ChouPodcast theme by Eloise WongGraphic by Chris Komuro Artists at Play, Inc. is a 501(c)3 nonprofit arts organization based in Los Angeles, California. Follow us on Instagram and Facebook, or visit our website to sign up for our newsletter.

Hello listeners! On this episode, we are so excited to bring on a fellow colleague from our days at Iowa, SARAH JOHNSON! Sarah Johnson is Assistant Professor of Dramaturgy and Head of the M.F.A. Dramaturgy program at Indiana University Bloomington. She researches and writes about intercultural theatre, new play development, and dramaturgy for applied theatre. In her creative work, she works professionally as a dramaturg with theatre companies across the country.  Sarah Johnson is Assistant Professor of Dramaturgy and Head of the M.F.A. Dramaturgy program at Indiana University Bloomington. Her research focuses on intercultural theatre, new play development, and dramaturgical methodologies. Her writing has been featured in Asian Theatre Journal, Theatre Topics, and multiple edited volumes. She works professionally as a dramaturg with theatre companies across the country. She was a casebook writer for Broadway's Allegiance. In regional theatre, she has provided dramaturgical support for productions with Outpost Repertory Theatre (as Resident Dramaturg), Timeline Theatre, Portland Stage, Colorado Shakespeare Festival, Athena Arts Project, National Women's Theatre Festival, and several playwriting clients. She serves as the Performance Review Editor for PARtake: The Journal for Performance as Research.  Before her time at Indiana University Bloomington, she was the Assistant Professor of Dramaturgy and Head of Playwriting at Texas Tech University and Executive Director and Resident Dramaturg of the WildWind Performance Lab. https://theatre.indiana.edu/about/faculty/johnson-sarah.html GLISTEN Cho - Zebra Gel Pen .07mm Sam - Standard Time Sarah - Coach Bob Knights' passing and Chair sale in his honor ________________________ Please support Beckett's Babies by reviewing, sharing an episode with your friends, or follow us on Instagram or Threads: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting, and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: ⁠www.beckettsbabies.com⁠ Theme Music: "Live Like the Kids" by Samuel Johnson, Laura Robertson, Luke O'Dea (APRA) --- Send in a voice message: https://podcasters.spotify.com/pod/show/beckettsbabies/message Support this podcast: https://podcasters.spotify.com/pod/show/beckettsbabies/support

On this episode Amber talks with Ken Cerniglia about the dramaturgy of Musical Theatre, Creative Producing and finally, the Business of being a Dramaturg. With years of experience in making Musicals for Disney, Ken has spent his career in Dramaturgy. Now as a full time freelance dramaturg, he has developed some exciting tools for negotiating contracts and pay. Listen now to hear about how he builds a process for a musical, how he leads by serving and how he negotiates his pay on behalf of all artists.

COME FROM AWAY  Book, Music, & Lyrics by Irene Sankoff & David Hein Works Consulted & Reference :Come From Away (Libretto) by Irene Sankoff & David HeinCome From Away: Welcome to the Rock: An Inside Look at the Hit Musical  by Laurence MaslonCome From Away (2021 Live Capture ) Directed by Christopher AshleyMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Me and the Sky" from Come From Away (Original Broadway Cast Recording)  | Music & Lyrics by Irene Sankoff & David Hein | Performed by Jenn Colella and 'Come From Away' Company"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

DAMN YANKEES  Book by Douglass Wallop & George Abbott | Music & Lyrics by Jerry Ross & Richard Adler | Based on the novel The Year the Yankees Lost the Pennant by Douglass WallopWorks Consulted & Reference :Damn Yankees (Libretto) by Douglass Wallop & George AbbottDamn Yankees (Revised Libretto) by Joe DiPietroDamn Yankees (1958 Film) Directed by George AbbottFosse by Sam WassonSense of Occasion by Hal PrinceThe Secret Life of the American Musical by Jack ViertelMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Whatever Lola Wants" from Damn Yankees (Original Broadway Cast Recording)  | Music & Lyrics by Jerry Ross & Richard Adler | Performed by Gwen Verdon"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

"Voiceover used to be such a niche profession. Now, because of technology, it's very inexpensive, and anybody can go out and make a demo. Still, in my opinion, cream rises to the top."Alyson Steel is a professional Voiceover Actor known for her extraordinary vocal range. She graduated from the HS of Performing Arts in NYC, received her BA from Queens College while doing recurring work on the soap opera "Another World" and on-camera commercials, and earned an MFA in Dramaturgy from SUNY Stony Brook. Alyson worked on hundreds of TV and radio commercial campaigns for Volvo, Walmart, Pandora, and Spotify, and her voice can be heard on promos for E, FOX, ABC, Hallmark Channel, ID Discovery Network, and more. In this episode, Alyson shares her experiences as a voiceover artist and actor, talks about her passion for mentoring and coaching future voiceover actors, and describes her relationship with on-camera work. We delve into the specificities of VO work, the equipment needed, the time it takes to start making money, and how students can discover their range and castability.Alyson also shares her thoughts on how AI affects the industry, the union vs. non-union discussion, what it takes to become a VO actor, and more.Tune in to Episode 90 of Hollywood Dream Maker and learn everything you need to know to become a voiceover actor.In This Episode, You Will Learn:A bit about Alyson's background and her decision to become a voiceover actor (1:30)How can voiceover actors discover and work on their range (9:00)Alyson shares tips and advice for aspiring voiceover actors (16:10)The use of AI for voiceover gigs (21:20)Alyson shares some scary and fun experiences as a VO actor (24:10)Resources:Voice Actor WebsitesEdge StudioiSpotConnect with Alyson:WebsiteInstagramFacebookLet's Connect: Manhattan Actor Studio Inside the Manhattan Actor Studio on YouTubeWebsite Hosted on Acast. See acast.com/privacy for more information.

