Podcast appearances and mentions of Emily Mann

Celebrate the gay high holiday that is BRUNCH with Lea DeLaria once a month at 54 Below! Today Sarah chats with Lea about her incredible career, her background in jazz, Brunch is Gay (Lea's fabulous monthly series), our mutual hatred of T****, and so much more! Lea DeLaria brings you a fat, fast, and funny Sunday filled with her trademark comedy and musical chops in Brunch Is Gay. Let's face it, brunch is a Gay high holiday, so come and spend it with the highest, gayest human on the planet. Be prepared to hear music from some of her favorite repertoire, including Sondheim, Kander and Ebb, and LaChiusa, as well as classic jazz standards. Emmy Award winner Lea DeLaria was the first openly gay comic on television in America, and is an accomplished Jazz performer who has performed in concert venues all over the world. She is best known as ‘Big Boo' from “Orange is the New Black” (3 SAG Awards). Lea can currently be seen in the indie feature film Potato Dreams of America, and in the Indigo Girls jukebox feature film, Glitter & Doom. She recently starred in the Off-Broadway revival of Tennessee Williams' play, The Night of the Iguana, directed by Emily Mann. TV credits include “East New York,” “The Blacklist,” “Physical,” “Reprisal,” “Getting Curious with Jonathan Van Ness,” “Kipo and the Age of Wonderbeasts,” “Shameless,” and “Broad City.” Film credits include Cars 3, Support The Girls, and First Wives Club. Broadway credits, POTUS Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive (Bernadette), The Rocky Horror Show (Eddie/Dr. Scott) and On The Town (Hildy), Obie and Theatre World Awards. 54below.org for more info Connect with Lea DeLaria Instagram: @realleadelaria Connect with GOOD SHOW! Instagram: @goodshowpodcast  Tik Tok: @goodshowpodcast   Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Jason Blitman talks to Rumaan Alam (Entitlement) about the intricate themes of his novel, focusing on class, money, and societal values. They also delve into the significance of the book's title and how it reflects broader societal issues. Featured in this episode is Guest Gay Reader, Lea DeLaria, who discusses her work in theater, her desire to play iconic Shakespearean clowns, and her passion for classic literature. Rumaan Alam is the author of the New York Timesbestselling novel Leave the World Behind, which was a finalist for the National Book Award and adapted into a major motion picture, as well as two other novels. His writing has appeared in The New York Times, the Wall Street Journal, The New Yorker, and elsewhere. He lives in Brooklyn.Lea DeLaria was the first openly gay comic on television in America, and is an accomplished Jazz performer who has performed in concert venues all over the world. She is best known as ‘Big Boo' from Orange is the New Black (3 SAG Awards). Lea can currently be seen in the indie feature film Potato Dreams of America, and in the  Indigo Girls jukebox feature film, Glitter & Doom. Lea recently starred in the Off-Broadway Revival of Tennessee Williams' play, The Night of the Iguana, directed by Emily Mann. TV credits include Girls5Eva, Awkwafina is Nora from Queens, East New York,The Blacklist, Physical, Reprisal, Kipo and the Age of Wonderbeasts, Shameless, and Broad City. Film credits include Cars 3, Support The Girls, and First Wives Club. Broadway credits, POTUS Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive (Bernadette), The Rocky Horror Show (Eddie/Dr. Scott) and On The Town (Hildy), Obie and Theatre World Awards. @realleadelaria www.leadelaria.comGays Reading is sponsored by Audible. Get a FREE 30-day trial by visiting audibletrial.com/gaysreadingBOOK CLUB!Use code GAYSREADING at checkout to get first book for only $4 + free shipping! Restrictions apply.http://aardvarkbookclub.comWATCH!https://youtube.com/@gaysreadingBOOKS!Check out the list of books discussed on each episode on our Bookshop page: https://bookshop.org/shop/gaysreading MERCH!Purchase your Gays Reading podcast merchandise HERE! https://gaysreading.myspreadshop.com/ FOLLOW!@gaysreading | @jasonblitman CONTACT!hello@gaysreading.com

Welcome back to Dear Multi-Hyphenate! It is Season Two and let's kick it off with superstar multi-hyphenate Lea Delaria. In this episode we discuss all about how and when to identify as a certain type of artist, unheard stories of working with Lea's idols, hysterical and inspiring stories about projects like POTUS and Orange is the New Black, and of course Lea's new brunch show at 54 Below… Brunch is Gay, currently running one Sunday a month at 54 Below.  Lea was the first openly gay comic on television in America, and is an accomplished Jazz performer who has performed in concert venues all over the world. She is best known as ‘Big Boo' from Orange is the New Black (3 SAG Awards). Lea can currently be seen in the indie feature film Potato Dreams of America, and in the Indigo Girls jukebox feature film, Glitter & Doom. Lea recently starred in the Off-Broadway Revival of Tennessee Williams' play, The Night of the Iguana, directed by Emily Mann. TV credits include Girls5Eva, Awkwafina is Nora from Queens, East New York,The Blacklist, Physical, Reprisal, Kipo and the Age of Wonderbeasts, Shameless, and Broad City. Film credits include Cars 3, Support The Girls, and First Wives Club. Broadway credits, POTUS Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive (Bernadette), The Rocky Horror Show (Eddie/Dr. Scott) and On The Town (Hildy), Obie and Theatre World Awards. @realleadelaria www.leadelaria.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The theater is essential to the health of a nation - of any democracy. And perhaps we are so impoverished right now is because of our inability to communicate with each other and see anyone else's point of view other than our own is that we are theater starved. This is where one gets the whole package of the humanist code is in the theater. This is where the big ideas of the day are truly debated, and this has been going on since the Greeks! Emily Mann is a playwright, screenwriter, director, mentor, and McCarter Theater's Artistic Director and Resident Playwright Emerita, dedicated to creating and supporting theater that impels conversation, debate, and empathy in an increasingly polarized world.

A warm welcome back to the podcast for Emily Mann, a powerful mother, business owner, and artist. In this episode, Emily and Kellee are sharing how business has shifted for them while dealing with the unexpected obstacles of motherhood, and how they have been navigating the delicate balance of running a powerhouse business while showing up as a present parent.During the episode, Emily and Kellee emphasized the importance of thinking beyond just selling artwork. As an artist, it's crucial to adopt a strategic and entrepreneurial mindset focused on building and scaling a successful business while staying true to your creative vision. Building a successful art business takes time and effort, but the conversation also touched on the potential to shorten the learning curve with the right guidance and resources. Whether it's through mentorship, courses, or valuable tools, there are methods to streamline the process of growing your artistic brand without falling into a gimmicky pyramid scheme. From intentional marketing and sales strategies to the significance of adaptability and building meaningful relationships, these pivotal lessons can serve as guiding beacons as you steer your creative journey toward success and prosperity. Are you ready to embark on this remarkable journey with your art? Join the Build It Remarkable Waitlist*A big event is coming in June 2024, get on the list so you don't miss it! About Emily Mann: Emily Mann is the owner and artist behind Ink + Indigo, a multidisciplinary art studio based in Avondale Estates,Georgia. She grew up in a family of craftspeople and has always been a maker and artist. Her early "career" days were spent working for hospitality art consulting firms where she learned about interior design, the business side of art making and sales, printing, framing, shipping, and working with clients. She was making art and pursuing all sorts of creative projects in the background while holding down a day job consulting. Having kids was really the catalyst for her to get back into the studio-and over time she was able to transition from consulting work to the full time studio practice Ink + Indigo has become. She is inspired by all things art, design, craft, travel, nature, and Atlanta's creative community.Check out Emily's Business Website: Ink & IndigoSign up for her newsletter for behind-the-scenes of the studio, upcoming classes, creative inspiration, and business insights!Grab Your Toolkit for Artful Collaborations - This Artist's Guide toTune in to Made Remarkable and uncover the transformative potential that awaits your creative pursuits. Kellee understands that success is not built overnight but through diligent, intentional steps. Join the Build It Remarkable Waitlist *A big event is coming in June 2024, get on the list so you don't miss it! What would you do if you knew you could not fail? Rethink the possibilities with your Creative Business in 2024, let's create Big Audacious Dreams together!✨Download my free guide: 100 Ways to Build Your Creative Business TodayFor transcripts, more links mentioned in the episode, and for the full episode show notes

