Podcast appearances and mentions of eugene o'neill

Idag har Brutalisten premiär på svenska biografer, en gripande stark film och Oscarfavorit inför galan i mars lever den upp till alla lovord? Lyssna på alla avsnitt i Sveriges Radio Play. Den tiofaldigt Oscarsnominerade filmen "Brutalisten" är drygt 3,5 timmar – en mångfacetterad filmberättelse regisserad av Brady Corbet om förintelseöverlevaren, arkitekten László Toth (spelad av Adrien Brody) som tar sig till USA efter kriget. Efter några svåra år får han ett stort uppdrag av den förmögna Harrison Lee Van Buren Sr (spelad av Guy Pearce), som vill att Toth ska uppföra en storslagen byggnad till minne av Van Burens mor. Det handlar om makt, underordning, främlingskap, överlevnad och arkitektur. Kulturredaktionens Björn Jansson medverkar i dagens P1 Kultur, hur bra tycker han att den är?DEN VIKTORIANSKA ERAN – POPULÄRKULTURENS ÄLSKLINGSEPOKMånga är filmerna och tv-serierna och romanerna för all del, som utspelar sig på förflutna dimmiga Londongator, skuggade av fladdrande gatlyktor och slamret av hästdroskor mot kullerstenen och biosuccéer som ”Poor things” och ”Nosferatu” är bara två färska exempel på detta. Den gemensamma nämnaren är den viktorianska eran: sju decennier på 1800-talet då Drottning Victoria styrde över Storbritannien, och Storbritannien styrde över världen – åtminstone kulturellt. Frilansjournalisten Karin Svensson har gått i viktorianska fotspår i London och Brighton, för att ta reda på varför epoken inte släpper greppet om vår fantasi.KLASSIKERN: LÅNG DAGS FÄRD MOT NATT AV EUGENE O´NEILLPjäsen "Lång dags färd mot natt" av den amerikanske dramatikern Eugene O´Neill turnerar just nu med riksteatern i en hyllad uppsättning – en pjäs så självbiografisk och svart att O´Neill inte ville att den spelades förrän efter hans död. Det var 1956 den hade premiär på Dramaten i Sverige och den blev en milstolpe i svensk teaterhistoria. I dag återvänder vi till den tillsammans med kulturredaktionens Jenny Teleman.Programledare Jenny TelemanProducent Maria Götselius

En este nuevo recorrido por el folklore del Tercer Planeta recibimos la visita de la gran actriz argentina Selva Alemán. En una charla íntima y con muy buen humor, Selva nos contó entretelones del gran éxito teatral que está protagonizando junto a su esposo Arturo Puig: "Largo viaje de un día hacia la noche", de Eugene O´Neill. Y eligió sus canciones favoritas. La periodista mexicana Anita Pujals nos llevó de la mano hacia el mundo de sabores del chile. y en Yo Soy presentamos los tangazos de Juani di Pasquale. El Nano Serrat junto a Rozalén nos regalan un poema de Miguel Hernández en vivo para "Poemas en la voz". Más toda la buena música argentina y del mundo y la infaltable onda de La Profe y El Lic. Imperdible!

Viridiana Monteagudo en entrevista con Josué Flores para hablar de "Antes del Desayuno" de Eugene O‘Neill, Dirección Fernando Martínez Monroy (qepd), Dirección adjunta de Esteban Montes Miranda, de la compañía Ápeiron Teatro

„Minulosť je i súčasnosťou, či vari nie? A je i budúcnosťou. Chceme si nahovárať, že to tak nie je, ale život nám to nedovolí,“ tvrdí slávny americký dramatik Eugene O Neill. Práve včera sme si pripomenuli – niekedy s bolesťou a niekedy s láskou a nehou všetkých našich blízkych, ktorí tu už nie sú medzi nami. Nie sú tu – s nami, no stále chýbajú a – tvoria nás tým kto boli a akí boli. No a tým sme si pripomenuli aj to, že to kto sme a akými sme je aj o tom kým boli a akí boli naší rodičia, ich rodičia, rodičia ich rodičov . Veď ako píše Frederick Buechner: „Ktovie, čo v sebe máme nielen po našich rodičoch, ale aj ich rodičoch a prarodičoch a tak ďalej až dakam do bezodných hlbín dávnej minulosti, kde už nie súnijaké mená ani tváre, ktoré by sme určite poznali, keby sme sa ocitli pred ich portrétmi visiacimi na stene nejakého starožitníctva.“ No a skúmaniu toho, kto boli naši predkovia, objavovaniu a vytváraniu rodokmeňov sa venuje Alica Jančoková, ktorá je hosťom dnešného podcastu. Počúvate Ráno Nahlas, pekný deň a pokoj v duši praje Braňo Dobšinský.

HMM Producer Lizzy Kramer talks with artist Eugene O'Neill about his experience forming Amplified Voices, a program dedicated to amplifying the voices of local BIPOC artists and youth. For more information about Amplified Voices see @amplifiedvoicesny on instagram and listen to our recent segment with Jade Warrick https://www.mediasanctuary.org/stories/2021/jade-warrick-at-the-completion-of-amplified-voices-mural/ For more information about Eugene's work, see @madeintruthclothing on instagram and listen to our recent segment with Eugene O'Neill on Public Art and Activism https://www.mediasanctuary.org/stories/2021/eugene-oneill-on-public-art-and-activism/

HMM Producer Lizzy Kramer speaks with artist Eugene O'Neill about his mural in Downtown Troy on the YWCA center, the role of public art in the capital region, as well as art in his personal life. Cover Photo by Elshaddai Vanhoesen

