Podcasts about guthrie theatre

2011 Rattle Poetry Prize winner Hayden Saunier has published five collections of poetry and her work has been awarded a Pushcart Prize, the Gell Poetry Prize, the Pablo Neruda Poetry Prize, and nominated numerous times for a Pushcart Prize. Her acting resume includes film and television appearances in The Sixth Sense, Philadelphia Diary, House of Cards, Mindhunter, Hack and Do No Harm and dozens of roles at regional theatres such as the Guthrie Theatre , Walnut Street Theatre, Arden Theatre, George Street Playhouse, Interact Theatre and People's Light and Theatre Company. A Poet Laureate Emerita of Bucks County, Pennsylvania, she lives in the Philadelphia area. Find more information at: https://www.haydensaunier.com/ As always, we'll also include the live Prompt Lines for responses to our weekly prompt. A Zoom link will be provided in the chat window during the show before that segment begins. For links to all the past episodes, visit: https://www.rattle.com/rattlecast/ This Week's Prompt: Write a poem that explores the perspective of the other side, and arrives somewhere opposite to where the poem begins. Next Week's Prompt: Write an elegy that's not about a person. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

The boys swap stories from their successes and shortcomings of an eventful deer hunting opener. Max got out and checked out a show at the Guthrie Theatre while Matt tried out a new brewery in town.Send us a text

Sanaz Toossi's Pulitzer Prize-winning play English, a powerful, warm-hearted, and surprisingly funny play about four adult students in Iran studying for the Test of English as a Foreign Language (TOEFL), is getting an extraordinary production from director Hamid Dehghani that runs this summer at the Goodman Theatre in Chicago and the Guthrie Theatre in Minneapolis. Hamid discusses how amazingly personal Toossi's play is and the extraordinary theatrical conceit at the heart of it; how both the play and the production embrace questions of identity through humor; the difficulty of being as funny in English as you are in Persian; how the incredibly specific becomes wonderfully universal; and how working on this script with these actors allowed Hamid to clarify his truest artistic self. (Length 19:16) (PICTURED: Shadee Vossoughi and Nikki Massoud in the Goodman Theatre and Guthrie Theatre co-production of Sanaz Toossi's English, directed by Hamid Dehghani. Photo by Liz Lauren.)

When I read his work, I feel like he is a close friend that I lost. That's how much he resonates with me.Today we meet Kim Hines and we're talking about the book that saved her life: The Fire Next Time by James Baldwin.Kim Hines is a playwright, actor, director, and author. Her plays have been produced across the United States, including tours at the Kennedy Center for the Performing Arts. Kim has performed at many theaters including the Illusion Theater, Penumbra Theater, and the Guthrie Theatre. She was a founding member of Mixed Blood Theater. Kim has directed at theaters across the Twin Cities of Minnesota, and at Cornell University in New York, University of Northern Iowa, and Kansas University. Her YA novel Wingo Fly was published in 2020.The Fire Next Time was a 1963 national bestseller. It galvanized the United States, giving passionate voice to the civil rights movement. Both a evocation of James Baldwin's early life in Harlem and an examination of racial injustice, this book is intensely personal and provocative. It is written as two "letters" on the occasion of the centennial of the Emancipation Proclamation.Connect with Kimfacebook: facebook.com/kim.hines920/website: simplykimhines.comOur BookshopVisit our Bookshop for  new releases, current bestsellers, banned books, critically acclaimed LGBTQ books, or peruse the books featured on our podcasts: bookshop.org/shop/thisqueerbookTo purchase The Fire Next Time visit: https://bookshop.org/a/82376/9780679744726Become an Associate Producer!Become an Associate Producer of our podcast through a $20/month sponsorship on Patreon! A professionally recognized credit, you can gain access to Associate Producer meetings to help guide our podcast into the future! Get started today: patreon.com/thisqueerbookCreditsHost/Founder: J.P. Der BoghossianExecutive Producer: Jim PoundsAssociate Producers: Archie Arnold, K Jason Bryan and David Rephan, Natalie Cruz, Jonathan Fried, Paul Kaefer, Nicole Olila, Joe Perazzo, Bill Shay, and Sean SmithPatreon Subscribers: Stephen D., Stephen Flamm, Ida Göteburg, Thomas Michna, and Gary Nygaard.Creative and Accounting support provided by: Gordy EricksonMusic and SFX credits: visit thiqueerbook.com/musicQuatrefoil LibraryQuatrefoil has created a curated lending library made up of the books featured on our podcast! If you can't buy these books, then borrow them! Link: https://libbyapp.com/library/quatrefoil/curated-1404336/page-1Support the Show.

Actor Kristen Ariza has made a name for herself in every lane of the industry from stage to commercials to voice over to television and film. You've seen her in some of TV's most beloved projects of all time including "Friends," "Grey's Anatomy," "Parks and Recreation," "Lie to Me," and nearly every procedural under the sun. In this jam-packed episode, she walks us through numerous audition stories and covers the nuances between guest star roles, transitional characters in pilots, book narration, and more. Be sure to take notes as Kristen shares how she navigated a theater audition over Zoom, the kind of character prep she does for emotional scenes, and the importance of maintaining multiple income streams as an actor. CREDITS:  StartUp All Rise Bosch The Fosters Resurrected Confirmation Big Shot American Horror Story Parks and Recreation Bones Lie to Me Friends The Tomorrow People GUEST LINKS: IMDB: Kristen Ariza INSTAGRAM: @kristenariza THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition WHAT TYPE OF ACTOR ARE YOU: Quiz !!! THE BRIDGE FOR ACTORS: Become a WORKING ACTOR THE PRACTICE TRACK: Membership to Practice Weekly PATREON: @thatoneaudition CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher CREDITS: Host/Producer: Alyshia Ochse WRITER: Erin McCluskey WEBSITE & GRAPHICS: Chase Jennings SOCIAL: Alara Cerikcioglu

A bonus episode where Peter Schmitz of the 'Adventures In Theatre History - Philadelphia' podcast takes us through an overview of the development of theatre in Philadelphia.Peter Schmitz is an actor, dialect coach, and teacher of Theater History who lives in the Philadelphia area. Originally from St. Louis, Missouri, he got his BA in History from Yale University, and his MFA in Acting from New York University's Tisch School of the Arts Graduate Acting Program. Over the past 35 years, he has performed with many American regional theaters, including the Yale Rep in New Haven CT, the Guthrie Theatre in Minneapolis MN, the Penumbra Theatre in St. Paul MN, and the Folger Shakespeare Theatre in Washington DC. In New York City, he did everything from children's theater to Off-Broadway shows, and was a member of the Broadway company of My Fair Lady in 1994. In Philadelphia, he has appeared with the Arden Theatre Company, InterAct Theatre, the Philadelphia Theatre Company, the Lantern Theater Co., the Wilma Theater, the Act II Playhouse - and many shows at the Walnut Street Theatre. And he even had a small role in the movie Fargo, for which he leaned to speak Minnesotan. As a theatrical dialect coach in the Philadelphia region, he has worked with many of Philadelphia's theater companies, both small and large. At present, Peter is an Adjunct Professor in the Theater Department of Temple University in Philadelphia, teaching courses in writing, dramatic literature . . . and the History of theatre.Find more information about Peter and his podcast at https://www.aithpodcast.com/on Facebook https://www.facebook.com/AITHpodcastand on Instagram https://www.instagram.com/aithpodcast/ This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