Welcome to Get Up in the Cool: Old Time Music with Cameron DeWhitt and Friends! This week's friend is Emily Mann. We recorded this yesterday in Nashville at the home of Rachel Baiman and George Jackson. Tune in this episode: * Burl Hammons' Shelvin' Rock (0:46) * Forks of Reedy (13:51) * Clyde Davenport's Sally Johnson (29:19) * Long John (41:58) * Hell Up Coal Holler (50:30) * Bonus Track: Icy Mountain Visit Paper Wings' website (https://paperwingsband.com/) Follow them on Instagram (https://www.instagram.com/paperwingsmusic/) Follow Emily Mann on Instagram (https://www.instagram.com/em.fiddle/) Follow Steamboat on Instagram (https://www.instagram.com/steamboatband/) Buy Emily Mann's album Clifftop 2020 (https://emilymann.bandcamp.com/album/clifftop-2020) Check Tall Poppy String Band's April tour dates with Northern Resonance (https://www.tallpoppystringband.com/shows) Sign up for my workshop series Music Theory for Old Time (https://www.camerondewhitt.com/store) Support Get Up in the Cool on Patreon (https://www.patreon.com/getupinthecool) Sign up at Pitchfork Banjo for my clawhammer instructional series! (https://www.pitchforkbanjo.com/) Schedule a banjo lesson with Cameron (https://www.camerondewhitt.com/banjolessons) Visit Tall Poppy String Band's website (https://www.tallpoppystringband.com/) and follow us on Instagram (https://www.instagram.com/tallpoppystringband/)

In Episode Eight, David and Mark-Eugene continue honoring Women's History Month with an insightful interview featuring Emily Mann and Alexis Greene. Emily Mann shares her journey as a distinguished playwright, director, and artistic director, inspiring our audience with her remarkable achievements. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we have a conversation about Tennessee Williams's THE NIGHT OF THE IGUANA, currently playing at The Pershing Square Signature Center. Directed by Emily Mann, the La Femme Theatre Production features Tim Daly, Daphne Rubin-Vega, Lea Delaria, Austin Pendleton, and Jean Lichty. We discuss the show's plot, direction, performances, and design, as well as our personal experience of the play. From critiquing the marketing strategies to highlighting reasons to see it, we cover it all. Don't forget to subscribe to our channel for all things theatre, and for those eager to see 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

You might as well jump into this brand new episode of Go Fact Yourself!In this episode…Guest Co-host Niccole Thurman has appeared in shows like HBO's “Jellystone” and “The Operation with Jordan Klepper” and has very particular criteria for her hotel rooms.Guests:Anna Camp is an actor, best known for her role in the Pitch Perfect movie series. She'll tell us about some of her upcoming projects and the time that she helped out Morgan Freeman during a difficult moment behind the scenes. Mike Schmidt is a comedian and host of the podcast “The 40-Year-Old Boy.” He'll tell us about how the show has evolved since it started more than 14 years ago. Plus, we'll learn why it took three chances before he finally got to appear on this show.Areas of Expertise:Mike: The movie Reservoir Dogs, The Road Warriors wrestling team, and the band Van HalenAnna: Southern cuisine, the play and movie A Streetcar Named Desire, and the TV show “Vanderpump Rules.”What's the Difference:Cops and RobbersWhat is the difference between a sheriff and chief of police?What is the difference between a criminal and a crookExperts:Greg Renoff: Author of the book Van Halen Rising: How a Southern California Backyard Party Band Saved Heavy MetalEmily Mann & Daphne Rubin-Vega: Director and star, respectively, of the 2012 Broadway revival of A Streetcar Named Desire.Hosts:J. Keith van StraatenNiccole ThurmanCredits:Theme Song by Jonathan Green.Live Show Engineer is Dave McKeever.Maximum Fun's Senior Producer is Laura Swisher.Associate Producer and Editor is Julian Burrell.Seeing our next live-audience show in Los Angeles by YOU!

On the latest Whisper in the Wings from Stage Whisper, we were joined by playwright/director, Emily Mann, and actor, Daniel Donskoy, to talk about their new work, The Pianist. We talked about the heartbreaking and iconic inspiration for this show, the timely and important message they hope audiences will take away from it, and learned some wonderful memories and insight from our guests. Make sure you tune in, and don't miss out on this great performance!George Street Playhouse PresentesThe PianistNow- October 22nd@ The George Street PlayhouseTickets and more information are available at GeorgeStreetPlayhouse.orgAnd be sure to follow our guests to stay up to date on all their upcoming projects and productions:@danieldonskoy@thepianistplay@georgestreetplayhouse

Ever wonder how the creative minds behind dazzling designs find their inspiration? Meet Emily Mann, the artistic genius and founder of Inc and Indigo Studios, as she invites us into her world of color, shapes, and textures. Get ready to uncover the secrets behind her unique process, how she taps into numerous sources to fuel her creativity and the importance of setting time aside for defined tasks.Emily not only shares her creative process, but also imparts wisdom on the role of emotions in establishing success. Hear her speak about how humor keeps her grounded, her vision for eco-friendly designs, and the art of dealing with discomfort. You'll get a unique glimpse into how she celebrates her wins and embraces change with grace.Finally, Emily opens up about the fine balance between art, parenting, and business. It's not all about chaos and multi-tasking, but seeking help, stepping out of the comfort zone, and learning from mistakes. Prepare to be inspired by Emily's journey and her nuggets of wisdom on manifesting goals and making the most of our lives. This episode is sure to leave you brimming with motivation for your own creative journey.Learn more about Emily Here

Ever thought about what life coaching could do for you? Prepare to be enlightened as I pull back the curtain on my own journey to becoming a certified life coach, and how this transformative pursuit has not just elevated my business, but also enriched my personal relationships and overall outlook on life. I'll share the distinguishing factors between life coaching and counseling and how to determine the one that meets your needs best.Shifting gears, we spotlight Emily Mann, the innovative founder of Inc and Indigo Studios. We unravel her inspirational journey of fusing creativity and business prowess, which has been instrumental to her success. Emily will share how incorporating the principles of coaching has given her an edge, and I will let you in on a tool to effectively plan your online launch. This episode is your roadmap to personal success, artistic triumph, and entrepreneurial victory. Get ready to be motivated, whether you're an artist, an entrepreneur, or simply seeking a more fulfilling life.