Today we celebrate an English writer who loved gardens and created a one-of-a-kind grotto as a clever way to connect his home and garden. We'll also learn about a writer who created a space he called Tao House Garden. We hear an excerpt about the haves and have nots - when it comes to gardens. We Grow That Garden Library™ with a book about philosophy inspired by the garden. And then we’ll wrap things up with the story of a writer who loved yellow roses but was not complimentary when it came to the poinsettia.   Subscribe Apple | Google | Spotify | Stitcher | iHeart To listen to the show while you're at home, just ask Alexa or Google to “Play the latest episode of The Daily Gardener Podcast.” And she will. It's just that easy.   The Daily Gardener Friday Newsletter Sign up for the FREE Friday Newsletter featuring: A personal update from me Garden-related items for your calendar The Grow That Garden Library™ featured books for the week Gardener gift ideas Garden-inspired recipes Exclusive updates regarding the show Plus, each week, one lucky subscriber wins a book from the Grow That Garden Library™ bookshelf.   Gardener Greetings Send your garden pics, stories, birthday wishes, and so forth to Jennifer@theDailyGardener.org   Curated News Little Garden Retreats | Houzz | Sarah Alcroft   Facebook Group If you'd like to check out my curated news articles and original blog posts for yourself, you're in luck. I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community. So, there’s no need to take notes or search for links. The next time you're on Facebook, search for Daily Gardener Community, where you’d search for a friend... and request to join. I'd love to meet you in the group.   Important Events May 21, 1688 Today is the birthday of the British poet, critic, gardener, and satirist Alexander Pope. Known for his poetry and writing, Alexander Pope is less remembered for his love of gardens. Yet Alexander was a trailblazer in terms of garden design and originality. He designed the impressive Palladian Bridge in Bath, and, along with the great Capability Brown, he created the Prior Park Landscape Garden. Alexander once famously said, All gardening is landscape painting. Inspired by the gardens of ancient Rome, Alexander’s garden featured both a vineyard and a kitchen garden. But the most memorable feature of Alexander’s property was his grotto. The grotto came about because a road separated Alexander's home and garden. To connect the two, Alexander cleverly dug a tunnel under the road. The tunnel created private access to the garden and inadvertently became a special place all its own: Alexander’s grotto - a masterpiece of mirrors, candles, shells, minerals, and fossils. Alexander described the thrill of finishing the grotto in a letter to his friend Edward Blount in 1725: "I have… happily [finished] the subterraneous Way and Grotto: I then found a spring of the clearest water, which falls in a perpetual Rill, that echoes thru the Cavern day and night.  ...When you shut the Doors of this Grotto, it becomes… a camera obscura, on the walls [are] all the objects of the river, hills, woods, and boats… forming a moving picture...  And when you… light it up; it affords you a very different scene: it is finished with shells interspersed with pieces of looking-glass in angular forms... when a lamp ...is hung in the middle, a thousand pointed rays glitter and are reflected over the place." Over time, Alexander's home and grotto became a tourist destination. Visitors were stunned by the marvelous grotto that connected the villa and the garden. They had never seen anything like it. Alexander himself knew the place was special, and he once wrote, "Were it to have nymphs as well – it would be complete in everything."  After Alexander died, the new owners of his property were so annoyed by the attention that they destroyed both the garden and the villa. Today, plans are underway to restore the grotto to its former glory.   May 21, 1922 On this day, the Pulitzer prize was awarded to Eugene O'Neill for his play "Anna Christie." Remembered as one of America’s greatest playwrights, most people are unaware that Eugene O'Neill was also a gardener. After becoming a Nobel laureate in literature, Eugene used his Nobel prize money to buy over 100 acres in the San Ramon valley. There, Eugene built his hacienda-style Tao Home and Garden in 1937. Taoism influenced both the home and the garden.  A Chinese philosophy, Taoism focuses on living in harmony with the Tao or “the way.” Tao House Garden features paths with sharp turns and walls that are blank. Today, the National Park Service is working to restore the home built by the "father of American theatre” - now a National Historic Site. The entire property was designed to promote harmony and deter bad spirits. Visitors often comment on the peaceful nature of the site. Fortunately, the O’Neill family garden designs were well chronicled. Eugene’s wife, Carlotta O’Neill, designed the landscape, and she wrote about the gardens in her diaries. Carlotta especially loved white- and pink-blooming flowers. After raccoons kept killing their koi, Carlotta turned the pond into a flower bed.  Incredibly, there was just one other owner of the property after the O’Neills left in 1944. But during the seven years, the O’Neill’s lived in harmony at the Spanish Colonial Style Tao House, Eugene created some of his most famous plays such as "Long Day's Journey into Night" and "A Moon for the Misbegotten," among other works that made him an American literary icon. In the 1980s, the intimate courtyard garden was restored with cuttings from the original Chinaberry tree along with magnolia, walnut, and cherry trees. There are pots of geraniums and garden beds filled with birds of paradise, azalea, and star jasmine - Eugene’s favorite plant. The orchards and idyllic gardens around the house are beautifully sited on a hilltop over the San Ramon Valley and offer impressive views of the valley and Mount Diablo. The property is as spectacular today as it was when the O’Neill’s lived there - calling to mind a quote from A Moon for the Misbegotten, where Eugene wrote, “There is no present or future--only the past, happening over and over again--now.” Today, the Eugene O’Neill Foundation hosts an O'Neill festival in the barn on the property every September. The annual play is professionally acted and produced. You can bring a picnic dinner and eat on the grounds.   Unearthed Words Each of us has his own way of classifying humanity. To me, as a child, men and women fell naturally into two great divisions: those who had gardens and those who had only houses. Brick walls and pavements hemmed me in and robbed me of one of my birthrights; and to the fancy of childhood, a garden was a paradise, and the people who had gardens were happy Adams and Eves walking in a golden mist of sunshine and showers, with green leaves and blue sky overhead, and blossoms springing at their feet; while those others, dispossessed of life's springs, summers, and autumns, appeared darkly entombed in shops and parlors where the year might as well have been a perpetual winter. ― Eliza Calvert Hall, American author, women's rights advocate, and suffragist from Bowling Green, Kentucky, Aunt Jane of Kentucky   Grow That Garden Library Philosophy in the Garden by Damon Young  This book came out in 2020, and I love how the publisher introduces this book: Why did Marcel Proust have bonsai beside his bed?  What was Jane Austen doing, coveting an apricot?  How was Friedrich Nietzsche inspired by his ‘thought tree’? In Philosophy in the Garden, Damon answers these questions and explores one of literature's most intimate relationships. The relationship between authors and their gardens. Now for some writers, the garden is a retreat, and for others, it's a place to relax and get away from the world. But for all of the writers that are featured in Damon's book, the garden was a muse and offered each of these writers new ideas for their work. As someone who features a garden book every day on the show and loves to feature garden writers who found their inspiration in the garden, this book is a personal favorite of mine. This book is 208 pages of authors and their gardens. And the philosophies that were inspired by that relationship. You can get a copy of Philosophy in the Garden by Damon Young and support the show using the Amazon Link in today's Show Notes for around $8   Today’s Botanic Spark Reviving the little botanic spark in your heart May 21, 1955  On this day, Truman Capote’s first musical, House of Flowers, closes at Alvin Theater NYC after 165 performances. House of Flowers has nothing to do with flowers. The plot centers on an evil brothel owner, Madame Fleur, and her attempts to murder the fiancé of her star girl, Ottilie. Madam Fleur has her men kidnap the young man, seal him in a barrel and toss him into the ocean. Truman’s House of Flowers was the first theatrical production outside of Trinidad and Tobago to use the instrument known as the steelpan. Today, most of us remember that Truman Capote wrote Breakfast at Tiffany’s. But he also wrote the introduction to his friend CZ Guest’s garden book called First Garden: An Illustrated Garden Primer. CZ Guest, born Lucy Douglas Cochrane, was an American fashion icon and garden columnist. She authored three garden books and three garden planners. In 1990, she came out with her own line of organic fertilizer, insect repellant, tools, scented candles, and soap - all of which were sold at Bergdorf-Goodman and Neiman-Marcus. Writing about CZ, Truman affectionately wrote, "There, with her baskets and spades and clippers, and wearing her funny boyish shoes, and with her sunborne sweat soaking her eyes, she is a part of the sky and the earth, possibly a not too significant part, but a part." Truman Capote is remembered for this famous garden saying: "In my garden, after a rainfall, you can faintly, yes, hear the breaking of new blooms." In 1957 for the Spring-Summer edition of the Paris Review, "I will not tolerate the presence of yellow roses--which is sad because they’re my favorite flower." Finally, Truman could be funny. In his play "Truman," throws away a Christmas gift of a poinsettia, dismissing it by saying, “Poinsettias are the Robert Goulet of botany.”   Thanks for listening to The Daily Gardener. And remember: "For a happy, healthy life, garden every day."

Act One of The Redfield Arts Audio production of Eugene O’Neill’s Pulitzer Prize winning play “Anna Christie”. With Mackenzie Menter as Anna, Ben Dawson as Mat, J.R. Lyston as Chris, and Lois Bailey DeVeas as Marthy. Adapted for audio theatre and directed by Mark Redfield. Original Music and Sound Design by Jennifer Rouse. “Leave Her Johnny” sung by Mackenzie Menter. The Redfield Arts Audio production of Eugene O’Neill’s “Anna Christie” is available on Audible worldwide 29 June, 2021. Anna Christie is a play in four acts by Eugene O'Neill. It made its Broadway debut at the Vanderbilt Theatre on November 2, 1921. O'Neill received the 1922 Pulitzer Prize for Drama for this work. For great audio drama and audio books, visit http://www.RedfieldArtsAudio.com Entire content of this podcast recording Copyright Mark Redfield Studios. All Rights Reserved.

MICHAEL P. TONER has been acting, directing, dialect coaching and specializing in Irish theatre for over 49 years. His recent roles include doing Phil Hogan in O’Neill’s MOON FOR THE MISBEGOTTEN for Walnut Street Theatre (with national tour). Other WST credits include SHE STOOPS TO CONQUER, PHILADELPHIA, HERE I COME!, CONVERSATIONS WITH MY FATHER, 1776, SOMEONE WHO’LL WATCH OVER ME, and THE CARETAKER. Other Brian Friel plays include VOLUNTEERS, DANCING AT LUGHNASA, ARISTOCRATS, TRANSLATIONS and his one-man play based on Friel’s works, THE HUMOURS OF BALLYBEG. Recent roles include Knacker Woods in Marie Jones’s ROCK DOVES, Vladimir in Beckett’s WAITING FOR GODOT and the one-man play CROSSING THE THRESHOLD INTO THE HOUSE OF BACH by David Simpson for Amaryllis Theatre. Other Irish roles include Vladimir in Samuel Beckett’s WAITING FOR GODOT, Krapp in Beckett’s KRAPP’S LAST TAPE, Mr. Rice in Brian Friel’s MOLLY SWEENEY, Owen in the East Coast premiere of Friel’s TRANSLATIONS, Michael / Narrator in Friel’s DANCING AT LUGHNASA, Maurice in Conor Mc Pherson’s THE NIGHT ALIVE, Irish man in Tom Murphy’s THE GIGLI CONCERT, Trooper O’Hara in Sebastian Barry’s WHITE WOMAN STREET, Eugene O’Neill in Pat Nolan’s MIDNIGHT RAINBOWS, Doctor Mc sharry in Martin Mc Donagh’s THE CRIPPLE OF INISHMAAN, among many others. His one-person plays include BEGINNING TO END and NOHOW ON, based upon Beckett’s writings, AN EVENING WITH MISTER DOOLEY, drawn from Finley Peter Dunne’s writings, his own EVER YOURS, .SCOTT FITZGERALD. Mr. Toner has performed for the Villanova Shakespeare Festival, the Carnegie-Mellon University Beckett Festival, the New York W.B. Yeats Society, the International James Joyce Symposium, the NYC “A Dublin Evening, the NYC Gotham Book Mart Bloomsday, the Meadowlands Irish Festival, the American Shaw Festival, and he is a founding reader for the Rosenbach Museum & Library Bloomsday Festival.