FRICK YOUR FREAKIN' FACES, FRIENDS! It's F! This week, Justin and Erika chat about some of their favorite playwrights of the contemporary time. Justin nerds out about one of the greatest playwrights for monolouge pulls (if your female presenting and within the ages of 20-40), Erika gives us a bio on a record-breaking playwright, and the two of them nerd out ofver a DANCE STYLE?! The EKR is really goofy this week. Freaking have fun! SOME BUSINESS: Thank you to the two playwrights we featured in this episode! You can find some of their plays in the links below. Erika's play, Kill The Bird, can be found on her New Play Exchange and you can purchase and produce Justin's play, Community Garden, through his publisher, Playscripts. Finally, you can check out Justin's YouTube channel for more longform theatre content!Links to our playwrights:Larissa FastHorse's ConcordFor The People by Larissa FastHorse and Ty Defoe currently running at the Guthrie Theatre til 11/12.Halley Feiffer's ConcordHalley Feiffer's DramatistIf you like the show, feel free to subscribe and give us a five star review! Also, follow us on instagram @justinborak and @actualerikakuhn and Justin on TikTok for any news and notes on upcoming episodes and more theatre reccomendations!

Want to see the video version of this podcast? Please visit Youtube here: https://www.youtube.com/watch?v=lYOKr5S4YvU 0:00 - Talent Cannot Be Taught 9:05 - Most People Don't Want Massive Success 22:12 - It Takes Most Actors 20 Years To Learn This Lesson 41:22 - How To Boost Confidence 53:30 - What Happens When an Actor Faces a "Bad Script"? 1:11:25 - Why An Acting Audition Is The Real Job 1:25:43 - This Is What Stops An Actor From Getting Into Character 1:36:50 - If You Put Business First You'll Never Be An Artist BUY THE BOOK - THE AUTHENTIC ACTOR: The Art and Business of Being Yourself https://amzn.to/3ECXbjk Michael Laskin has been a working professional actor for over 40 years in film, television, and the theatre – from SEINFELD to BIG LITTLE LIES and a great deal in between. He has worked extensively off-Broadway, and at some of America's leading regional theatres, including The Guthrie Theatre, The Actors Theatre of Louisville, The Geffen Playhouse, The Seattle Repertory Theatre, and The Mixed Blood Theatre Company. Additionally, he was awarded a Fringe First Award at The Edinburgh Festival for playing “Richard Nixon” in TEA WITH DICK AND GERRY, which went on to a successful run at London's Roundhouse Theatre. Michael also starred in the Canadian premier of the Pulitzer Prize winning drama “Talley's Folly” and his most recent stage work was the American premiere of the one-person play, ALTMAN'S LAST STAND in Los Angeles. A recipient of a Bush Fellowship with The Guthrie Theatre, he was also awarded a Distinguished Alumnus Award from The University of Minnesota's College of Liberal Arts. A graduate of Northwestern University's theatre department where he received his bachelor's degree, Michael also has a masters degree in theatre management from The University of Minnesota. Additionally he's taught acting at USC, UCLA, Queen's College-Cambridge (UK), The Actors Centre (London), Art Center College of Design, Kennesaw University, the University of Minnesota, the Hawaii International Film Festival, and South Coast Repertory Co. He's had the privilege of working with some of the great artists in film and theatre, including Barry Levinson, Stephen Frears, Walter Matthau, John Sayles, Paul Mazursky, Bob Rafelson, Michael Langham, Robert Duvall, Roy Dotrice, and many others. MORE VIDEOS WITH MICHAEL LASKIN https://bit.ly/3TF5v73 CONNECT WITH MICHAEL LASKIN https://www.michaellaskinstudio.com https://www.imdb.com/name/nm0489644 https://www.instagram.com/michaellaskinstudio https://twitter.com/michaellaskin MORE MICHAEL WIESE PRODUCTIONS AUTHORS https://mwp.com (Affiliates) SAVE $15 ON YOUTUBE TV - LIMITED TIME OFFER https://tv.youtube.com/referral/r0847ysqgrrqgp ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS SOUND RECORDER (AMAZON) – http://amzn.to/2tbFlM9 SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage SUBSCRIBE TO THE FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 Stuff we use: LENS - Most people ask us what camera we use, no one ever asks about the lens which filmmakers always tell us is more important. This lens was a big investment for us and one we wish we could have made sooner. Started using this lens at the end of 2013 - http://amzn.to/2tbtmOq AUDIO Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post https://amzn.to/425k5rG Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - https://amzn.to/3WEuz0k LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - http://amzn.to/2u5UnHv *These are affiliate links, by using them you can help support this channel.

Colleen shares what she would ask an Amish person, leave the manatees alone -- they're just getting it on! Colleen saw "Into The Woods" at the Guthrie Theatre, we play a round of WOULD YOU RAHTER, and would you travel across the world and be a "beauty tourist?" Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Colleen shares what she would ask an Amish person, leave the manatees alone -- they're just getting it on! Colleen saw "Into The Woods" at the Guthrie Theatre, we play a round of WOULD YOU RAHTER, and would you travel across the world and be a "beauty tourist?" Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the New Generation podcast Ty Mac, a comedian who is performing at the Guthrie Theatre in Grove City later this month, talks about how he got into comedy, what to expect from him on stage, acting in movies and more.

http://lizduffyadams.com/Liz Duffy Adams' play Born With Teeth, recipient of a 2021 Edgerton Foundation New Play Award and Best Play/Production, 2022 Houston Press Awards, had its world premiere at the Alley Theater in 2022, and moved to the Guthrie Theatre in March–April 2023.Her Or, premiered Off Broadway at WP Theater and has been produced some 80 times since, including at the Magic Theater, Seattle Rep, and Roundhouse Theatre. Her work has also premiered or been developed at Contemporary American Theater Festival, Humana Festival, Bay Area Theater Festival, Portland Center Stage, Syracuse Stage, Greater Boston Theater Company, New Georges, Clubbed Thumb, Crowded Fire, Shotgun Players, and Cutting Ball, and includes Dog Act; The Salonnières; Dear Alien; A Discourse on Wonders of the Invisible World; Buccaneers; Wet or, Isabella the Pirate Queen Enters the Horse Latitude; The Listener; The Reckless Ruthless Brutal Charge of It or, The Train Play; and One Big Lie.She's a New Dramatists alumna and has received a Women of Achievement Award, Lillian Hellman Award, New York Foundation for the Arts Fellowship, Weston Playhouse Music-Theater Award, Massachusetts Cultural Council Fellowship, and the Will Glickman Award for Best New Play. Her Artistic Stamp virtual play in letters, Wild Thyme, was nominated for a 2021 Drama League Award for Outstanding Interactive or Socially-Distanced Theater.Publications include Or, in Smith & Kraus' “Best Plays Of 2010;” Dog Act in “Geek Theater,” Underwords Press 2014; Poodle With Guitar And Dark Glasses in Applause's “Best American Short Plays 2000-2001;” and acting editions by TRW Plays, Playscripts, Inc. and Dramatists Play Service. Adams' portrait appears in Sally Davies' collection, New Yorkers (Ammonite Press 2021).  Adams has an MFA from Yale School of Drama and a BFA from New York University, and was the 2012–2013 Briggs-Copeland Visiting Lecturer in Playwriting at Harvard University. She has dual Irish and American citizenship, and lives in New York City on land that once belonged to the Lanape, and in Western Massachusetts on unceded Pocumtuc and Nipmuc land.Now is a great time to act on your dreams! If this episode helped you, please share to a friend!https://www.instagram.com/HyphensHaven/http://www.dreamofdrea.com/Watch on YouTube https://www.youtube.com/c/DreamofDréa