In this episode of unwavering authenticity, we warmly invite Emily Mann onto the Made Remarkable podcast, hosted by Kellee Wynne as they delve into all matters of the heart and soul, from how they balance boundaries between work and family, social justice matters that are important to their core values, and how exactly does Emily Mann stay so successful in managing her art studio and selling her art?On today's episode, Emily shares how she has built her business, from the ground up, and what that journey has looked like for her. During which, Kellee and her share some crucial pain points to address in your business and offer advice on how to overcome these barriers you may be facing! This is a natural, raw conversation where Kellee and Emily talk about money, stories about failure, and the biggest, brightest "aha" moments of making a business work. In typical Made Remarkable fashion, we talk about the Big Audacious Dreams what the future holds for us, and we want to light you up with the inspiration that it is okay for things to get turned upside-down because struggle and failure do not mean defeat, and how important it is to embrace all of the remarkable opportunities in your future!You can find Emily by visiting www.inkandindigo.comFollow her on Instagram, Facebook, and Pinterest!Find all the links (including the transcript) by visiting the show notes HERERethink the possibilities with your Creative Business in 2023! Download this free guide: 100 Ways to Make Money as an ArtistFollow Kellee on her Instagram Account @kelleewynnestudiosFollow the podcast and great business advice @maderemarkable

Tony Award-winning lyricist Susan Birkenhead, Tony Award-winning actor and director Victoria Clark, director, playwright and artistic director Emily Mann and host former Rolling Stone writer, editor and Broadway producer Loraine Boyle share insider stories about the making of Lucy Simon's latest project, ON CEDAR STREET, a musical adaptation of Kent Haruf's book OUR SOULS AT NIGHT. Learn more about your ad choices. Visit megaphone.fm/adchoices

STILL LIFE GENEROUSLY UNDERWRITTEN BY MANON AND IAN SLOME WRITTEN BY EMILY MANN DIRECTED BY JADE KING CARROLL IN COLLABORATION WITH PLAYHOUSE CREATURES LIVE at Ancram Opera House September 30 - October 9 Thursdays, Fridays, Saturdays at 7p Saturday, Sundays at 2p Pay What You Will Night: Thursday, October 6th at 7pm. You decide how much to pay! TICKETS Still Life is a searing and revealing documentary play about the immediate aftermath of the Vietnam conflict on a former marine, his wife, and another woman with whom he has an intimate relationship, gleaned from interviews and refined to illuminate the post war experience. The man confesses to a war crime and returns home, carrying the seeds of violence with him. The wife wants to ignore the terrors that haunt her husband, while the other woman blames the forces that conditioned him before he went to Vietnam. In the end, Still Life provides a snapshot of America in the turbulent 1970s–a country in the throes of an unpopular war abroad and social upheaval at home. “…a theatrical experience that is often shattering.” —The Hollywood Reporter “…a gripping drama, strikingly and effectively staged, compelling and moving.” —Chicago Sun-Times “…a searing account of the lingering aftermath of the Vietnam War.” —NY Times FREE Community Events Inspired by Still Life Veterans' Storytelling Workshop Friday, November 4th, 3-5pm Using techniques developed in the REAL PEOPLE REAL STORIES series, AOH Director Paul Ricciardi will guide veterans through exercises that will bring personal experiences to life on stage. A Conversation with Emily Mann Saturday, October 8th at 11am Before the Saturday matinee, AOH will host a conversation with nationally renowned playwright Emily Mann.

STILL LIFE GENEROUSLY UNDERWRITTEN BY MANON AND IAN SLOME WRITTEN BY EMILY MANNDIRECTED BY JADE KING CARROLLIN COLLABORATION WITH PLAYHOUSE CREATURES LIVE at Ancram Opera HouseSeptember 30 – October 9Thursdays, Fridays, Saturdays at 7pSaturday, Sundays at 2p Pay What You... Read More ›

Les etèries molècules de Txékhov. «La meravellosa família Hardwicke (Vanya and Sonia and Masha and Spike)», de Christopher Durang. Traducció de Cristina Genebat. Intèrprets: Alejandro Bordanove, Paula Jornet, Marta Pérez, Carme Pla, Albert Ribalta i Lide Uranga. Escenografia:. Alejandro Andújar. Vestuari: Alejandro Andújar i Núria Cardoner. Il·luminació: Jaume Ventura. So: Marcel Ferrer. Caracterització: Eva Fernández. Producció executiva: Daniel López-Orós. Cap de producció: Jordi Brunet. Productor delegat: Josep Domènech. Cap tècnic: Jordi Thomàs. Assistent de direcció: Lola Rosales. Regidora: Marta Garolera. Maquinista: Joan Bonany. Transportista: Jaime Abellán. Cap tècnic del teatre: Iker Gabaldón. Construcció de l’escenografia: May, Sol Curiel i Rafa Moro. Realització del vestuari: Maribel Rodríguez. Ajudant de màrqueting i comunicació: Roberta Romero. Premsa: Sandra Costa i Marta Suriol (La Costa Comunicació). Vídeo: Mar Orfila. Fotografies: Kiku Piñol, Mariano Herrera, Marc Sirisi i David Ruano. Disseny gràfic: Enric Jardí. Màrqueting i comunicació: Focus. «Vanya and Sonia and Masha and Spike (La meravellosa família Hardwicke)» va ser produïda originalment per McCarter Theatre, Princeton, N.J. Emily Mann com a directora artística, Timothy J.Shields com a productor executiu i Mara Isaacs com a directora de producció. Produïda l’any 2012 pel Lincoln Center Theater de New York sota la direcció d’André Bishop i Bernard Gersten. Direcció de la versió catalana: David Selvas. Coproducció de Bitò, La Brutal i T de Teatre. La Villarroel, Barcelona, 17 setembre 2022. Veu: Andreu Sotorra Música: These boots are made for Walkin Intèrpretació: La família de Ukeleles Composició: Lee Hazleewood Àlbum: La família de Ukeleles, 2014

If all the world’s a stage, what would it be like to be the understudy in your own life? To watch the play unfold from the wings? Award-winning playwright Emily Mann has no idea—when she was told women couldn’t write or direct theater, she boldly took back the narrative, shining a spotlight on the stories of women and people of color. On this episode of Formative, young Kevin—a student of history—asks about how her illustrious career was shaped by feminism, family, and the struggle for civil rights in America.

It is the 3rd Saturday of the month and time again for Show People with Michael Grayman-Parkhurst. This week Michael talks with director, playwright and screenwriter Emily Mann! Join us […] The post The Tenth Voice • Saturday January 15th, 2022 – Show People – Emily Mann appeared first on KKFI.

For the last week of Murder Month, Jackson and Jacob discuss a documentary theatre piece about the murders of George Moscone and Harvey Milk. Emily Mann's Execution of Justice is a verbatim script about the trail of Dan White. Listen in! ------------------------------ 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 ------------------------------ Thanks so much for listening! We'll see you next week.