We’ve all done it. We’ve misheard song lyrics or actual words. We’ve argued about whether someone was saying Laurel or Yanni. But there is an actual term for that. According to Merriam Webster Dictionary, a mondegreen is “a word or phrase that results from a mishearing of something said or sung.” I had a whole character in my first book that did this all the time. Sylvia Wright made up the word in 1954 when she wrote an article about it for The Atlantic or possibly Harpers (these are the two most common citings), “The Death of Lady Mondegreen.” She’d loved this Scottish song or poem that went They hae slain the Earl AmurrayAnd laid him on the green. That last line sounded like Lady Mondegreen to her. According to an article in the New Yorker by Maria Konnikova, Hearing is a two-step process. First, there is the auditory perception itself: the physics of sound waves making their way through your ear and into the auditory cortex of your brain. And then there is the meaning-making: the part where your brain takes the noise and imbues it with significance. That was a car alarm. That’s a bird. Mondegreens occur when, somewhere between the sound and the meaning, communication breaks down. You hear the same acoustic information as everyone else, but your brain doesn’t interpret it the same way. What’s less immediately clear is why, precisely, that happens. The article goes on to say, A common cause of mondegreens, in particular, is the oronym: word strings in which the sounds can be logically divided multiple ways. One version that Pinker describes goes like this: Eugene O’Neill won a Pullet Surprise. Other times, the culprit is the perception of the sound itself: some letters and letter combinations sound remarkably alike, and we need further cues, whether visual or contextual, to help us out. In their absence, one sound can be mistaken for the other. For instance, in a phenomenon known as the McGurk effect, people can be made to hear one consonant when a similar one is being spoken. “There’s a bathroom on the right” standing in for “there’s a bad moon on the rise” is a succession of such similarities adding up to two equally coherent alternatives. NME’s site has an article on the top forty misheard song lyrics and it’s hysterical. It’s a British site and you should check it out, but their top three are: Number One – Dire Straits’s “Money For Nothing.” Wrong lyric: “Money for nothin’ and chips for free.” Correct lyric: “Money for nothin’ and your chicks for free” Number 2 Wrong Lyric – Paul Young’s “Everytime You Go Away.” Wrong Lyric: “Every time you go away, you take a piece of meat with you.” Correct lyric: “Every time you go away take a piece of me with you.” Number 4 Wrong Lyric (Yes, we skipped three) – Starship’s ‘We Built This City.’ Wrong lyric: “We built this city on sausage rolls.” Correct lyric: “We built this city on rock ‘n’ roll.” Writing Tip of the Pod It’s fun to play with words, to think about sounds. Dog Tip for Life Always take a piece of meat with you. It’s my book! It’s coming out June 1! Boo-yah! SHOUT OUT! The music we’ve clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here’s a link to that and the artist’s website. Who is this artist and what is this song? It’s “Summer Spliff” by Broke For Free. And we have a new podcast, LOVING THE STRANGE, which we stream live on Carrie’s Facebook and Twitter and LinkedIn on Fridays. Her Facebook and Twitter handles are all carriejonesbooks or carriejonesbook. Here’s the link. This week’s podcast is all about strange habits. LINKS OF STRANGE NEWS MENTIONED An Enormous Frog Was Found In The Solomon Islands And It’s Straight Up Bigger Than A Human Baby https://www.upi.com/Odd_News/2021/05/06/britain-Leaf-cafe-Liverpool-England-1913-menu-ceiling/6881620329800/ https://www.upi.com/Odd_News/2021/05/04/Guinness-World-Records-marshamallow-mouth-catch-distance-Dallas-Anderson-Jon-Paleka/7501620145182/

We’ve all done it. We’ve misheard song lyrics or actual words. We’ve argued about whether someone was saying Laurel or Yanni. But there is an actual term for that. According to Merriam Webster Dictionary, a mondegreen is “a word or phrase that results from a mishearing of something said or sung.” I had a whole character in my first book that did this all the time. Sylvia Wright made up the word in 1954 when she wrote an article about it for The Atlantic or possibly Harpers (these are the two most common citings), “The Death of Lady Mondegreen.” She’d loved this Scottish song or poem that went They hae slain the Earl Amurray And laid him on the green. That last line sounded like Lady Mondegreen to her. According to an article in the New Yorker by Maria Konnikova, Hearing is a two-step process. First, there is the auditory perception itself: the physics of sound waves making their way through your ear and into the auditory cortex of your brain. And then there is the meaning-making: the part where your brain takes the noise and imbues it with significance. That was a car alarm. That’s a bird. Mondegreens occur when, somewhere between the sound and the meaning, communication breaks down. You hear the same acoustic information as everyone else, but your brain doesn’t interpret it the same way. What’s less immediately clear is why, precisely, that happens. The article goes on to say, A common cause of mondegreens, in particular, is the oronym: word strings in which the sounds can be logically divided multiple ways. One version that Pinker describes goes like this: Eugene O’Neill won a Pullet Surprise. Other times, the culprit is the perception of the sound itself: some letters and letter combinations sound remarkably alike, and we need further cues, whether visual or contextual, to help us out. In their absence, one sound can be mistaken for the other. For instance, in a phenomenon known as the McGurk effect, people can be made to hear one consonant when a similar one is being spoken. “There’s a bathroom on the right” standing in for “there’s a bad moon on the rise” is a succession of such similarities adding up to two equally coherent alternatives. NME’s site has an article on the top forty misheard song lyrics and it’s hysterical. It’s a British site and you should check it out, but their top three are: Number One – Dire Straits’s “Money For Nothing.” Wrong lyric: “Money for nothin’ and chips for free.” Correct lyric: “Money for nothin’ and your chicks for free” Number 2 Wrong Lyric – Paul Young’s “Everytime You Go Away.” Wrong Lyric: “Every time you go away, you take a piece of meat with you.” Correct lyric: “Every time you go away take a piece of me with you.” Number 4 Wrong Lyric (Yes, we skipped three) – Starship’s ‘We Built This City.’ Wrong lyric: “We built this city on sausage rolls.” Correct lyric: “We built this city on rock ‘n’ roll.” Here’s a link to the music clips used and the artist’s website. It’s “Summer Spliff” by Broke For Free. For the rest of the notes check out carriejonesbooks.blog --- Send in a voice message: https://anchor.fm/carriejonesbooks/message Support this podcast: https://anchor.fm/carriejonesbooks/support

"Do you dare to go down into...THE CELLAR?" Welcome to the twelfth number in our continuing horror/suspense anthology series! Our stories are either original, or inspired by, or adapted from pulp fiction and classic literature, but they're guaranteed all-new productions, and no repeats from other series.   And now, we proudly present our Season 1 Finale, "ILE", adapted by our director Pete Lutz, from stage play by celebrated American playwright Eugene O'Neill -- a story that asks the question, "Is it a good idea to bring your fragile wife along on a two-year whaling voyage?" Listen and find out, and ENJOY, my friends! NARADA RADIO COMPANY (SUSPENSE) CADAVERA QUIVRY: Angela Young ANNOUNCER: Graham Rowat THE STEWARD and CAPT. KEENEY: Pete Lutz BEN: George Hatfield THE MATE: Mark Kalita MRS. KEENEY: Ebony Rose JOE: Gareth Severn  with CREWMEN'S VOICES by John Bell, Paul Arbisi & Pete Lutz Music for this episode was performed by Ross Bernhardt "The Cellar" theme composed and performed by Tom Rory Parsons With Season One complete, "The Cellar" goes on a short hiatus as we prepare episodes for Season Two, plus a number of special productions for the 2021 Sonic Summerstock Playhouse. We thank you for listening and we hope you enjoyed the first dozen episodes of..."The Cellar"!

For the video edition, click here and subscribe: https://youtu.be/RchGykWVPbM Subscribe to Richard Skipper Celebrates on YouTube and be entered in drawing for a copy of Sidney Lumet: A Life by Maura Spiegel Acclaimed as the ultimate New York movie director, Sidney Lumet began his astonishing five-decades-long directing career with the now classic 12 Angry Men, followed by such landmark films as Serpico, Dog Day Afternoon, and Network. His remarkably varied output included award-winning adaptations of plays by Anton Chekhov, Arthur Miller, Tennessee Williams, and Eugene O’Neill, whose Long Day’s Journey into Night featured Katharine Hepburn and Ralph Richardson in their most devastating performances. Renowned as an “actor’s director,” Lumet attracted an unmatched roster of stars, among them: Henry Fonda, Sophia Loren, Marlon Brando, Anna Magnani, Sean Connery, Ingrid Bergman, Paul Newman, Al Pacino, Ethan Hawke, and Philip-Seymour Hoffman, accruing eighteen Oscar nods for his actors along the way. Mau­ra Spiegel is a born and bred New York­er, and has been teach­ing lit­er­a­ture and film at Colum­bia Uni­ver­si­ty for over two decades. https://www.amazon.com/Sidney-Lumet-Life-Maura-Spiegel/dp/1250030153 https://www.imdb.com/name/nm0001486 https://www.indiewire.com/2012/04/the-films-of-sidney-lumet-a-retrospective-252714

In this episode, Randy and Tyler take a look at the 1922 winner of the Pulitzer Prize for Drama, Anna Christie by Eugene O'Neill.Synopsis from playbill.com:  A weary former prostitute seeks out her estranged sea-captain father hoping to find forgiveness from him while hiding her past from a stoker she loves.******* IN OUR NEXT EPISODE *******Join us as we discuss the play Between Riverside and Crazy by Stephen Adly Guirgis, which won the Pulitzer Prize for Drama in 2015.  This play can be read for free online, as it is in the Public Domain:  http://www.gutenberg.org/ebooks/59777.Synopsis from stageagent.com:  Walter “Pops” Washington has had enough. His landlord won’t leave him alone, his wife recently passed away, and the liquor store can’t keep up with his thirst. Pops’ last living relative, his son Junior, has recently moved back to Pops’ house with his girlfriend, Lulu, and his newly-sober buddy, Oswaldo. With his heels dug into the floor of his rent-controlled Riverside Drive apartment, Pops holds onto old wounds -- physical and emotional -- picking continually at scabs he refuses to allow to heal. Pressure reaches a boiling point when an ultimatum comes from an unlikely source, pinning Pops squarely “between Riverside and crazy.”Note: This episode was recorded in 2021 amidst the COVID-19 ("Coronavirus") pandemic.DeScriptedFacebook: https://www.facebook.com/DeScriptedPodTwitter: @DeScriptedPod - www.twitter.com/DeScriptedPodInstagram: @DeScriptedPod - www.instagram.com/DeScriptedPod

A brick came through the window and an idyllic life in the Co. Donegal resort town of Buncrana was shattered as The Troubles spilled over from Derry with the realization that “This can end.”Working to ensure that it doesn’t end for Irish art, culture, and history in America, Turlough McConnell committed to a creative life. As a writer, producer, curator and as president/CEO of Turlough McConnell Communications, he continually creates original landmark culture projects that interpret the Irish experience in America.In this episode, we explore Turlough’s journey from Donegal to Dublin, London, and finally to New York, his shift from corporate to culture, why the famine looms over all his creative work, why he regards Archbishop John Hughes--a.k.a. Dagger John--as the greatest Irish immigrant ever, his admiration for James Joyce and Eugene O’Neill, and why he wishes he could be our previous Irish Stew guest Ted Smyth.Join us as we explore a life lived in the creative space with a leading interpreter of “Ireland in American” in this episode of our “Global Irish Nation Conversation.”Turlough Links:“Seamus” Plug: History Loves A Parade: 260 Years of the St. Patrick's Day Parade - Online on Wed, March 17, 2021, 4:00 PM - 5:00 PM ET· Website: Turlough McConnell Communications · LinkedIn · Twitter · Facebook

Neste episódio, vamos ao teatro pela mão de Sidney Lumet e das suas adaptações de consagrados dramaturgos norte-americanos: 'O Homem na Pele da Serpente' (Tennessee Williams), de 1960, e 'Longa Viagem para a Noite' (Eugene O’Neill), de 1962. Subscrevam a newsletter em segundotake.com para não perderem pitada e receberem uma oferta, sigam-me no Facebook e no Instagram e enviem-me as vossas opiniões e sugestões para segundotake@gmail.com.

