Podcast appearances and mentions of ethel thayer

It's a totemic film for Jamie, who has been working on her Katharine Hepburn impression since childhood. But truly, how many times can someone say "You old poop!" with a straight face? We (attempt) to keep a tally. For Norman and Ethel Thayer, this summer on golden pond is filled with conflict and resolution. When their daughter Chelsea arrives, the family is forced to renew the bonds of love and overcome the generational friction that has existed for years. (Sourced from Letterboxd). Over in the Pop Corner, (the Poop Corner??) we talk about: Bitter Karella's Moonflow, Francesca de Tores' Saltblood, the Godzilla-themed short films Coming Out and Gigi, the Joker as trans icon, a brand new Georges Méliès short film??, Blue Moon, the YouTube channel Musora, Bad Bunny at the Superbowl, a new Lana Del Rey single and of course Wuthering Heights after our much-hyped fundraiser viewing. If you're listening to this and you didn't see Once Upon A Time in Homowood, sorry to say you missed out – but you still have time to catch Matt's other Fringe show, Tolerance which is on this week!

Shelley Hartle reads The Monitor, by Scott Kaiser. Then, Shelley shares her response to the story. After that, Scott and Olena discuss the story and the play on which it's based, with a wrap up to season 1!Tales from the Vomitorium: 38 Short Stories by Scott Kaiser is sponsored in part by Whidbey Telecom, the Goosefoot Community Fund, and The Goose Community Grocer.Shelley Hartle (she/her; Reader) has worked as an actor for the last 37 years on Whidbey Island, Washington. She studied acting at Seattle's Freehold Theatre and appeared in Miss Julie (Christine) at the Northwest Actors' Studio, also in Seattle. Her Shakespearean credits include Hamlet (Queen Gertrude), Macbeth (First Witch), and at ISF, Romeo and Juliet (Nurse), A Midsummer Night's Dream (Quince), Richard III (Queen Margaret). Other favorite roles include Dr. Livingstone in Agnes of God, Lady Sneerwell in The School for Scandal, Ethel Thayer in On Golden Pond, Clairee Belcher in Steel Magnolias, Mrs. Soames in Our Town, Polly Wyeth in Other Desert Cities, and Sister Angelita in Penguin Blues. In addition, Ms. Hartle has worked as a director for Whidbey Island Center for the Arts (WICA), Island Theatre, and Whidbey Children's Theater. She has narrated documentaries and has acted in several radio theater productions with David Ossman, who laughingly calls her his onstage wife. She has also narrated for the Seattle Peace Chorus. Ms. Hartle learned to fence when she played Charlotte Hay in Moon Over Buffalo. She also learned rudimentary twirling for the role of Twirler in Talking With. Trained in both comedy and drama, Ms. Hartle brings clarity, consistency and commitment to the roles she plays. She's a team player who inspires others to bring their A-game.Scott Kaiser (he/him; Author) is a nationally recognized master teacher of acting and voice, as well as a director, playwright, and author. For 28 seasons, Scott served as a member of the artistic staff at the Oregon Shakespeare Festival in Ashland, where he directed, adapted, coached, or performed in all 38 of Shakespeare's plays. Scott is the author of four books on Shakespeare: Have Shakespeare, Will Travel; The Tao of Shakespeare; Shakespeare's Wordcraft; and Mastering Shakespeare. He has also penned several original plays, including Falstaff in Love, Love's Labor's Won, Now This, Splittin' the Raft, and Shakespeare's Other Women: A New Anthology of Monologues. Scott has directed at numerous theatre training programs around the country, including Carnegie-Mellon University, The University of Washington, Duke University, Seattle University, Santa Clara University, the University of Oregon, and Southern Oregon University. Scott holds an ADVS from the Royal Central School of Speech and Drama in London, an MFA from the University of Washington Professional Actor Training Program in Seattle, and a BA from the University of Michigan in Ann Arbor.★ Support this podcast ★