Dr. Sara Alexanian, a Clinical Associate Professor at BU School of Medicine and the Director of the Inpatient Diabetes Program at Boston Medical Center, talks with us about inpatient diabetes management! With guest co-host, Dr. Tomi Adeoti.  Hosts: Devin Driscoll, MD and Emily Mann, MD

Dr. Raagini Jawa, a Clinical Instructor of Medicine at Boston University School of Medicine and an addiction expert at Boston Medical Center talks with us about harm reduction in persons with IV drug use!Hosts: Devin Driscoll, MD and Emily Mann, MD

Dr. Monica Crespo-Bosque, an Assistant Professor in the Section of Rheumatology at Boston University School of Medicine talks with us about inflammatory myopathies!Hosts: Devin Driscoll, MD and Emily Mann, MD

Dr. Alexandra Bachorik, an Assistant Professor in the Section of General Internal Medicine and the Director of Education of Women's Health Unit at Boston University/Boston Medical Center, talks with us about reproductive goals in primary care!Hosts: Devin Driscoll, MD and Emily Mann, MD

Dr. Aala Jaberi, an Assistant Professor of Nephrology at Boston University School of Medicine, talks with us about chronic kidney disease in women and about her career as a Nephrologist!Hosts: Devin Driscoll, MD and Emily Mann, MD

In the years leading up to the horrific Tulsa massacre of 1921, the Greenwood district was a thriving Black metropolis, a city within a city. Buoyed by money from Oklahoma's oil boom, it was home to the original Cotton Club and to one of the first Black-owned daily newspapers in the United States, the Tulsa Star. The Star's founder and editor was A. J. Smitherman, a lawyer and the Alabama-born son of a coal miner. He addressed his eloquence and his ire at local nuisances like prostitution and gambling halls, as well as the gravest injustices of American life. The Radio Hour's KalaLea is the host of “Blindspot: Tulsa Burning.” She looks in this story at how Smitherman documented Greenwood at its height, and how he tried to prevent its destruction.  “Blind Spot: Tulsa Burning” is a six-part podcast co-produced by the History Channel and WNYC Studios, in collaboration with KOSU and Focus Black Oklahoma. The team includes Caroline Lester, Alana Casanova-Burgess, Joe Plourde, Emily Mann, Jenny Lawton, Emily Botein, Quraysh Ali Lansana, Bracken Klar, Rachel Hubbard, Anakwa Dwamena, Jami Floyd, and Cheryl Devall. The music is by Hannis Brown, Am're Ford, Isaac Jones, and Chad Taylor. The executive producers at the History Channel are Eli Lehrer and Jessie Katz. Raven Majia Williams is a consulting producer. Special thanks to Herb Boyd, Kelly Gillespie, Shelley Miller, Jodi-Ann Malarbe, Jennifer Lazo, Andrew Golis, Celia Muller, and Andy Lanset. Maurice Jones was the voice of A. J. Smitherman. Additional voices: Terrance McKnight, Dar es Salaam Riser, Javana Mundy, John Biewen, Jack Fowler, Tangina Stone, Emani Johnston, Danny Wolohan, and Jay Allison.

In the years leading up to the horrific Tulsa massacre of 1921, the Greenwood district was a thriving Black metropolis, a city within a city. Buoyed by money from Oklahoma's oil boom, it was home to the original Cotton Club and to one of the first Black-owned daily newspapers in the United States, the Tulsa Star. The Star's founder and editor was A. J. Smitherman, a lawyer and the Alabama-born son of a coal miner. He addressed his eloquence and his ire at local nuisances like prostitution and gambling halls, as well as the gravest injustices of American life. The Radio Hour's KalaLea is the host of “Blindspot: Tulsa Burning.” She looks in this story at how Smitherman documented Greenwood at its height, and how he tried to prevent its destruction.  “Blind Spot: Tulsa Burning” is a six-part podcast co-produced by the History Channel and WNYC Studios, in collaboration with KOSU and Focus Black Oklahoma. The team includes Caroline Lester, Alana Casanova-Burgess, Joe Plourde, Emily Mann, Jenny Lawton, Emily Botein, Quraysh Ali Lansana, Bracken Klar, Rachel Hubbard, Anakwa Dwamena, Jami Floyd, and Cheryl Devall. The music is by Hannis Brown, Am're Ford, Isaac Jones, and Chad Taylor. The executive producers at the History Channel are Eli Lehrer and Jessie Katz. Raven Majia Williams is a consulting producer. Special thanks to Herb Boyd, Kelly Gillespie, Shelley Miller, Jodi-Ann Malarbe, Jennifer Lazo, Andrew Golis, Celia Muller, and Andy Lanset. Maurice Jones was the voice of A. J. Smitherman. Additional voices: Terrance McKnight, Dar es Salaam Riser, Javana Mundy, John Biewen, Jack Fowler, Tangina Stone, Emani Johnston, Danny Wolohan, and Jay Allison.

Mark Armstrong is the Artistic Director of The 24 Hour Plays which brings together creative communities to produce plays and musicals that are written, rehearsed, and performed in 24 hours. Highlights from his tenure include annual productions of The 24 Hour Plays on Broadway, the Broadway and Los Angeles debuts of The 24 Hour Musicals, the growth of The 24 Hour Plays Nationals, (a free professional intensive for young theatermakers), and The 24 Hour Plays: Viral Monologues. A socially-distanced sensation, The 24 Hour Plays: Viral Monologues has brought more than 400 free new theater pieces to millions of viewers since onset of the pandemic in March 2020. As a director, Mark has worked with countless playwrights including Dan O’Brien, Emily Mann, Christopher Shinn and many more. Learn more at www.24hourplays.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Peter Filichia, James Marino, and Michael Portantiere talk with Emily Mann. This Week on Broadway has been coming to you every week since 2009. It is the longest running Broadway and theatrical podcast with hundreds of shows giving thousands of reviews and interviews. Subscribe to BroadwayRadio in Apple Podcasts by read more

Theatre Schmooze, an all-new, monthly podcast from Alliance for Jewish Theatre where we chat with Jewish theatre makers from around the world about their art, Judaism, and vision for theater’s future. Season 1, Episode 1 with Emily Mann. Hosted by Danielle Levsky (AJT Board Member, writer, clown, performer, producer, and theatre journalist), Theatre Schmooze will feature one-on-one conversations with artists that will illuminate the heart, soul, and diversity of contemporary Jewish theatre. The podcast launched on Thursday, March 18 with our first episode and guest: Tony-nominated playwright, director, screenwriter and former Artistic Director of McCarter Theatre Center, Emily Mann. Tune in as she and Danielle discuss Gloria: A Life, Emily's work on Holocaust theatre, and women's rights issues. Theatre Schmooze is an Alliance for Jewish Theatre program, produced by Jeremy Aluma, Lawrence Goodman, and Danielle Levsky, with assistance from Ariel Martz-Oberlander and Mindy Leanse. Our theme music is by Ilya Levinson and Alex Koffman, and our logo was created by Michelle Shapiro. CW: discussions of sexual violence, anti-semitism, and Nazi slogans abound.

Theatre Schmooze is an all-new, monthly podcast from Alliance for Jewish Theatre where we chat with Jewish theatre makers from around the world about their art, Judaism, and vision for theater’s future. Enjoy this short 1-minute promo before our official launch. Hosted by Danielle Levsky (AJT Board Member, writer, clown, performer, producer, and theatre journalist), Theatre Schmooze will feature one-on-one conversations with artists that will illuminate the heart, soul, and diversity of contemporary Jewish theatre. The podcast launches Thursday, March 18 with our first guest: Tony-nominated playwright, director, screenwriter and former Artistic Director of McCarter Theatre Center, Emily Mann. Tune in as she and Danielle discuss Gloria: A Life, Emily's work on Holocaust theatre, and women's rights issues. Theatre Schmooze is an Alliance for Jewish Theatre program, produced by Jeremy Aluma, Lawrence Goodman, and Danielle Levsky, with assistance from Ariel Martz-Oberlander and Mindy Leanse. Our theme music is by Ilya Levinson and Alex Koffman, and our logo was created by Michelle Shapiro. Theatre Schmooze will be available starting Thursday, March 18, 2021, on all your favorite podcast platforms!

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Scott Watson catches up with Hope College freshman Emily Mann do discuss the end of the Fall Semester and plans for an extended break. See omnystudio.com/listener for privacy information.

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At a time of massive, ground-shifting change in American culture and politics, a new show looks at the life and impact of someone who has been at the forefront of progressive change and the liberation of women in America and around the world -- Gloria Steinem. On Friday, June 26th, PBS will be airing a Great Performances presentation of the theatrical production "Gloria: A Life," starring Oscar, Emmy and Golden Globe Award-winner Christine Lahti as Gloria Steinem. It was written by Emily Mann, playwright, artistic director and inductee to the American Theater Hall Fame. Lahti and Mann join Michael Moore for a discussion on the life and impact of Gloria Steinem, sexism and misogyny in film, tv, theater and American society, and the possibility of revolutionary change today. ********************** Great Performances presents the intimate theatrical production Gloria: A Life about Gloria Steinem, premiering nationwide on Friday, June 26 at 9 p.m. on PBS: https://www.pbs.org/wnet/gperf/gloria-a-life-about-the-film/10415/ ********************* Music in the episode: "You Don't Own Me" - Lesley Gore (1963) https://open.spotify.com/track/7ngRS53kqxLcEt9Pythc5d?si=xoBwWAHcQ02oJAVtleyAcw ********************* --- Send in a voice message: https://anchor.fm/rumble-with-michael-moore/message

This week on the Lady Bam Podcast, Mary speaks to her longtime friend and collaborator, playwright and director Emily Mann.  As McCarter Theatre Center's Artistic Director and Resident Playwright since 1990, Emily wrote 15 new plays and adaptations, directed over 50 productions, produced nearly 180 plays and musicals, supported the work of emerging and legendary playwrights and received the Tony Award for Outstanding Regional Theater. Last fall, in her final season at McCarter, she directed her own play Gloria: A Life, starring Mary as Gloria Steinem.  Now as she wraps up her time at McCarter and looks forward to her next act, Emily and Mary discuss their shared experiences in the theatre, what's next for Emily, and how theatre moves forward in the time of Covid.

The Founder's Series was created by Anne Kauffman, Artistic Director of Encores! Off Center at New York City Center, as part of SDCF’s Masters of the Stage. In this series, Anne interviews artistic directors and founders who have had a lasting impact on the nonprofit theater community around the country. In this episode Anne talks with Emily Mann, Artistic Director of the McCarter Theatre Center, about her career journey as a female director, the adversity she’s faced, and how she has navigated these situations, including the current COVID-19 crisis, with strength.

Zane has appeared most recently in Sunday (Atlantic Theater Company, dir. Lee Sunday Evans). Other selected theater includes Dead Poets Society (CSC, dir. John Doyle), Mercury Fur (The New Group, dir. Scott Elliott), and Skylight (McCarter Theater, dir. Emily Mann). Film/TV: “Room 104” (HBO, dir. Lila Neugebauer), Margot at the Wedding (dir. Noah Baumbach), Alba & June (short, dir. Pepi Ginsberg), and Minyan (upcoming, dir. Eric Steel, premiering at Berlin Film Festival 2020). Zane also wrote a television pilot which was optioned by Sony.

Celebrated playwright and theater director Emily Mann was raised, if not born, to “make trouble.” Growing up on the South Side of Chicago during the height of the civil rights movement, she decided at an early age that theater was her best tool for effecting change. Her stage career blossomed in step with the feminist … Continue reading "Emily Mann: On 30 years of ‘making trouble’ in America’s theater world"

Emily Mann is a triple threat: an award-winning playwright known for her “theater of testimony,” a sought-after director, and the artistic director of one of America's preeminent regional theaters, the McCarter Theatre Center in Princeton, New Jersey. She is stepping down as artistic director after the 2019-2020 season, her 30th at the McCarter. In this special edition of the Jersey Arts Podcast, producer Susan Wallner talks with Mann about her career, her future projects, and her final season, which begins with her play Gloria: A Life starring Mary McDonnell ("Dances with Wolves," "Battlestar Galactica").

Cheryl Mintz is in her 29th season as the Resident Production Stage Manager at the Tony Award winning McCarter Theatre Center in Princeton NJ, with 35 productions with Artistic Director and Resident Playwright, Emily Mann. Cheryl has enjoyed 13 collaborations with Maestro Gian Carlo Menotti and the Spoleto Festival USA and Italy, and has stage managed 40 operas and musicals, three tours, and three PBS telecasts for New York City Opera at Lincoln Center. She has been a member of Stage Managers' Association of the United States since 1986 and is currently the chair of the Del Hughes Awards which is the only annual Stage Management Awards in the country. For more information about the Stage Managers Association, visit https://www.stagemanagers.org/ For more information about McCarter Theatre Center, visit https://www.mccarter.org/ Attribution: ----more---- Logo: Ritzy Remix font by Nick Curtis - www.nicksfonts.com Music and Soundcello_tuning by flcellogrl / Licence: CC BY 3.0freesound.org/people/flcellogrl/sounds/195138/ Flute Play C - 08 by cms4f / Licence: CC0 1.0freesound.org/people/cms4f/sounds/159123/ "Danse Macabre - Violin Hook" Kevin MacLeod (incompetech.com) / Licence: CC BY 3.0 LicensesCC BY 3.0 - creativecommons.org/licenses/by/3.0/CC0 1.0 - http://creativecommons.org/publicdomain/zero/1.0/  

Today I sit down with the mesmerizing Kathryn Grody. We talk everything from motherhood to acting to being a good human. Not to be missed. Kathryn Grody fled Los Angeles, arrived in New York City, and found herself employed on Broadway in Scapino, . Off-Broadway followed with appearances at Joseph Papp’s Public Theatre including Fishing by Michael Weller, Museum, by Tina Howe, Nasty Rumors and Final Remarks by Susan Miller and Lulu Bett directed by Jack Hofsiss at the Berkshire Theatre Festival. Ms. Grody received Obie Awards for her performances in Top Girls by Caryl Churchill, directed by Max Stafford-Clark and The Marriage of Bette and Boo by Christopher Durang, directed by Jerry Zaks as well as a Drama Desk nomination for her performance in her three character one woman play, A Mom’s Life, all at the Public Theatre. (( Other performances include Dusa Fish Stas and Vi at the Manhattan Theatre Club, The Split at Ensemble Studio Theatre, Cause Maggie’s Afraid of the Dark, The 49 Years by Liz Swados, with Estelle Parsons at the Actors Studio Raw Space, Waxing West by Savianna Stanescous at The Lark, and Victoria Roberts cartoon come to life directed by Linda Mancini at Dixon Place. )) Film appearances include Limbo, written and directed by John Sayles and Men With Guns, also by Mr. Sayles, My Body Guard, directed by Tony Bill, Lemon Sisters with Diane Keaton and Carol Kane, Another Woman by Woody Allen and Reds by Warren Beatty. Ms. Grody’s television appearances include “The Sunset Gang” with Uta Hagen, “Execution of Private Slovik” with Martin Sheen and many after-school specials. (( And of course, Law And Order-Criminal Intent in NYC..)) Kathryn Grody performed with A.C.T. in San Francisco, the Actors Theatre of Louisville and was a company member at the Mark Taper Forum in Los Angeles. ) Her essays have appeared in The Mountain Record, Harpers Bazar, Oprah magazine, and her narrative version of the original Mom’s Life was published by Avon. She appeared in the world premiere of two new Wendy Wasserstein plays, ((directed by Michael Barakeeva ))at Theatre J in Washington D.C., originated the role of Maggie in The Penetration Play by Winter Miller, ((directed by Josh Hec))t at The Mint, performed the classic role of Nell in Beckets Endgame, with Alvin Epstein, Adam Heller and Tony Roberts,(( directed by Charlotte Moore,)) at the Irish Repetory Theatre . She braved the Barrow Street Theatre with Tim Crouch in the Oak Tree, and was proud to participate in the Caryl Churchill reading at NYTW, Seven Jewish Children-a play for Gaza…... She played Hinda in Zuzka Kurtz’s My Inner Soul at The Lion, appeared in the 59th st shorts in Tina Howes’ The Woman Who Lost Her Head and was seen as Hilary Clinton in the Performance Art Biennial, I Feel Your Pain, by Liz Magic Laser..And was Lola in Donald Margulies A Model Apartment, directed by Evan Cabnet.. Falling Apart....together , the sequel of A Mom’s Life, was seen at CSC, directed by Timothy Near..Most recently played Gaby in Susan Millers’ 20th Century Blues, directed by Emily Mann at the Signature. She is a Ususal Suspect at NYTW, works with the IRC and Search For Common Ground and is on the board of Downtown Women For Change., Dances for A Variable Population and Noor Theatre.