Mary Tierney started her professional acting career in 1971 in Dublin at Ireland’s National Theater, The Abbey’s experimental wing, The Peacock and from that continued to work for five years in Ireland; culminating in Dublin’s first rock musical, Stephanie by Emerson college graduate, Russell Mason. Upon returning to New York, her role as Josie, in Walter Macken’s Home is the Hero which ran for six months as the Irish Arts Center. The success of that play has a ripple effect; Moss Cooney, Cork city immigrant restaurant entrepreneur, built a theater above his BillyMunk restaurant on 45th Street just off Second Avenue for the play; redirected by Barbara Loden, thus starting the BillyMunk, non-for-profit resident company.At the suggestion of Barbara, Mary started directing there; a Sean O’Casey One Act Play Festival. From there she branded out to create New York’s first Lunchtime Series at the Quaigh with The Sea Plays of Eugene O’Neill starring William Hickey, Brian Dennehy and Jim DeMarse. Lunchtime continued until 1982 with the highlight being Samuel Beckett’s Krapp’s Last Tape with Billy Hickey. Also at the Quaigh, Mary earned her Actor’s Equity Association membership with British author David Pownall’s Livingston & Sechele in 1983.On a personal note marriage to Dublin born UN peacekeeper in 1985 created a nearly 20 year hiatus in theater as Life became visiting war zones and having the privilege of being in the historic dismantling of apartheid in South Africa; where she lived on and off for two years while the UN sponsored elections made Nelson Mandela President 1994. To witness the effect of post war and democratic elections; 1989 -1990 in Namibia, then South Africa and finally in 1999, East Timor’s struggles and a dramatic defeat, by the UN election team, of Indonesia’s attempt at total sabotage was well worth intermittent acting/directing work. The UN world & the theater world happily collided with her husband’s final mission, UNFICYP, in Cyprus. There, Mufflon Bookshop and The Weaving Mill, brought the newly discovered and published Tennessee Williams collection of short plays, Mister Paradise; a series of one act plays handwritten by a young author, found in the Greek section of a library in Virginia by a Cypriot scholar. A performance of several plays by the British Young Vic Shakespearean touring company in Nicosia 2005. Returning to NYC full time and working with the City of New York’s Department for the Aging Time Banks NYC brought theater work full circle. Theater for the New City (TNC) produced the artistic side of Time Banks NYC and led to today’s Tierney TNC Theater Workshop sponsored by Bloomberg Philanthropies since 2013. Unencumbered by war zones; theater life has been abundant with TNC Workshop as a base she’s been able to work in independent films and showcase productions of new plays these last half a dozen years.NEW YORK, NY

"Do you dare to go down into...THE CELLAR?" Welcome to the twelfth number in our continuing horror/suspense anthology series! Our stories are either original, or inspired by, or adapted from pulp fiction and classic literature, but they're guaranteed all-new productions, and no repeats from other series.   And now, we proudly present our Season 1 Finale, "ILE", adapted by our director Pete Lutz, from stage play by celebrated American playwright Eugene O'Neill -- a story that asks the question, "Is it a good idea to bring your fragile wife along on a two-year whaling voyage?" Listen and find out, and ENJOY, my friends! CADAVERA QUIVRY: Angela Young ANNOUNCER: Graham Rowat THE STEWARD and CAPT. KEENEY: Pete Lutz  BEN: George Hatfield  THE MATE: Mark Kalita MRS. KEENEY: Ebony Rose JOE: Gareth Severn  with CREWMEN'S VOICES by John Bell, Paul Arbisi & Pete Lutz Music for this episode was performed by Ross Bernhardt "The Cellar" theme composed and performed by Tom Rory Parsons With Season One complete, "The Cellar" goes on a short hiatus as we prepare episodes for Season Two, plus a number of special productions for the 2021 Sonic Summerstock Playhouse. We thank you for listening and we hope you enjoyed the first dozen episodes of..."The Cellar"!

Director, Actor, and Professor Kevin Otos joins Samantha Rund this episode to discuss his experience on stage and screen across the country, and ways to stay creative within any given circumstance. We also discussAudition Advice for Prospective StudentsElon University Meisner and Commedia dell'ArteListening, Acceptance, and EmpathyApplied Meisner for the 21st Century Actor (his upcoming book with Kim Shively ) Kevin Otos was born and raised in Southern California where he learned to love the beaches and the mountains as well as acting. He developed his passion for theatre in Oregon and eventually graduated with his MFA in Acting from Florida State University's Asolo Conservatory for Actor Training where he studied with an outstanding faculty, including the legendary director of Eugene O"Neill's plays, José Quintero. Some favorite roles include Antony in Julius Caesar and Antonio in The Merchant of Venice. Kevin has also appeared on screen in the series One Tree Hill, Necessary Roughness, and Underground as well as in a number of independent films, commercials, and industrials. Also a director, Kevin has directed a wide range of plays including Much Ado About Nothing for the Texas Shakespeare Festival where he met your host Samantha Rund. Expert in Commedia dell’Arte and Meisner Technique, Kevin teaches Acting at Elon University in North Carolina. His upcoming book, Applied Meisner for the 21st Century Actor co-authored with Kim Shively is scheduled for release in May by Routledge press. Pre-order at https://www.routledge.com/Applied-Meisner-for-the-21st-Century-Actor/Otos-Shively/p/book/9780367542764You can learn more about Kevin at www.kevinotos.com.Samantha Rund is a professional actor, comedian, and coach. A graduate of Northwestern University, the University of Washington’s Professional Actor Training Program MFA, and Second City’s Improv and Directing Conservatory; she is passionate about enriching people’s lives through the performing arts. Some of her recent acting work includes 3 Busy Debras on Adult Swim, Lady Macbeth in Shakespeare’s Macbeth, and various commercials including Google, Microsoft, and Amazon.Her company, Beyond Technique Coaching, focuses on using performance principles to empower people to bring more of their whole selves to their lives and work. She works with a wide range of people around the world on performance and personal development.www.samantharund.comwww.beyondtechniquecoaching.com***If you enjoyed this episode please help spread it’s message****Like - Share - SubscribeGive a 5 star review on Apple PodcastsPost a commentBecome a patron on PATREON *** https://www.patreon.com/beyondtechniquewithsamantharundThank you for your support and stay safe and healthy!

In this episode, Tyler and Randy discuss the 1920 winner of the Pulitzer Prize for Drama, “Beyond the Horizon” by Eugene O’Neill.Wikipedia’s synopsis of Beyond the Horizon: “The play takes place on a farm in the Spring, and then moves forward three years later, in the Summer, and finally five years later, in late Fall. The play focuses on the portrait of a family, and particularly only two brothers Andrew and Robert. In the first act of the play, Robert is about to go off to sea with their uncle Dick, a sea captain, while Andrew looks forward to marrying his sweetheart Ruth and working on the family farm as he starts a family.”You can read this play FREE online, as it is in the public domain. We recommend checking out Project Gutenberg where they provide many different options for reading: http://www.gutenberg.org/ebooks/58569******* IN OUR NEXT EPISODE *******Join us as we discuss the play “Cost of Living” by Martyna Majok that won the Pulitzer Prize for Drama in 2018. Note: This episode was recorded in 2020 in the middle of the COVID-19 ("Coronavirus") pandemic.DeScriptedFacebook: https://www.facebook.com/DeScriptedPodTwitter: @DeScriptedPod - twitter.com/DeScriptedPodInstagram: @DeScriptedPod - www.instagram.com/DeScriptedPod

In this episode, Tyler and Randy discuss the 2019 winner of the Pulitzer Prize for Drama, “Fairview” by Jackie Sibblies Drury. Pulitzer.org describes Fairview as “A hard-hitting drama that examines race in a highly conceptual, layered structure, ultimately bringing audiences into the actors’ community to face deep-seated prejudices.”You can find this play on Amazon to purchase by following this link: https://www.amazon.com/dp/1559369523/ref=cm_sw_em_r_mt_dp_4yo4Fb2YSKGMF (Note: Purchasing via this link helps to support the show!) ******* IN OUR NEXT EPISODE *******Join us as we discuss the play “Beyond the Horizon” by Eugene O’Neill that won the Pulitzer Prize for Drama in 1920. The full text for the script is in the public domain and can be read for free via Project Gutenberg: http://www.gutenberg.org/ebooks/58569. Read the script ahead of time and listen to our take on in episode 3, to be released on 1/31/2021.Note: This episode was recorded in 2020 in the middle of the COVID-19 ("Coronavirus") pandemic.DeScriptedFacebook: https://www.facebook.com/DeScriptedPodTwitter: @DeScriptedPod - twitter.com/DeScriptedPodInstagram: @DeScriptedPod - www.instagram.com/DeScriptedPod