Critic, Podcast Host, and Gameshow-Winner Mark Blankenship talks about the power of narrative. He explains how a pop culture obsession led him to criticism and creativity. We share our own relationships with stories and unpack what makes us all love them. Mark also talks about the deep pop culture knowledge that got him on Jeopardy and a winning turn on Name that Tune. He'll also talk about his childhood experience, what landed him in NYC, and eventually Rock Hill, SC. Mark was born in Chattanooga, Tennessee. He earned a BA from Emory University where he served as the theater, film and music critic of The Emory Wheel. He also studied theater at Oxford University and holds a Master of Fine Arts in Dramaturgy and Dramatic Criticism. Mark attended Yale School of Drama where he began writing for Variety, The Village Voice, and American Theatre. He has lived in Park Slope, Brooklyn since 2005. His writing credits include numerous pieces for The New York Times, Variety, New York Daily News, The Village Voice, The Advocate, Time Out New York, The Huffington Post, NPR and American Theatre. He regularly appears as panelist/expert commentator for CBC News: Sunday and CNN.com. Mark and Sarah D. Bunting started the Mark and Sarah Talk About Songs podcast in March 2016, where they engage in deep and hilarious discussions about songs chosen by the hosts or the fans. He lives between Brooklyn and Rock Hill with his husband, Andrew.

THE BRIDGES OF MADISON COUNTY  Book by Marsha Norman | Music & Lyrics by Jason Robert Brown  |  Based on the novel by Robert James WallerWorks Consulted & Reference :The Bridges of Madison County (Licensing Script) by  Marsha Norman & Jason Robert Brown"Tony Award Winning Duo Marsha Norman and Jason Robert Brown Discuss ‘Bridges of Madison County'" in American Theatre by Suzy Evans"Opening the Bridges Vault, Vol. 1" by Jason Robert BrownMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Wondering" from The Bridges of Madison County (Original Broadway Cast Recording)  | Music & Lyrics by Jason Robert Brown | Performed by  Steven Pasquale"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

In this episode I talk with Fig LeFevre, a dramaturg, educator, playwright, drag artist and fellow queer! We discuss the nature of Queer, it's definition, how we apply it to our work and finally, how it connects to everything we do. We discuss intimacy coordination and consent, dive deep into working with actors and their unique and invaluable contribution and speak in detail about Theatre of the Oppressed Forum Theatre, a class that Fig recently taught for the WTP community. Considering the nature of queer, we also discussed the idea of succession, ageism and making way for the next generation. Tune in folks to hear about approaching dramaturgy from a queer lens!

Katie checks in with former actor (Annie, The Heiress, Ah, Wilderness!, Little Darlings) and Drama Desk, Lortel, and SDC Joe A. Callaway Award nominated director (Annie National Tour, Chicago Shakespeare Theatre, Denver Center Theatre, Goodspeed Opera House, Hartford Stage, Pioneer Theatre Company, Mint Theatre Company), Jenn Thompson.

CHICAGO  Book by Peter Stone | Music & Lyrics by Sherman Edwards  |  Based on a concept by Sherman EdwardsWorks Consulted & Reference :1776 (Original Libretto) by  Peter Stone & Sherman Edwards"The Making of America's Musical - 1776: The Story Behind the Story" by Jeffrey KareMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Sit Down, John" from 1776 (Original Broadway Cast Recording)  | Music & Lyrics by Sherman Edwards | Performed by Sherman Edwards, William Daniels, 1776 Ensemble, Peter Howard"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

This week, Phoebe and Emily read The Son of Neptune by Rick Riordan. Discussion topics include: New Rome, choice, vulnerability, The Princess Bride, pawns, and sacrifice.Have a question? Want to share your own analysis? Feel like arguing? Email monsterdonutpodcast@gmail.com.Come say hi and check out the sketches Phoebe made this episode on Twitter, Instagram, or TikTok! @PJOPod on all platforms.More information on the show can be found at https://monsterdonut.wixsite.com/podcast.THEME SONG:"The Mask of Sorokin," music and arrangement by Dan CordeGuitars - Dan CordeBass - Quinten MetkeDrums - Todd CummingsRecorded, mixed, & mastered by Todd CummingsOUTRO MUSIC:"Shadow Run," music and arrangement by Dan CordeGuitars - Dan CordeBass - Quinten MetkeDrums - Todd CummingsRecorded, mixed, & mastered by Todd Cummings Hosted on Acast. See acast.com/privacy for more information.

Poet and dance writer Karen Hildebrand hosts this two-part podcast, focusing on dramaturgy and dance. In this second part, Hildebrand explores how dramaturgs have worked with choreographers at the Pillow, focusing on works by Bebe Miller, Jane Comfort, and Rennie Harris. Hildebrand is the former editorial director for Dance Magazine, and a past editor in chief of Dance Teacher magazine.

FUNNY GIRL  Music by Jule Styne | Lyrics by Bob Merrill | Book by Isabel Lennart from an original story by Miss Lennart Works Consulted & Reference :Funny Girl (Original Libretto) by  Isabel Lennart & Bob MerrillJule: The Story of Composer Jule Styne by Theodore TaylorMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Don't Rain on My Parade” from  Funny Girl (Original Broadway Cast Recording) | Music by Jule Styne | Lyrics by Bob Merrill |  Performed by Barbra Streisand"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff