Podcasts about Ensemble Studio Theatre

Peter Filichia, James Marino, and Michael Portantiere talk about Ghosts @ LCT, A Streetcar Named Desire @ BAM, The Triumph of Love @ The Huntington Theatre (Boston), The Jonathan Larson Project @ at the Orpheum Theatre, Have You Met Jane Goodall and Her Mother? @ Ensemble Studio Theatre, What Makes read more The post This Week on Broadway for March 16, 2025: Ghosts appeared first on BroadwayRadio.

R.K. GreeneProducer and Executive Director of The StoryLine Project, LLC, a theatrical production company developing new shows. Shows include: * "Beau The Musical" by Lyons & Pakchar now an award-winning feature-length motion picture; * "Fifth Avenue" in development by Susan Crawford & Daniel Seidman* "Harmony" by Barry Manilow and Bruce Sussman on Broadway; * "Farinelli and the King" with Mark Rylance on Broadway;* "Terms of Endearment" with Molly Ringwald Off-Broadway and licensing thru Playscripts;* "A Time to Kill" with Patrick Page, Tonya Pinkins, Tom Skerritt, Fred Thompson and John Douglas Thompson on Broadway; * "Peter and the Starcatcher" winner of five Tony awards and now an Australian Tour in 2024-25; * "Cougar The Musical" Off-Broadway and licensing thru Concord Theatricals;* "Love Child" with Daniel Jenkins and Robert Stanton Off-Broadway and licensing thru Playscripts;* "Room Service" Off-Broadway. Works with The Directors Company developing new work in the non-profit arena, https://www.directorscompany.org/Specialties: Theatrical product development and production on Broadway, Off-Broadway and on tour. Skills include dramaturgy, marketing, financial and market analyses, budgeting and projections, fundraising, contracts and business plan development.The Storyline ProjectA commercial theatrical production company based in New York City. Our focus is on stories that capture the imagination of an audience. Our mission is to identify and develop these stories and bring them to life on stage. Founded in January 1996 by four associates, SLP has analyzed hundreds of plays and musicals. Recommended plays have gone on to public readings at established theatre companies including Ensemble Studio Theatre, Theater Resources Unlimited and The Directors Company in New York City. SLP productions have appeared on Broadway, Off-Broadway and on tour across the U.S. and Canada

Neil Berg's latest musical The Sabbath Girl: The Musical, written with book writer/co-lyricist Cary Gitter, just finished an incredible, sold-out run at The Penguin Repertory Theatre (directed by Joe Brancato), before transferring to NYC for a six-week summer run Off-Broadway at 59 East 59th Theaters to rave reviews. The Original Off-Broadway Cast Recording of The Sabbath Girl: The Musical is available on Centerstage Records. Producers are now in the process of moving the show for an open-ended commercial run. Neil is the composer/co-lyricist, along with Pulitzer Prize/TONY-winning playwright Robert Schenkkan, of the award-winning new musical The 12, which just finished a very successful pre-Broadway tryout to critical and audience acclaim at the Goodspeed Opera House, directed by TONY award-winning director John Doyle, produced for Broadway by Cody Lassen & Joe Grano. The 12 previously ran at The Denver Center to unanimous rave reviews and won the 2015 HENRY Award for best new play or musical. Original Cast recording will be available in the winter of '24. Broadway opening anticipated in 2025/2026 season. Neil is currently in development as the composer of the new Broadway-bound musical version of My Cousin Vinny, based on the iconic movie, with book/lyrics by original screenwriter, Dale Launer. Neil has a new commissioned musical, How My Grandparents Fell in Love, opening in July of '25 at The NJ Rep Theater, collaborating again with book writer/co-lyricist Cary Gitter, directed by Artistic Director SuzAnne Baribas. Neil's other new musical, Charlie Hustle, with book/lyrics by Ryan Noggle, is about controversial baseball icon Pete Rose and the story of his gambling addiction that led to his downfall. Charlie Hustle will have its first developmental production in Detroit, Michigan in the fall of '24. Neil is the composer for the popular musical version of Grumpy Old Men: The Musical, based on the Warner Brothers movie classic starring Jack Lemmon and Walter Matthau, which had its official U.S. Premiere at The Ogunquit Playhouse in Maine to rave reviews, and La Mirada Theater in LA, starring Cathy Rigby. Other actors include F. Murray Abraham, TONY Award winner George Hearn, Marilu Henner, and Carole Kane. It is currently produced/licensed at many regional & community theaters across the United States. Licensing rights are with TRW (Theatrical Rights Worldwide). The Original Cast Recording of Grumpy Old Men: The Musical is available on Centerstage Records. Neil Berg is also the composer/lyricist of the hit Off-Broadway musical The Prince and the Pauper, which ran for two years at the Lambs Theater in New York City. The New York Times raved that The Prince and the Pauper "[soars] on wings of theatrical fun." The original cast CD is released internationally on Jay Records, sheet music published by Hal Leonard, and licensing by Samuel French Inc. Songs from this show are also featured with many other classic songs in the official Off-Broadway Songbook, published by Hal Leonard. CARY GITTER is the playwright-in-residence at Penguin Rep Theatre in Stony Point, New York. His plays include THE STEEL MAN (Penguin Rep); GENE & GILDA (George Street Playhouse, Penguin Rep); THE VIRTUOUS LIFE OF JOSEPH ANDREWS (Penguin Rep), adapted from the Henry Fielding novel; and THE SABBATH GIRL (off-Broadway, 59E59 Theaters; Penguin Rep; Invisible Theatre; Theatre Ariel; published by Stage Rights). His musicals include THE SABBATH GIRL (59E59, Penguin Rep) and HOW MY GRANDPARENTS FELL IN LOVE (New Jersey Repertory Company), both written with composer/co-lyricist Neil Berg. His play HOW MY GRANDPARENTS FELL IN LOVE was a New York Times Critic's Pick as part of the Ensemble Studio Theatre's (EST's) 36th Marathon of One-Act Plays. It was later recorded for the acclaimed podcast Playing on Air, as was his one-act THE ARMY DANCE. He has received commissions from the EST/Alfred P. Sloan Foundation Science & Technology Project, Penguin Rep, and West of 10th. He is an alumnus of EST's Obie Award-winning Youngblood playwrights' group. His full-length plays have been developed by the Berkshire Playwrights Lab, the Chameleon Theatre Circle, the Cincinnati Playhouse in the Park, EST, the Jewish Ensemble Theatre, the Jewish Plays Project, the Levine Jewish Community Center, NJ Rep, NYU, Seven Angels Theatre, West of 10th, and Wordsmyth Theater Company. He is a three-time O'Neill semifinalist and a two-time Jewish Playwriting Contest finalist, and he has received NYU's John Golden Playwriting Prize and honorable mentions for the New England Theatre Conference's Aurand Harris Memorial Playwriting Award and the Kennedy Center's Rosa Parks Playwriting Award.

We discussed a few things including:1. Their career journeys2.  Scaling Shoott3. Launching Lexore (formerly Frame Me)4. Lessons learned5. Trends, challenges and opportunities re photo and video industriesSequoia Blodgett is a visionary entrepreneur at the intersection of media and technology. As the CEO and co-founder of Lexore, an AI-powered video production platform, she is transforming how agencies create high-quality video content.Drawing from her extensive background in filmmaking, entrepreneurship, and venture capital, Sequoia empowers brands to craft compelling narratives that drive organic traffic and enhance customer engagement.She began her career in the entertainment industry, directing music videos for top-tier artists like Justin Bieber and Future. Her passion for entrepreneurship led her to co-star on ABC Family's Startup U, where she shared her journey as a tech entrepreneur.Her professional path includes pivotal roles at companies such as M13, Black Enterprise, and Truist, where she merged her creative expertise with innovative business strategies.Sequoia has earned accolades for her work, including multiple Telly Awards and the prestigious Women in AI Award. She is also recognized as a former venture-backed entrepreneur under Tim Draper's Draper Associates and as a mentor and entrepreneur-in-residence, guiding startups in their growth journeys.Through Lexore, she continues to leverage her expertise to simplify video production, enabling businesses to achieve exceptional results while scaling their digital presence.---With a diverse background in investment banking, strategic finance, documentary film producing, and acting, Jennifer combines her passion for all-things-process with my love of art and storytelling to manage growth, strategy, and operations for Shoott alongside my amazing team.As an actor, she was a longtime company member of The Bats at the Flea Theatre in NYC. She also performed in productions at Ensemble Studio Theatre, Baltimore Center Stage, Yale Cab, and National Black Theatre, among others. In film & TV, she's appeared in The Other Two, High Fidelity, The Village, The Blacklist, and Bored to Death as well as in numerous on-camera and voiceover spots for Citi, AT&T Wifi, Samsung, Geico, and Manhattan Mini Storage. From her time as an actor and creative, she saw firsthand how most artists struggle because their lives are gig to gig and they can't find enough work to sustain a career. It became her mission to see if we could create a business model that could help artists stay artists while providing a value-driven service for clients, which is what led me to her work co-founding and growing Shoott.#podcast #AFewThingsPodcast

Greg Germann is an actor known for his work in film, television and on Broadway where he starred with Mark Rylance in BOEING BOEING. He was a member of Circle Repertory Company and Ensemble Studio Theatre and has performed at Playwrights Horizons, The Public Theatre, La Mama, Second Stage among others. Created roles in Stephen Sondheim's Assassins, Steve Martin's Meteor Shower, Only You, Found A Peanut and many more. He has also appeared in numerous films including TALEDEGA NIGHTS, FRIENDS WITH MONEY, CLEAR AND PRESENT DANGER, SWEET NOVEMBER, QUARANTINED, ONCE AROUND, among others. Greg is best known for the many characters he has created on the small screen, including Tom Koracick on GREY'S ANATOMY and Richard Fish on ALLY McBEAL, as well as House of Lies, Once Upon a Time and many more.  During the war in Afghanistan Greg traveled there twice as a goodwill ambassador, visiting thousands of troops from Kandahar to Kabul along with dozens of Forward Operating Bases (F.O.B's) across the country. For over 15 years he's been involved with Anthony Shriver's organization BEST BUDDIES, which is dedicated to creating employment and inclusive living opportunities for individuals with intellectual and developmental disabilities (IDD).  At one time servingon the California Advisory Board.  For almost 20 years Greg has had the privilege of serving on the Board of Directors for THE PEOPLE CONCERN Los Angeles, whichis dedicated not just to manage the unacceptable crisis of people experiencing homelessness, but ending it!  Greg recently served as the Board Chair. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Book a Free Consultation with Peter About Risa: For the past 4 decades Risa has worked consistently as a director, producer, casting director, writer, and teacher. She's had the great fortune to have collaborated with some of the most talented, passionate, and groundbreaking artists in the world. She's continued to move successfully from one arena to another – from theatre to film to television and back. With two feature films in her directorial body of work – the cult classic, 200 CIGARETTES, and more recently, THE CON ARTIST, made in Canada, Risa's also directed in television, including multiple episodes of THE TWILIGHT ZONE for the WB, and several shows for HBO, Lifetime, and Comedy Central. Risa's directed dozens of plays in New York (The Ensemble Studio Theatre, The Second Stage, Manhattan Theatre Club) and in Los Angeles. She calls The Ensemble Studio Theatre her original artistic home, where she's been a member in NY for over 40 years, producing and directing several years of the flagship festival MARATHON OF ONE-ACT PLAYS. And she founded EST-LA, a thriving Los Angeles theatre company. Some of her favorite director-playwright collaborations have been with Edward Allan Baker, John Shanley, Richard Greenberg, Bill Bozzone, Alan Zweibel, and Neil Cuthbert. In L.A. Risa founded and produced ACT ONE, a successful two-year festival of one-acts, in conjunction with Showtime Networks. As a founding Artistic Director of EST-LA, Risa worked with HBO, producing and directing a series of acclaimed one-acts for The Aspen Comedy Arts Festival. In her long association with HBO, starting in the early 80's as a talent scout for comedians, Risa co-produced two years of THE YOUNG COMEDIANS SHOW for the network. She was also a TV producer with The Carsey Werner Company.

Peter Filichia, James Marino, and Michael Portantiere talk about The Outsiders, Oh, Mary! @ The Lucille Lortel, Teeth @ Playwrights Horizons, Dead Outlaw @ Audible's Minetta Lane Theatre, Patti LuPone: A Life in Notes @ Carnegie Hall, NYU Broadway Orchestra, Las Borinqueñas @ Ensemble Studio Theatre, and Trial by Jury read more The post This Week on Broadway for April 14, 2024: The Outsiders appeared first on BroadwayRadio.

In this episode, we sit down with playwright Mona Pirnot to discuss her current play, I LOVE YOU SO MUCH I COULD DIE. Please note that this episode may contain spoilers about the show. If you haven't seen the play yet, you can catch I LOVE YOU SO MUCH I COULD DIE playing at the New York Theatre Workshop until March 7th. Follow and connect with all things @HalfHourPodcast on Instagram, TikTok, and YouTube. Share your thoughts with us on I LOVE YOU SO MUCH I COULD DIE on our podcast cover post. MONA PIRNOT (Playwright) is an NYC-based playwright and songwriter. She is a current member of EST/Youngblood. Her work has been produced by or developed with Playwright's Horizons, New York Theatre Workshop, Ensemble Studio Theatre, Williamstown Theatre Festival, Mosaic Theatre, San Francisco Bay Area Theatre Company, Mirrorbox Theatre, Premiere Stages, and Mile Square Theatre. She was the 2014-15 Literary Fellow at Center Theatre Group and Williamstown Theatre Festival's 2019 Playwright in Residence. She is the winner of the 2022 Berwin Lee & Brown Playwrights Award and is currently nominated for the 2023 Helen Hayes / Charles MacArthur Award for Outstanding New Play or Musical for her play, Private (2023 SFBATCO, 2022 Mosaic Theater, 2022 Mirrorbox Theatre, 2019 Kilroys List.) Learn more about your ad choices. Visit megaphone.fm/adchoices

From cults and documentaries to their deeply thought out character motivations, actors John Lavelle and Haskell King look back on their theatre journey. The two share their background, doing productions when they were younger, and what eventually made them pursue acting as a career. Currently starring in "Russian Troll Farm: A Workplace Comedy", they talk about how they got involved with the show, hitting it off on the first meeting, and the allure of cults and how people get drawn into them. With the show being as relatable as ever today, they reflect on how it changed their relationship with social media, how they interact with it, and the complexity of playing as bad guys. John and Haskell also impart some advice to aspiring actors and their motivations, including the desire to be seen and connect with others and become a better person for one's family. Haskell King has performed all over the Off-Broadway and regional stages such as the Irish Repertory Theatre, Ensemble Studio Theatre, and the Abingdon Theatre. His TV and film credits include “Dear Edward”, “Law & Order: Criminal Intent”, “As the World Turns”, “The Fly Room”, and “Shadow & Lies”. John Lavelle has been on Broadway in “The Graduate”, and off-Broadway stages including La Jolla Playhouse, The Shakespeare Center LA, and The Old Globe. His TV and film credits include “Selma”, “Frozen”, “Wreck-It Ralph”, “Zootopia”, “The Taking of Pelham 123”, “Kipo and the Age of Wonderbeasts”, and “Grace and Frankie” among many others. They are both part of the stellar cast of the off-Broadway production of “Russian Troll Farm”, an office comedy, at the Vineyard Theater in New York City. More info and tix here: https://vineyardtheatre.org/shows/russian-troll-farm/ Connect with The Theatre Podcast: Support the podcast on Patreon: Patreon.com/TheTheatrePodcast YouTube: YouTube.com/TheTheatrePodcast Threads, Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com My personal Instagram: @alanseales Learn more about your ad choices. Visit megaphone.fm/adchoices