A long-time AD is leaving the helm of a major regional theatre, two theater have season announcements, there's a new Broadway radio station in town and I found a new podcast that all actors should be listening to. Treading the Boards will be available for purchase at the upcoming UPTA's and ACL Theatre Resources will be a vendor at the SETC's.  Hope to see you there. JOIN THE MAILING LIST SEASON ANNOUNCEMENTS Pillsbury House + Theatre (MN) Greenbrier Valley Theatr (WV) WHO'S IN & WHO'S OUT BIG NEWS! Emily Mann, the artistic director at McCarter Theatre in NJ will leave at the end of the 2019-2020 season. SOMETHING I HAD TO SHARE WITH YOU... IHeartRadioBroadway You May Have Seen podcast by Brian Lafontaine Get the latest issue of Treading the Boards via the website at ACLTheatreResources.com. THANKS FOR STOPPING BY AND HAVE A CREATIVE DAY!

Frances Fisher began by apprenticing at the Barter Theatre in Abingdon, Virginia. She spent 14 years based in New York City, playing leads in over 30 productions of plays by such noted writers as John Arden, Noël Coward, Emily Mann, Joe Orton, Sam Shepard, William Shakespeare, Jean Claude Van Italie, Eudora Welty and Tennessee Williams. She won a Drama Logue Award - Best Ensemble for the American Premier of Caryl Churchill's "Three More Sleepless Nights", played in the American premier of Judith Thompson's "The Crackwalker" and originated roles in Elia Kazan's "The Chain" and Arthur Miller's last play "Finishing the Picture". Besides working with Kazan and Miller, some of Ms. Fisher's more interesting theater experiences were creating roles from two great works of literature: George Orwell's "1984" and Victor Hugo's "The Hunchback of Notre Dame". Ms. Fisher worked at the Mark Taper Forum in Los Angeles alongside Annette Bening and Alfred Molina in Anton Chekhov's "The Cherry Orchard". Fisher starred in "Sexy Laundry" with Paul Ben-Victor at the Hayworth Theatre in Los Angeles. She studied with Stella Adler and became a lifetime member of the Actors Studio by actually "walking up the stairs" and auditioning for legendary acting teacher Lee Strasberg. Ms. Fisher recently completed The Host (2013), Love on the Run (2016), Red Wing (2013) and will work with Catherine Hardwicke in her new film Plush (2013) in August 2012. Ms. Fisher was honored for a Lifetime Achievement Award 2011 in her old hometown of the Pacific Palisades, California.

I am joined by Wilhelmina Frankzerda and Emily Mann, the musical duo called Paper Wings, and a studio audience! I’ve been paying attention to these two since they released their music together, so when I saw they were coming to … Continue reading →

I am joined by Wilhelmina Frankzerda and Emily Mann, the musical duo called Paper Wings, and a studio audience! I’ve been paying attention to these two since they released their music together, so when I saw they were coming to … Continue reading →

The conversation ranges from an introduction to Annabel, her work and influences; the responsibilities related to involving real-life individuals as sources, subjects or performers within theatrical productions. Links to some of the things we talk about: [Magnetic North](http://www.magneticnorthfestival.ca/) [Annabel Soutar](http://porteparole.org/en/about-us/sub-page-2/) [Documentary Theatre](http://en.wikipedia.org/wiki/Documentary_theatre) [Emily Mann's](http://www.mccarter.org/AboutUs/AboutDefault.aspx?page_id=39) play [Execution of Justice](http://books.google.ca/books/about/Execution_of_Justice.html?id=RDUBjESMxqYC) about [Harvey Milk](http://en.wikipedia.org/wiki/Harvey_Milk). The movie "[Milk](http://www.focusfeatures.com/milk)" about the same subject [The McCarter Theatre](http://www.mccarter.org/home.aspx?page_id=1) [Anna Devere-Smith](http://annadeaveresmithprojects.net/about-the-faculty/anna-deavere-smith/) [Porte Parole](http://porteparole.org/), Annabel's company in Montreal [Seeds](http://porteparole.org/en/our-plays/in-development/seeds-coming-back/) [Small Wooden Shoe's](small wooden shoe) [Summer Spectacular](http://smallwoodenshoe.org/summer/) [Daedalus and Icarus](http://www.island-ikaria.com/culture/myth.asp) myth [Robert Oppenheimer](http://en.wikipedia.org/wiki/J._Robert_Oppenheimer) [Aaron Swartz](http://en.wikipedia.org/wiki/Aaron_Swartz) [The Internet's Own Boy](http://www.imdb.com/title/tt3268458/) Tim Alley The controversy Adrienne referred to was in relation to the play *nOOb* by Christopher Duthie. See the Toronto Star article [HERE](http://www.thestar.com/news/gta/2014/02/14/dead_teens_mom_outraged_over_play.html). [James Long's](http://theatrereplacement.org/people/) "[Clark and I Somewhere in Connecticut](http://theatrereplacement.org/portfolio-item/clark-and-i-somewhere-in-connecticut/)" "[The Watershed](http://porteparole.org/en/our-plays/in-development/the-watershed/)" is Annabel's current work in development Philip Larkin's poem "[This Be The Verse](http://www.poetryfoundation.org/poem/178055)"

MAGNETIZEDTerence Blanchard (trumpet) is one of the most important musician/composer/band leaders of his generation. His emotionally moving and technically refined playing is considered by many jazz aficionados to recall earlier jazz trumpet styles. Born March 13, 1962, in New Orleans, the only child to parents Wilhelmina and Joseph Oliver Blanchard, a part-time opera singer and insurance company manager, the young Blanchard was encouraged by his father, Joseph Oliver, to learn to play the piano. In the third grade he discovered jazz trumpet when a big band, featuring Alvin Alcorn on trumpet, played at a school assembly. In his teens Blanchard attended the New Orleans Center of Creative Arts, where he studied and played with saxophonist Donald Harrison. While performing with Lionel Hampton's big band, he studied for two years at Rutgers University under the tutelage of Paul Jeffrey and Bill Fielder.In 1982 Blanchard replaced Wynton Marsalis under his recommendation in Art Blakey's Jazz Messengers, working in that band up to 1986 as lead soloist and musical director. He then co-led a prominent quintet with saxophonist Donald Harrison, recording seven albums for the Concord, Columbia, and Evidence record labels in five years, including a stirring in-concert tribute to the Eric Dolphy/Booker Little ensemble. In the '90s, Blanchard became a leader in his own right, recording for the Columbia label, performing on the soundtracks to Spike Lee's Do the Right Thing and Mo' Better Blues, and composing the music for Lee's film Jungle Fever. In fact, Blanchard has written the score for every Spike Lee film since 1991, including Malcolm X, Clockers, Summer of Sam, 25th Hour, Inside Man, and the Hurricane Katrina documentary When the Levees Broke for HBO. With over 40 scores to his credit, Blanchard and Mark Isham are the most sought-after jazz musicians to ever compose for film. In the fall of 2000, Blanchard was named artistic director of the Thelonious Monk Institute of Jazz at the University of Southern California in Los Angeles. Keeping up with his love of live performance and touring, Blanchard also maintains a regular studio presence, recording his own original music for the Columbia, Sony Classical, and Blue Note labels. Albums include The Billie Holiday Songbook (1994), Romantic Defiance (1995), The Heart Speaks (1996), the acclaimed Wandering Moon (2000), Let's Get Lost (2001), Bounce (2003), and especially Flow (2005), which was produced by pianist Herbie Hancock and received two Grammy nominations. Blanchard has been nominated for 11 Grammys and has won four in total, including awards for New York Scene with Blakey (1984) and the soundtrack A Tale of God's Will in 2007. In 2005, Blanchard was part of McCoy Tyner's ensemble that won the Grammy in the Best Jazz Instrumental Album category for Illuminations. A quintessential sideman as well as leader, he has worked with prominent jazz players including Cedar Walton, Abbey Lincoln, Joanne Brackeen, Jay McShann, Ralph Peterson, Ed Thigpen, J.J. Johnson, Toots Thielemans, the Olympia Brass Band, Stevie Wonder, Bill Lee, Ray Brown, Poncho Sanchez, Dr. Billy Taylor, Dr. John, Lionel Loueke, Jeff Watts, and many others. Scarecrow Press published his autobiography, Contemporary Cat. By April of 2007, the Monk Institute announced its Commitment to New Orleans initiative, which included the relocation of the program to the campus of Loyola University in New Orleans, spearheaded by Blanchard. During 2007, the Monterey Jazz Festival named Blanchard Artist-in-Residence, and the festival formed a 50th Anniversary All-Stars ensemble featuring trumpeter James Moody, Benny Green, Derrick Hodge, Kendrick Scott, and Nnenna Freelon. In 2008, Blanchard helped scored the hit film Cadillac Records. Signing with Concord Jazz in 2009, he released Choices -- recorded at the Ogden Museum of Art in Blanchard's hometown of New Orleans -- at the end of that summer. In 2011, he paid tribute to the innovative Afro-Cuban recordings of Dizzy Gillespie and Chano Pozo by teaming up with Latin jazz percussionist Poncho Sanchez for the studio album Chano y Dizzy! In 2012, Blanchard returned to his film work by scoring the soundtrack to director George Lucas' WWII action/drama Red Tails.“I’ve always believed that in life, what you keep in your mind is what you draw to yourself.” That’s how trumpeter/composer Terence Blanchardexplains the title of his 20th album, Magnetic, which finds a stunning variety of sounds and styles pulled together by the irresistible force of Blanchard’s vision.That credo stems directly from Blanchard’s personal faith; raised in the Christian church, he has turned in recent years to Buddhism after meditating with Herbie Hancock while on the road with the legendary pianist. The idea of a spiritual magnetism “is a basic concept in any type of religion,” he says. “Both Christianity and Buddhism have forms of meditation - one’s called prayer and one’s called chanting. But it’s all about drawing on those things to help you attain enlightenment in your life at the same time that you’re trying to give back to the community.”Magnetic gives expression to that belief through the combined voices of Blanchard’s always-scintillating quintet. Its latest incarnation brings together longtime members Brice Winston (saxophone) and Kendrick Scott (drums) with pianist Fabian Almazan, who made his debut with the group on its 2009 album Choices, and its newest member, 21-year-old bass prodigy Joshua Crumbly. In addition, they’re joined by a trio of remarkable special guests: master bassist Ron Carter, saxophonist Ravi Coltrane, and guitarist/vocalist Lionel Loueke.The vast array of approaches undertaken by that ensemble is striking, from the blistering bop of “Don’t Run” to the fragile ballad “Jacob’s Ladder;” the psychedelic electronic haze of “Hallucinations” to the urgent edginess of “Another Step.” As Blanchard says, “It’s a wide range of musical ideas that come together through the efforts of the guys in the band.”Magnetic marks Blanchard’s return to Blue Note Records, which last released A Tale of God’s Will, his triumphant 2007 requiem for his home city, New Orleans, in the wake of the devastation wrought by Hurricane Katrina. That harrowingly emotional song cycle is just one of many large-scale projects Blanchard has undertaken in recent years. Since first writing music for Spike Lee’s 1990 jazz-set movie Mo’ Better Blues, Blanchard has become a renowned film composer with over 50 scores to his credit, most recently the WWII drama Red Tails for producer George Lucas. This summer, Opera Theatre of Saint Louis and Jazz St. Louis will combine forces to premiere Blanchard’s first opera, Champion, an “Opera in Jazz” based on the story of the gay boxing champion Emile Griffith. This follows his recent score for Emily Mann’s Broadway production of Tennessee Williams’ A Streetcar Named Desire.After the broad scope of such lofty undertakings, returning to a small group setting can be a challenge. “You get accustomed to having so many different colors at your disposal,” he says. “So I try to figure out a way to have as much diversity in everything that we play, the same expansive color palette as when you have an orchestra and voices.”One way that Blanchard expands his palette on Magnetic is through the use of electronics, creating an overdriven, electric guitar-like sound for his horn during “Pet Step Sitter’s Theme Song” or brewing the mind-altering atmospherics of “Hallucinations.” The latter tune, though titled by Blanchard’s 14-year-old daughter, also touches on the lifelong spiritual search evoked by the album-opening title track and “Central Focus,” which was originally recorded twenty years ago on Blanchard’s album Simply Stated. “When chanting for meditation,” he says, “you can have those moments of reflection that will bring new ideas to you. Some people may not call them hallucinations, but I think they’re all related in some fashion.”Not every tune comes from such profound motives. The hard-bopping “Don’t Run” was written solely with the intention of allowing the band to joust with Ravi Coltrane’s soprano and Ron Carter’s mighty bass runs. The title was inspired by a taunt from Carter to Blanchard, asking only half-jokingly when the trumpeter would call on the legendary bassist’s services. “Stop running from me, man,” Blanchard recalls him saying, and when Carter speaks, you listen.Coltrane’s contributions, which also include a taut, powerhouse turn on tenor for “Pet Step Sitter’s Theme Song,” came about simply because Blanchard was blown away by the saxophonist’s latest album, Spirit Fiction. “Ravi has developed a style and a sound that’s very unique,” Blanchard explains. “It’s an incredible feat given who his father was and what instrument his father played. But his being on my record has nothing to do with any of that; his being on my record is simply due to the fact that I love the way he plays.”The same goes for Benin-born Lionel Loueke, who first came to prominence through Blanchard’s quintet before becoming widely renowned as one of the most innovative guitarists and vocalists in modern jazz. “He’s a very unique talent,” Blanchard says. “Lionel always brings a certain spirit and energy to any project that he’s a part of.”Blanchard also readily sings the praises of his core group, which has been evolving over two years together to reach the deeply attuned point at which Magnetic finds them. “I’ve always appreciated the artistry of Brice and Kendrick,” he says of the band’s two veterans. “They’ve very seriously committed to developing their own unique styles of playing.”Of newcomer Crumbly, he says, “Josh is a young guy who’s very talented and brings a lot to the group.” And of Almazan, he continues, “Fabian has been growing by leaps and bounds. His harmonic knowledge has taken the band in interesting directions and he colors things in ways that I think are very fresh and forward-thinking.”So enamored is the bandleader of Almazan’s talents that he affords the pianist a solo spotlight, the captivating “Comet.” Almazan, Blanchard says, “plays with such grace and beauty. We did five or six takes and all of them were so beautiful that it was a hard to choose just one.”Each member of the group provides their own contributions to the album: Crumbly, the lovely and delicate “Jacob’s Ladder;” Scott, the forceful, rhythmically intense “No Borders Just Horizons;” Winston the lithe and intricate “Time To Spare;” and Almazan an “emotional roller coaster” dedicated to his mother, “Pet Step Sitters Theme Song,” which is later reprised as “Another Step.” “We had so much fun playing that tune that we just couldn’t leave it,” Blanchard explains. I thought it showed the diverse nature of the group, when you see the directions that it goes into, totally different from the first take.”In his role as mentor to his younger bandmates, Blanchard takes the mantle from his own onetime mentor, Art Blakey. Stressing the importance for young musicians to compose as well as improvise, Blanchard recalls the legendary drummer’s advice: “Art Blakey told us that composition was the path to finding your own voice. If you improvise, you don’t sit down and reflect coldly on what it is you’re playing because you’re moving so quickly onto the next thing. Whereas when you compose, you have to sit down and really contemplate what each note means and how you get from one to the next. That in itself will create a style.”Terence Blanchard’s own style continues to evolve and expand in exciting and compelling fashion. Magnetic is sure to capture listeners with an attractive power nearly impossible to resist.To Visit Terence Blanchard's website CLICK HERE