Get going on gaining the grasp of today's episode! We are doing "G"! Justin talks all about Playscripts and theatre for high schoolers, the two chat about one of their current favorite musicals, and then Erika decides to destroy Justin's brain. Oh gosh, this one is gory. Our small theatre shout out is Geva Theatre in Rochester, NY and the Guthrie Theatre in Minneapolis, MN! Follow them on instagram @gevatheatre and @guthrietheatre!Special thanks to Broadway Licensing for being a script supplier of the show and U92 for being our recording headquarters!If you like the show, feel free to subscribe and give us a five star review! Also, follow us on instagram @justinborak and @actualerikakuhn for any news and notes on upcoming episodes!

As the Producing Director at Actors Theatre of Louisville, Jon Jory directed over 125 plays and produced over 1,000 during his 32-year tenure. He conceived the internationally lauded Humana Festival of New American Plays, the SHORTS Festival, and the Brown-Forman Classics-in-Context Festival. He was also the Artistic Founding Director of Long Wharf Theatre in New Haven, Connecticut, and he has been inducted in New York's Theatre Hall of Fame. Mr. Jory has directed professionally in nine nations, and in the United States has directed productions at many regional theatres including Washington's Arena Stage, San Francisco's American Conservatory Theatre, Hartford Stage, the McCarter in Princeton, Guthrie Theatre, and the Oregon Shakespeare Festival. He has received the National Theatre Conference Award and ATA Distinguished Career Award. For his commitment to new plays, he has received the Margo Jones Award twice, the Shubert Foundation's James N. Vaughan Memorial Award for Exceptional Achievement and Contribution to the Development of Professional Theatre, Carnegie Mellon's Commitment to Playwriting Award, and the Special Tony Award for Achievement in Regional Theatre. He currently teaches acting and directing at the Santa Fe University of Art and Design.

A conversation with Valerie Curtis-Newton about the theater's role in a community, Black theater in America today, and more.About the GuestCurrently the Head of Directing at the University of Washington School of Drama, I also serve as the Founding Artistic Director for The Hansberry Project, a professional African American theatre lab. I have worked with professional theatre's across the country including: The Guthrie Theatre, Denver Center for the Performing Arts, Seattle Rep, Playmakers Repertory Company, Actors' Theatre of Louisville, Alabama Shakespeare Festival, Intiman Theatre, Seattle Children's Theatre, The Mark Taper Forum, New York Theatre Workshop, and Southern Repertory Theatre among others. Links: https://playmakersrep.org/show/blues-for-an-alabama-sky/Follow usWebsite: beltlinetobroadway.orgFacebook/Instagram @beltlinetobroadwayTwitter @beltlinetobway

The Minnesota-based movie "Hockeyland" is getting some buzz - we talk with the director. Sven Sundgaard has weather details and we have a preview of this year's line up at the Guthrie Theatre.

Marissa is an actress, producer, screenwriter, playwright, and solo show performer. On TV she has appeared on Chicago Fire, Chicago Med, and Chicago Justice. She found her love for creating with the late Elizabeth Swados at La Mama Experimental Theatre Company helmed by the famous Ellen Stewart. Her work in theatre spans three decades ranging from off-broadway to regional theatre. She has performed at The Goodman Theatre, Steppenwolf Theatre, Guthrie Theatre, New York International Film Festival, Connecticut Free Shakespeare. Marissa wrote a critically acclaimed solo show "Yellow Dress" which toured to the New York International Fringe Festival and to the Hollywood Fringe Festival where it was awarded one of the Best of Fest shows and received encore performances. "Yellow Dress" was produced in Chicago by Silk Road Rising Theatre to sold-out performances. Marissa holds an MFA in Acting from the University of Washington in Seattle and is completing her Screenwriting program at UCLA. ▬▬▬▬▬▬▬▬ Marissa Lichwick ⌲ IMDb: https://www.imdb.com/name/nm7052991/ ▬▬▬▬▬▬▬▬ The Moving Spotlight Podcast ⌲ iTunes: https://podcasts.apple.com/us/podcast/the-moving-spotlight/id1597207264 ⌲ Spotify: https://open.spotify.com/show/7cjqYAWSFXz2hgCHiAjy27 ⌲ Patreon: https://www.patreon.com/themovingspotlight ⌲ ALL: https://linktr.ee/themovingspotlight ▬▬▬▬▬▬▬▬ #SearchingForYoo #YellowDress #KoreanActress #GoodmanTheatre #SteppenwolfTheatre #GuthrieTheatre #ChicagoMed #ChicagoJustice #ChicagoFire #NewYork #Chicago #LosAngeles #Emmys #TVTime #iTunes #Actor #ActorsLife #Believe #Success #Inspiration #Netflix #Hulu #Amazon #HBO #AppleTV #Showtime #Acting #Artist #Theatre #Film #YourBestBadActing #Content #CorbinCoyle #JohnRuby #RealFIREacting #TMS_Pod --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/the-moving-spotlight/support

With a string of television credits as long as your arm, Emmy and Tony nominated Veanne Cox has played Calliope in Disney's live action Cinderella (and can still do the laugh-snort!) also has done PRIVATE LIVES at the Guthrie Theatre, and is working on a version of that play called ELYOT & AMANDA for Playhouse on Park which opens Wednesday, Feb. 10. Yes, Covid has turned everyone's world upside down, even major stars.