Grad student Helen Lyle is determined to find out why the residents of the Cabrini-Green housing development in Chicago are petrified by the Candyman, a ghost who allegedly appears if you say his name in the mirror five times.  After jokingly summoning him with Trevor, her philandering professor husband, Helen heads to Cabrini-Green with her pal Bernadette to interview residents and track down the truth. Instead she discovers what might just be the Candyman's lair, an abandoned apartment laid out strangely like her own.  Soon enough, she's standing face to face with the man himself.  And he hasn't brought a bag of Skittles.  This guy's got a hook for a hand, bees on his knees, and a desire to possess Helen, who may or may not resemble the woman he once loved.  After her encounter with the Man, Helen awakes to find herself on the floor of an bathroom covered in blood, her crazy nightmare just beginning. Intro, Math Club, Debate Society, Hot for Teacher (spoiler-free): 00:00-26:43 Honor Roll and Detention (spoiler-heavy): 26:44-1:11:26 Superlatives (spoiler-heavier): 1:12:26-1:26:22 Director Bernard Rose Screenplay Bernard Rose, based on “The Forbidden” by Clive Barker Featuring Xander Berkeley, Michael Culkin, DeJuan Guy, Kasi Lemmons, Virginia Madsen, Ted Raimi, Tony Todd, Vanessa Williams Godfrey L. Simmons, Jr. is Artistic Director of HartBeat Ensemble, Hartford's Public Theatre and Visiting Lecturer in Theatre at Trinity College. He is also co-founder of Civic Ensemble, a community-based theatre company in Ithaca, NY. At HartBeat he has appeared in My Children! My Africa! and Possessing Harriet. For Civic, he appeared in My Children! My Africa!, Fast Blood and his adaptation of Mike Daisey's The Trump Card. Godfrey taught for several years at Cornell University, where he co-produced and directed Eugene O'Neill's All God's Chillun Got Wings and The Next Storm, in collaboration with Civic Ensemble. Godfrey was Producing Artist in charge of New Artist Development for Off-Broadway's Epic Theatre Ensemble, appearing in A More Perfect Union, Widowers' Houses (which Godfrey co-adapted with Ron Russell), and Measure for Measure, among other plays. At Epic, he also co-wrote and starred in a documentary play about the election of President Barack Obama, Dispatches From (A)mended America. Godfrey is a 2012 TCG/Fox Fellow, a participant in the TCG SPARK Leadership Program, and a lifetime member of Ensemble Studio Theatre. He has also taught at Marymount Manhattan College, Binghamton University, UConn Hartford and John Jay College. Additional New York theatre credits include The Old Settler (Primary Stages), Betty's Summer Vacation (Playwrights Horizons), Free Market (Working Theater), Leader of the People (New Georges), and microcrisis (Ensemble Studio Theater). Our theme music is by Sir Cubworth, with embellishments by Edward Elgar.  Music from Candyman by Philip Glass. For more information on this film (including why the Professor chose it, on ⁠⁠⁠⁠⁠⁠⁠Our Blog⁠⁠⁠⁠⁠⁠⁠), the pod, essays from your hosts, and other assorted bric-a-brac, visit our website, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠scareupod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please subscribe to this podcast via Apple or Google Podcasts, Spotify, or wherever you get your podcasts. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ group. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Mark Armstrong (he/him) is a Brooklyn-based theater director and the Artistic Director of The 24 Hour Plays. His production of Eric Bogosian's Drinking in Americafeaturing Andre Royo (NYT Critic's Pick) enjoyed an extended run at Audible's Minetta Lane Theatre and a live audio capture was released as an Audible audio play. Highlights with The 24 Hour Plays include annual productions of The 24 Hour Plays on Broadway, The 24 Hour Musicals, The 24 Hour Plays: Nationals, The 24 Hour Plays: Viral Monologues (which engaged millions of viewers worldwide beginning March 2020) + partner productions across the US. As a director, his collaborators include Emily Mann (Execution of Justice, Playhouse Creatures + NYU Tisch mainstage), Christopher Shinn (Falling Away, Ensemble Studio Theatre; The Coming World; Williamstown), Dan O'Brien (From Kandahar to Canada, EST; The Angel in the Trees, Production Company) and many others. As Director of New Work for Keen Company, he created the Keen Playwrights Lab for mid-career playwrights and directed Old Folks by Max Posner and 30 Million by Jason Kim and Max Vernon. Recently, he developed and directed The Accidentwith drummer Kid Millions at Roulette. Assistant professor (part-time), The New School for Drama; proud member SDC and UAW 7902; alum Lincoln Center Theater Directors Lab and Williamstown Theater Festival Directing Corp. Warren Leight is the Pulitzer Prize finalist and Tony-winning author of Side Man, as well as No Foreigners Beyond This Point (Drama Desk nomination), Home Front, Fame Takes a Holiday, Glimmer, Glimmer and Shine (ATCA nomination) and The Loop. He also wrote the book of the musical Mayor (Drama Desk nomination) and co-wrote the book of Leap of Faith (Drama Desk nomination). Warren was showrunner and Executive Producer of the NBC drama “Law & Order: Special Victims Unit” from 2011 – 2016 and 2019-2022 (Imagen, NAACP and PRISM Awards). Previously, he was showrunner and Executive Producer of HBO's Peabody Award-winning “In Treatment,” the FX drama “Lights Out,” and “Law and Order: Criminal Intent.” Learn more about your ad choices. Visit podcastchoices.com/adchoices

Another episode touching on aspects not featured in past episodes. Today playwright Anna Ouyang Moench sits in the Playwright's Spotlight and, thankfully, after botching her name twice, she was nice enough to stick around. In this interview, we discuss the benefits of writers groups, the pursuit of playwriting, and developing a play during rehearsal through a nontraditional writing approach. We also discuss the techniques of structure, working under time constraints and the the practicality and theatricality of producing, transferring from larger markets to smaller markets as well as building your network as you grow. We also talk about how playwriting helps in the arena of film and television, how to take notes and receive feedback and being mindful when receiving it, how to juggle life's responsibilities and finding discipline while writing, the mechanisms of a play, playing with the structure of timeline as well as obtaining theatrical and literary representation and so much more. Certainly a learning experience on my end which I hope you enjoy. Anna Ouyang Moench is an award-winning playwright and screenwriter. Her plays have been produced across the country and include Mothers, Birds of North America, and Sin Eaters. She has been supported by fellowships and residencies from The Playwrights Realm, New York Foundation of the Arts, the Jerome Foundation, the Van Lier Foundation, Yaddo, the Tofte Lake Center, the Sewanee Writers Conference, and the Last Frontier Theatre Conference. Her awards include the Paul Stephen Lim Playwriting Award from the Kennedy Center, the Gerbode Special Award in the Arts, Boulder Ensemble Theater Company's Generations Award, and East West Players' 2042: See Change Award. She is an alum of UCSD's Playwriting M.F.A. program, the Emerging Writers Group at the Public Theater, Youngblood at Ensemble Studio Theatre, the Jam at New Georges, and writers groups at East West Players and the Echo Theater Company.To view the video format of this episode, visit -https://youtu.be/HbNX6N4sPaAFor tickets to Birds of North America if you're in the Los Angeles area, visit -https://odysseytheatre.com/whats-on/birds-of-north-america/Links to sites mentioned in this episode - Playwright's Realm -https://playwrightsrealm.org/New York Foundation for the Arts -https://www.nyfa.orgJerome Foundation -https://www.jeromefdn.orgVan Lier Fellowship -https://www.aaartsalliance.org/programs/van-lier-fellowshipYaddo -https://yaddo.orgSawanee Writers Conference -https://www.sewaneewriters.orgLast Frontier -http://www.theatreconference.orgUCSD Theatre Dept. -https://theatre.ucsd.eduWebsites and socials for James Elden, PMP, and Playwright's Spotlight -Punk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods                  - @playnoirla IG - @punkmonkeyprods       - @playnoir_la FB - fb.com/playnoir        - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the show

Liz Carlson (elizabethjcarlson.com) is an NYC-based creative producer and director committed to the development of new stories. Prior to stepping in as Interim Artistic Director, Liz produced and directed with NYSAF in various capacities over the past 15 years, notably as the full-time Artistic Producer for the past seven, supporting artists such as César Alvarez, Jaki Bradley, Lyndsey Bourne, Lily Houghton, Keelay Gipson, Jessica Huang, Melissa Li & Kit Yan, Don Nguyen, Brian Quijada & Nygel D. Robinson, Kirya Traber, Lauren Yee, and hundreds more. Liz also served as the Artistic Director for the new works incubator Naked Angels from 2013-2016. As a director, Liz has developed plays and musicals with Ars Nova, The Dramatists' Guild, Ensemble Studio Theatre, The Flea, Keen Company, Manhattan School of Music, Manhattan Theatre Club, The New Group, Playwrights Horizons, The Playwrights Realm, Signature Theatre Company, Williamstown Theatre Festival, and more. Upcoming directing projects include a new-play workshop with Minita Gandhi at Berkeley Rep's The Ground Floor, and the final installment of a musical podcast with the Drama Desk-nominated folk band The Lobbyists. MFA The New School for the Performing Arts, Drama. Recipient of The Drama League Fellowship. 

Hello listeners! We were so fortunate to have CHARLY EVON SIMPSON join us on the show! We had such an incredible time chatting with Charly about writing and life as playwright and TV writer. We hope you enjoy!!! Charly Evon Simpson is a playwright, TV writer, and teacher based in Brooklyn. Her plays include Behind the Sheet, sandblasted, Jump, form of a girl unknown, it's not a trip it's a journey, and more. Her work has been seen and/or developed with Vineyard Theatre, WP Theater, Ensemble Studio Theatre, The Eugene O'Neill Theater Center, Round House Theatre, PlayMakers Repertory Company, Salt Lake Acting Company, and others. She is a recipient of the Vineyard Theatre's Paula Vogel Playwriting Award and the Dramatists Guild's Lanford Wilson Award. She is currently a resident of New Dramatists. In TV, she has worked on shows for Showtime, HBO, and Netflix including American Rust and Industry. Charly has a BA from Brown University, a master's in Women's Studies from University of Oxford, New College, and her MFA in Playwriting from Hunter College. www.charlyevonsimpson.com GLISTENS: Cho - "How to Sell a Haunted House" by Grady HendrixSam -  cherriesCharly - "Yellowface" by R. F. Kuang ________________________ Please support Beckett's Babies by reviewing, sharing an episode with your friends, or follow us on Instagram and Twitter: @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

Lisa is joined by actor Tiffany Rothman who shares her passion for acting. Tiffany Rothman is an Asian American actress and model based in Los Angeles. She was born in Vietnam and immigrated to the U.S. as a child where she trained in acting and dance from a young age. Tiffany is most known for her roles on the CBS series 'Blue Bloods' the Sundance Official Selection film 'The Accidental Getaway Driver', among many others.Tiffany returned to her performing arts roots as an adult while living in New York City, acting in independent films and off-Broadway shows at theaters like St. Luke's, Stella Adler and Ensemble Studio Theatre. She is also a board member and earned the title of 'Artist-in-Residence' from the Isadora Duncan International Institute for modern dance.After years in NYC, Tiffany relocated to Los Angeles where she is based, acting in film and television. In Los Angeles, she starred in a new drama, 'Brackish', at the prominent Grand Central Art Center at California State University. Tiffany also works in commercials and print as a model.In addition to acting and modeling, Tiffany studied fashion retail and after moving to N.Y. acquired an MBA in Human Resource Management. Shortly thereafter, she earned a Masters in Educational Psychology and in 2017, obtained her Doctorate in Counseling Psychology. Tiffany's thesis was based on a play called "Flowers: A Thorny Romance", a play that she has previously performed in about domestic violence.Tiffany enjoys performing in film, dance and theater as well as spending time with her loved ones - these are the things that make her feel like she has truly achieved 'the American dream'.

In this throwback, which is the inaugural episode of If This Is True, I'm introducing everyone to RJ Tolan! RJ is the co-artistic director of Ensemble Studio Theatre's Youngblood in NYC. He is also a veteran of Shadowbox Live in Columbus, OH, where I met him. Come along for a visit!

Matt Tamanini, Peter Filicia, and Jan Simpson talk about ‘Life of Pi,’ ‘Shucked’, ‘According to the Chorus’ at 59E59, ‘Vanities’ from the York Theatre, ‘Smart’ at Ensemble Studio Theatre, ‘Lunch Bunch’ at PS 22 from Clubbed Thumb  “This Week on Broadway” has been coming to you every week since 2009. read more The post This Week on Broadway for April 9, 2023: Shucked appeared first on BroadwayRadio.

This week's guest is the multi-talented Chris Lutkin, an award-winning audiobook narrator, actor, content creator, and a writer. Chris is a professional, full time creative. He knows what it's like to be creative and earn money as a creator, throughout his career. He emphasises the importance of understanding the material and being able to take direction in having a good voice. Chris started his audiobook career in 2014 and has since narrated over 60 titles, receiving recognition with a Parent's Choice Silver Award and an EarPhones Award for his exceptional work. He's now converting his screenplay, which has been twice optioned, into a novel, inspired by the real-life story of a forgotten 19th-century baseball player named "Bull." Chris will produce this novel as an audiobook, bringing the story to life for audiences.  In addition to his work in audiobooks, Chris is a member of Ensemble Studio Theatre, as well as SAG-AFTRA and AEA. He has appeared in numerous commercials, films, television shows, and on stages across the country. Chris has also taught Acting for Camera classes and workshops for various institutions, including New York University, Lee Strasberg Institute, Weist-Barron Studios, Chicago Improv Festival, and Kansas City Improv Festival. He has even taught for a non-profit in Detroit. Join us as we dive into Chris Lutkin's unique and impressive career path, and hear his insights into audiobook narration and content creation. LINKS: Chris Lutkin - Special Guest LinkedIn - ttps://www.linkedin.com/in/chris-lutkin-85714ab9/h Website - https://www.chrislutkin.com/ Audiobooks - https://www.audible.com/search?searchNarrator=Chris+Lutkin  Instagram - https://www.instagram.com/lutlucky/ Facebook - https://www.facebook.com/profile.php?id=100081013245787 Tiktok - https://www.tiktok.com/@lutlucky?lang=en Youtube - https://www.youtube.com/user/Screengym  SELF PUBLISHING LINKS: “A Guide to the Accurate Presentation of 1858-1869 Baseball” https://www.amazon.com/dp/B085K7T5F8/ref=rdr_ext_tmb “Team Improv 123” by Heather Lutkin  https://www.amazon.com/dp/1713210754?ref_=pe_3052080_397514860  Chris Lutkin's Fine Art America Site   https://fineartamerica.com/profiles/chris-lutkin Bull the MOVIE https://bullthemovie.wordpress.com/   Paul Fairweather - Co-host https://www.paulfairweather.com Chris Meredith - Co-host https://www.chrismeredith.com.au Two Common Creatives https://www.twocommoncreatives.com/podcastSee omnystudio.com/listener for privacy information.

Melissa reconnects with playwright Deborah Zoe Laufer. They first met when Melissa interviewed her about her play, Be Here Now. Now we be here again to talk about one of Deb's (apparently many) stage adaptations, The Three Sisters of Weehawken, based of course on Chekhov's Three Sisters. In this episode, we discuss:Why Deborah set her adaptation in New JerseyWhich of Chekhov's 3 sisters we areWhat message Chekhov's plays have for us today How writers groups influence her writing processAnd more!Resources MentionedThe Three Sisters of Weehawken by Deborah Zoe LauferMelissa's first interviews with Deborah : The Be Here Now Interview, On Playwriting Pt. 1 & Pt. 2About Our GuestDeborah Zoe Laufer's plays have been produced at Steppenwolf Theatre Company, Cincinnati Playhouse in the Park, Cleveland Playhouse, Geva, The Humana Festival, Everyman, Primary Stages, Ensemble Studio Theatre, and hundreds of other theaters around the world. Plays include Be Here Now, End Days, Rooted, Informed Consent which was a NYTimes critic's pick, Leveling Up, Out of Sterno, The Last Schwartz, Sirens, Meta, The Three Sisters of Weehawken, Fortune, dozens of short plays, and the musicals, Window Treatment, and By Any Other Name, written with composer, Daniel Green. Deb is a recipient of the Helen Merrill Playwriting Award, the Lilly Award, The ATCA Steinberg citation, and grants and commissions from the National Endowment for the Arts, The Alfred P. Sloan Foundation, The Edgerton Foundation, The National New Play Network, and the Lincoln Center Foundation. Her work has been developed by The Eugene O'Neill Playwrights Conference, Theatre Lab, PlayPenn, The Cherry Lane Alternative, The Missoula Colony, LOCAL Theatre, Asolo Rep, The Baltic Playwrights Conference, and more. Her plays are published or recorded by Concord/Samuel French, Smith and Kraus, Playscripts, LA Theatreworks, and Premieres. She is a graduate of Juilliard, an alumna of the BMI Lehman Engel Advanced Musical TConnect with host Melissa Schmitz***Sign up for the 101 Stage Adaptations Newsletter***101 Stage AdaptationsFollow the Podcast on Facebook & InstagramRead Melissa's plays on New Play ExchangeConnect with Melissa on LinkedInWays to support the show:- Buy Me a Coffee- Tell us your thoughts in our Listener Survey!- Give a 5-Star rating- Write a glowing review on Apple Podcasts - Send this episode to a friend- Share on social media (Tag us so we can thank you!)Creators: Host your podcast through Buzzsprout using my affiliate link & get a $20 credit on your paid account. Let your fans directly support you via Buy Me a Coffee (affiliate link).

Deborah Yarchun is a New Jersey-born, Air Force-raised, and Austin-rooted playwright; her plays are just as geographically discombobulated. She's currently LA/NYC-based. Her plays have been produced and/or developed at Ensemble Studio Theatre, Centenary Stage Company, The Civilians' R&D Group, Capital Rep, The New Harmony Project, Martha's Vineyard Playhouse, Amphibian Stage Productions, The Great Plains Theater Conference, Jewish Ensemble Theater, The Playwrights' Center, Rattlestick Playwrights Theatre, TheatreSquared's Arkansas New Play Festival, the William Inge Center for the Arts, Jewish Plays Project, the Minnesota Fringe, Minnesota Jewish Theatre Company, Northern Stage, the Philadelphia Fringe, The Samuel French Off-Off Broadway Festival, Playwrights Horizons' Peter Jay Sharp Theater by Young Playwrights Inc., Williams Street Rep, and at theaters and universities across the United States and in Canada.Deborah's honors include two Jerome Fellowships at The Playwrights' Center, a Dramatists Guild Foundation Fellowship, an EST/Sloan Commission, Dartmouth's Neukom Literary Arts Award for Playwriting, The Kennedy Center's Jean Kennedy Smith Playwriting Award, the Kernodle New Play Award, the Richard Maibaum Playwriting Award, and Women in the Arts & Media Coalition's Collaboration Award. Her play GREAT WHITE was an Honorable Mention for the Relentless Award and her play ATLAS, THE LONELY GIBBON was a finalist for the 2021 National Playwrights Conference. Deborah is a 2021-2024 Core Writer at The Playwrights' Center and a New Georges Affiliated Artist. She earned her M.F.A. from the University of Iowa where she was an Iowa Arts Fellow.Deborah is the winner of VetRep's latest full-length playwriting competition for her play TECTONIC MELANGE. Her play THE CALM BEFORE is currently in development with VetRep.

Joan Kane (director, writer, performer, educator) recently performed her script of Almost 13 in the Edinburgh Festival Fringereceiving a five-star review. She also got favourable reviews for her direction of Safe and what do you mean in New York and Edinburgh.  She is the founding Artistic Director of Ego Actus Theatre Company. Off Broadway, she directed Sycorax at HERE, Play Nice! at 59e59 theatres, and I Know What Boys Want at Theatre Row. She directed Six Characters in Search of an Author in Oslo, Norway and Kafka's Belinda in Prague. Joan was awarded Best Director in the United Solo Festival where she has directed six pieces. She was named to the Indie Theatre Hall of Fame by nytheatre.com.  She has also directed plays and readings at the Lark, Ensemble Studio Theatre, Urban Stages, Workshop Theatre, Nylon Fusion, Abingdon Theatre, Oberon Theatre, the Samuel French Short Play Festival, T. Schreiber Studio, and many others. Joan is an alumni of the LaMama directing and playwriting symposiums in Umbria, Italy. She is a member of the Playwright/Director unit at Actor's Studio, the League of Professional Theatre Women, the Dramatists Guild, and the Society of Stage Directors & Choreographers Some key points from our interview:·        How she believes that being broken is ok ·        How in the summer of 1969 she witnessed a gang member being murdered and she was then raped by the murderer to silence her·        How she became a selected mute after these traumas, as she was too scared to speak out·        How a friend encouraged her to go for therapy at high school as she was having obtrusive dreams·        How she was encouraged at a writing retreat in Italy to share her story·        How it took her many years to write her story down due to shame and denial·        How writing has been her escape from trauma and her therapy too·        How she's passionate about storytelling and wrote “Almost 13” which are her memories of a young girl's violent summer in Brooklyn and plays all 10 characters herself ·        How she believes we can all have horrible things happen to us, but we can survive them too Review of Almost 13  - “Joan Kane sets an example to others to face up to their stories and to be prepared to share them in order to disseminate, perhaps dissipate and gain some healing through the process”Hosted by Madeleine Black, the show will share stories of all the amazing people Madeleine has met on her own journey as an author/speaker and these stories will heal, motivate, inspire and bring hope when they share their wisdom and knowledge with her.She really believes in the power that comes when we share our stories, that in fact we are not story tellers but story healers. Tune in to discover what helped them to stay unbroken and together we will discover that none of us are broken beyond repair.You can find out more about Madeleine, her story and her memoir, Unbroken,  from her website: https://madeleineblack.co.uk/You can listen to the full extended series of incredible stories on https://www.buzzsprout.com/1386718   Short of time but want to tune in?Watch Short Vlog Versions on our You Tube Channel HERE

In part 1 of the season finale I am joined by financial literacy educator and former modern dancer David Maurice Sharp. David  is the author of The Thriving Artist: Saving and Investing for Performers, Artists, and the Stage & Film Industries.  In 2014 he was named a 'money hero' for his work in financial literacy for artists by Money magazine. David currently teaches at HB Studio in New York City and frequently does workshops for Entertainment Community Fund, MusiCares Foundation, and The SAG-AFTRA Foundation.  He danced for Mimi Garrard Dance Theatre, Lucinda Childs, Rachel Lampert and Anna Sokolow among others and his choreography has been performed at such venues as Lincoln Center, La Mama, Edinburgh Fringe Festival, New York Fringe Festival, Soho Rep, and Ensemble Studio Theatre.  David is also a consulting director for Prime Clerk, specializing in US and international restructurings.Get in touch:David Maurice SharpInstagram @davidmauricesharp Website: www.davidmauricesharp.comAyana Major Bey Website: www.ayanabey.comInstagram: @ayanambey, @theartistpivot Rate and Review this podcast:Podchaser: https://www.podchaser.com/podcasts/the-artist-pivot-1455741Apple Podcasts: Just scroll down to the rate and review section on the podcast page *******Host & Exec. Producer: Ayana Major Bey Editor: Kieran Niemand Part of the Boundless Audio Network Get 10% off your first month with BetterHelp at https://betterhelp.com/artistpivot 30-day free trial of Audible Get a free 30-day trial of Audible using The Artist Pivot Podcast Link!Get 10% off your 1st mo with BetterHelp Get 10% off your first month with BetterHelp, customized online therapy. Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

In part 1 of the season finale I am joined by financial literacy educator and former modern dancer David Maurice Sharp. David  is the author of The Thriving Artist: Saving and Investing for Performers, Artists, and the Stage & Film Industries.  In 2014 he was named a 'money hero' for his work in financial literacy for artists by Money magazine. David currently teaches at HB Studio in New York City and frequently does workshops for Entertainment Community Fund, MusiCares Foundation, and The SAG-AFTRA Foundation.  He danced for Mimi Garrard Dance Theatre, Lucinda Childs, Rachel Lampert and Anna Sokolow among others and his choreography has been performed at such venues as Lincoln Center, La Mama, Edinburgh Fringe Festival, New York Fringe Festival, Soho Rep, and Ensemble Studio Theatre.  David is also a consulting director for Prime Clerk, specializing in US and international restructurings.Get in touch:David Maurice SharpInstagram @davidmauricesharp Website: www.davidmauricesharp.comAyana Major Bey Website: www.ayanabey.comInstagram: @ayanambey, @theartistpivot Rate and Review this podcast:Podchaser: https://www.podchaser.com/podcasts/the-artist-pivot-1455741Apple Podcasts: Just scroll down to the rate and review section on the podcast page *******Host & Exec. Producer: Ayana Major Bey Editor: Kieran Niemand Part of the Boundless Audio Network Get 10% off your first month with BetterHelp at https://betterhelp.com/artistpivot 30-day free trial of Audible Get a free 30-day trial of Audible using The Artist Pivot Podcast Link!Get 10% off your 1st mo with BetterHelp Get 10% off your first month with BetterHelp, customized online therapy. Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

Career Conversations with Julianna Margulies. Moderated by Jenelle Riley, Variety. As an Emmy, Golden Globe and Screen Actors Guild Award winner, Julianna Margulies has achieved success in television, theater and film. Margulies won the 2011 Emmy Award for Outstanding Lead Actress in a Drama Series and was nominated for a 2012 Emmy Award in the same category for her work on THE GOOD WIFE. Most recently, Margulies was nominated for a 2014 Golden Globe Award for Best Actress in a Television Series, Drama for her work on the show. Margulies' television credits include "The Sopranos," "The Grid," for which she received a Golden Globe Award nomination, and the mini-series "The Mists of Avalon." She also starred as one of the original members of "ER," for which she received both an Emmy Award and SAG Award as nurse Carole Hathaway. Margulies was most recently seen in the feature film "Stand Up Guys," with Al Pacino, Christopher Walken and Alan Arkin. Her other film credits include "City Island," "Snakes on a Plane," "The Darwin Awards," "Slingshot," "Ghost Ship," "Evelyn," "What's Cooking," "The Newton Boys," "A Price Above Rubies," "Traveller," "Paradise Road," and "The Man From Elysian Fields." On stage, Margulies made her Broadway debut in 2006 starring in "Festen." Margulies completed a successful run in Jon Robin Baitz's "The Ten Unknowns" at Lincoln Center opposite Donald Sutherland for which she won the Lucille Lortel Award. Other theater credits include "The Vagina Monologues" both Off-Broadway and in the Los Angeles premiere, "Fefu and Her Friends" for the Yale Repertory Theatre, "The Substance of Fire" at the Asolo Theatre, "Living Expenses, Dan Drift, and Book of Names" at the Ensemble Studio Theatre in New York, and "Intrigue with Faye" at the NY Stage and Film Festival. She also appeared on stage in "The Lover," "In the Boom Boom Room" and "Balm and Gilead."

How do you take the "ick" out of the ask? Kel shares her process leading outbound fundraising efforts for non-profit theatres. Thank you for taking the time to listen to our chat with Kel Haney! If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! About Kel Haney: Kel Haney, Senior Consultant at Donorly, is a NYC & Maine-based fundraising expert with 17 years of experience in the field, specializing in Outbound Fundraising.  She's consulted with such organizations as MCC Theatre, Signature Theatre, Ensemble Studio Theatre, Manhattan Theatre Club, The O'Neill Theater Center, New York Theatre Workshop, Page 73 Productions, Marin Theatre Company, BroadwayUnlocked, The Glimmerglass Festival, American Composers Forum, and RIP Medical Debt. Kel's work boils down to “Taking the Ick out of the Ask” and shifting fundraising conversations from transactional encounters to relationship-building opportunities. She spent twenty years as a theatre director and her fundraising methodology is based on how she led a rehearsal room: focusing on what makes each of us unique and engaging. Over her fundraising career, Kel has helped non-profit organizations raise over $11M, primarily in donations under $2K. www.kelhaney.com When not working, Kel's seeking out all kinds of artistic experiences, taking nature walks with her rescue pup, practicing yoga, playing extremely intricate board games, and attempting to recreate the fabulous meals she & her husband (actor Michael Grew) have enjoyed on their various travels. Resources from this episode: www.kelhaney.com instagram.com/kelhaney --- Come say hi to us! Facebook: @PageToStagePodcast @BroadwayPodcastNetwork Instagram: @PageToStagePodcast @TheMaryDina @BrianSedita @BroadwayPodcastNetwork Twitter: @TheMaryDina @BwayPodNetwork Youtube: @PageToStagePodcast @BroadwayPodcastNetwork #PageToStagePodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Asking for money can be intimidating. But if you are a non-profit or if you are an entrepreneur who needs funding for your business, asking for money is a necessity. Asking for money can feel icky, but if you apply these strategies you will feel more confident and you may have more positive results. What is outbound fundraising? Outbound fundraising is looking at fundraising from inside your business out into your community. How can you take the ick out of the ask when asking for money as a business seeking investors, as a non-profit seeking a donation, or even on a sales call? Kel is interested in helping her clients lead from a place of humanity and empathy, and doesn't subscribe to the idea of separating professional from personal. She values getting to know people and having interactions can help heal scars from our past. Doing so can help us move forward in a healthy way. Taking the ick out of asking for money is very personal. It is important to recognize scenarios or situations in which you felt icky - either the way someone asked you for something or when you had to ask for something. Looking at things from the individual perspective is a great way to start. We all have different emotions and responses to experiences. However, money mindset challenges are common when asking for money. How can you fund your business? Are there generalizations that apply when people are asking for money to fund their business or for donations? There is always a need for financial support when starting a business or if you are a non-profit. Strategies that you can implement to overcome generalizations about asking for money include? To always be closing is icky. It shows you are just trying to get to the person's wallet versus getting to know the person. Instead, start a conversation to get to know the human being. Relating to each other as individuals shows genuine interest and will help with building relationships. Relationships go farther than asking for money. Find a commonality between yourself and the person you are asking. Be the host of the conversation. Always be the person who is in control. What is the ARC of conversation, and how is it going to look and go? When asking for money it is important to be personal and candid and know what is a comfortable ask. As you get to know the person you are speaking to, set the amount that you want to ask for. Set this amount before you begin the conversation, but allow it to change as you do research during the conversation. The ask strategy and what to say "It would be really great if we could count on you for this amount", then give them a moment to think about it. Separate what the amount of money means to you versus what it might mean to someone else. It is all scalable. Truly if you separate yourself from the meaning of the amount you can ask for any amount. Find the comfort to ask and you will be able to ask for any amount. Blue Jeans Theory - no matter what you know about people, you never really know what their relationship with money is. It's hard enough to figure this out for ourselves. Someone who makes $30K a year may invest $300 in a pair of jeans while someone else who makes $ 300K per year won't invest more than $30 in a pair of jeans. Therefore, it's impossible to figure out what someone's perspective on money is. Instead, ask "what do you think". Don't ask for a yes or no. Really make space for a gray area and keep it light. Say things like "I'm going to shoot for the moon and see if you can do this much." "I was thinking, could you give this amount, what is your initial instinct about that?" See if these open a deeper conversation. Additional tips for taking the ick out of asking for money when fundraising as a non-profit or seeking investors Start from a place of curiosity. It will help you relax more and prevent you from going into a place of judgment. Getting curious will also help build trust. Trust determines buying practices so it is important to build it. Likewise, getting personal is a great way to help you relax and let your guard down as well. When you come from a place of passion, you can really tap into a positive energy source that will help navigate you to a yes, people will want to support you when they feel your passion. Kel encourages vulnerability during conversations that involve asking for money because it demonstrates strength as opposed to appearing vulnerable and I need your support and I'm pulling on your heart strings. Instead of thinking always be closing, think always be candid. In a world where there are many scams related to asking for money, being candid can help disarm people. Honesty is key. People can sense your honesty and integrity with your ask. Share that asking for money is the least favorite part of your job but that you are excited to connect. Share your emotions and feelings as a way to connect. These suggestions will help with so many aspects of your business including sales calls. The more human we are the more genuine we seem and the more likely we are to convert people. When you are genuinely yourself, they will see you as someone they want to support and be with. Think about the other person also having these what-if or anxious thoughts as well so if you let your guard down, you will help them let theirs down also. How can you cater the ask to the person whether fundraising for a non-profit or seeking investors for your business? Use their name. Try to strengthen the relationship and they will invest in you. It may take a bit of time, or they may not have the resources themselves but they may be able to connect you to others who do. If you don't ask, the answer is an automatic no. When you have negative thoughts, your feelings are going to be of doubt, and you will lack confidence and you will not ask. If you flip the switch on the thoughts in your head, you will have more confidence and take more action, and more results. One step of action will lead to more motivation, more progress, and more momentum. This is working with an abundance mentality. If you are in a place of lack, take a break, get fresh air, and change your perspective. Donors give and investors invest. Use this perspective when going into an ask. Check out Episode 175 - What you need to know to find financial resources to fund your business with Diane Tarshis. Brooke Castille's CTFAR model. Book recommendation: Never Eat Alone by Keith Ferrazzi and Tahl Raz About Kel Haney Kel Haney is an NYC & Maine-based fundraising expert with 15 years of experience specializing in Outbound Fundraising. Her work boils down to “taking the ick out of the ask." Kel believes that we can create fundraising conversations that are relationship-building opportunities as opposed to transactional encounters. A few companies Kel has worked with include MCC Theatre, Signature Theatre, Ensemble Studio Theatre, Manhattan Theatre Club, and many more. Kel spent twenty years as a theater director. Her fundraising methodology is based on how she led a rehearsal room. She focuses on what makes each of us unique and engaging. Likewise, she empowers artists, art administrators, & board members to be fundraisers. How? By using skills that they already possess, such as empathy, candor, vulnerability, enthusiasm, and storytelling. In addition, throughout her fundraising career, Kel has helped arts organizations raise approximately $12M, primarily in donations under $1.5K each. When Kel is not coaching clients you will find her seeking artistic experiences, taking nature walks with her rescue pup, and playing extremely intricate board games. She may also be in the kitchen attempting to recreate the fabulous meals she & her husband, Michael Grew, have enjoyed during their travels. Learn more and connect with Kel Haney: Website for Kel Haney Email Kel for a free 30-minute call: kell@kelhaney.com Kel Haney on Instagram Kel Haney on LinkedIn Learn more about Donorly If you are starting a business or looking to scale your business and are tired of spinning in circles and doing it all alone, let's connect. Book a free consult with me by clicking here. 

Katie checks in with production manager (Signature Theatre, Aspen Opera Theater Center, Ensemble Studio Theatre, Gotham Chamber Opera), co-founder of Intuitive Production Management, and curator of the American Packard Museum, Rob Signom.

In this episode, Jennifer talks to Amy Jo Jackson about creating your own work, leaning into your gifts, and affirming the good things. Amy Jo discusses their original musical “Hatchetation,” their solo show “The Brass Menagerie,” and their work as a dialect coach & creative. They share tools for creating your own content cabarets, embracing your unique perspective, and resources for dialect work. If you are someone who is curious as to where to start when it comes to developing and creating — this episode is for you!   About Amy Jo: Amy Jo Jackson (they/she) is a writer, performer and glitter alien based in New York City. Their original musical Hatchetation was a 2021 selection for the National Music Theater Conference at the Eugene O'Neill Theater Center, and has also been developed through She-Collective and Fresh Ground Pepper's PAL program. Their Tennessee Williams  solo show “The Brass Menagerie” was commissioned in 2019 by the Denovan Fellowship in Cabaret. As an actor, Amy Jo has performed with Company XIV, Ensemble Studio Theatre, Exit Pursued by a Bear, Prospect, Oregon Shakespeare Festival, and many more. Their greatest accomplishment on The American Stage was making a child vomit from fear when they played Ursula in The Little Mermaid (sorry, kid). As a dialect coach, they've worked extensively in NYC and regionally, most notably on Broadway's Kinky Boots. With their partner Jeff Ronan, Amy Jo co-hosts a weekly podcast called And Almost Starring, which is available wherever you source your pods. Amy Jo's IG: @amyjojackson Amy Jo's Website: https://www.amyjojackson.com Want to coach with Jennifer? Schedule a session here! https://appt.link/jenniferapple Monologue Sourcing Promo Link! https://empoweredartistcollective.com/podcastpromo Learn more: https://www.empoweredartistcollective.com/podcast EAC IG: @EmpoweredArtistCollective  EAC TikTok: @EmpowerArtistCollective EAC Facebook: https://www.facebook.com/empoweredartistcollective/ Check Out Our Merch! https://www.empoweredartistcollective.threadless.com/ Any thoughts you'd like to share? Email us at EmpoweredArtistCollective@gmail.com

In this episode of The Artist Inclusive Podcast, hosts Shang Parker is joined by multi-hypenate, Steven Eng. Steven teaches voice, speech, and text at NYU and throughout NYC to professional actors and corporate clients. He is a certified Associate Teacher of Fitzmaurice Voicework® and has served as a panelist at the Voice and Speech Trainers Association national conference. As an actor, he has played leading roles in classic plays and musicals, from Shakespeare to Rodgers and Hammerstein. His acting credits include London's West End, New York Philharmonic at Lincoln Center, Ensemble Studio Theatre, Red Bull Theatre, ShakespeareNYC, Prospect Theater Company, PanAsian Rep, 5th Avenue Theatre, Pasadena Playhouse, La Jolla Playhouse, Huntington Theatre Company, Paper Mill Playhouse, Alliance Theatre, Cincinnati Playhouse, North Shore Music Theatre, TUTS, Dallas Theater Center, and more, as well as in Germany, Austria, and Cambodia. Steven's directing credits include productions in both New York and Ohio, and he is co-founder of National Asian Artists Project in NYC, a nonprofit striving to bridge professional theatre artists of Asian descent with the many communities their work can serve. Steven has also served as a grants panelist for the National Endowment for the Arts. Take a listen to this episode of the Artist Inclusive Podcast for insight into finding a middle ground among several intersecting vocations.https://www.hollandcreative.io  daniel@hollandcreative.io    IG: https://instagram.com/conversioncopydesign  https://www.dashofcopy.com  anna@dashofcopy.com  IG: Dash of Copy (@dashofcopy) • Instagram photos and videos  

Godfrey L. Simmons, Jr. is an award-winning actor, producer, director, and playwright who has spent over thirty years amplifying the voices of marginalized people and communities. And he is a father to Samuel. He is Artistic Director for HartBeat Ensemble in Hartford, CT, where he has co-produced the Off-Broadway virtual production of American Dreams with Working Theater, . In 2012, he co-founded Civic Ensemble, a regional theatre in Ithaca, NY. For Civic, he directed Eugene O'Neill's All God's Chillun Got Wings and appeared in Judy Tate's Fast Blood and Athol Fugard's My Children! My Africa!. Godfrey was a Producing Artist for Off-Broadway's Epic Theatre Ensemble for four years, appearing in The Winning Side, A More Perfect Union, Widowers' Houses (which Godfrey co-adapted with Ron Russell), Measure for Measure, Einstein's Gift, and A Hard Heart, among other plays. Also for Epic,.he co-wrote and starred in a documentary play about the election of President Barack Obama, Dispatches From (A)mended America. Godfrey and his colleague Brandt Adams, traveled throughout the American South interviewing 100 Southerners about the election. He won the 1999 Audelco Award for Best Supporting Actor for his performance in John Henry Redwood's Old Settler opposite Leslie Uggams at Primary Stages. He appeared in award-winning productions at Playwrights Horizons (Betty's Summer Vacation, Obie Award-Best Play) and Round House Theatre (Home, Helen Hayes Award-Best Production). His radio show The Griot Hour appeared from 2015-2019 on the Ithaca, NY Community Radio station WRFI, where he has just begun co-hosting the Black Lives Matter Forum. Godfrey is a 2012 TCG/Fox Fellow and a lifetime member of Ensemble Studio Theatre. --- Support this podcast: https://anchor.fm/thecreativealchemist/support

Katie checks in with playwright (The Hairy Dutchman, Spuyten Duyvil, Notes on My Mother's Decline, This Is My Office -- Drama Desk nomination), former fellow with Ensemble Studio Theatre, Dramatists' Guild, Berkeley Rep, and New Dramatists, and founder of Andy Bragen Theatre Projects, Andy Bragen.

Intro: Crypto bros, missing the great economic bubbles of the early 2000s. We may as well have cotton candy furniture, Severance on Apple TV, Bad Vegan. Let Me Run This By You: Stage Moms, kindergarten theatre.Interview: We talk to Joe Basile about Long Island accents, NYU Tisch, Bradley Walker, Ensemble Studio Theatre, Liz Lerman's Critical Response Process, Mary Zimmerman's Metamorphoses, the Neo-Futurists Too Much Light Makes the Baby Go Blind (The Infinite Wrench), perfectionism,  Roundabout Theatre Company,  A Bright Room Called Day, Suzan Lori Parks, Go Humphrey, sock puppet Showgirls, keeping the thread of community after college ends.FULL TRANSCRIPT (unedited):3 (10s):And I'm Gina Kalichi.1 (11s):We went to theater school together. We survived it, but we didn't quite understand it.3 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (21s):We survived theater school and you will too. Are we famous yet?2 (32s):Okay. I'm getting, I'm getting it together. I, Yeah, I woke up with this really interesting idea that I wanted to run by you, which was, cause I was really tired when I woke up and I thought, okay, everyone's tired when they wake up. And then I thought, well, and they always say like, Americans, you know, never get enough sleep. We're always tired. But like nobody ever investigates why really? Why that is that our system is really fucked up. So like, I don't know. I just was like, yeah, we always do all these like expos A's on like sleep or wellness. Right? Like Americans are the fattest and the most unhealthy. And I'm only speaking about Americans because that's where we live. I don't know shit about Madrid.2 (1m 13s):You know, I'm sure they're they have their own plethora of fucking problems. But I'm just saying like, we don't actually do the work to like, figure out what is wrong. We're just like, Americans are, this Americans are that nobody's getting enough sleep. And like, there's all these, you know, sort of headlines. Right. And we're not just like, well, why is nobody getting enough sleep? Like what is actually happening? So that was my grand thought upon waking up was like, yeah, like, I don't know. We just never dig deep in this case. We're not big on digging.4 (1m 46s):Probably not. I mean, I think our lifestyle overall is pretty unhealthy and it's because of our economic model.2 (1m 58s):What I was gonna say, it all boils down to see the thing is the more you talk to people, the more I do the angrier I get, especially like in my office, like slash co-working, like I gravitate towards the ladies and a lot of ladies of color. And we end up sitting around talking about how like capitalism and systematic racism and sexism are all tied together and how, and by the end, we're just so angry. We're like, okay, what can we do? And we're like, okay, well we need to stop putting money in the pockets of this old white man who owns the coworking. But like we have nowhere else to go. So we're like, now we're screwed. So anyway, it's interesting. It's like it all, every conversation I have of meaning with you or with my cousin and it all boils down to the same thing.2 (2m 43s):And then you end up thinking, I ended up thinking the really, the only way is mass extinction and starting over with a new species, fresh slate, fresh or revolution, right. Or some kind of bloody revolution, it's going to be bloody because you know, the, the, the, the people in power aren't going to let go as we see. So like, we're not, it's not good is all, but I don't feel necessarily like, and maybe it's because I took MTMA, but like, I don't necessarily feel terrible about it. I feel just like, oh yeah, like we're, we're headed towards this way, unless something drastic happens. And I'm not sure that's a terrible thing. Now I don't have children.2 (3m 23s):So I might feel totally different about my children and my children's children and their children, but I just don't, that's not my frame of mind. So anyway, that's what I was thinking as I was so tired, waking up.4 (3m 35s):Is there any world in which you and the other women in coworking can just put your, just rent and office?2 (3m 44s):So we're starting to organize to like, be like, okay, you know, like who would want to go in on a lease, you know? But the thing is, it's so interesting. It's like, well, maybe it's LA, but it's also the world. Like, people don't really trust it. Like we don't really know each other that well yet. So we'd have to like do credit checks and thank God. My credit is good. Thank God. Now it was terrible. But all this to say is that like also LA so transitory that people are like in and out and, and like my, you know, travel. It's just so it's such a weird existence, but we are talking and there's a guy, a black dude. Who's also like my financial guru guy who like, who works at co-working.2 (4m 28s):I met here, he's a mortgage guy. And he's just been like, talking to me all about fucking crypto bros and like how the crypto bros are like, he's like, it is insane. Now, Gina, did you know, now I'm just learning about this world. And he's like, it's all, make-believe basically we live in the matrix and that fucking, there is something called the virtual real estate. Did you know this? Okay, you can purchase virtual squares of real estate, like Snoop Dogg's house, like, like, and people are doing it. And the people who are, it's like a status thing and it's expensive. And the people who are becoming billionaires are the people who run the apps.2 (5m 9s):Right. Are the people who created the fucking program. We are in the matrix. And I was like, wait, what? And he showed me the site where you can buy any town. If you looked into your town, people are doing it. It is, it is consumerism mixed with people are buying things that don't exist.4 (5m 29s):Okay. Yeah. I feel like this is what happens when people with an unchecked power and privilege, it's like, okay, well, like literally we're just making it up. Let's just have cotton candy, be our furniture now. Like it's. So I tried to get into Bitcoin.2 (5m 50s):Oh yeah.4 (5m 51s):Like about five years ago, somebody that I went to high school with is rich from Bitcoin. And, and she was like one of the founders of one of these companies. And so the first problem I have is you shouldn't invest in anything that you don't understand. Right. So I tried to read about it and I'm just like, but what, I just kept reading and being like, yeah, but what is it? Right. You know, what's an NFT.2 (6m 20s):Oh my God. The NFTs. Oh my God. And his name is Lamont and I love him. And he was trying to teach me about those. And I was like, Lamont. I have to take some kind of drug to understand what you're saying. I don't,4 (6m 31s):I have, I, you know, I've read articles. I've had people explain it to me. I mean, I think what it is, is I do know what it is, but I'm just like, that can't be what people are spending that be that,2 (6m 43s):Yeah, because we're not stupid people. Like we can understand concepts of things.4 (6m 47s):The thing that got me off of cryptocurrency and, and FTS and all that is that it's so bad for the environment, blockchain, the amount of energy that's required to power blockchain is just like so destructive.2 (7m 3s):Okay. So this leads me to, so Lamont was like, you know, what's going on in the coworking row storage room. And I'm like, what? And of course me, I'm like, are there, is there like a torture chamber? That's why Was like, no, he's like one of the side businesses of the CEO of this place is to host these crypto machines that, that it's like credit card terminals, but for crypto. And so all the, all the crypto exchanges that go on need checks and balances, God, he's such a good teacher. He actually explained it to me. He's like, look, you, when you do a crypto exchange with somebody that has to be checked or else, how do you know you're actually getting shit, which is all like theoretical anyway.2 (7m 47s):But he's like, so then you have to create these machines that check the other machines. And those are some of those. And you get paid. It's just like having credit card terminals, right? It's like selling credit cards. You know, people that sell credit card terminals, like they make money off the, the things, the exchanges, the, the transactions, right? Transaction fees. It's like 10, 10 cents of whatever or something 4 cents. So we got machines in the fucking co-working that have nothing to do with coworking. And I re one day it was hotter than fuck over here. They take a lot of energy and Lamont Lamont goes to the guy, the crypto bro. Who's also the CEO of this coworking space who really wants to just be the crypto, bro.2 (8m 27s):He's like, listen, bro. Like, something's going to melt down. You got to have something to cool. These machines. I mean, it's a fucking disaster waiting to happen. We're all going to burn up because this motherfucker wants to do crypto. He's not even dude. He's just doing the terminals. They're called terminals. No wonder my motherfucking internet doesn't work. How much juice do these motherfuckers take? I got pissed. I got Lamont. And I got pissed. I said and Lamont so funny. He goes, yeah, I don't mind all this like virtual crypto shit, but I need some actual motherfucking green tee up in here. You haven't had green tea up in here for days.4 (9m 6s):This is what I'm going to say. This is a, like, when you all of this, when all of this starts swirling in my head and it's all overwhelming, I just go, oh, like, okay. But that's not for me. Like this whole ether, a world that's cotton candy furniture. Like that's not for me. I have to stick with what I know. I like go stick with your, with, with what's in your CTA, what's in your wheelhouse.2 (9m 30s):Right. She taught us. Catherine taught us that, right?4 (9m 33s):No, it was a2 (9m 35s):Catherine's job. Oh,4 (9m 38s):Josh. Yeah. Yeah. He was talking about, the programs are called the, your concentration is called dementia anyway, like in the same way that, you know, people create art that other people criticize. And then you say, well, it's not for you. Like, I just know that none of that is for me. So, you know, because here's the thing we Erin and I have had near misses on like a bunch of bubbles. Right? We lived in California, we lived in the bay area during the, what they used to call the.com. And all of our friends had these hundred thousand dollars a year jobs and worked at Google and places and got Friday night, beer parties and lunch catered, whatever, every single day.4 (10m 23s):And we were just like, oh my God, we're so dumb. We can't, we don't know how to work in tech. We don't, we can't get to me take advantage of this opportunity. Then it was the housing market. And in 2004, it's like, wow, you could get a house. Like we could buy a house. Somebody would give us a mortgage. When we have no money in so much debt, we thought we should buy a house. We looked into buying a house that didn't work out. That turned out to be a good thing. I think the crypto thing is another, like, I'm not saying it's a bubble. Although it probably is. Cause we have to be in a bubble. But I'm saying like, I put myself at ease about not being able to really grasp these things by just saying like, oh, that's not for me.4 (11m 10s):That's not what I'm, that's not what I'm really like here on this planet to eat, to do2 (11m 16s):It interests me. And also, yeah, it's so bad for the environment. And also I just don't give a fuck. Also give me my fuck. Oh, we haven't had creamer up in this bitch for like, and I started, I was like, I don't give a fuck what you do here, but I need creamer. So if you don't like it and they finally got it, you bet your ass when Lamont and I were like, okay, green tea, we need it. And they got it. Cause we were like, fuck you. Like we're not stupid. And then the other thing that I wanted to say about the whole Bitcoin, oh the minimalist movement that these, these kids that are in their thirties are doing okay, listen to this. This is insane.2 (11m 56s):So kids are having and kids. Yeah. They're like 30, right? They're buying Teslas. Okay. But great. They buy a Tesla. Teslas are now equipped with so much shit that you can basically live in it. As long as you have a charging, they fucking park their shit and their parents' house. I'm not kidding you. So a lot of them were living with their parents. Right. And they were like, well, this fucking sucks, but they're saving all this money. Right. Cause it's so expensive. So there's sock away, their money. They buy a Tesla, they park the Tesla in their parents' fucking driveway. And they do experiments where they plug in and then they see if they can live in it. Okay. This is like a real thing.2 (12m 37s):Right? So it has everything you need except a shower and the bed, or like you, your seats go down. It's actually an, a toilet shower and a toilet. And then they get, so they have a Tesla,4 (12m 48s):They get,2 (12m 49s):They get, they get, they get a gym membership. Okay. So they had a Tesla and a gym membership and that's all they need. And they fucking don't own shit except crypto currency in their Tesla and fucking go around to different cities. And there's like all these Airbnb hacks and, and rental car hacks that if they travel, they travel around the country. Like the guy who is the CEO of this place, doesn't live here. He lives kind of an Austin kind of here is a test. It is the weirdest thing.4 (13m 22s):Okay. Well, when the Russians send nuclear missiles and we ended up having hand to hand combat with the Chinese or whatever, well, these fighting people gonna to do nothing.2 (13m 32s):I don't know how to do nothing. There'll be dead. No, no. But you and I are scrappy. Like we could figure it out. They're dead. And that's fine.4 (13m 41s):I always think of, I just said, I think like people used to hunt, you know, like w w where if our world is predicated on so much pretend and like, and like also just like this very thin margin of, well, it's all fine and good until the power grid goes out. It's all fine. And good until like, suddenly for whatever reason, there is just no internet,2 (14m 3s):Like, or they get hacked. Right,4 (14m 6s):Right. Yeah. It's all fine. And good until like everything that we put our hope hopes and dreams and faith into just doesn't work one day, because that's what happens with machines is they just, sometimes they write2 (14m 17s):And Lamont was saying, and I kind of agree with him that like, what he thinks is happening. So frantically the government is scrambling to get into crypto. Right. Frantically our government is like, we're going to have a fucking stake in this. So what he thinks is going to happen and like agree with him is that they're going to figure out a way to sabotage the crypto system and say, we, we now run the cryptosystem. He's like, I know it's a conspiracy theory, that kind of thing. But of course it's money. Right. So they're going to say, okay, okay. Like you guys are going to get screwed because someone's going to hack, you, let the government take over, we'll run crypto. And then of course,4 (14m 54s):Which takes away the main draw of crypto, which is that it's this currency that cannot be traced to everything. So the second there's any type of regulation that, that, and it's like, well, you might as well just be talking about dollars. Right. Because you know,2 (15m 9s):That's what they're going to do. So it's going to be really interesting to see how this plays out. We'll probably be dead, but that's okay.4 (15m 14s):Yeah. We'll probably be done. I'm watching this television show called severance. Oh,2 (15m 19s):Everybody loves severance.4 (15m 21s):Wow. Wow. Wow. It's it's woo. It's really something else. But what I love about it is it's kind of hard to explain, so I won't try to explain it, but there's suffice it to say the company that these people work for, the job that they do is they sit at these computer terminals and they there's just a screen full of numbers. And they have to put these digits into the correct bins at the bottom.2 (15m 53s):Okay.4 (15m 54s):Based on their feeling about the numbers, like these numbers are scary and these numbers are half. Yeah. It's so weird. Right? When I, when I see them, they're putting the numbers into this little bins in the bottom and I go cut. This is like my daughters, you know, like educational games. She has to do something like this. Well, it gets to the end of the season. And the they've, all this little department has leveled. The there's all this pressure on getting a certain quota by the end of the quarter. And it's, we don't, we're not gonna make it and we're not gonna make it.4 (16m 35s):We're not gonna make it at the last minute. They make it. And what making it looks like for them is that a pixelated cartoon character comes on and says like, basically you leveled up. So really it, I dunno if this is the point that they're trying to make, but it really looks like they're just playing a video game.2 (16m 58s):This is insane. I love it. It's the same.4 (17m 2s):It's really, really good. And I, and I reached out to all of the actors on there and seeing if anybody wants to be on our show, I got one person who was like, oh, that sounds interesting. I'm like, is that a yes and no, I never, I never heard anything back from her, but yeah, listen, humans are designed to work. So when you don't have to literally like, grow your own food and cut down your own wood, you have to find something to do. That feels work, work ish. And I feel like a lot of our industries are kind of work adjacent2 (17m 43s):And like, and like a lot of sorting into bins. Yeah.4 (17m 50s):You2 (17m 50s):See fucking bad vegan.4 (17m 55s):No, I was wondering if I should watch it.2 (17m 57s):Okay. Watch it. And we'll talk about it because whoa. It is, the Myles was a very frustrated with this documentary based on,4 (18m 9s):Oh, it's a documentary. Oh, I thought it was a tele. I thought it was a fictional show.2 (18m 13s):Oh, it they'll make a fictional show out of it. But it's a documentary about a woman who started a vegan restaurant and so much more in New York city. And it comes down to what we always said. And I'll wait until you watch it. But I, it just reinforces what we always talk about, which is if you have an unfulfilled, inner need from childhood, that shit will play out. I could trace this, her whole demise, her whole demise. And it's a whole crazy ass fucking story about this woman. Her whole demise comes down to the fact that Alec Baldwin did not pick her to date. Okay. That's it.2 (18m 53s):Okay.4 (18m 54s):Completely plausible. I completely understand that.5 (19m 1s):Let me run this by you.4 (19m 9s):I know my son got this part in a movie. And so the thing we wanted to run by you is I, Hm. So many things I get, I get stage moms. I understand why stage moms is a thing. When my son started getting into acting, he was five years2 (19m 35s):Old. Yeah. It was really young.4 (19m 37s):And my thing was, I don't want to be a stage mom. I don't want to be a stage mom. I don't want to be a stage mum, which was reinforced by every time I've ever been on set. There's always at least one really out of control stage mom. And I think I told the story in the podcast before, but one time we, we were in a, he was doing Gotham that showed Bathum and there was like a gaggle of kids in this scene. And this one boy, I was just, you know, whatever. I was striking up a conversation with him and I said, oh, do you, do you really want to be an actor? And he said, no, my father makes me do this. I want to be at school.4 (20m 17s):And it was just so2 (20m 19s):Like,4 (20m 19s):God, and I met a lot of kids. This was back when he was doing all just all background stuff. I met a lot of that's where you find the most stage moms when the kids are like that, the stakes are just, couldn't be lower. Right. You know, they're just doing background, extra work, which is all just to say, though, I've had to be in dialogue with myself about what my aspirations are about working in film and television and my frustrated aspirations. And I, you know, I've had to just be constantly talking to myself about making sure that this is what he wants and not what I want. And in the classic thing that always happens is when he gets an audition, if he doesn't feel like doing it, it just, it becomes this thing.4 (21m 8s):And I always say, you don't have to be an actor. You don't have to have an agent, but if you're going to be an actor and you're going to have an agent, you have to do the audition.2 (21m 18s):That's true.4 (21m 19s):And you have to work at it and you have, you have to work hard at it. And that thing is actually really hard. And it takes a lot of work that we just kind of overcame this obstacle for the audition for this movie, because I made him put in maximum effort. Usually I don't usually, I'm just like, well, it's his career, you know, it's his life. If he doesn't want to work on it, why am I going to spend, you know, my whole time? But I'm really encouraged him to work on it. And he really did. And he did really well. And so now we're waiting to hear, you know, whether or not he's gotten it, but the first night that this was a thing, I couldn't sleep. I was awake. Like, I mean, part of it is thinking about the logistics.4 (22m 1s):Like how will I live in LA for a month when I have two other kids. Right. But the other part of it is just, what is this going to mean for him to, what's going to be what's next and what's next and what's next. And what's next. So I've talked a lot of shit about stage moms in the past. And I just want to say, if you're listening to this in your stage, mom, I get it. I get, I get, you know, because maybe this was your hope and dream, but also maybe just, you put a lot of effort into when you're the mom of the kid who wants to do this, it's so much work for the mom or the dad was the case may too much. It's, it's scheduling babysitters when you have other kids2 (22m 43s):Driving4 (22m 44s):Into the city for auditions paying for headshots every year, because they change so much every year communicating with doing the cell. I had to learn. This is actually how I learned how to do I moving because I had to, you know, work, learn how to edit his self-tapes and stuff like that. So, but have you encountered stage moms? Oh,2 (23m 7s):That's a great question. Yes. And I feel like I totally understand how moms and dads get and caretakers get to be that way. And I think also to remember for me is that it comes from this genuine usually place to want to help and protect your kid. And, and also, and then you mix that in with your own aspirations, which I would have to, if I had a child that I was shoveling around and also, yeah, I would encounter that. So I think I get it. And I also know that like when I worked at casting and at PR and I loved it, but they would occasionally be like moms that would bring in their kids or dads, but usually it's moms.2 (23m 57s):Right. Of course, who bring in their kids that were desperate to get the kid into the face of the casting directors. So they'd hang around. They didn't want to ingratiate themselves to casting at the audition. They'd come into the office and, and, you know, to their credit of my bosses, PR casting, they were lovely. Like they, but, but they also had work to do so. It was like, these kids are just sort of standing there smiling. And the mom is like pushing them and we all, it was very uncomfortable and it doesn't actually work like what works is being professional on set, doing a great job in the room, being a nice kid and being a nice parent, but it just feels like, and we know this from being actors.2 (24m 45s):It just feels like you have to like, sort of ingratiate and push yourself into the faces of the people with power in order to get anywhere. So then there's like these really uncomfortable moments of like talking about nothing while we're trying to get work done in the office, especially like, yeah, they have a lot of work to do. So it was just, it was just very, and you'll see when we go to PR like it's all glass. So like, you can see what the casting directors are doing in the office. So you want to be in there because it looks really fun.4 (25m 16s):Right. And2 (25m 18s):Actors who are like, quote, special, get to go in there and say, hi, like I'm friends with the, with the casting directors is the, is the idea. I'm not saying I'm like someone is, and then they get to go. It's just like a really weird thing. And it's also, it's very hard to navigate and I get it too. We, we, we want to be liked and loved and picked and chosen. And it is a universal thing.4 (25m 44s):I want the same thing for our kids. Yeah. Yeah. Totally.2 (25m 48s):I don't. I've had never had anyone that has been bonkers, you know, but maybe, yeah. I never, yeah, never.4 (25m 55s):Yeah. I think really they're bonkers behavior. I think actually, probably the kids are the ones who absorbed the brunt of it, which is, you know, and also it's really hard to teach a kid about acting because you're, as we've said many times, you're, you're trying to figure out how to play a character when you don't even know who you are. I mean, that's really true for a kid and trying to teach them, it's supposed to be it's. Yes. It's pretend, but you're supposed to be sincere and no, you're not the character, but yes, you have to be there. It's a lot of mental gymnastics,2 (26m 32s):Impossible. And like, if you don't know how to communicate that to a kid, let alone, the kid know how to do it. It's a mess. And then you're just, it's just kind of a crap shoot. Like, especially when you wouldn't see that were two and three years old.4 (26m 47s):Oh, see, now that I can't2 (26m 51s):Was like, yeah, some kids are, I mean, it's just to me, I thought it was amazing, but I also didn't have an agenda. I'm trying to get shit done. Like the directors and the producers on the, everyone is trying to get shit done in the room. And I have a kid doesn't, you know, whatever the kid is literally three years old. So like, I thought it was amazing, but I, they it's, it's a nightmare.4 (27m 15s):Yeah. Did I ever tell you the story of when I taught drama to kindergarten?2 (27m 21s):I know you did, but I don't know.4 (27m 24s):I had this job at this school called head Royce in the bay area. I got a job teaching after-school drama to kindergartners. It might've been my very first teaching thing. No, but it was early on and I hadn't taught, I certainly hadn't taught like my full-time teaching job that I eventually had at a middle school, but not having children and not having taught. I thought we were just going to do a play, you know, like They were going to memorize their lines. I seriously thought I seriously picked a play.2 (28m 5s):What was it? Do you remember? Was it like fucking, wouldn't it be funny if it was like, you know,4 (28m 10s):Romeo and Juliet2 (28m 11s):Steel Magnolias or something like just like totally amazing.4 (28m 15s):And it was age appropriate because it, it, it turned out to have whatever it was. I can't remember. But it was also a children's book, which I, oh, oh yeah. Oh, sorry. I adapted a children's book.2 (28m 29s):Oh my God. Okay.4 (28m 32s):And the entire time we were working on it, it never occurred to me that they couldn't memorize their lives. I just kept being like, well, maybe by next week, they'll know it. My next week they'll know it until it came time to do the performance and all the parents came and I shit, you not, it didn't occur to me until all the parents were walking in. Every single one of them had a video camera. This is before cell phones that, oh my God, they are expecting a show. And I guess I was too. And they don't know, we don't have a shell.2 (29m 7s):It look like my God, this is brilliant.4 (29m 10s):I got to the point for awhile. I was like doing the knee. I was the narrator. Right. And, and then they was supposed to be saying their lines, but then they would never say their lines. So then basically what it amounts to is I just read the entire book. Would2 (29m 26s):They do4 (29m 27s):Well, the kids just stood there. And the middle of it, when kid in the middle of my, and of course the more anxious and, and terrible, I felt like the more forced and forced, I must have looked crazy. I wish I could say videos. I bet I looked like a complete lunatic and in the middle of it as, and I'm also getting louder and louder. It's like, I would love to, I'm sure those parents are erased, taped over those tapes, but I would love to see just frantic me and I'm getting read By the time it was over, I just went to the headmaster's office.4 (30m 16s):And I was like, I did a terrible job. You should never hire me again. This was a complete disaster. And they were like, yeah, maybe this isn't your thing.3 (30m 39s):Today on the podcast, we were talking to Joe, the seal, Joe is an actor and a writer and a content creator and a former Neo futurist. He has got a going on and he is lovely and charming and personable and a marketing genius. He has his own company. Now. He is all that. And the bag of chips as the kids used to say five years ago. And I hope you really enjoy our conversation with Joseph.4 (31m 21s):You still have that fabulous smile.7 (31m 27s):You were so sweet. It's so good to see both. Oh my goodness.4 (31m 31s):What you, what you don't have. What I remember is big hair. Oh, Well, you're a handsome bald bald man. So you can play.7 (31m 42s):Oh, thank you. Go on. Go on.4 (31m 45s):I will. I will. I will. But I'll start by saying congratulations. JoBeth seal. You survived theater school.7 (31m 51s):I did.4 (31m 52s):Yes. And you survived it with us mostly with bod. You guys are graduated in the same year, I think.2 (31m 58s):Yeah.7 (31m 59s):Yeah, we did. Yeah. Do you remember that year? We were in the same section, Johnny.2 (32m 4s):Here's what I remember about you. We went to a Halloween party together with my roommate with a non theater school, like my best friend, Sasha, who Gina knows Sasha and Carsey. And we went to a freaking Halloween party in the suburbs and you had the best costume ever. It was a robot. And you remember any of this? You look,7 (32m 24s):Oh my God. I don't know2 (32m 25s):Brilliance.8 (32m 27s):It7 (32m 27s):Was like, I was a robot. Wow.2 (32m 29s):Like a whole situation. And it was like, we had the best time, but it was like, we didn't know anybody. It was like in the suburbs. It was my friend.4 (32m 37s):Did he make2 (32m 38s):That? Yeah, it was all made. It was so good. Anyway, that's what I remember. That's the main thing that I remember being like, oh my God. His costume. Brilliant. So anyway, I do remember. I mean, I remember, yeah. I mean, remember bits and pieces. I remember that, like I thought you were like super nice. And also, yeah, that we all just were trying to figure it out. Like nobody knew what the hell was going on.7 (33m 7s):Yeah, no, I remember when you joined our section, we were so excited that like someone new was going to like join and we all knew of you, but we didn't know. And I remember that year, you were just like a breath of fresh air. You were just so direct and funny. And you know, I think at that point we were just getting a little tired and you just brought a lot of really beautiful energy into our sections.2 (33m 36s):Oh, the other thing I want to say before I forget is that I, when I was doing research on you, like just to catch up on you and stuff, there's other people with your name that, that some, some before like wild, like one, one guy, like a couple like therapists, couple has Lisa and Joe have your name and, and are like infomercial kind of P anyway, I just thought it was hilarious. And then there's another actor.7 (34m 3s):Yes. There's another actor in what had actually happened one year. It was, I was put in the DePaul, the theater school, alumni newsletter that I was on six feet under and all of this stuff. So people started reaching out to me and it was the other job.4 (34m 20s):That's funny. That's funny. I wonder about those alumni. So it's just, I mean, I guess you've answered the question is somebody scouring the trains or whatever, looking for names that they2 (34m 32s):Used to be John Bridges. And then I think also people submit themselves, which is so, I mean, I get it, but it's also like, I don't have time for that. I mean, like, I mean, not that I'm doing anything that fancy, but like, I, there's something weird about being like, Hey John