Think about this: hosts Phil Thompson and Eric Armstrong are delving into the sounds represented by the spelling “th” this week. In the course of it, they’ll chat about how the sound is rare in the world’s languages, how it’s formed in various varieties of English around the world, and its use in Spanish. Show Notes:The show starts with an Audio Comment from Erik Singer re barred i and they guys’ response."th" soundsIn the world's languages, they are fairly rare. 40 languages appear on the WALS "Presence of Uncomon Consonants" map for the /th/ sounds.Dental, interdental, variability in amount of tongue. Culturally different. Maddieson & Ladefoged in "The Sounds of the World's Languages" studied Americans and Brits, and 90% of the US speakers made interdental articulations, while 90% of the British speakers made dental articulations. Jespersen suggests (in Maddieson/Ladefoged) that articulations are dictated partly by dentition: if you have gaps in your teeth (or none) you may articulate differently.• "showing the tongue" to aid lip reading in emphatic speech.IPA Symbol ð: Eth is used in Old English, Icelandic, Faroese, and Elfdalian. In most languages it represents the voiced dental fricative. Symbol is called [ɛð], while Eth [ɛθ] is a woman's name.Voicing: voicedPlace: Dental or InterdentalManner: FricativeOccurrence: is far more common in English, due to the high frequency of function words with ð sounds in English, such as then, the, they, their, those, etc.IPA Symbol θ:Theta symbol is the lowercase Greek letter, which represents the voiceless dental fricative in Greek. Voicing: voicelessPlace: Dental or InterdentalManner: FricativeHistory: Though the sounds are Germanic in their "roots", almost all Germanic languages have lost /th/ sounds. Only English and Icelandic retain it. /th/ is part of Castilian Spanish. Known as "Ceceo" [θeθeo] it contrasts with "seseo" . Urban Legend of "Prestige Borrowing"; however, it's not true, as the person credited with documenting the lisp wrote about it 200 years before the use of /θ/ began. la casa "the house" la caza "the hunt"distinción /la ˈkasa/ /la ˈkaθa/ceceo /la ˈkaθa/ /la ˈkaθa/seseo /la ˈkasa/ /la ˈkasa/Variationsth-Fronting /f/ and /v/ like in Cockney and other working class accents of Southern English English, AAVE finallyth-Alveolarization /s/ and /z/ like in Parisian French English, African Englishes, Th-debuccalization /h/ in Scots English (mainly in Glasgow) "three" becomes "hree"Th-stopping /t/ and /d/ like in Quebecois English, Caribbean English, Nigerian English, and Liberian English, AAVE initiallyBUT NOT really in Hiberno-English, some Newfoundland English, NY/NJ English, Indian English, where /th/ becomes more dentalized, so "den/then" aren't homophones.Icelandic and Danish have lamino-alveolar non-sibilant fricative allophones with teeth fairly far apart. (Sibilance is created "downstream" of the constriction where the turbulence strikes structures beyond the point constriction (e.g. the gum ridge and/or teeth). IPA θ̠ ð̠Speech Disorders: Dental/interdental Lisp, as an allophone of /s/ and /z/. "Ethel Thayer; thounds like I'm lithping" —On Golden Pond.

Two-time Tony-winner Frances Sternhagen surveys her six-decade career in the theatre, ranging from her decision to stop teaching "dramatics" to schoolchildren to her most recent Broadway appearance in Edward Albee's "Seascape". In between she talks about her time in such illustrious theatre companies as Washington DC's Arena Stage and New York's APA; her Broadway debut in a revival of "The Skin Of Our Teeth" with Mary Martin, Helen Hayes and George Abbott; the wonderful experience of performing Chekhov by way of Neil Simon in "The Good Doctor"; her efforts to be cast in the U.S. production of "Equus" based solely on having read a review of the play's London debut; why she thinks Terrence McNally's "A Perfect Ganesh" is due for a revival; how she came to create the role of Ethel Thayer in "On Golden Pond" while she was still in her 40s; and why she works so steadily, at theatres large and small, after all these years. Original air date - January 18, 2008.

Two-time Tony-winner Frances Sternhagen (for The Good Doctor and The Heiress) surveys her six-decade career in the theatre, ranging from her decision to stop teaching "dramatics" to schoolchildren to her most recent Broadway appearance in Edward Albee's Seascape. In between she talks about her time in such illustrious theatre companies as Washington DC's Arena Stage and New York's APA; her Broadway debut in a revival of The Skin Of Our Teeth with Mary Martin, Helen Hayes and George Abbott; the wonderful experience of performing Chekhov by way of Neil Simon in The Good Doctor; her efforts to be cast in the U.S. production of Equus based solely on having read a review of the play's London debut; why she thinks Terrence McNally's A Perfect Ganesh is due for a revival; how she came to create the role of Ethel Thayer in On Golden Pond while she was still in her 40s; and why she works so steadily, at theatres large and small, after all these years.

Two-time Tony-winner Frances Sternhagen surveys her six-decade career in the theatre, ranging from her decision to stop teaching "dramatics" to schoolchildren to her most recent Broadway appearance in Edward Albee's "Seascape". In between she talks about her time in such illustrious theatre companies as Washington DC's Arena Stage and New York's APA; her Broadway debut in a revival of "The Skin Of Our Teeth" with Mary Martin, Helen Hayes and George Abbott; the wonderful experience of performing Chekhov by way of Neil Simon in "The Good Doctor"; her efforts to be cast in the U.S. production of "Equus" based solely on having read a review of the play's London debut; why she thinks Terrence McNally's "A Perfect Ganesh" is due for a revival; how she came to create the role of Ethel Thayer in "On Golden Pond" while she was still in her 40s; and why she works so steadily, at theatres large and small, after all these years. Original air date - January 18, 2008.