Jeffrey Lo is a Filipino-American playwright and director based in the Bay Area. He is the recipient of the Leigh Weimers Emerging Artist Award, the Emerging Artist Laureate by Arts Council Silicon Valley and Theatre Bay Area Director's TITAN Award. Selected directing credits include The Language Archive and The Santaland Diaries at TheatreWorks Silicon Valley, Vietgone at Capital Stage, A Doll’s House, Part 2 and Eurydice at Palo Alto Players (TBA Awards finalist for Best Direction), Peter and the Starcatcher and Noises Off at Hillbarn Theatre, The Grapes of Wrath, The Crucible and Yellow Face at Los Altos Stage Company and Uncle Vanya at the Pear Theatre (BATCC award for Best Production). As a playwright, his plays have been produced and workshopped at TheatreWorks Silicon Valley, The BindleStiff Studio, City Lights Theatre Company and Custom Made Theatre Company. Jeffrey has also worked with the Oregon Shakespeare Festival and The Asian American International Film Festival. In addition to his work in theatre he works as an educator and advocate for issues of Equity, Diversity and Inclusion and has served as a grant panelist for the Zellerbach Family Foundation, Silicon Valley Creates and Theatre Bay Area. He is the Director Community Partnerships and Casting Director at the Tony Award Winning TheatreWorks Silicon Valley.Jeanne Sakata’s solo play HOLD THESE TRUTHS has won accolades in over twenty productions across the country, most recently at the Cultch Theatre in Vancouver, Barrington Stage Company, Arena Stage, San Diego Repertory, the Guthrie Theatre, Pasadena Playhouse, Portland Center Stage, and ACT Seattle (Drama Desk nomination, Outstanding Solo Performance; Theatre Bay Awards for Outstanding Lead Performance, Direction and Production). Jeanne just finished a new radio play, FOR US ALL, commissioned by LA TheatreWorks, which will premiere in winter 2021. She has also enjoyed recent recurring/guest star TV and film roles in the internationally acclaimed indie film ADVANTAGEOUS, STATION 19, HIGH SCHOOL MUSICAL: THE MUSICAL: THE SERIES, NCIS LOS ANGELES, BIG HERO 6, and DR. KEN, and has performed onstage at such theaters as  the Vineyard Theatre, McCarter Theatre, Kennedy Center, Public Theatre, Mark Taper Forum, La Jolla Playhouse, Berkeley Rep and East West Players (Theatre LA Ovation Award, Outstanding Lead Actress, RED by Chay Yew), and many more. Mikiko Suzuki MacAdams is a freelancing set designer based in NYC. Her design work has been seen Off Broadway at the Primary Stages, Working Theater, Epic Theater Ensemble, INTAR, EST, and National Asian American Theatre Company. Regional theatres at Guthrie Theatre, Arena Stage, Barkley Repertory Theatre, the Old Globe, Oregon Shakespeare festival, Long Wharf Theatre, Seattle Repertory Theatre, Actors Theatre of Louisville, Honolulu Theatre for Youth, Playmakers Repertory Company, ACT Theatre, Yale Repertory Theatre, Boston Lyric Opera, the Shed among others. In Japan her work has been seen at the Umeda Arts Theatre, Nissay Theatre, Nissay Opera, Nikikai Opera, Suntory Hall, Aichi Triennale in Nagoya, Kanagawa Prefectural Hall and Biwako Hall. As an associate scenic designer, Broadway credits include My Fair Lady, Fiddler on the Roof and The King and I.  Currently, she is a teaching at  Yale School of Drama.is a freelancing set designer based in NYC. Her design work has been seen Off Broadway at the Primary Stages, Working Theater, Epic Theater Ensemble, INTAR, EST, and National Asian American Theatre Company. Regional theatres at Guthrie Theatre, Arena Stage, Barkley Repertory Theatre, the Old Globe, Oregon Shakespeare festival, Long Wharf Theatre, Seattle Repertory Theatre, Actors Theatre of Louisville, Honolulu Theatre for Youth, Playmakers Repertory Company, ACT Theatre, Yale Repertory Theatre, Boston Lyric Opera, the Shed among others. In Japan her work has been seen at the Umeda Arts Theatre, Nissay Theatre, Nissay Opera, Nikikai Opera, Suntory Hall, Aichi Triennale in Nagoya, Kanagawa Prefectural Hall and Biwako Hall. As an associate scenic designer, Broadway credits include My Fair Lady, Fiddler on the Roof and The King and I.  Currently, she is a teaching at  Yale School of Drama.Learn more about the TheatreWorks Silicon Valley at theatreworks.org.Chapters is a multi-part series concerning the history and the lessons of civil rights violations or civil liberties injustices carried out against communities or populations—including civil rights violations or civil liberties injustices that are perpetrated on the basis of an individual’s race, national origin, immigration status, religion, gender, or sexual orientation.This project was made possible with support from Chapman University and The California Civil Liberties Public Education Program, a state-funded grant project of the California State Library.Guests: Jeffrey Lo, Jeanne Sakata, and Mikiko Suzuki MacAdamsHosts: Jon-Barrett Ingels and Jonelle StricklandProduced by: Public Podcasting

Collaborating with Stephen Schwartz to update "Working" for modern audiences, Peter breaks down their process and the challenges that make this virtual production so timely. Thank you for taking the time to listen to our chat with Peter Flynn! If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! About Peter Flynn: Peter is a New York based director, writer and teacher who works both in new work development, as well as staging classic American musicals in New York and for some of the most notable regional theaters. His New York directing credits include the off-Broadway premiere of Smart Blonde by Willy Holtzman starring Andréa Burns; the off-Broadway premiere of Curvy Widow by Bobby Goldman & Drew Brody; Rhapsody in Seth starring Seth Rudetsky; Lee Blessing's Two Rooms; the 75th Anniversary performance of Thornton Wilder's Our Town with Adriane Lenox, B.D. Wong, S. Epatha Merkerson; On the 20th Century with Douglas Sills & Marin Mazzie; Chess with Josh Groban & Julia Murney; Funny Girl with Bebe Neuwirth, Whoopi Goldberg, & Andrea Martin; Skippyjon Jones, and Junie B. Jones (nominated for two Lucille Lortel Awards including Best Musical). Other credits include Andrea Martin's one woman show, Andrea Martin: Final Days Everything Must Go; Katori Hall's The Mountaintop; Gypsy at the St. Louis MUNY; Kiss Me, Kate for the Maltz-Jupiter Theatre where he has directed productions of Man of LaMancha (Carbonell Award, Best Director & Best Musical), Sleuth, & Other Desert Cities; and Into the Woods & Ragtime (Helen Hayes nomination for Outstanding Direction for both productions) for Ford's Theatre where he is an Associate Artist. As a writer, Peter is currently under commission to create the book for two new musicals: Lily, a musical adaptation of Edith Wharton's The House of Mirth, and Love of the Game, an adaptation of the Michael Shaara novella. Both are written with composer/lyricist Brooks Ashmanskas. Love of the Game is receiving its first workshop in New York, spring of 2020. He has also written the scripts for the Drama Desk Awards, the Second Stage Theatre Annual Gala, the Guthrie Theatre's 50th Anniversary Performance, and for industrials including Aztra-Seneca Pharmaceuticals. Peter was the Artistic Director of the Hangar Theatre in Ithaca, New York for five seasons, overseeing a variety of large scale productions, intimate plays, and the development of new work. He is also the Founding Artistic Director of the Perry-Mansfield New Works Festival in Steamboat Springs, Colorado. Peter also creates and directs award-winning entertainment for Carnival Cruise Lines, with music ranging from Motown, rock, disco, and Cuban/Miami fusion. He is currently creating his latest show with Carnival to debut on a new vessel in the fall of 2020. For Peter's teaching experience, please visit the “Teaching” page. Peter is a graduate of Northwestern University, and a member of SDC. Website: www.peterflynndirector.com   --- 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