“Si de verdad les interesa lo que voy a contarles, lo primero que querrán saber es donde nací, cómo fue todo ese rollo de mi infancia, que hacían mis padres antes de tenerme a mí, y demás puñetas estilo David Copperfield, pero no tengo ganas de contarles nada de eso. Primero porque es una lata, y, segundo porque a mis padres les daría un ataque si yo me pusiera aquí a hablarles de su vida privada.” 'El guardián entre el centeno' J.D. Salinger. En contra de los deseos del propio Jerome David Salinger, su nombre continúa generando ruido hoy. Celosamente obsesionado con su vida privada, su fuerte rechazo a la exposición pública marcó la vida de este escritor que, a base de interponer querellas y levantar muros, vivió apartado sus últimos cuarenta años en una granja de Cornish (New Hampshire). “Les aseguro que si fuera pianista o actor de cine o algo así, me reventaría que esos imbéciles me considerarán maravilloso”, escribió en “El guardián entre el centeno”, casi como una profecía. “Hasta me molestaría que me aplaudiesen. La gente siempre aplaude lo que no debe. Si yo fuera pianista, creo que tocaría dentro de un armario”, Salinger dixit. J. D. Salinger nació el 1 de Enero de 1.919 en Nueva York, concretamente en Manhattan, en el seno de una familia acomodada que se dedicaba a la importación de carnes y quesos europeos, y publicó su primer relato en una revista literaria en 1.940. En aquellos años en que aún peleaba por publicar sus textos en esas revistas, conoció a la que sería para muchos, el gran amor de su vida, Oona O´Neill, hija del dramaturgo Eugene O´Neill. Pero el estallido de la II Guerra Mundial lo cambió todo y, tras el bombardeo de Pearl Harbour, el escritor se alistó en el ejército para combatir en el frente, donde participó, entre otras acciones, en el desembarco de Normandía. Salinger era un chaval de 25 años de Park Avenue, un privilegiado criado entre algodones que se creía que la guerra iba a ser una aventura, algo romántico, lleno de glamour. Se preguntaba si tal vez le faltaba el dolor necesario para convertirse en escritor. Quería que la guerra le curtiera, que lo hiciera más profundo como persona y como escritor. Aquello le cambió para siempre. Mientras permanecía en el frente, Oona, que había iniciado un romance con Charles Chaplin, contrajo matrimonio con el mítico actor en 1.943. Por su parte él regresó a su vida en Nueva York, profundamente marcado por las secuelas de la guerra y casado con una médica alemana llamada Silvia Louise Welter, de la que poco después se divorciaría. Fue precisamente a su vuelta, en 1.951, cuando pubicó “El guardián entre el centeno”, un relato iniciático sobre la pérdida de la inocencia y el paso a la vida adulta, que aún hoy sigue generando ventas de 250.000 ejemplares al año. De ese texto, que le llevó diez años escribir, el autor confesó que seis de los capítulos de la novela estuvieron con él en el frente porque necesitaba llevar aquellas páginas no solamente como amuleto para ayudarlo a sobrevivir, sino como razón misma para sobrevivir. Salinger no solo sobrevivió sino que su obra, que una vez publicada pasó a convertirse en un clásico, es considerada hoy como una de las cumbre de la literatura de iniciación. Su narración sobre un adolescente que cuenta sus aventuras en Nueva York un fin de semana antes de navidad revelaba a un prosista excepcional, con grandes dotes para la narración y la creación de personajes, capaz de combinar la introspección con el humor y el absurdo. Tenía 32 años y acababa de convertirse en una leyenda gracias a aquel título, que en la década de los ochenta, estuvo inexplicablemente ligado a varios episodios violentos: John Hinckley Jr., que en 1.981 intentó asesinar a Ronald Reagan, estaba obsesionado con él y se dice que Mark David Chapman, el día que mató a John Lennon, llevaba un ejemplar consigo que acababa de comprar. Tras los disparos, se sentó tranquilamente a leerlos hasta que llegó la policía. “Esta es mi declaración”, había escrito en él. Pero después del éxito de “El guardián entre el centeno”, las secuelas de la guerra y la celebridad exagerada propiciaron que el autor huyera del ruido mediático y de cualquier otra distracción. Nada de fotografías, admiradores y periodistas. Tampoco le interesaba la autopromoción de su obra. Tan pronto como pudo, quiso que las editoriales retiraran su imagen de la portada del libro y toda aquella información adicional al texto en bruto. Fue en 1.965, cuando desapareció por completo. Como Emily Dickinson, Harper Lee, Cornac McHarthy o Thomas Pynchon, de quién se ha llegado a afirmar incluso que era en realidad el propio Sallinger que publicaba bajo seudónimo, Jerome David Salinger se refugió en su particular armario del tamaño de una granja en Cornish. “Me gusta escribir. Amo escribir, pero escribo solo para mí mismo y para mi placer”, declaró en una de las pocas entrevistas que en 1.974 concedió al New York Times. Todas aquellas decisiones, no obstante, lejos de apartarle de la vida pública moldearon el mito de un escritor enigmático, cuya imagen fue durante años buscada y perseguida por propios y extraños. Abrazado al budismo, su vida privada tampoco atravesaba su mejor momento cuando en 1.967, se divorció de su segunda mujer, Claire Douglas, con la que llevaba casado desde 1.955 y con quién tuvo sus dos únicos hijos, Margaret y Matt Salinger, algo más conocido por su trabajo como actor en películas como “Capitán América” del año 1.990. En lo puramente creativo, aunque según el propio escritor no dejó de escribir nunca, lo cierto es que a partir de 1.965 no volvió a publicar nada más y su producción literaria se limitó, además de la novela que lo consagró como escritor de culto, a varios libros de relatos como “Nueve cuentos”, “Fanny y Zooey” y “Levantad, carpinteros, la viga del tejado”. Salinger falleció un 27 de Enero de 2010, a los 91 años, y pasó los últimos años rehuyendo la atención mediática que había vuelto a generar la publicación de varios libros de memorias escritos por su ex amante, Joyce Maynard, a la que conoció cuando ella tenía 18 años y el alcanzaba los 52, y de su propia hija Margaret que en “El guardián de los sueños” describió a su padre como un hombre egoísta, mujeriego y machista. Con todo, extremadamente sensible para unos, obsesivo y excéntrico para otros, la oscuridad en torno a su enigmática figura sigue provocando el mismo o mayor interés hoy, más de cien años después de su nacimiento. Muchos autores, desde Goethe y Keats hasta Joice y Fitzgerald, exploraron ya el precario estado de la adolescencia antes de la década de 1.950. Pero en esta época, los adolescentes, con su nueva música y su búsqueda de emociones, representaron un reto para la sociedad y la cultura conservadoras, y se toparon con un aprensivo rechazo social: los adultos consideraban a esta generación moralmente laxa y falta de orientación. Los adolescentes respondieron con acusaciones de hipocresía, considerándose marginados en un mundo indiferente; y este es el territorio de la novela de Salinger. “El guardián entre el centeno” es narrada por Holden Caulfield, un chico de 17 años. Holden es liberal con el dinero de sus padres e implacable en sus comentarios sobre la sexualidad, la moralidad y la condición humana. Tiene poco respeto por la autoridad y parece indiferente a su trayectoria autodestructiva. Pero Holden es mucho más que un adolescente rebelde. La admisión de sus mentiras, imperfecciones y contradicciones revela a un individuo perplejo, que añora la inocencia de la niñez, sufre y que cada vez es más consciente de las contradicciones de la vida adulta. Es un antihéroe, una figura ambivalente y vulnerable, que puede mostrarse tan sensible e ingenioso como inmaduro y vulgar. Su indiferencia por la honradez y su desdén por las normas sociales establecidas se ven mitigados por un genuino impulso confesional y por una sorprendente tolerancia hacia alguno de los personajes que se encuentra en el transcurso de la novela. Holden es asimismo una víctima fácil. Es acosado en su dormitorio de la escuela y timado por un chulo que trabaja como ascensorista en el hotel en que se aloja. En su confusión respecto a las mujeres y el sexo, busca inconscientemente ternura y confianza. Tras pagar a una prostituta, le pregunta si pueden hablar un rato. Pese a su ateísmo, inicia una conversación con dos monjas, que le dicen que es un chico muy amable. Inevitablemente el realismo sucio de Salinger causó polémica. Algunos críticos despacharon la novela como pueril y sensiblera; pero los años siguientes a su publicación en 1.951, J.D. Salinger adquirió el estatus de figura de culto. La muerte y la aflicción son otros temas presentes en la novela. Tras la muerte de su hermano, Holden se destroza las manos de rabia; su compañero de clase es acosado y encuentra un final trágico. El propio título de la obra se refiere a una reflexión del protagonista, Holden, en que se ve como un guardián que evita que los niños que corren por un campo de centeno se caigan por un precipicio. Puede que la pérdida de tantos soldados jóvenes en la guerra influyera en Salinger para escribir esta fascinante narración en primera persona, que perdura como un retrato memorable del adolescente en crisis.

The Black Emperor of Broadway is the story of the first African-American leading man on Broadway, Charles Gilpin. Gilpin was cast by playwright, Eugene O'Neill to be the lead in his play "The Emperor Jones" in 1920, a time when "blackface" was the norm on stage. O'Neill and Gilpin clashed numerous times over the cultural representation of Gilpin's Emperor Jones, and while O'Neill's name became celebrated, Gilpin's was tragically lost to history. The Black Emperor of Broadway is now available on VOD and on DVD October 6. When celebrated playwright Eugene O’Neill cast Charles Gilpin as the lead in his new play “The Emperor Jones” in 1920, Broadway was changed forever.

In 2017, Adrienne Earle Pender’s play “N” premiered at Theatre in the Park. Inspired by the true story of her distant cousin, Charles S. Gilpin, and his relationship with Eugene O’Neill, the play chronicles the relationship with two men who, according to Pender, were “brilliant, temperamental, opinionated, and alcoholics.” Pender’s play inspired a movie, The Black Emperor of Broadway, which premieres this week on video on demand. Ian Bowater wrote the screenplay and appears in the film. Hear what Pender and Bowater have to say about reclaiming history and the significance of sharing Gilpin’s story now. "The Black Emperor of Broadway" will be available to view on video on demand September 15th. For more information visit: https://www.theblackemperor.com/ (https://www.theblackemperor.com/). About the Guests Adrienne Earle Pender began her writing career in 2001. Her first play, The Rocker, was a finalist in the Dayton Playhouse Future Fest 2002 Festival of New Works in Dayton, Ohio. The Rocker made its world premier in February 2004 at Theater in the Park in Raleigh, North Carolina. Her play, Stone Face was a selection in the Reader's Theater at the 2003 National Black Theater Festival, and was an alternate selection for the 2004 Edward Albee 12th Annual Last Frontier Theatre Conference in Valdez, Alaska. Her short play, The Murder of Love was selected for the Short Play Lab at the same conference. Additionally, Banana Split Lady made its debut at the 1st Annual Great Plains Theatre Conference in Nebraska. Her play, Somewhere In Between, had a staged reading at the Drama Book Shop in New York in 2010; a staged reading at Wordsmyth Theater in Houston, TX in May, 2014; and Somewhere In Between received a full production from Theater in the Park in Raleigh in September 2014. Her most recent play, "N," about African-American actor Charles S. Gilpin, was a finalist in the Dayton Playhouse 2016 Future Fest competition. "N" received a workshop and a staged reading at the Eugene O'Neill Festival in Danville, CA in September 2016, and made its world premiere in February 2017 at Theatre in the Park in Raleigh, NC. Pender received a Tao House Fellowship by the Eugene O’Neill Foundation in September 2015. She holds an MFA in Creative Writing from Wilkes University, and is a member of the Dramatist Guild. Ian Bowater is an actor, writer and director. He began in Theatre-in-Education and later became Associate Director at http://www.stratfordeast.com/ (Theatre Royal, Stratford East) in London. Moving to the https://www.shaw-theatre.com/ (Shaw Theatre) in London he was its director for five years. Another move took him to L.A. where he spent twenty-four years working in the film industry. He was Director of Creative Affairs at Odyssey, before plying his trade as a screenwriter. He has written over thirty screenplays for producers in the U.S., England, France, Germany and the Netherlands. including https://www.youtube.com/watch?v=aGNEbaQFFGk (“Murder On The Cape”) which will be on Netflix next year. Since relocating to Chapel Hill five years ago, he’s worked with http://littlegreenpig.com/ (Little Green Pig Theatrical Concern), the Arts Center Carrboro and http://www.theatreinthepark.com/ (Theatre in the Park). Connect with Us Facebook – @rduonstage Twitter – @rduonstage Instagram – @rduonstage Web http://www.rduonstage.com/ (www.rduonstage.com) Support this podcast

Med roller i filmer som ”First blood”, ”F/X”, ”Cocoon” och i miniserien ”To catch a killer” har Brian Dennehy (1938-2020) skrivit in sig i filmhistorien och detta avsnitt är en hyllning till honom. Vi pratar om begrepp som pondus och utstrålning när vi går igenom hans mest kända filmer. Sylvester Stallone, Eugene O´Neill, Chris Farley, Peter Greenaway, Jessica Tandy och Steve Guttenberg finns också bland namnen som nämns i detta avsnitt. Vi som gör podden heter Karsten Karlsson och Henrik Harej.

Hosted by Coni Koepfinger and Christy Donahue: Nancy Rhodes (Stage Director, writer, and educator) stages a wide range of musicals, operas and plays in the U.S.A, Europe and Asia. She directed The Astronaut’s Tale at the Brooklyn Academy of Music, BAM Fisher; staged the world premiere of Tartuffe for San Francisco Opera, and Virgil Thomson’s opera Lord Byron at Alice Tully Hall.As Artistic Director & co-founder of Encompass Theatre, specializing in new music drama & American opera, she staged over 65 works including Gertrude Stein/Virgil Thomson’s The Mother of Us All, (about Susan B. Anthony), Blitzstein’s Regina, Britten’s Phaedra, and Only Heaven by Ricky Ian Gordon and Langston Hughes. Her production of The Diary of Anne Frank was nominated for an Artistic Achievement Award and played to over four thousand people on tour at Cleveland Opera. She recently directed the world premiere of Anna Christie, based on the Pulitzer Prize-winning play by Eugene O'Neill; and the Cast Album was released by Broadway Records in 2019, and reached #6 on the Billboard charts.Internationally, she directed Death In Venice (Stockholm), Carmen (Oslo), Happy End (Finland), Kiss Me Kate (Ankara, filmed for TV), West Side Story (Istanbul), and Eccentrics, Outcasts and Visionaries for the Holland Festival (Amsterdam), and the first American musicals ever staged in the country of Albania. At Encompass, she launched Paradigm Shifts, Music and Film Festival, to celebrate courageous people around the world protecting our planet, oceans, and wildlife, and in 2017, Paradigm Shifts was presented in Seoul, Korea.As Vice President/U.S. Delegate to the International Theatre Institute, Rhodes conducted workshops and served as a guest speaker in Italy, Sweden, Germany, Venezuela, Argentina, Korea, Holland, Russia, the Czech Republic, and Estonia. She taught Acting for Singers at Manhattan School of Music for 12 years and is the commissioned librettist of The Theory of Everything, inspired by physics’ string theory of multiple dimensions and alternate universes.

Episode 55 - Eugene O'Neill's ANNA CHRISTIE Act 1 (of 4) Redfield Arts Audio presents Eugene O’Neill’s “ANNA CHRISTIE”. A young woman escaping from abuse and prostitution hopes to start a new life with her estranged father. Act One (of four) Starring the voice talents of: Mackenzie Menter as Anna, Ben Dawson as Mat, J.R. Lyston as Chris, and Lois Bailey DeVeas as Marthy. Music and Sound Design by Jennifer Rouse. Adapted from O’Neill’s play, and Directed by Mark Redfield. © The Mark Redfield Company. DON'T FORGET TO SUBSCRIBE! For More Great Audio Visit: http://www.RedfieldArtsAudio.com

Questions, Comments, Suggestions - Show Email - archivett24@yahoo.com News and Notes: USITT - Facebook USITT - Webinar Schedule Shure Webinar - How to improve your Webinar Audio Avolites - Avolites is here for you Playbill.Com - Brian Dennehy Obituary “The fog was where I wanted to be. Halfway down the path you can’t see this house. You’d never know it was here. Or any of the other places down the avenue. I couldn’t see but a few feet ahead. I didn’t meet a soul. Everything looked and sounded unreal. Nothing was what it is. That’s what I wanted—to be alone with myself in another world where truth is untrue and life can hide from itself. Out beyond the harbor, where the road runs along the beach, I even lost the feeling of being on land. The fog and the sea seemed part of each other. It was like walking on the bottom of the sea. As if I had drowned long ago. As if I was the ghost belonging to the fog, and the fog was the ghost of the sea. It felt damned peaceful to be nothing more than a ghost within a ghost.” ― Eugene O'Neill, Long Day's Journey into Night

#GraphicDesign #Puppetry #Podcast Desperate times call for desperate measures. Since Adam and Cam are trapped in their houses for the time being, they're doing some navel-gazing and interviewing each other! So this week's guest is Cameron Garrity, best known for his TEDxBuffalo presentation The Power of Puppetry, his theater pieces surrounding patient advocacy called Sanity Intact, and for his work as a graphic design - often for puppetry events like The Geppetto and Puppeteer of America Festivals. Adam and Cam discuss the importance of exercises for aspiring puppet writers, how he has transformed personal experiences into works of puppet theatre, and how he has married his passion for graphic design with a life-long love of puppetry. They guys also reflect on some of the highs and lows of projects they've collaborated on together. PLUS: hear his Puppet Tear story from a time he made a less-than-ideal first impression on Sesame Street's Sonia Manzano behind the scenes of Late Night with Eugene O'Neill. For mentions and episode highlights, visit PuppetTears.com/CamGarrity Release date: April 8, 2020 Edited by Matt Bowen Hosted by Adam Kreutinger

Seattle Rep theater presented a production of August Wilson's play Jitney this spring. Unfortunately, the run was just cancelled due to Coronavirus concerns.Wilson wrote a series of 10 plays about the African-American experience. Each is set in a specific decade of the twentieth century.Wilson won the Pulitzer Prize for Fences, set in 1950’s, and The Piano Lesson, set in the 1930’s.August Wilson had a connection to Seattle. He moved here in 1990 and finished the last half of his cycle here. He was diagnosed with inoperable liver cancer in 2005 and died that year at Swedish Hospital.Wilson is considered one of the great playwrights of the twentieth century, on par with Eugene O'Neill and Arthur Miller.Set in 1970’s Pittsburgh, Jitney is the story of a rideshare service run by Jim Becker. His business emerged in response to redlining practices. It is being forced to close due to gentrification.Redlining was devised by the federal government, theoretically to help banks in the wake of the Great Depression. The practice, steeped in racism, was embraced by local governments. The story of Jitney resonates for us in Seattle, a place which, like cities around the country, is still grappling with the legacy of targeted discrimination and disenfranchisement.In a collaboration with Seattle Rep, we invited a number of local leaders to join a discussion on the history and legacy of redlining and gentrification. We hope that through this discussion, framed by personal experience and the lens of the play, we can reflect on what we want for our city in the coming decades.This recording took place on March 8 in the KUOW studios. KUOW’s Zaki Hamid spoke with Diane Sugimura, former director of Seattle’s Department of Planning and Development; Inye Wokoma, co-founder of Wa Na Wari, the center for Black art, stories and social connection in the Central District; and Vivian Phillips, a communications and arts advocacy consultant and a member of KUOW’s board of directors.Excerpts from Jitney were read by Ronnie Hill, Brandon Jones Mooney, Malcolm J West and Alex Lee Reed.Please note: This recording contains an unedited racial slur.