Bridges, can you put me in the alumni news? I don't know. I'd rather be4 (34m 55s):Except for like your, but that's what it is. Right. That's what you have to do. That's what it's all about the network. I mean, I haven't ever done it either, but2 (35m 6s):I mean, I did it when I had a solo show because I thought, okay, in Chicago, maybe people will come, so I have done it, but I, I just,7 (35m 14s):Yeah, for promo, I think it might be helpful in some instances, but2 (35m 19s):Whatever it is4 (35m 22s):Actually the beginning you're from long island7 (35m 25s):And you have4 (35m 26s):Zero long island accent. Was that very intentional?7 (35m 30s):Well, it's so funny. You mentioned that because I think that was such a big thing my first year. And it really kind of changed the way I speak, because I felt like I was a fast talking like long island kid. And my speech really slowed down that first and second year. Cause I was so conscious of it. So the, after that first year, I think, you know, yoga between yoga and all the voice and speech stuff, like I was like standing up straight and talking like standard American, like, you know, whatever that was that we learned.4 (36m 5s):Like you had to do that in your, not what, even when you weren't on stage.7 (36m 10s):I mean, that was, that was a thing I think back then, I didn't really understand the distinction. I felt like I, I, I had to speak that way on stage and then it just transferred over to my real life. Also, you know, looking back, I was like, oh, you know, I wish I would have been able to make the distinction in my real life that I don't have to speak like this, but it's hard to learn something and practice it. Like I couldn't just practice that in class. It would have just been too difficult, but I started speaking a lot slower just because I was really conscious of the all sounds I was making, like all the sounds and, and I, it was pretty thick. I don't know. I don't know if you all knew me back then, but it was, there were some words I had never heard pronounced.4 (36m 52s):Well, I don't recall you as, I mean, I was surprised to learn that you were from long island and looking at your history because yeah. It seemed, it seemed like you had erased it. So were you the only person from, from New York in your class?7 (37m 10s):No. There were a cup there. Ed Ryan was also from New York. Yeah, but he was from Scarsdale, I think. And then I w I might've been the only one from long island, at least in my class that I remember.4 (37m 23s):And did you have DePaul as your, I mean, is that, was that the school you wanted to go to or your safety?7 (37m 30s):Oh my God. I was all about NYU. I was all about it. And then even before I went to, you know, before I started applying for colleges, my senior year, I went to a summer program at NYU. And at the time there was something called musical theater, works conservatory. And I spent a whole summer doing like conservatory training and, you know, to earn college credit. And it was such a great program at the time too, because we took classes during the day. And then the evening we saw shows and did all this cultural stuff. So after that experience, I was, I just wanted to go to NYU and I just loved it. I loved the city and then I didn't get, I didn't get in.7 (38m 16s):And then I was deciding between DePaul and Emerson and I visited both schools. And when I went to visit DePaul, I know you all had Bradley Walker. And I stayed, he probably doesn't remember this, but I totally stayed with him in the dorms. And the other weird kind of quirky thing I remember was I, I went to his dorm room and he was eating dog food. Like he was eating out of a box2 (38m 44s):And wait,7 (38m 45s):Wait, yeah, hear me out here. So he's like, do you want some? And I was like, okay, sure. You know, peer pressure. So I ate the dog food, like out of the box, it was like dry dog food. And he's like, yeah, it's just, we like how it tastes and it's cheap. And then like, after he told me it was just like cereal and they just like, say like, they put this cereal in the dog food box anyway,4 (39m 9s):Like7 (39m 11s):Quirky things that I remember about that weekend.2 (39m 15s):So here's the thing as a 46 year old tired ass lady. I'm like, who the fuck has time to be switching foods into different modifiers. I can barely get my shoes on 18 year olds who are in college. Like the good quirky marketing. It reminds me of something they might've done. And say that movie with Janine Gruffalo and Ben Stiller, whatever that movie was that they did about gen X, whatever, like reminds me of something like, Hey, let's switch the food into the, but anyway. Okay. So was he nice to you?7 (39m 54s):Oh my God. He really sold me on the school and not, he wasn't trying to sell me on the school. He's like, this is where we do this. And he took me on a tour of the theater school and, you know, I loved that it was in an elementary school and I visited in June, which is like a beautiful time of being in Chicago. And I mean, after that experience, I was just completely sold and I, it was cool. Cause I went by myself like my mom, just let me just go to all these places to visit and like got off the, you know, I took the train, I took the L to the school and everything and, and it was, it was cool. I felt like it was a really good fit. So it worked out nicely.4 (40m 33s):You did a bunch of things though. After theater school, you moved back to New York and got very involved in theater. So tell us about that epoch.7 (40m 42s):Yeah, I mean, I think I did a couple of shows in Chicago and I had major FOMO of what was going on in New York and I felt like I was missing out. And I think, you know, I had audition for a lot of stuff in Chicago and I just didn't wasn't landing things. And then, you know, when I moved to New York, I wanted to focus more on directing and writing. And I did an intern. I did a couple of internships, but I did want to ensemble studio theater. And that was super helpful because as part of the internship, you were in an actor director writing lab and yeah, and it was, I think the first time I had been in a place where you can kind of cross over and do different things.7 (41m 27s):And also the, we had a, a lab director who really kind of just taught me, like how to like give feedback to myself and how to give feedback to others. Like the big thing that she would always ask is like, after we would present some kind of work, she would just say like, what do you need to know in order to move forward with the work? Like, what is important to you? And we really, you know, we had a small group and we really experimented within that. And then after the internship, some of us kind of like stuck together. And I mean, at the time too, there were, there were a ton of interns. There was like over 20 and they gave us the keys to the theater.7 (42m 7s):And we had like, there were a couple of theaters there. So we would do our shows like on the top floor of, of, of the theater there on 52nd street and, you know, hang out after and drink beer. And like, I mean, something that probably is not happening today, but it was, it was a really co like a good landing pad for me. So just to meet other people.2 (42m 28s):Okay. So if we take it back a little bit, like when you work, cause I'm curious about that. So like, you didn't have FOMO about LA, right? Like moving to LA when everyone moved to LA or did you like when you graduated from DePaul and I asked, because now you're here obviously in Southern California, but also because it sounds like New York to you based on you, the summer program you did and stuff was sort of the, like in your brain, like the utopia Mecca for actors, but you, so you felt a FOMO, but like showcase wise. Cause I love the good showcase story where you focused on New York, like, cause you did we, did we go to, no, we didn't go to New York, but we7 (43m 7s):Did know.2 (43m 8s):So how, how did you make the choice to go? Not to LA? Like how did that go down?7 (43m 13s):Yeah. I mean, we took a, that film class our last year with Gerard. I don't know if you remember him.2 (43m 20s):Fuck.7 (43m 21s):Yeah. We took a film class. Yeah. We all, we all did. I think that's what his name was and that2 (43m 29s):Class.7 (43m 30s):Yeah. We took a film class where we did a scene on camera and I, the it call experience was like horrific.2 (43m 39s):Oh, I remember it was bad for all of them.7 (43m 43s):I have like a little breakdown after, cause I was like, I don't, I just felt very, you know, self-conscious, I mean, we had spent like years doing theater and I never really looked at myself. And then I was not like a theater snob at all. Like I was willing to do anything. I would do voice or do film, but I just didn't feel comfortable with the camera at all. And I think by the last year or two, I really started to get more interested in like experimental theater and performance art. And I felt there was more of that in New York at the time or maybe I was just unaware of it in Chicago and I wanted to lean in that direction.7 (44m 25s):And that's another reason I kind of went to New York also.2 (44m 28s):Yeah.7 (44m 29s):Yeah. I wasn't seeing that as much. Like I remember there were some companies in Chicago that did some really beautiful pieces, like all the Mary Zimmerman pieces I loved. And I was like, Ugh, that was like, all those were like the Northwestern kids who were in those shows.2 (44m 45s):Oh, I remember what metamorphosis happened. And everyone was like, we all want it to be in metamorphosis. And none of us got in because she of course chose Northwestern kids because that's who she taught and that's where she went. Right. And so whatever.7 (44m 59s):Yeah. And I ended up seeing that in New York anyway, when it was there. So it was like anything like that would eventually go to New York to,4 (45m 6s):And you did a lot, you worked a lot in New York theater, you worked at roundabout and you, and you worked for the Neo futurists, which I love that. I mean, I, that show too much light makes the baby go blind, which is now called infinite infinite wrench, wrenches that it's called.7 (45m 23s):Yeah.4 (45m 24s):I love that show. Tell me everything about being a part of that.7 (45m 28s):Yeah. You know, at that I first saw that show in Chicago when I was like right outside of, no, I saw my first year when I was 17 and then someone from DePaul had like a friend of mine had brought me to it and I, I loved it and then kind of forgot about it. And then I auditioned in Chicago for it when I was 21 and I was just not ready for it. And then when I moved to New York, I was there for maybe two or three years. I discovered that they had had started the show there. And I mean, that really kind of shifted so much for me. I, well, for one thing, it was like, it was so great to meet a group of people who were passionate about the same thing, like the aesthetic, you know, passion about being ensemble.7 (46m 19s):And that show is like so challenging and fun and stressful, but also like super rewarding. And also at the same time, you know, it kind of changed the dynamic I had as an actor and artists with the audience, because it's so rare as an actor that you get to just like be yourself on stage. It's like rarely happens at all. So to on a weekly basis, just stand in front of an audience and like be yourself. And then, and then also think about like what you want to say and how you want to say it. And you know, like through movement or puppetry or through humor or through earnestness or do something concise conceptual or abstract or, you know, and I did some like crazy shit,2 (47m 10s):Like what was your, what was your favorite cause like what I'm noticing and what as you're talking, what I'm remembering about you is that yeah. Like literally you, you, my experience of you and when we knew each other back in the day, was that yet you did not, you, you, you wanted to sort of push the envelope and step outside of the bounds of what we were learning at the theater school. Like you just had an experimental, like heart about you. So I guess my question is like onstage. What do you remember about to my, about the Neo futurist that like really sticks to you? Like performance wise? Like what was so special? Like when did she7 (47m 48s):So many things? I mean, I think, well, the craziest thing I did was take a shit on stage with someone2 (47m 57s):I never heard about this.7 (47m 60s):It was actually a very like poignant play about like writing. It was with my mentor who was, and then you have you trust and we have the same name and we both, the play was actually called untitled number two. And we had this thing in common before we would perform, we would always like have to take a pill. So I just wrote this play about that experience. And to me, like he was, you know, offered me so much advice and so many, you know, really kind of mentored me through being a new, a futurist. And so I wrote this play in homage to him and, you know, as a gift and a sense. So at the end we like produced.7 (48m 41s):We like, we were actually, we put in a bucket and then at some point we, you know, we turned the bucket over and then, which was really hard to do. Cause I have to like, hold my poo in all day. And I was like, it was not sure what was going to come out at a certain, but I also did other2 (48m 54s):So. Yeah. Yeah. But I guess because, okay, so like the old summit stage fright I think is about being a failure for me on stage, like being embarrassed, being shamed, being all the things, right? Like that's what makes me panic on stage. Right? So this is an experience where you literally are like showing your insides, like take excrement, like on stage for the sake of art and for the sake of, but like, was it freeing?7 (49m 26s):Yeah. I mean, there was, I really never forget when I first run that I did my good friend, Erica, who I met during the new futurist and who I'm still really good friends with now. She said to me, she's like, if you fuck up, you have to let it go because you'll ruin the moment that you're in. And the next moment. So there are so many times, I mean, it was, we would learn things like the day before, the day of, and it was inevitable that we were going to fuck up. So all of that perfectionism, you had to kind of leave at the door. And, and that moment I remember sometimes like being on stage and being like, I have a line coming up. I don't even know what that line is.7 (50m 9s):And here you are. And then you just kind of like, say whatever comes out of your mouth and it's just becomes part of the show. So it was really freaky for me, who I felt like at school, I was not a perfectionist, but I did do a lot of homework to make things go. Right. I had to just let, I mean, another moment to, I, we did this like dance number where we had, we had these masks, there weren't masks. They were like plastic plates with smiling faces on them. And we didn't get a chance to rehearse the dance number before we went on. So I was beat backstage and someone was telling me like what the dancing2 (50m 48s):Score.7 (50m 52s):So I had my glasses on, like with this plate pressed against me and I hardly could see. And I was just like, all right, I'm just going to like follow the person in front of me and just see what happens. And then I think that's on YouTube somewhere of me like,4 (51m 7s):Oh, well, they wait. So I'm glad that you started to speak to being a perfectionist in undergrad because it wasn't until you use that word about perfectionism that I, that rung a bell. Oh yeah. You were perfectionists or, or maybe you were just one of these people that, you know, like we've talked to before who took theater school rarely, seriously, and maybe didn't care for people who didn't. I don't know if that's true about you or not, but how have you wrestled with your perfectionism as a performer and as a writer?7 (51m 42s):Yeah, I mean, I think what was school? I had like a very different experience. My first two years, compared to the second two years, I was certainly a big nerd my first two years. And I wish I had it cause when I knew this was coming up and I couldn't find it, I think it's at my sister's place someplace, but I have a journal that I kept used to write after every acting class. And I would write like what happened and then I'd give myself some like insights and recommendations for like next time I still have it. It's just, I have to find it. And when I do I'll, I'll, I'll send you. Cause I think I was, it was, I definitely documented everything that happened.7 (52m 25s):Like breakdowns, like being really angry, being really happy, like all that kind of stuff.2 (52m 32s): coffee table book, like, like, like acting notes from a teenager, like, like, or like, I don't know. I think it could be really great, but, and with pictures, cause you're an artist the whole, anyway,7 (52m 49s):I will, I will scan a good journal entry and I'll send it to both of you when I find it. But I think, you know, writing that really helped me, I think thrive the first two years was like the writing aspect of it and reflecting on it. And I think in terms of what I do now, like I need breaks and that's how I handle like dealing with perfectionism. Now I sometimes like I've just kind of started to develop a writing practice the past two years. And I know when it's time to stop. And usually it's when I stop, I know I need to like go for a walk and reflect or just let it go.7 (53m 29s):And then like,2 (53m 30s):'cause, that's what your friend Erica told you. It's like, you have to, we have to just let it go at a certain point in order to not because what happens right. As fear begets, fear, begets perfectionism. So on stage, if something goes awry, since we're all artists, we can relate, like if something goes awry and you stay stuck in the earth, wryness you really miss out on what's coming next. And also you're destined to fuck up. What's coming next. So that letting go for you, it sounds like it's really important in order to move on now, even not on stage. Like, and so you, you say like writing and walking helps you let go and you've realized that like to move on.2 (54m 10s):Yeah.7 (54m 11s):Yeah. And I it's so funny. We were talking about letting go. Cause when I auditioned for the Neos, we had to write a play about our biggest challenge. And to me it was letting go and I wrote this play, well, we didn't say any words, but we, there was a paper shredder on stage. And then I wrote out like a word or two on a piece of paper and then like put it through the shredder. And then we gave like, we held out pens or markers to the audience and then like the audience could come up and write something and then shred it. And it was like very powerful. Cause like some people would write like, you know, my, you know, my ex-boyfriend or like envy or, you know, last seasons, like fashion collection or whatever it is, you know, that they wanted to let go of.7 (54m 59s):But I think to me that is something that's still, you know, resonates of like how, how do I let go? You know, like through meditation, through like the walking for me is a meditation and that's, that's usually like, it's a big part of my process just to take the time, you know, to take the time between creation, I guess.4 (55m 20s):What have you learned that you've had to let go in terms of how you saw yourself as an artist when you started school, versus when you came out, like in the time that you've been able to reflect? What, what I mean? Cause we, we had lots of ideas about our spas and I had lots of ideas about ourselves and who we were as artists and whoever people. And most of those were all completely, they were wrong. So, so this podcast has been a process of letting go of some of those antidotes. What's it been like for you?7 (55m 53s):Yeah, I mean a big thing for me at school I remember was I know I've listened to a ton of episodes and I feel like I was really at war with myself. You know, I, the criticism from the teachers wasn't as big of a deal as the, as the criticism that I gave myself. Like I, I never, there was no self validation at all. Like even when I did something, well, I never told myself I, there was always something wrong. And I think that has been a big part of my adulthood is just learning to give myself a gold star and to self validate and then also to learn, to understand permission, to get feedback.7 (56m 44s):And you know, I think that was something that was always a little challenging at theater school too, was, you know, I like, you know, the, the lab director that I mentioned earlier at EST, who would say like, what do you need to know in order to move forward? So often at school we weren't in control of the feedback that we got. So I think sometimes it was really challenging for me when I was like, I'm not ready for all of this or I don't need to know that. Why are you telling me that now? Or, you know, we couldn't, I couldn't control any of that. And maybe I needed to let go of that. And I did have a little bit of a habit and, and a little reputation for walking out of class.7 (57m 32s):Yeah. And it was, it was something I had to address and something, a lot of teachers talk to me about. And I mean, often it was because I was bored or just like needed a break, or I was like, I didn't want to like watch someone or whatever it was. And2 (57m 46s):I think it's really bold. Like what the fuck, man? I wish the one time I did that, I, I like got in big trouble for it. And like, but like whatever the reason is you were on some level trying to take care of yourself. Right. And so good for you. Like, fuck that. I don't know. I like it. I probably would be like, oh, oh, that's awesome. And secretly I'm like, oh, the audacity, the amazing audacity of Joe to walk out and inside. I'm probably like, I wish I could do that. But anyway, so7 (58m 20s):Yeah, I mean, to me it was, it was self care in a way. And that was before we knew anything about that. And you know, when I think of like what I was going through at the time too, was it was such an emotional time for me, like for so many reasons. And, you know, like, you know, being away from home and coming out of the closet and like, you know, like all the money struggles I had and like, I, you know, it just kind of gave me, I was just learning how to take care of myself. And then on top of all those things, like studying drama, like, okay, this is the perfect time to study drama now, you know, and even like doing all the things that we did, like, especially the movement stuff always had kind of profound effect on me.7 (59m 8s):Cause we were like retraining how to the nervous system, that sense of like freeing our natural voice and doing all these things. So I was really emotional, like the first two years a lot. And I would just leave to kind of like collect my thoughts and not like have a major breakdown in class or dumb about something that yeah.4 (59m 25s):To modulate. Right. Because that's what you, what you definitely have no control over is modulating the flow of feedback because it's not just feedback from your teachers. We're getting feedback from our peers. And sometimes you'd get feedback from peers that you didn't really respect them. So you were like, I'm not sure what to, I'm not sure what to make of this.2 (59m 42s):What's becoming clear. Is that based on what you experienced after that with the lab is that we needed a feedback class. Like we needed a literal class of how to give and receive feedback at the theater school would have been fucking phenomenal.7 (59m 58s):Oh my God. I know it wasn't until years later when I was a Neo that we learn, the, the show was on, I think east fourth street and right next to his New York theater workshop. And they do the Liz Lurman feedback method, which I love. And I'm like, oh my God, that was really a beginning point for me because then it just to follow that structure is brilliant. Like, just start with what you were struck by. I don't need your opinion right away on what to change. Look, just tell me what you were struck by what moments did you enjoy? What, you know, what questions do you have and then, or asking questions yourself. And I mean, maybe the school does that now, but I think that was really, that was really big for me.7 (1h 0m 39s):I, for any artist, whether you're a dancer or2 (1h 0m 41s):No matter whether you're a child getting feedback from your parent or a spouse, getting feedback from your other spouse or whatever, it, it, it works in all levels. And I think that what it does though, is disrupts the hierarchy of the power in an institution. And so nobody likes that. I mean, really like teachers need to feel like they're in control, right. Instead of what struck me, let's stay curious, let's stay open. That's not how conservatories are made. Like that's not the whole goal of them. And then maybe I hope they're changing, but like, yeah. Oh, I just love that you haven't had that experience after school with both the, the, the work in New York and the, the ensemble work you did and the Neo futurists sort of sh it sounds like it's really shaped your work moving forward as an artist, right?7 (1h 1m 34s):Yeah. I mean, it was really, I have to say, I mean, after that moment of being a Neo futurists, I was like, I don't think I can play a character ever again. I don't really know it can happen cause I, it just didn't, I, it really changed the dynamic I had with an audience. And I, I guess I didn't want to go back to what it was before also being a Neo. I had to let go of really all the things I had learned at school, in a sense, I mean, all I could really use was like maybe some of the voice and speech work we had done, but I, I mean, yeah, it really kind of shifted things for me, but being in that ensemble was great.7 (1h 2m 14s):Cause I, I, you know, we really learned how you really need to learn how to give and take and to, and, but also be an advocate for your own work because every week, you know, you had to kind of bring in something and you had to pitch it. You had to sell it to the five or six people who were deciding what was in the show that week. So it was, I think it's an experience that I, they do workshops, but like, I think everyone should do a workshop in that way because the show itself is living newspaper. So you have to think of like, what is relevant right now? What's relevant to this audience what's relevant in this moment, you know? And how can I bring that on stage?4 (1h 2m 55s):So wait, so you had an interest young in musical theater, but did you follow that? Have you remained interested in musical theater?7 (1h 3m 6s):No. You know what? I know you all have talked about the brochure and so I completely read the brochure wrong when I chose DePaul. Well, a couple of things I had for musical theater, I wanted to get a BFA musical theater. And there aren't a lot of schools that offer that. So I, you know, when I didn't get into some NYU, I was like, okay, well, what other school? So I had to be flexible with that. But the brochure I remember for DePaul the last year we took ensemble class. And I actually thought that that meant that we were in a theater company.7 (1h 3m 48s):So I not only thought that the, like, after you graduated, you're part of an ensemble theater company. So I told everyone, I'm like, I'm going to DePaul. And then I'm in a theater company. And then I thought that like, that was one crazy thing. And then also the movement stuff, which was, I actually really loved, like all the movements that we did. Like, I'm a big, like I'm, I was a big fan of moving to music. Like that was my jam at school. So I thought I was going to be getting some dancing training there, but I kind of, I did let it go. Certainly like, as the years of the2 (1h 4m 26s):Rest of the school, were you in any7 (1h 4m 29s):I wasn't and I really wanted to be, I, we did like Peter pan one year. And Were you in that?2 (1h 4m 38s):No, but Eric was saying was Susan Lee and she talks about it on the podcast.7 (1h 4m 45s):I heard that one. Yeah, yeah, Yeah. But yeah, no, I didn't do any musical theater stuff. I did love all the, we learned like period dance, which I was a big fan of, like, that was2 (1h 4m 57s):Me too. There was a fucking structure and it was like slow. And like, there was a way to do it. I remember the Elizabethan situation maybe, or like there was like this dance with Romeo and Juliet situation. And I loved that. I felt like there were actual steps we could take, there was a pacing to it.4 (1h 5m 21s):And you knew if you got it or not. Right. Like it was, it wasn't nebulous. Like you either understood how to do it or you didn't.7 (1h 5m 27s):Yeah. I thought I was like, I love the ritual of it. And it was, it was great to learn about history in that way too. And I liked all the Labon stuff that we did with Betsy, I thought,2 (1h 5m 38s):Is that the buoyancy and the, this and the, that.7 (1h 5m 42s):Yeah. I loved all of that stuff.2 (1h 5m 44s):Yeah.7 (1h 5m 45s):I mean, it was, you know, it was physically challenging too. We, I remember that thing we did with it was called like chaos, where you had to like go crazy. And4 (1h 5m 55s):I don't remember that.7 (1h 5m 57s):Yeah.2 (1h 5m 57s):It was crazy. And I remember I got such a stiff neck. I had to go to the emergency Because we were going crazy. And the next day I was like, I think I broke my neck, but I didn't break my head. So I had to go to that. And they were like, what did you do where he's like at a headbanging concert? I was like, no, it's a theater school now.4 (1h 6m 23s):Oh, we got another one. We got another theater,2 (1h 6m 27s):Chaos lady. I was like, I can't move. Yeah.4 (1h 6m 31s):Okay. But wait, so tell us about Susan Laurie parks, 365 plays and 365 days.7 (1h 6m 39s):Yeah. So that was, we, the Neos were given a handful of S of days for our scripts from that. And then as an ensemble, we were tasked with like interpreting it in any way that we wanted to. So it was cool to like, do a show at the public. And I remember we did one piece called FedEx to my ex where we had, like, we used actual FedEx boxes, like maybe like 50 or 60 of them. And we, we had letters on them or words and like kind of configured them to, to give messages out to the audience on these boxes.7 (1h 7m 24s):So I love that experience just cause we, as an ensemble, get to LA to celebrate this playwright with other like theater companies from, I think it was from, from all over the place. And it felt, again, like another professional experience, something that we didn't really get a chance to do, because the show that we did on a weekly basis was like on knew sports street at like 11 o'clock at night, you know? And this was more of a, like, you know, a different audience for us, which wasn't,2 (1h 7m 53s):When did you stop working with, is it like once a Neil always said, Neil, can you stop pack in and do stuff? Or like, how does it work?7 (1h 8m 1s):You can. Yeah. So the, I was like a regularly scheduled Neo for about two years or so. And then I jumped in to do the show at other times. And like we did a pride show that I would do often, or I would come in and do a run. And then we also had primetime shows. So I was involved in like two or three prime time shows as either a performer or assistant director or a collaborator in some way. And I did that up until I did some marketing for the company. I did that up until I moved to LA. And even my first year in LA, I did a project at here art center with my, one of my theater heroes chucked me that I went back to to, to see.7 (1h 8m 50s):So, but yeah, when I moved here, I kind of just decided to let, let that go.2 (1h 8m 60s):They're always themes that emerged with people's lives when they come on the show. So for you then stop and starting, like ed Ryan's is being interrupted and yours is like letting things go. So when did you arrive in LA?7 (1h 9m 13s):I moved here. It's been five years. So 2017 or so. And you know, I finally feel like now I'm kind of getting settled. I mean, I'd go back to New York a lot just to hang out and spend time there. And I work remotely. So I'm able to like go there and like work for a couple of weeks. I've learned not to stay too, too long. Cause last summer I was there for six weeks and I was like, oh, I feel like I'm in my old life.4 (1h 9m 42s):How do you satisfy? If you still have a craving for performance, how do you set it? Because now you have your own company you're self-employed, which is awesome. How do yo