Helen Huang is known for her work on Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (2020), American Horror Story (2011) and Vacation (2015). Helen Huang, Professor of Costume Design, is an award-winning costume designer who has worked in theatres throughout the DC area, across the country, and abroad. Helen's new book, Elizabethan Costume Design and Construction: (The Focal Press Costume Topics Series) is available on Amazon.com. Helen's design work was chosen for exhibit at the A. A. Bakhrushin Museum in Moscow, Russia. Take Ten is an interview with Professor Huang published in theatreWashington. Click here to read. Professor Huang was featured by the 2016 Oregon Shakespeare Festival for her costume design work on The Winter's Tale, directed by Desdemona Chiang and presented from an Asian/Asian-American perspective. See videos: Envisioning Sicilia & Bohemia and Humor, Poetry & Magic in the Designs of Helen Huang. Design Credits: MD/DC AREA: The Washington Ballet, Woolly Mammoth Theatre Company, The Studio Theatre, Folger Theatre, Ford’s Theatre, Roundhouse Theatre, Signature Theatre, Arena Stage, Olney Theatre REGIONAL: Oregon Shakespeare Festival, The Guthrie Theatre, George Street Playhouse, The Classic Stage Company New York, Milwaukee Repertory Theatre, The Children’s Theatre Company of Minneapolis, Syracuse Stage, Seattle Repertory Theatre, Utah Shakespeare Festival, The Wilma Theatre, Philadelphia Theatre Company, Playmakers Repertory Theatre, The Arden Theatre, Disney Creative Entertainment, Boston Lyric Opera.    

Art in the Time of Covid: Grove City High School's drama department tackles 2020 in their original monologues in one-act. This one act play is a collection of original monologues written by and about students at Grove City High School exploring themes of brokenness, loss and redemption in the year 2020. It has been devised entirely by the students in the drama department. From frustrating friendships to philosophical debates inside our own heads; from infuriating political realities to confrontations with our own limitations, each monologue explores specific human needs, particularly as amplified by the pandemic and events of the past year, reminding us of what everyone would like, but cannot achieve: perfection. Alex and Lisa had the opportunity to interview three of the production's participants: GCHS Drama Director Patrick McElroy, Student Director Makenna Isles, and senior actor/writer Mary Coulter. We couldn't have been more impressed with these artists' determination to tell their important stories during this difficult year! Clearly, this ensemble has crafted an original and thoughtful view of the struggles, pain, emotions and even humor in a world gone upside down! We're also excited that they have found a way to harness these times and create an original way for us to experience this. Art Always Finds a Way! We encourage ALL our listeners to watch this production, starting this Thursday, November 19th, 7PM: https://youtu.be/Bfa4UXG39so https://sites.google.com/gcas.../gchs-fall-theatre-2020/home Also, during this time, if you are looking for unique opportunities to have a socially-distanced great event, what better plans than to rent the Guthrie Theatre? For information, contact: guthrie@veritasarts.org Happy Listening! Lisa & Alex --- Send in a voice message: https://anchor.fm/applausethepodcast/message

Jordan Fife Hunt is a performing artist based out of NYC! Most recently, you would have seen in the new Off-Broadway musical, Emojiland, playing Man Dancing, or heard his voice on the Emojiland Original Cast Album. He is also in the independent dance film, Scenario, that is currently streaming on Broadway HD. Jordan was an original cast member and a dance captain in Sousatzka, a new musical by Richard Maltby, Jr., David Shire, and Lebo M, in its world premier production in Toronto, where he worked with luminary choreographer Graciela Daniel. Jordan was also a cast member and dance captain in the Guthrie Theatre’s groundbreaking production of West Side Story, directed by Joseph Haj and choreographed by Maija Garcia. Jordan drinks way too much coffee.Instagram: @jordanfifehuntTwitter: @jordanfifehuntyoutube.com/jordanfifehuntjordanfifehunt.com SFX by Zapsplat

Veteran Kara Lindsay has played many beloved roles on Broadway: Glinda in Wicked, Katherine in Newsies and, most recently, Cynthia Weil in Beautiful.  She originated the role of Laura in the national tour and Guthrie Theatre productions of Little House on the Prairie. Regional credits include Paper Mill Playhouse (Newsies, Little House on the Prairie); North Carolina Theatre (title role in Mary Poppins); Kansas City Starlight (title role in Cinderella); Kansas City Rep (Sally Bowles in Cabaret); The 5th Avenue Theatre (Lone Star Love); and Geva Theatre Center (A Christmas Carol), among others. In this episode, Kara chats with NYC-based actress and host Maggie Bera about college auditions, her transition from college to NYC, her "almost" Broadway debut, vocal injuries, Newsies, and her FAVORITE JOB YET - being a mom! To get The Essential Guide to Instagram for Actors online course, go to www.actoraesthetic.com/instagram and use the code PODCAST30 to save 30% off your purchase! To join the Actor Aesthetic Alliance Facebook group, click here.   Spread love and don't forget to rate, review and subscribe to the Actor Aesthetic Podcast on iTunes, Google, Stitcher, or your favorite podcast app.   Visit actoraesthetic.com for more info.   Follow Maggie Bera on social media Instagram: @actoraesthetic Facebook: www.facebook.com/ActorAesthetic/ Email: maggie@actoraesthetic.com

Alex & Lisa talk with Spencer Folmar, an amazing artist, philanthropist and visionary film maker. Spencer is the owner of the Guthrie Theatre in Grove City, is a Hollywood director and an artist with a passion for Pennsylvania. Spencer talks to us about his journey to the present and the many turns it took to get there, including a stop at Grove City College, NYU, overseas and back again, and, of course Hollywood. He has some great insight into what the future of films and the Guthrie Theatre. --- Send in a voice message: https://anchor.fm/applausethepodcast/message

Get to know Liz Fentress whose career began touring with the Franzen Bros. Circus and the Guthrie Theatre. In 2017, her play "Stages of Bloom" world premiered at PTK. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ptkbackstagebanter/support