Episode 47! We go over some shitty stats and speculate about our fame in India...Marc read "Long Day's Journey Into Night" by Eugene O'Neill and Trevor sort of remembers Manhattan with "Winter's Tale" by Mark Helprin

Jeremy Irons talks about his method of approaching poetry. Jeremy Irons won the Academy Award for Best Actor for his performance as Claus von Bülow in 1990’s Reversal of Fortune. He is also a Golden Globe, Emmy, Tony, and Screen Actors Guild award winner. His film highlights include The French Lieutenant’s Woman (1981), The Mission (1986), Dead Ringers (1988), Damage (1992), M. Butterfly (1993), and Lolita (1997). Jeremy Irons received a Tony for his performance in Tom Stoppard’s play The Real Thing (1983), and appeared on the London stage in the National Theatre’s Never So Good (2008) and the Royal Shakespeare Company’s The Gods Weep (2010). In 2016 he portrayed James Tyron in Eugene O’Neill’s Long Day’s Journey Into Night as part of the Bristol Old Vic’s 250th anniversary. Recorded live in London at The Tabernacle on 20th Jan 2020. 5x15 brings together five outstanding individuals to tell of their lives, passions and inspirations. There are only two rules - no scripts and only 15 minutes each. Learn more about 5x15 events: 5x15stories.com Twitter: www.twitter.com/5x15stories Facebook: www.facebook.com/5x15stories Instagram: www.instagram.com/5x15stories

How much choice do we have in the information available to us on the internet? Are we simply following the leader without looking for other views? In the age of information through tools like the internet, how much can we know? With overwhelming information that is readily available at a keystroke, why are we being limited to predetermined profiles? Https://www.cjr.org>cover_story>21st_century_censorship 21st Century Censorship - Columbia Journalism Review by Phillip Bennett and Moses Naim Bennett. Pbs.org Censorship by Eugene O'Neill www.entrepreneur.com/article/317760 Google Reportedly Working on Censored Search for China. By Matthew Humphries

José's seen it once and returns to its depths for a second time, alongside Mike, who knows nothing about it. Chinese writer-director Bi Gan's Long Day's Journey into Night, unrelated to Eugene O'Neill's play, tells a story that flashes between memories of a love lost long ago and present day reality, culminating in an hour-long single take that moves through an entire mining village. It's a film that oozes feelings of loss and nostalgia, the protagonist's return to his hometown seeing him wander through dereliction and abandonment, where his life was once vital and exciting. The noirish flashbacks are sumptuously composed and lit, romantic and evocative; one sinks into those gorgeous images. The long take that comprises the film's second half is less successful, an exercise in form that leaves longueurs and attracts too much attention to itself. But its relationship to the first half is intriguing, its symbolism readily apparent if difficult to interpret, and its technical accomplishment unquestioned. (We didn't see this version of it, but it's entirely in 3D, which we can only imagine heightens its fluid, magical tone.) Despite José's criticisms, it's one of his films of the year, though for Mike its qualities don't offer enough to counterbalance a second half with which he really struggled. But it's certainly worth your time, and if it's showing near you, you should catch it. Recorded on 11th January 2020.

It’s John Ford and Greg Toland vs boats— which will win out for David, the director and cinematographer he loves or the setting and subject he hates? Certainly this combo will work for Suzan… right? See what our hosts think of this adaptation of 4 short Eugene O’Neill plays.

This week we continue our conversation with Robert Falls, the Tony-winning artistic director of the Goodman Theatre in Chicago. In addition to being well-known for directing classics like Arthur Miller’s Death of a Salesman and Eugene O’Neill’s The Iceman Cometh and Long Day’s Journey Into Night, Bob has worked on such possibly surprising material as the Elton John and Tim Rice musical Aida, and that’s where we pick up our conversation. Featuring the joy of working with actors; collaborating with Elton John, Tim Rice, and David Henry Hwang; tales of working on John Logan’s Red, and Shakespeare’s Winter’s Tale and Measure for Measure; why and how we're drawn to certain plays or genres; false distinctions; some terrible phrasing and important corrections; why, for all the comedies Bob directs, he may be more of a tragedian; and the dual pleasures of tearing plays apart — and an audience’s heart out. (Length 18:54) (Pictured: (l-r) Disney Theatrical's Thomas Schumacher, Elton John, and Robert Falls in rehearsal for Aida, 2000.) The post Director Robert Falls (Part 2) appeared first on Reduced Shakespeare Company.

Unlike Hank in the Eugene O'Neill play The Hairy Ape, who is clearly i need of belonging to something greater than himself, I am not a joiner. But here are two stories of me joining in, one an organization (Mensa) and another while attending a singles event.

This week on No Script, Jackson and Jacob visit a classic: Eugene O'Neill's "Long Day's Journey Into Night." This tragic, heartbreaking piece is considered one of America's best plays. O'Neill's VERY autobiographical play won the 1957 Pulitzer Prize for Drama. It chronicles the pain and suffering endured by one American family across one day of their lives. Listen in as J&J try to grapple with the play's utter darkness, and search for hope amidst the pain.   ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Logo Text: Paralines designed by Lewis Latham of http://lewislatham.co/ ------------------------------ Thanks so much for listening! We’ll see you next week.

Charles enters the booth mainly to discuss his newest play "Fitzgerald at Your Service" but I also get him to talk about why he started writing, his great love and appreciation for Eugene O'Neill and Henry David Thoreau. Plus, along the way, he drops nuggets on us about his play writing process. Classic.

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! 1. Cathleen Riddley (Mary Tyrone) in Ubuntu Theatre Project's Long Days Journey into Night by Eugene O'Neill extended through Nov. 3 at The Flax Building in Oakland. ubuntutheaterproject.com 2. Barbara Lee and Elihu Harris Lecture Series will present something different, topical and engaging: Kenyan comedian and performance artist Anna Mwalagho’s one-woman show, Never Thought I Was Black Till I Came to America. Through comedy, storytelling, music and truth, Ms. Mwalagho looks at race and race relations in the US through the immigrant experience. The performance will be given Thursday, October 24, at 7 pm in the James Moore Theater at the Oakland Museum of California, located at 1000 Oak Street. Popular Bay Area comedian and activist Don Lacy will introduce the evening. Admission is free and due to the limited seating, reservations are required by calling the Freedom Center at 510-434-3988. Check out the video of Anna Mwalagho, her work and what audiences have to say about her one-woman show: https://www.youtube.com/watch?v=t3i4duvKOYc  

Monte Cristo Cottage has gone down in theatrical history as the setting for Eugene O’Neill’s masterpiece, Long Day’s Journey Into Night, as well as his comedy Ah, Wilderness! Once the family’s summer residence—and the closest thing to a real home for peripatetic actor James O’Neill and his wife and sons—it’s now part of the Eugene O’Neill Theater Center. This week, we’re joined by Anne G. Morgan, literary manager and dramaturg at the O'Neill. Anne introduces us to the cottage and talks about how a historic site helps us to better understand O’Neill’s life and work.

Paul & I discuss and/or mention in passing: Dining, Opening Credits, Crepe Paper Balls, Fire-Roasted Corn, Probiotics, A Free Lady With Every Meal, Preppy Names, Dink=Dick?, Slam Books, Mean Girls, Tina Fey, Scott McGinnis, Marc Poppel, Dan Frischman, Head Of The Class, Howard Hesseman, Burt Reynolds, Smokey and the Bandit, Stroker Ace, Rent-A-Cop, Deliverance, Ned Beatty, Miss Piggy, James Brendlinger, Riunite on Ice, Key Parties, Harvey’s Bristol Cream, Gilda Radner, Boone’s Farm, Zsa Zsa Gabor, RuPaul’s Drag Race, Eugene O’Neill, MOMA, Dalí, Picasso, Broch, Cézanne, Matthew Arter, Tim Williams, The Facts Of My Life by Charlotte Rae and Larry Strauss, Audible.facethefactspod.comfacebook.com/facethefactspodtwitter.com/facethefactspodinstagram.com/facethefactspodPlease SUBSCRIBE, RATE, and REVIEW!