Taking the 'Ick' out of the 'Ask' with Funding Professional Kel Haney Kel Haney is an NYC & Maine-based fundraising expert with 15 years of experience in the field, specializing in Outbound Fundraising. She's a Senior Consultant at Donorly. Her work boils down to “taking the ick out of the ask." “She believes that we can create fundraising conversations that are relationship-building opportunities, as opposed to transactional encounters. Kel's worked with such companies as MCC Theatre, Signature Theatre, Ensemble Studio Theatre, Manhattan Theatre Club, The O'Neill Theater Center, New York Theatre Workshop, Page 73 Productions, BroadwayUnlocked, The Glimmerglass Festival, and Paul Taylor Dance Company. She spent twenty years as a theater director and her fundraising methodology is based on how she led a rehearsal room: focusing on what makes each of us unique and engaging. Kel empowers artists, art administrators, & board members with the knowledge that they already possess the most critical tools needed to be skilled fundraisers (empathy, candor, vulnerability, enthusiasm, and storytelling). Over her fundraising career, Kel has helped arts organizations raise approx. $10M, primarily in donations under $1.5K. Learn more about your ad choices. Visit megaphone.fm/adchoices

Rebecca VerNooy is an actor, writer, educator, and Movement Theater artist.  Her original work has been produced at Dixon Place, P.S. 122, Judson Church, Ensemble Studio Theatre, Dance Theatre Workshop, and Joyce Soho. The practice of Authentic Movement is her anchor for processing her thinking, accessing the imagination, and grounding herself in a chaotic world. Best Links: https://www.rebeccavernooy.com/ https://www.instagram.com/rebecca_vernooy/ https://www.facebook.com/rebeccavernooy.theaterartist/

Listen to Laura Ekstrand's take on things and you'll hear from a classmate who has built a creative community. She was co-founder of Dreamcatcher Reparatory Theater (now, Vivid Stage) with Janet Sales in 1994. She has her own podcast, Local with Laura Ekstrand, and an impressive body of work, which you can read about on her website: https://www.lauraekstrand.com/ She has appeared at Dreamcatcher in Be Here Now, The Lucky Ones, What Stays; Sister Play; Rapture, Blister Burn; Motherhood Out Loud, and Shakespeare in Vegas, among many others, and is a member of The Flip Side improv comedy troupe. New Jersey Theatre: Bickford Theatre, Passage Theater, 12 Miles West, The Theater Project, Luna Stage, and the Pushcart Players. New York Theatre: Naked Angels, Ensemble Studio Theatre, and New Georges. Film: Fat Ass Zombies; Split Ends, High Art and I Shot Andy Warhol. Television: Hack, Sex And The City, Law & Order, and The Guiding Light. As a director: Dead and Buried, Every Brilliant Thing, The How and the Why, Things Being What They Are, Next Fall, Distracted, The Pursuit Of Happiness, Melancholy Play, Pride's Crossing, Full Bloom and many others. Podcast directing: The Weirdness and Young Ben Franklin for Gen Z Media. As a playwright: What Stays (with Jason Szamreta), Whatever Will Be, The Neighborhood (Book and Lyrics; Music by Joe Zawila), Brink of Life (Book; Lyrics by Steve Harper; Music by Oliver Lake) and Astonishment, How to be Old: A Beginner's Guide, and At Ninety-Three (Adaptations). Laura is a private monologue and public speaking coach and holds a BA from Yale University and an MFA from Sarah Lawrence College. Laura is a member of AEA, SAG-AFTRA and the Dramatists Guild.