This week's CitySpeaks podcast features Pittsburgh City Theatre's Director of New Play Development, Clare Drobot, in conversation with director Michael John Garcés and playwright James McManus.   Michael John Garcés has been an ensemble member at Cornerstone since 2006, where he's written plays including Magic Fruit, the "bridge" project of the multi-year Hunger Cycle which brought together the many communities of the cycle; Consequence, out of story circles with students, teachers, administrators and parents in South Kern County; Los Illegals, created in residence with communities of day laborers and domestic workers; and The Forked Path, a collaboration with Stut Theatre and the Van der Hoeven Kliniek in the Netherlands, which was performed at the Net Even Anders Festival in Utrecht and The International Community Arts Festival in Rotterdam. Directing credits at other theaters include Wrestling Jerusalem by Aaron Davidman (premiere at Intersection for the Arts; other productions include The Guthrie Theatre, Cleveland Public Theatre and Mosaic Theatre), The Arsonists by Max Frisch (Woolly Mammoth Theatre Company), District Merchants by Aaron Posner (The Folger Theatre), and Seven Spots on the Sun by Martín Zimmerman (The Theatre @ Boston Court). Michael is a recipient of the Rockwood Arts and Culture Fellowship, the Princess Grace Statue, the Alan Schneider Director Award, a TCG/New Generations Grant, the Non-Profit Excellence Award from the Center of Non-Profit Management, is a Southern California Leadership Network Fellow and a proud alumnus of New Dramatists. He serves as vice president of the executive board of SDC, the theatrical union for stage directors and choreographers.   James McManus is the author of ten plays, which have been developed and performed at La Jolla Playhouse, Cornerstone Theater Company, Labyrinth Theater Company, The Road Theatre, Dell’Arte International, Working Theater, Apothecary Theatre Company, The Clockwork Theatre, Glass Umbrella Creative (Sydney), Revolt Theatre (Melbourne), New Dramatists, The Kennedy Center, Round House Theatre, Pittsburgh Playwrights Theatre Company, The Edinburgh Festival Fringe, Barebones Productions, Irish Repertory Theatre, Son of Semele, The Side Project Theatre Company, The Lark Play Development Center and the August Wilson Center for African American Culture. James was the recipient of the Princess Grace Award in Playwriting for Cherry Smoke, which is published by Samuel French. He has also received the Helen Merrill Playwriting Award and is a proud alumnist of New Dramatists.   Thanks for listening to Pittsburgh City Theatre's CitySpeaks podcast.    Get tickets here: https://citytheatrecompany.org/   Listen to more City Speaks here: https://postindustrial.com/

Episode 3 of City Theatre's CitySpeaks podcast features City Theatre's Clare Drobot in conversation with Lauren Yee, whose play, Cambodian Rock Band, with music by Dengue Fever, premiered at South Coast Rep. and is now at City Theatre on Pittsburgh's Southside.Get your tickets here:  https://citytheatre.culturaldistrict.org/production/62854/cambodian-rock-band Lauren and Clare discuss life as a playwright, and how research and a trip to Cambodia inspired an incredible story.More about Lauren: Subsequent productions of Cambodian Rock Band have appeared at Oregon Shakespeare Festival, La Jolla Playhouse, Merrimack Rep, Signature Theatre, Portland Center Stage, and Jungle Theatre. Yee's play The Great Leap, has been produced at the Denver Center, Seattle Repertory, Atlantic Theatre, the Guthrie Theatre, American Conservatory Theatre, Arts Club, and InterAct Theatre, with future productions at Steppenwolf, Long Wharf, and Asolo Rep. Honors include the Doris Duke Artists Award, Whiting Award, Steinberg/ATCA Award, American Academy of Arts and Letters literature award, Horton Foote Prize, Kesselring Prize, Primus Prize, a Hodder Fellowship at Princeton, and the #1 and #2 plays on the 2017 Kilroys List. She’s a Residency 5 playwright at Signature Theatre, New Dramatists members, Ma-Yi Writers’ Lab member, and Playwrights Realm alumni playwright. TV credits include: PACHINKO (Apple) and SOUNDTRACK (Netflix). Current commissions include Geffen Playhouse, La Jolla Playhouse, Portland Center Stage, Second Stage, South Coast Rep. She received her bachelor's degree from Yale. MFA: UCSD. laurenyee.com

Hear what Noah Putterman (Theatre Raleigh's WHERE WORDS ONCE WERE) has to say about theater for young audiences in the United States and abroad. About the Guest As the Director of Theatre for Youth at Casa Mañana Theatre in Fort Worth, TX (’13 – ’18), Noah directed over thirty productions, including in-house and touring productions for families and young audiences in the acclaimed Apprentice Program. His original show, SANTA CLAUS: THE MUSICAL, premiered at Casa Mañana and has thus far received subsequent productions at South Carolina Children’s Theatre and The Children’s Theatre of Cincinnati. Additional directing credits include Lyric Stage (Dallas, TX), Circle Theatre (Fort Worth), and the University of Minnesota (Minneapolis). Acting credits include work with the Acting Company of NYC (Off-Broadway/national tours), Guthrie Theatre, Alpine Theatre Project, Hope Summer Repertory Theatre, Casa Mañana, North Carolina Theatre, and Theatre Raleigh. Currently based in California, Noah hails from Raleigh and graduated from Enloe High School. He is a United States Presidential Scholar in the Arts and a graduate of the University of Minnesota/Guthrie Theater BFA Actor Training Program. Local Resources The following theater companies have a family series, family productions included as part of next season, or routinely have family offerings. https://theatreraleigh.com/family-series/ (Theatre Raleigh (Family Series)) https://raleighlittletheatre.org/announcing-the-2019-2020-season-now-then/ (Raleigh Little Theatre (Family Series)) http://www.nract.org/shows (North Raleigh Arts and Creative Theatre) (FREAKY FRIDAY) http://caryplayers.org/ (Cary Players) (SHREK THE MUSICAL) https://www.theatreinthepark.com/ (Theatre in the Park) (A CHRISTMAS CAROL, A CHARLIE BROWN CHRISTMAS) https://www.aggregatetheatre.com/ (Aggregate Theatre) https://seedraleigh.org/ (Seed Art Share) Connect with RDU on Stage Facebook – @rduonstage Twitter – @rduonstage Instagram – @rduonstage Web http://www.rduonstage.com/ (www.rduonstage.com) Support this podcast

Complete Show Notes: https://www.sounddesignlive.com/broadway-rock-n-roll-system-tech-alex-ritter/ In this episode of Sound Design Live I talk with touring system technician and Master Sound Engineer at the Guthrie Theatre, Alex Ritter. We discuss his work as the system technician on the recent tour with Lady Antebellum and Darius Rucker as well as the production process at The Guthrie Theater. Start supporting Sound Design Live on Patreon today for as little as $1: https://www.patreon.com/sounddesignlive

Ty Defoe is the kind of performer I (Laura Heywood) gravitate towards because he breaks so many boundaries and has dedicated his life to amplifying voices and stories of communities who are too often disregarded, overlooked, and grossly underrepresented — specifically, but not limited to, trans* and indigenous voices. I first saw Ty onstage in Broadway’s “Straight White Men” — notable because neither he nor the character onstage identifies as straight, white or male. Which was sort of the point.  In addition to his Broadway work, Ty is the co-creator of Ajijaak on Turtle Island, a beautiful theatrical experience with puppetry and music that recently concluded its run at the New Victory Theatre on 42nd street. He has also worked with the Oregon Shakespeare Festival, the Guthrie Theatre in Minneapolis, The Museum of the American Indian in Washington DC, and many more. He is a hoop dancer, a storyteller and shape shifter. In a 2015 article on HowlRound, Ty describes himself this way: “I am from Ojibwe Nation and Oneida Nation (People of the Standing Stone). I am two-spirit. I live in New York City. I am a writer. These ways of identifying are only parts of me, but as I move through the world, I find that I can’t take off my identities like a jacket and simply hang them in the closet. They are interwoven, and in creating any theatre that has verisimilitude or humanity, I must lean into the intersection of identities.” I am so drawn to this idea, and so delighted to bring in this unique human being who lives so proudly in the center of a beautiful venn diagram of identity.  