On October 28, 1985, Stage Directors and Choreographers Foundation invited Peter Zeisler to moderate a panel featuring journalists Thulani Davis and Erika Munk, playwright William Hoffman, and directors Rhoda Levine, Judith Malina, and Emily Mann. They speak in-depth about the role of theatre in society in the past, present, and how it is evolving into the future. In this conversation, theatre’s reach and impact is compared to the mediums of film and television. Other topics include how fiction can convey political reality and why particular issues should be examined in the theatre. This lively discussion gets to the heart of the important role theatre plays in community.

As she celebrates her 20th season as artistic director of Princeton's McCarter Theatre, Emily Mann recalls the factors she considered when taking on the job; counsel she received at the time from directors Peter Hall and Mark Lamos; how she has evolved the McCarter audience in the direction of the work that most appeals to her; and her unique role as artistic director, director and playwright - including whether each of those roles ever gets in the way of the others. She also talks about making her way in the theatre as a female director and playwright coming up in the 1970s; her breakthrough as the first woman to direct on the mainstage of the Guthrie Theatre during Alvin Epstein's brief tenure leading the company; the development of her own playwriting style of documentary theatre through such acclaimed plays as "Still Life" and "Execution of Justice"; sharing a toast with Harold Pinter just after President Obama's election; working with Edward Albee on several plays, notably his newest, "Me Myself & I"; and why she chose to revisit "Having Our Say" at McCarter 14 years after its original Broadway success. Original air date - January 18, 2010.

As she celebrates her 20th season as artistic director of Princeton's McCarter Theatre, Emily Mann recalls the factors she considered when taking on the job; counsel she received at the time from directors Peter Hall and Mark Lamos; how she has evolved the McCarter audience in the direction of the work that most appeals to her; and her unique role as artistic director, director and playwright - including whether each of those roles ever gets in the way of the others. She also talks about making her way in the theatre as a female director and playwright coming up in the 1970s; her breakthrough as the first woman to direct on the mainstage of the Guthrie Theatre during Alvin Epstein's brief tenure leading the company; the development of her own playwriting style of documentary theatre through such acclaimed plays as "Still Life" and "Execution of Justice"; sharing a toast with Harold Pinter just after President Obama's election; working with Edward Albee on several plays, notably his newest, "Me Myself & I"; and why she chose to revisit "Having Our Say" at McCarter 14 years after its original Broadway success. Original air date - January 18, 2010.

The resident theatre panelists - Randall Arney, Artistic Director of Steppenwolf Theatre; Zelda Fichandler, Artistic Director of the Acting Company; Emily Mann, Artistic Director of McCarter Theater; Mac Pirkle, Artistic Director of Tennessee Repertory Theatre; Michael P. Price, Executive Director of Goodspeed Opera House; and Lloyd Richards, Artistic Director of Eugene O'Neill Theatre Center - discuss the beginnings of regional theatre as a place to develop new plays and playwrights, relationships with commercial theatre, marketing and building a subscriber base, and diversity in playwrights and audiences.

The resident theatre panelists -- Randall Arney, Artistic Director of Steppenwolf Theatre; Zelda Fichandler, Artistic Director of the Acting Company; Emily Mann, Artistic Director of McCarter Theater; Mac Pirkle, Artistic Director of Tennessee Repertory Theatre; Michael P. Price, Executive Director of Goodspeed Opera House; and Tony Award winner Lloyd Richards (for Fences), Artistic Director of Eugene O'Neill Theatre Center -- discuss the beginnings of regional theatre as a place to develop new plays and playwrights, relationships with commercial theatre, marketing and building a subscriber base, and diversity in playwrights and audiences.

The artistic directors of four major not-for-profit companies -- Susan V. Booth of the Alliance Theatre, Oskar Eustis of The Public Theater (which produced the 2009 Tony-winning revival of Hair), Emily Mann of the McCarter Theatre Center (1994 Regional Theatre Tony Award) and Michael Wilson of Hartford Stage (1989 Regional Theatre Tony Award) -- discuss the unique task of the artistic director, touching upon issues including how they balance their personal artistic goals as directors with the institutional needs of their companies, whether their focus is on the local community or the larger national artistic community, the relationship between not-for-profit theatres and commercial producers, how they measure success, and their responsibility for developing the next generation of theatre artists.

The artistic directors of four major not-for-profit companies - Susan V. Booth of the Alliance Theatre, Oskar Eustis of The Public Theater, Emily Mann of the McCarter Theatre Center and Michael Wilson of Hartford Stage - discuss the unique task of the artistic director, touching upon issues including how they balance their personal artistic goals as directors with the institutional needs of their companies, whether their focus is on the local community or the larger national artistic community, the relationship between not-for-profit theatres and commercial producers, how they measure success, and their responsibility for developing the next generation of theatre artists.