Kaliswa Brewster joins Jacqui for this episode of Love Period, part of our special mini-series celebrating Black History Month. Kaliswa Brewster is an actress based in NYC and helped co-produce Seasons 1 and 2 of Love Period. Kaliswa has recurred on Showtime's BILLIONS, ABC's series TIME AFTER TIME, and RELEASE. Film credits include PATERNO for HBO Films starring Al Pacino, the feature film PAINT directed by Michael Walker, and THE BIT PLAYER for PBS. Guest star and other television credits include CBS' GOD FRIENDED ME, BLUE BLOODS, Netflix's DAREDEVIL & CBS' UNFORGETTABLE. She has worked onstage at The Signature Theatre, Ensemble Studio Theatre, Hartford Stage, The Williamstown Theater Festival, The Guthrie Theater, and others. As a voice actor Kaliswa has appeared in various commercial ads, animation series (including Marvel), and her audiobook work can be found on Audible. She holds an MFA from American Conservatory Theater and a Certificate in Classical Theater from LAMDA in London. Resources: Jacqui's new book Fierce Love can be found here. A transcript for this episode can be found here. Connect with us: We'd love to hear your thoughts, comments, or feedback. Send us an email. Rev. Jacqui Lewis Ph.D.: Facebook | Instagram | Twitter Kaliswa Brewster: Instagram | Twitter Center for Action and Contemplation: Facebook | Instagram | Twitter

John Patrick Shanley; dramaturg, guionista i director; neix el 1950 al barri del Bronx de Nova York, en el sí d’una família d’origen irlandès, modesta i treballadora. La seva carrera acadèmica no és excessivament brillant, però finalment aconsegueix accedir a la Universitat, però l’abandona després del primer any, quan és cridat a files i s’allista al cos dels Marines dels Estats Units. En acabar el servei militar, escriu una novel·la que mai arriba a veure la llum perquè acaba cremant-la. És llavors que comença a treballar en diferents feines inestables que li permeten mantenir-se econòmicament i tornar a la Universitat de Nova York, on finalment, obté una llicenciatura en Teatre Educatiu i es converteix en membre del Ensemble Studio Theatre, una entitat sense ànim de lucre dedicada al foment de nous actors i noves obres teatrals nord-americans. La carrera artística de Shanley compta amb més d’una vintena d’obres de teatre, una desena de guions cinematogràfics i mitja dotzena de guions televisius. Entre el guions teatrals, destaquen ‘Savage in Limbo’ (1984), ‘Women of Manhattan’ (1986), ‘Cellini’ (2001), ‘Dirty Story’ (2003), ‘Doubt: A Parable’ (2004), o ‘Outside Mullingar’ (2014). Pel que fa als seus guions cinematogràfics, la majoria dels que n’és autor són èxits rotunds; ‘Moonstruck’ (1987), ‘Five corners’ (1987), ‘Joe versus the volcano’ (1990), ‘Alive’ (1993), ‘Congo’ (1995), o ‘Doubt’ (2008) són els de més impacte. Al llarg de la seva carrera, Shanley ha rebut nombrosos reconeixements i premis, éssent el guió cinematofràfic de ‘Doubt’, de llarg, el més guardonat. A ‘El dubte’, Shanley hi aboca, en certa manera, molts tints autobiogràfics; ja que ell mateix va viure la realitat dels centres educatius religiosos catòlics dels anys seixanta, com els Germans Cristians Irlandesos o les Germanes de la Caritat; i coneix aquest ambient a la perfecció sense haver de recórrer a la ficció. L’acció de ‘El dubte’ està ambientada al Bronx l’any 1964, un any després de l’assassinat del president John Fritzerald Kennedy, una època on encara existeix el rerefons polític de la culpabilització d’algú sense tenir-ne proves i de la lluita contra la intolerància dels últims rebrots racistes. En un col·legi catòlic del Bronx, el Sant Nicolàs, marcat per la disciplina autoritària i mà de ferro de la directora, la germana Aloysius, ha arribat al centre, entre alumnes irlandesos i italians, el primer noi negre, en Donald Muller. En Donald és un preadolescent de dotze anys que no té amics i que rep la protecció especial del pare Flynn, un capellà que es guanya les criatures per la seva actitud vitalista, oberta, activa, esportista i tolerant. El petit Donald Muller, però, és l’únic personatge absent de l’obra, tot i que és el centre del conflicte que, per la maquinació de la germana Aloysius, acaba tocant la reputació del pare Flynn i amenaçant la seva continuïtat al centre. La versió radiofònica que avui posem en antena és un enregistrament del Quadre de Veus de Radioteatre de l'any 2021, sota la direcció de Rosa Aguado, i amb les veus de Aurelio Rodriguez en el Pare Flynn, Margarida Fabregat en la Germana Aloysius, Mariona Duch en la Germana James i Rosa Aguado en la Senyora Muller. La narració és Joan Salvador, i el Muntatge Musical i la realització tècnica de Joan Borràs.

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Today's guest, Gary Grundei, talks to us about how his artistic paths in theatre and music merged. More importantly, he challenges artists to rethink the “boxes” they have placed themselves in and to expand beyond those limitations through play and vulnerability, particularly… in song writing. Gary Grundei has composed music for NPR, MTV, the Discovery Channel, New York Stage and Film, Ensemble Studio Theatre, the Magic Theatre, GALA Choruses, and the Denver Center for the Performing Arts. He has worked with Meredith Monk, Bill Pullman, Leigh Fondakowski, Caitlyn FitzGerald, and Barbara Dilley. Gary has taught at Naropa University, Occidental College, University of Denver, Whitman College, MICHA and online through his own website goldenlotusstudio.com. He lives in NY and plays with the band High Fiction. Edited by: Rachel Post Intro & Outro Music by: Marc Young Transcript: TBA --- Support this podcast: https://podcasters.spotify.com/pod/show/prints-unedited/support

On this episode of ActorSpeak, Austin Basis continues to speak with actor Polly Lee (The Americans, The Blacklist, Law Order: SVU, Gotham, Nurse Jackie, Chicago Med, The Looming Tower, Younger). In Part 2, we discuss the fundaments, audiobooks, being stranded on stage in her underwear, hating seeing herself, teasing out the humanity of a scene, serving new plays, missing human randomness, character as the actor's domain, perfection vs. progress, faking chemistry, being positively judgmental, the exact right amount of intimacy, and wanting a universal basic income for artists. Polly Lee is an award-winning actress who has dedicated her career to new plays and, as such, has performed in over 20 world premieres, both in New York City and across the country. Her New York theatre credits include Lincoln Center Theatre, Clubbed Thumb, Ensemble Studio Theatre, New Georges and Little Lord Theatre- among many others. Regionally she has worked at A.R.T., Yale Rep, La Jolla Playhouse, Humana Festival @ATL, McCarter Theatre, Wilma Theatre, Repertory Theatre of St. Louis, and many many more. Polly's Film & TV credits include The Blacklist, Law & Order: SVU, Last Week Tonight with John Oliver, Gotham, Butterflies of Bill Baker, Nurse Jackie, Chicago Med, The Looming Tower and recurring roles on Younger and The Americans. Polly has narrated over 200 audiobooks and is a proud member of Ensemble Studio Theatre, Actors Equity and an affiliated artist at Clubbed Thumb. Her upcoming films include Things Heard and Seen and Give and Take. Polly went to school for Theatre Studies at Royal Holloway at the University of London and attended the Actors Studio Drama School at New School University. Her kind eyes, warm smile, big heart, and cheeky sense of humor have endeared audiences all over the country and now I get to talk to her about her process, craft & all things acting related. WE AUDITION is a video-chat community where actors can audition, self-tape, rehearse, and get expert industry advice. USE promo code: ACTORSPEAK to get 25% off when joining at WeAudition.com

On this episode of ActorSpeak, Austin Basis speaks with actor Polly Lee (The Americans, The Blacklist, Law Order: SVU, Gotham, Nurse Jackie, Chicago Med, The Looming Tower, Younger). In Part 1, we talk about The Sound of Music, playing Audrey in Little Shop of Horrors, her novelist mum and vicar dad, being a princess, observing the human condition, studying with Barbara Poitier and Gene Lasko, her one weeping eye, giving fear a name, playing worried moms, having your own personal comic timing, the given circumstances, Fiona Shaw in Medea, and the subjective art of acting. Polly Lee is an award-winning actress who has dedicated her career to new plays and, as such, has performed in over 20 world premieres, both in New York City and across the country. Her New York theatre credits include Lincoln Center Theatre, Clubbed Thumb, Ensemble Studio Theatre, New Georges and Little Lord Theatre- among many others. Regionally she has worked at A.R.T., Yale Rep, La Jolla Playhouse, Humana Festival @ATL, McCarter Theatre, Wilma Theatre, Repertory Theatre of St. Louis, and many many more. Polly's Film & TV credits include The Blacklist, Law & Order: SVU, Last Week Tonight with John Oliver, Gotham, Butterflies of Bill Baker, Nurse Jackie, Chicago Med, The Looming Tower and recurring roles on Younger and The Americans. Polly has narrated over 200 audiobooks and is a proud member of Ensemble Studio Theatre, Actors Equity and an affiliated artist at Clubbed Thumb. Her upcoming films include Things Heard and Seen and Give and Take. Polly went to school for Theatre Studies at Royal Holloway at the University of London and attended the Actors Studio Drama School at New School University. Her kind eyes, warm smile, big heart, and cheeky sense of humor have endeared audiences all over the country and now I get to talk to her about her process, craft & all things acting related. WE AUDITION is a video-chat community where actors can audition, self-tape, rehearse, and get expert industry advice. USE promo code: ACTORSPEAK to get 25% off when joining at WeAudition.com

This is the inaugural episode of If This Is True, and I'm introducing everyone to RJ Tolan! RJ is the co-artistic director of Ensemble Studio Theatre's Youngblood in NYC. He is also a veteran of Shadowbox Live in Columbus, OH, where I met him. Come along for a visit! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/christopher-hall7/message Support this podcast: https://anchor.fm/christopher-hall7/support

FRANCE-LUCE BENSON Playwright and Community Engagement Coordinator with The Fountain Theatre in Los Angeles. Named “Someone to Watch ” in 2019 by American Theatre magazine, she is a recipient of a Miranda Foundation grant (DETAINED), Alfred P. Sloan Foundation New Play Commission (DEVIL'S SALT), and a Princess Grace Award runner up (BOAT PEOPLE).   Additional honors include: Zoetrope Grand Prize (CAROLINE'S WEDDING); Dramatists Guild Fellow 2016-17, Sam French OOB Festival Winner, NNPN Award for Best Play, and three time Kilroy List Honorable Mention.  Residencies include Djerassi, the Camargo Foundation in France, and Instituto Sacatar in Bahia, Brazil. Her plays have had productions, workshops, and readings at Crossroads Theatre New Jersey, City Theatre of Miami, The Playwrights Center, Oregon Shakespeare Festival, City Theatre of Miami, Loyola Marymount University, Global Black Voices in London, and in New York The Lark, The Billy Holiday Theatre, and the Ensemble Studio Theatre where she is a company member. She's been published by Sam French and Routledge Press. She earned an MFA in Dramatic Writing from Carnegie Mellon University and a BA in Theatre from Florida International University. Teaching appointments include UCLA Extension, St. Johns University, Columbia University, Girl Be Heard, and P.S. Arts/Inside Out in L.A. She is a proud member of The Dramatists Guild, Inc.

Need a little breather in your day? Join us for Youngblood Monday Lunch, a short play podcast from the writers of Youngblood, where you're always on your lunch break! Every episode features a brand new, never-before-seen-or-heard play by a member of Youngblood, Ensemble Studio Theatre's OBIE Award-winning emerging playwrights collective. Tune in on Mondays to join us for a fresh dose of theatre with your lunch - you bring the provisions and we'll bring the plays!

Elyzabeth Gregory Wilder's plays include Gee's Bend, Fresh Kills, The Flagmaker of Market Street, The Furniture of Home, White Lightning, Provenance, and Everything That's Beautiful.  Her plays have been produced at the Royal Court (London), Alabama Shakespeare Festival, Denver Center, Cleveland Play House, KC Rep, Northlight, the Arden, B Street Theatre, and Hartford Stage, among others.  Her one act Santa Doesn't Come to the Holiday Inn was featured in the Marathon of One Act Plays at the Ensemble Studio Theatre. Elyzabeth is the recipient of the Osborn Award given by the American Theatre Critics Association and is a graduate of the dramatic writing program at New York University. Elyzabeth is the current Tennessee Williams Playwright-in-Residence at Sewanee: The University of the South where she teaches playwriting.

Welcome to The Mom Enterprise, a weekly podcast hosted by Kendra Martinez featuring working Moms who find a way to manage it all. Episode Guest: Rachel Dozier-Ezell Rachel lives in Upper west top of Manhattan in the community of Inwood with her husband Jon, her son Keaton, and their two guinea pigs Saturn and Jupiter. Rachel Dozier-Ezell is the costume director/resident designer at The New School for Drama. She has taught at The University of Illinois , The University South Dakota, The New School, Pace University, and Marymount College. She has worked for Classical Theatre of Harlem, Trisha Brown, Papermill, National Black Theatre, Manhattan Theatre Works, Ensemble Studio Theatre, The Black Hills Playhouse, American Players Theatre, and Elisa Monte Dance Company. She holds a BFA from the University of Montevallo & MFA from University of Illinois @ Urbana-Champaign. Selected Design portfolio: www.racheldozierezell.com   Listen to hear more about Rachel's story:  1:25 | Getting to know Rachel and how she got into Costume Design. 7:50 | Rachel's Motherhood Journey. 15:50 | Starting a family and managing it all in NYC. 29:40 | Rachel and Mental Illness. 38:05 | Rachel and Feminism. 46:40 | Motherhood and Bipolar Disorder. 50:35 | Looking back on what you could have used as a new mother. 52:15 | Lightening Round. 55:35 | Biggest Mom oops. 59:30 | What's next for Rachel.   Links mentioned: Instagram: artistracheldozierezell  Website: www.racheldozierezell.com   Follow this podcast: Instagram: @themomenterprise Website: www.themomenterprise.com Contact Us: themomenterprise@gmail.com   Producer: Kendra Martinez Co-Producer/Editor: Lexi Burrows Music: @noahbriton