Fusebox artistic director Ron Berry talks to director of community engagement at the Guthrie Theatre and former Fusebox scholar-in-residence Carra Martinez on the history of performance and activism in East Austin and her work on the thinkEAST Project.

"Love me / Not your idea of me! / Release me / From your fantasy." - Silvia in the 1971 rock musical 'Two Gentlemen of Verona'   We explore the critical and popular history of 'The Two Gentlemen of Verona' from the Elizabethan age to the 1970s counter-culture, by way of light opera, Machiavelli, and the British Invasion! You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. You can subscribe to the podcast at iTunes, Stitcher, Soundcloud, or download direct from Libsyn. We also have a brand spanking new Spotify playlist, which will be updated each week as we work through the plays. The website for the podcast is https://podcastshakespeare.com/. On the website, you can find an evolving bibliography, Contents: 00:00 The play in Shakespeare's time 18:40 A critical history 40:05 Some literary moments 44:03 A stage history 1:07:23 Staging the final scene 1:13:48 Two Gentlemen: The Musical 1:22:36 A screen history 1:28:04 Music and art Links mentioned: Diana, pastoral romance by Jorge de Montemayor Ovid, Metamorphoses David Bergeron, "Wherefore Verona in ‘The Two Gentlemen of Verona’?", Comparative Drama vol. 41 (JSTOR access required) Two Gentlemen in the film Shakespeare in Love Viola (Gwyneth Paltrow) and the Nurse (Imelda Staunton) discussing the play in Shakespeare in Love Elizabeth Rivlin, "Mimetic Service in The Two Gentlemen of Verona", ELH vol. 72 (Project Muse access required) W.E. Stephenson, "The Adolescent Dream-World of the Two Gentlemen of Verona", Shakespeare Quarterly vol. 17 (JSTOR access required) Joan Crawford and Ann Blyth in Mildred Pierce, 1945 Kate Winslet and Evan Rachel Wood in Mildred Pierce, 2011 Charles and Mary Lamb, Tales from Shakespeare, 1807 Machiavelli on wolves and lions Henry Rowley Bishop's gorgeous music for Frederick Reynolds’ 1821 operatic version Stanley Wells’ 'Shakespeare For All Time', since I’m going to quote this super legend so often Peter Hall's 1960 RSC production Robin Phillips' 1970 RSC production David Thacker's 1991 RSC production Joe Dowling's 2009 Guthrie Theatre production Simon Godwin's 2014 RSC production on DVD A fantastic website on the 1971 rock musical China's A Spray of Plum Blossoms, 1931 The BBC production at the fantastic BBC Shakespeare blog Edward Albee's The Goat, or Who is Sylvia? Barbra Streisand - An Silvia A history of Sir Eglamour William Holman Hunt's Valentine Rescuing Silvia Miscellaneous artworks at Wikimedia   Clips: The Honeycombs, Who is Sylvia, 1966 Fionnuala Ward, Who is Sylvia (from 5 Shakespeare Songs), Les Sirènes Female Chamber Choir  Mark Stone / Stephen Barlowe, performing Roger Quilter's Who is Silvia  Nino Rota's "Love theme from Romeo and Juliet" C4: The Choral Composer/Conductor Collective performing Jaakko Mäntyjärvi's Who is Sylvia from More Shakespeare Songs (1997)   Elisabeth Schwarzkopf performing Schubert’s An Silvia The 1971 rock musical with Raúl Julia (Proteus), Jonelle Allen (Sylvia), Clifton Davis (Valentine), Diana Davila (Julia), Sheila Gibbs, Signa Joy, Kenneth Lowry, Sakinah Mahammud (Quartet)

Directing Shakespeare: Shakespeare's Theatre: In 2001, Michael Lupu, senior dramaturg for the Guthrie Theatre, provided directors at the "Directing Shakespeare Symposium" with a brief lesson he called "Shakespeare 101." In this twenty-minute discussion Lupu talks about audience expectations in the Elizabethan period, the history of Shakespeare's company "Lord Chamberlain's Men," and how the shifting of Shakespeare's theatre midway through his career may have affected his writing. Lupu enlists the help of designer Ming Cho Lee to explain the type of theatre in which Shakespeare was working, and how the intimate, single-room performance space of the Globe Theatre shaped almost every moment in Shakespeare's work. Other topics discussed include: Shakespeare's plays coming from the stage to the page and not vice versa, A Winter's Tale being published after Shakespeare's death, and the place of a poet in the theatre. This brief but incredibly thorough overview is a great recap for Shakespeare fans and a perfect introduction for those just getting started. Originally recorded - April 28, 2001. Running Time - 20:02 © 2001 SDCF

In 2001, Michael Lupu, senior dramaturg for the Guthrie Theatre, provided directors at the "Directing Shakespeare Symposium" with a brief lesson he called "Shakespeare 101." In this twenty-minute discussion Lupu talks about audience expectations in the Elizabethan period, the history of Shakespeare's company "Lord Chamberlain's Men," and how the shifting of Shakespeare's theatre midway through his career may have affected his writing. Lupu enlists the help of designer Ming Cho Lee to explain the type of theatre in which Shakespeare was working, and how the intimate, single-room performance space of the Globe Theatre shaped almost every moment in Shakespeare's work. Other topics discussed include: Shakespeare's plays coming from the stage to the page and not vice versa, "A Winter's Tale" being published after Shakespeare's death, and the place of a poet in the theatre. This brief but incredibly thorough overview is a great recap for Shakespeare fans and a perfect introduction for those just getting started.

Having recently steered "Driving Miss Daisy" to Broadway, director David Esbjornson discusses what it's like to direct a "brand," why he thinks older actors can play younger much more easily than the other way around, and what it was like to work with powerhouse actors like Vanessa Redgrave and James Earl Jones. He also talks about growing up as the child of a high school drama teacher in Minnesota and how The Guthrie Theatre developed theatrical influence and inspiration among audiences in a five-state area during his formative years; reflects on working with his grad schoolmate Tony Kushner on the very first production of "Angels in America" at Eureka Theatre; explains how he came to collaborate with Arthur Miller on "The Ride Down Mt. Morgan" and "Resurrection Blues", and with Edward Albee on "The Goat, or Who is Sylvia?"; considers the different experiences of being artistic director at Classic Stage Company in New York and Seattle Repertory Theatre, and how they compare to being a freelance director; and ponders what challenges he'd most like to tackle in the coming years. Original air date - December 22, 2010.