On this episode of Book Cheat Dave has read Eugene O'Neill's classic play 'Long Day's Journey Into Night.' Hearing all about it is Mish and Zach from Recaps with Mish and Zach (and also a small side project called Aunty Donna). Discover why this play is listed as a must read for all aspiring actors.Support Book Cheat on Patreon: www.patreon.com/DoGoOnPodSuggest a book for Dave to cheat: https://goo.gl/jxMdiW To get in contact, email bookcheatpod@gmail.com or follow the show via the links below:Twitter: @BookCheatPodInstagram: @BookCheatPodFacebook: @BookCheatPodListen to Recaps with Mish and Zach:https://zacharyruane.podbean.com/Watch Zach and Mish in some Aunty Donna sketches:http://www.auntydonna.com/videosWatch Mish in the super funny web series Internment:https://www.youtube.com/watch?v=Nw8KnVfkkmgMish on Insta:https://www.instagram.com/mishwittrup/?hl=urZach on Insta:https://www.instagram.com/zacharyruane/?hl=en See acast.com/privacy for privacy and opt-out information.

Join us this week as we journey to Central Greenwich Village. Believe it or not, the neighborhood is very different from the West Village, which was a subject neighborhood for an episode we aired earlier this year. My guests will be Joyce Gold of Joyce Gold History Tours, and a special guest,“Sheriff” Bob Saidenburg, long-time fixture in the Greenwich Village folk music scene, and host of Sheriff Uncle Bob’s Bluegrass Jam. Segment 1 Jeff introduces Joyce Gold. Joyce talks one attribute New York City offers, choice. The variety of opportunities and hobbies available appealed to her, both personally and as a historian. First, before she gave professional tours, she offered her tours to fellow New Yorkers. Joyce then speaks specifically about Greenwich Village before colonial times. Joyce tells stories about Greenwich Village before it was very developed such as how it used to be a popular fishing area and how Washington Square Park was a swamp and then a graveyard. Segment 2 Joyce then speaks on the Triangle Shirtwaist Factory Fire. Jeff recalls how his grandmother told him that as a child she saw the fire first hand. Then talking about the bohemian reputation of The Village back in the day, Joyce recalled one woman describing a ‘bohemian’ as ‘It means I’m not a victim of feeling or good taste’. Joyce speaks of the famous inhabitants of Greenwich Village such as Eugene O'Neill, Edna St. Vincent Millay, and political theorist and radical Jack Reed. Jeff brings up how The Village had the first racially integrated night club, then asks about the second wave of bohemians that spent time in The Village. This time, the Beat Generation. Joyce then speaks on The Weathermen, a radical branch of Students for a Democratic Society, and their attempted bombing of facilities they thought supported the war in Vietnam. Segment 3 Jeff introduces his second “Sheriff” Bob Saidenburg to come back from the break. Bob has been playing folk, country and bluegrass music in NYC for around 60 years. Bob talks about when he first moved to NYC and growing up in the city, especially around Washington Square Park. He discusses the growing music scene in Greenwich Village in the 60s and how he got heavily involved in it. Bob goes into the evolution of instrumentation throughout the years he’s spent as a musician. He explains why he got most heavily involved with bluegrass and how that ties into the history of the United States.  Segment 4 Bob talks about some upcoming shows and events that he’s going to be a part of in the near future. Bob also plays in the Carribean and joins reggae musicians to give audiences a unique experience. He then explains what Greenwich Village was like back when he was a teenager and in his early 20’s. He says it still has the same aura and feel to it today. Bob wouldn’t want to live anywhere else in the world and feels like the Village is the center of New York and the world. One thing that he says has changed is the number of tourists he sees on the streets and the different languages he now hears. Bob finishes up by talking about the importance of live music, especially in New York.

Get Lit goes on tour to record our Eugene O'Neill episode in the same spot that he launched his career: Provincetown, MA! Join us at sea and stick around for a quick trip to Concord & Walden Pond ft. Henry David Thoreau & Ralph Waldo Emerson.

"Do you dare to go down into...THE CELLAR?" Welcome to Episode Four of our all-new horror/suspense anthology series! Our stories are either original, or inspired by, or adapted from pulp fiction and classic literature. Season One of THE CELLAR already has 17 episodes written and cast, with 24 total episodes planned. Expect eerie or suspenseful tales from authors such as Ray Bradbury, August Derleth, Henry Kuttner and Robert Bloch! Not only these, but you can expect an audio adaptation of a weird Grand Guignol play, Pete Lutz's own adaptation of a play by Eugene O'Neill, plus several original tales from Pete and guest playwright Mark Slade. The possibilities are endless, the thrills are non-stop, and the stories are the best possible ones we could find and/or create.  With that in mind we proudly present "The Evil Twin" by R. Anthony, one of several pen names for pulp-fiction writer Anthony M. Rud, adapted by Pete Lutz. It concerns a prominent doctor and surgeon, treating a young man who is...more than he seems. Enjoy! CAST: ANNOUNCER: Graham Rowat CADAVERA QUIVRY (Your Ghostly Host): Angela Young DR PAUL BRENNEN: Joe Stofko JOHN PENDLETON: Jonathan Montgomery DR FREDERICK HOFFMAN: Curt Johnson NURSE CUMMINGS: Debby Leal-Ramirez NURSE AYALA: Tanja Milojevic DUTY NURSE: Sarah Golding DR HALLER: Rachel Rumler   "The Cellar" theme by Tom Rory Parsons Sound effects from freesound dot org and the public domain "The Cellar" was conceived, produced and directed by Pete Lutz, and stars the Narada Radio Company. This is a 63audio production, mixed and mastered in Corpus Christi, Texas.

Neste episódio vamos ao teatro. Ou, melhor dizendo, ao teatro feito cinema, com O Homem de Gelo (The Iceman Cometh, John Frankenheimer, 1973), adaptação da peça de Eugene O'Neill e um dos títulos da curta e fascinante experiência (entre 1973 e 1975) que foi o American Film Theatre.

A Behind the Scenes look at LONG DAY'S JOURNEY INTO NIGHT by Eugene O'Neill and the relevancy of this legacy piece today. A conversation with the director Brendon Fox and cast members: Josh Odsess-Rubin*, James Keegan*, Billy Finn*, and Janis Stevens.* *Member of Actors’ Equity Association Music: Jeremy Douglass Produced by: Sadie Lockhart 

"Do you dare to go down into...THE CELLAR?" Welcome to Episode Two of our all-new horror/suspense anthology series! Our stories are either original, or inspired by, or adapted from pulp fiction and classic literature. Season One of THE CELLAR already has 17 episodes written and cast, with more to come. Expect eerie or suspenseful tales from authors such as Ray Bradbury, August Derleth, Henry Kuttner and Robert E. Howard! Not only these, but you can expect an audio adaptation of a Eugene O'Neill play, AND Pete Lutz's own adaptation of a Lon Chaney-starred silent film. The possibilities are endless, the thrills are non-stop, and the stories are the best possible ones we could find.  With that in mind we proudly present Paul Witcover's tale, "Moonlight Becomes Magenta", adapted by my friend and fellow audio dramatist Mark Slade. Set in old Mexico, we hear the story of a young boy forced by fate to seek vengeance against the man who killed his father, and the supernatural elements that helped him do it. Viva la revolución! CAST: ANNOUNCER: Graham Rowat CADAVERA QUIVRY (Your Ghostly Host): Angela Young PABLITO as an Adult: Nick Wommack BENITEZ: Juan Perez PABLO: Orlando Segarra JAVIER: Micah Blain YOUNG PABLITO: Debby Leal-Ramirez CESAR: Joe Martinez MAGENTA: Christin Espinoza With Additional Voices by Merilee Robinson, Jonathan Montgomery, Lisa Michaud, Aileen Corpos, Mark Bruzee, Derek Rhein, Jessica Mathews, Dyanna Garza and Pete Lutz "The Cellar" theme composed and performed by Tom Rory Parsons Stay tuned til the end, for a preview of Episode Three! Music from the Public Domain, and/or thru a Creative Commons License, and from Kevin MacLeod of incompetech.com Sound effects from the PD and from freesound.org and from Creative Commons License

"Do you dare to go down into...THE CELLAR?" Welcome to Episode One of our all-new horror/suspense anthology series! Our stories are either original, or inspired by, or adapted from pulp fiction and classic literature. Season One of THE CELLAR already has 15 episodes written and cast, with more to come. Expect eerie or suspenseful tales from authors such as Ray Bradbury, Paul Witcover, August Derleth, Henry Kuttner and Robert E. Howard! Not only these, but you can expect an audio adaptation of a Eugene O'Neill play, AND Pete Lutz's own adaptation of a Lon Chaney-starred silent film. The possibilities are endless, the thrills are non-stop, and the stories are the best ones possible we could find.  Our first one is an original tale by our director, inspired by an episode of Arch Oboler's "Lights Out" (but he can't remember which one). George McDingle is a guy who's been under the thumb of the world his entire life. But one morning he awakens with a massive headache...and a strange new power. Will he use it for good...or evil? Listen and find out!  Our hostess with the mostest, Cadavera Quivry, will be on hand for every installment, introducing the show and opening her big book of weird stories just for you! So sit back and get (un)comfortable, and enjoy our first trip down to...THE CELLAR!  CAST: ANNOUNCER: Graham Rowat CADAVERA QUIVRY: Angela Young GEORGE McDINGLE: Christian Ferris DOCTOR BANNISTER: Thomas Goodwin TRUCK DRIVER: Pete Lutz SHELLEY DORSEY: Angela Young SURGEON: Steve Blizin "The Cellar" theme composed and performed by Tom Rory Parsons Stay tuned til the end, for a preview of Episode Two, AND a promo from one of our fellow creators!