Having recently steered "Driving Miss Daisy" to Broadway, director David Esbjornson discusses what it's like to direct a "brand," why he thinks older actors can play younger much more easily than the other way around, and what it was like to work with powerhouse actors like Vanessa Redgrave and James Earl Jones. He also talks about growing up as the child of a high school drama teacher in Minnesota and how The Guthrie Theatre developed theatrical influence and inspiration among audiences in a five-state area during his formative years; reflects on working with his grad schoolmate Tony Kushner on the very first production of "Angels in America" at Eureka Theatre; explains how he came to collaborate with Arthur Miller on "The Ride Down Mt. Morgan" and "Resurrection Blues", and with Edward Albee on "The Goat, or Who is Sylvia?"; considers the different experiences of being artistic director at Classic Stage Company in New York and Seattle Repertory Theatre, and how they compare to being a freelance director; and ponders what challenges he'd most like to tackle in the coming years. Original air date - December 22, 2010.

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

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

In January of 1987, noted director, educator and SDC Board Member Mary Robinson met with directors Mark Lamos and Nagle Jackson to discuss running regional theatres. At the time, these two men were the Artistic Directors of Hartford Stage and Princeton's McCarter Theatre respectively. The conversation begins as many of SDCF's one-on-one interviews do, with Lamos and Jackson outlining the origins of their careers as directors, and specifically as Artistic Directors. We find that both men transitioned from performance to direction, and as Lamos puts it "were the kind of actor's you saw and said 'it looks like he should be a director'". These two master artists talk about the lessons they learned in the various posts which they've held at America's leading regional theatres, including: A.C.T; Arizona Theatre Company, Guthrie Theatre, Milwaukee Rep and others. We learn that though there are issues unique to each theatre and community wherein they reside, there are common obstacles and rewards that face all artists and administrators who work in regional theatre. Lamos and Jackson speak about how they've dealt with enhancing subscriber bases, choosing a season, working with Boards of Directors, finding new audiences and engaging their communities, and reaching out to communities that are not regularly exposed to theatre. This is a discussion not to be missed by anyone who's ever had the goal of running or starting a theatre company.

"Ordinary Days"' Hunter Foster talks about performing a musical in such an intimate space (Roundabout Underground's black box) and why the unusually close proximity makes the audience into the fifth character in this new work. He also talks about his discovery of musicals in high school; his steady and successful acting gigs right after high school and why despite them he chose to enroll at the University of Michigan; how he came to New York not long after graduation and almost immediately got offers for a national tour of "Cats" and "Grease" on Broadway -- managing to take them both; how much he had to learn about discipline and professionalism while touring in "Cats"; how he kept himself challenged during more than three years (on and off) with "Grease"; his retrospective admiration for the musical "Footloose" -- where he received the famed "gypsy robe" because he was the company's ensemble veteran before turning 30; his complete surprise at the success of "Urinetown", which he joined beginning with its Off-Broadway incarnation at the American Theatre of Actors, and at finding himself sharing a stage with John Cullum; how he managed to get cast in the play "The Government Inspector" at The Guthrie Theatre when he was not a member of the company and best known for musicals; and his own work as a writer of musicals and plays, including "Summer of '42" and "Bonnie and Clyde: A Folk Tale" -- and whether he ever intends to write a role for himself. Original air date - December 7, 2009.

"Ordinary Days"' Hunter Foster talks about performing a musical in such an intimate space (Roundabout Underground's black box) and why the unusually close proximity makes the audience into the fifth character in this new work. He also talks about his discovery of musicals in high school; his steady and successful acting gigs right after high school and why despite them he chose to enroll at the University of Michigan; how he came to New York not long after graduation and almost immediately got offers for a national tour of "Cats" and "Grease" on Broadway -- managing to take them both; how much he had to learn about discipline and professionalism while touring in "Cats"; how he kept himself challenged during more than three years (on and off) with "Grease"; his retrospective admiration for the musical "Footloose" -- where he received the famed "gypsy robe" because he was the company's ensemble veteran before turning 30; his complete surprise at the success of "Urinetown", which he joined beginning with its Off-Broadway incarnation at the American Theatre of Actors, and at finding himself sharing a stage with John Cullum; how he managed to get cast in the play "The Government Inspector" at The Guthrie Theatre when he was not a member of the company and best known for musicals; and his own work as a writer of musicals and plays, including "Summer of '42" and "Bonnie and Clyde: A Folk Tale" -- and whether he ever intends to write a role for himself. Original air date - December 7, 2009.

In January of 2000, Joe Dowling met with SDC Members and guests at Chicago Shakespeare Theatre to discuss his career in the classics. It is a career that began long before his appointment as Artistic Director at Minneapolis' Guthrie Theatre in 1995, and even before becoming the Artistic Director of Ireland's National Theatre, the Abbey, at the age of 27. As family legend goes, his first artistic note to an actor was at the age of three, and it was instant recognition that he would spend his life on stage. In this interview with former SDCF Executive Director, David Diamond, Joe Dowling tracks his theatre life beginning with stories from his decades as an actor with the Abbey Theatre Company. He began his directing career in the 1960's with children's theater at the Abbey's smaller space, the Peacock theatre, revolutionizing the energy of the company until he was appointed Artistic Director in 1977. He speaks of his time as the Abbey's AD, the collaborative relationships he developed there with playwrights like Brian Friel, and the politics that caused his resignation. He goes on to discuss his American career and its origins at D.C.'s Arena Stage and the Manhattan Theatre Club. Then he covers the process through which he directs a classic production; his methods for preparation and exploration, and his affinity for tech rehearsals. He calls himself an actor's director. He believes the director's role is that of an interpreter more often than a creator. And he maintains that he works best with collaborators he enjoys as people, no matter how good the concept, idea or the design.

Guthrie Theatre Artistic Director Joe Dowling talks about the company's move from its historic home into a brand new facility, including the reaction of the Minneapolis audiences to the shift; his own training as an actor at Ireland's Abbey School of Acting and his swift rise to the position of artistic director at the Abbey at age 29 -- only to depart seven years later; why his post-Ireland career took him to America instead of England; his first New York productions -- an acclaimed "Translations" for Manhattan Theatre Club and a panned "Playboy of the Western World" for Roundabout; why he particularly enjoyed working with American actors when he arrived -- even more than with their Irish counterparts; and why he believes there will never be an American national theatre on the European model. Original air date – June 8, 2007.

Guthrie Theatre Artistic Director Joe Dowling talks about the company's move from its historic home into a brand new facility, including the reaction of the Minneapolis audiences to the shift; his own training as an actor at Ireland's Abbey School of Acting and his swift rise to the position of artistic director at the Abbey at age 29 -- only to depart seven years later; why his post-Ireland career took him to America instead of England; his first New York productions -- an acclaimed "Translations" for Manhattan Theatre Club and a panned "Playboy of the Western World" for Roundabout; why he particularly enjoyed working with American actors when he arrived -- even more than with their Irish counterparts; and why he believes there will never be an American national theatre on the European model. Original air date – June 8, 2007.