Podcasts about harvey theater

Peter Filichia, James Marino and Michael Portantiere talk about Our Town, The Hills of California, The Counter @ the Laura Pels Theatre, InunDATEd @ York Theatre Company, Mint Theater Company’s production of Sump’n Like Wings, Safety Not Guaranteed @ BAM’s Harvey Theater, and Richard Greenberg’s new adaptation of the Philip read more The post This Week on Broadway for October 13, 2024: Our Town appeared first on BroadwayRadio.

[REBROADCAST FROM February 16, 2023] In 1964, one of Lorraine Hansberry's final plays, "The Sign in Sidney Brustein's Window," debuted on Broadway, and closed days before Hansberry passed away at the age of 34. Earlier this year, the play was revived off-Broadway at BAM's Harvey Theater, starring Rachel Brosnahan and Oscar Isaac, who play a married couple in 1960's Greenwich Village with progressive ideals. Brosnahan and director Anne Kauffman join us to discuss their revival of "The Sign in Sidney Brustein's Window," which opens today on Broadway and is running at James Earl Jones Theatre through June 7.

Tonight is opening night of the New York premiere of author Zadie Smith's debut play, "The Wife of Willesden." The play is a modern adaptation of an excerpt of one of Geoffrey Chaucer's Canterbury Tales, The Wife of Bath's Tale. After a debut run in London in 2021, the play comes to BAM, directed by Indhu Rubasingham and starring Clare Perkins as Alvita, a middle-aged Jamaican woman living in England who decides to tell her life story to a group of strangers in a North West London pub. "The Wife of Willesden" is showing at BAM's Harvey Theater until April 16.

Work. Shouldn't. Suck. LIVE: The Morning(ish) Show with special guests Marc Bamuthi Joseph and Lisa Yancey. [Live show recorded: May 8, 2020.] LISA YANCEY is a strategist, social impact entrepreneur, community builder, and visionary who believes that people build legacies in a lifetime. Originally from Atlanta, Georgia, Lisa Yancey is the president Yancey Consulting (YC) and co-founder of SorsaMED and The We’s Match. With 18 years of practice, YC has served over 100 nonprofit organizations, grantmakers, and individuals. Advising across arts and culture, public space, and justice-based sectors, YC specializes in strategic organizational development, economic modeling, evaluation and assessments, board development, leadership coaching, and executive transition support. SorsaMED is a biotechnology company engineering cannabinoids infused with nutrient-enriched microalgae for therapeutic pain management, with a specific concern for sickle cell anemia sufferers, especially youth. The We’s Match is dedicated to the wealth, scale, and wellness of Black women entrepreneurs. We match these entrepreneurs with resources and capital for business growth and success. Lisa’s dedication to supporting equitable outcomes for systemically disenfranchised people is the seamless thread that binds these companies. Three essential philosophies drive Lisa’s work. One, we must disrupt patterns that either sustain or are complicit to inequities that challenge any person’s or group’s ability to be their full selves. Two, we will never accomplish sustainable goals looking solely in the short-term. She touts, “It is imperative to assess and set generational impact goals (20-25 years from now) that connect to present-day efforts.” The third is best captured in Lilla Watson’s declaration, “If you have come here to help me you are wasting your time, but if you are here because your liberation is bound with mine, then let us work together.” Lisa believes, “I am one of WE.” Lisa matriculated from Boston College Law School and Emory University. She is a former dancer and choreographer. She is also a member of the New York State Bar Association. Lisa currently lives in Mount Vernon, New York, and serves on the board of Fractured Atlas. MARC BAMUTHI JOSEPH is a 2017 TED Global Fellow, an inaugural recipient of the Guggenheim Social Practice initiative, and an honoree of the United States Artists Rockefeller Fellowship. He is also the winner of the 2011 Herb Alpert Award in Theatre, and an inaugural recipient of the Doris Duke Performing Artist Award. In pursuit of affirmations of black life in the public realm, he co-founded the Life is Living Festival for Youth Speaks, and created the installation “Black Joy in the Hour of Chaos” for Creative Time. Joseph’s opera libretto, We Shall Not Be Moved, was named one of 2017’s “Best Classical Music Performances” by The New York Times. His evening length work, /peh-LO-tah/, successfully toured across North America for three years, including at BAM’s Harvey Theater as a part of the 2017 Next Wave Festival. His piece, “The Just and the Blind” investigates the crisis of over-sentencing in the prison industrial complex, and premiered at a sold out performance at Carnegie Hall in March 2019. Bamuthi is currently at work on commissions for the Perelman Center, Yale University, and the Washington National Opera as well as a new collaboration with NYC Ballet Artistic Director Wendy Whelan. Formerly the Chief of Program and Pedagogy at YBCA in San Francisco, Bamuthi currently serves as the Vice President and Artistic Director of Social Impact at The Kennedy Center.

The one where MisterStorch visits Queens & Brooklyn, New York in 2019, while trying not to look back to 1978. PART IIWilliamsburg Brooklyn, Bedford–Stuyvesant Brooklyn,  Brooklyn Botanical Gardens,  Fort Green Brooklyn, BAM,Swan Lake/Loch Na Hela, Harvey Theater, MTA, Queens, N.Y. Devil Dogs, Denver Broncos, N. Y. Yankees, N. Y. Mets,MTA, Bed Sty, Coney Island, Nathan's Famous, Ruby's Boardwalk Bar, MTA, Dumbo, Queens Hotel, LGA, DIA, Denver CO. 

Two weeks ago I sent a message 150 years into the future. I made a vinyl record time capsule, comprised 17 hand cut records containing tone pictures of our time from 2017-2019 encased in a wooden box made by my cousin Michael from a slab of Silver Maple.. I placed the box between aluminum studs in the yet to be built walls of the Brooklyn Academy of Music’s new Rudin Family Gallery, an exhibition space attached to the Harvey Theater in downtown Brooklyn. Upon completion of the gallery a plaque will be hung inside the lobby of the theater that reads, “This vinyl record time capsule, titled Persistent Echoes uses tone pictures to capture and frame a moment in our lives that we all share, whether knowingly or unknowingly. Through conscientiously selected and recorded sounds, with selected sounds from the artist’s life and the BAM Hamm archives, Riederer believes he can telegraph a crystallization of this moment to future generations. Placed in the Rudin Family Gallery’s wall, Persistent Echoes becomes a time capsule for a century and beyond. "

This spring, England’s Royal Shakespeare Company has taken up residence at the Harvey Theater at the Brooklyn Academy of Music. It's presenting four of Shakespeare’s plays — Richard II; Henry IV, Parts I and II; and Henry V — in a package called King and Country: Shakespeare’s Great Cycle of Kings. Our intrepid critic, Charles Isherwood of The New York Times, has traveled far from Broadway to take in approximately 12 hours of the Bard's prose and verse over three days. During that period, he experienced David Tennant as Richard II, Antony Scher as Falstaff and Alex Hassell as Prince Hal, who becomes King Henry V, and reports that the company is in good hands. Click on the audio above to hear more of his impressions. Performances of the productions continue through May 1.

To mark last year's centennial of the birth of the writer and theologian Thomas Merton, the Actors Theater of Louisville has produced a play about him called "The Glory of the World." Merton spent much of his life in a Trappist monastery near Louisville. The play, written by Charles Mee and directed by Les Waters, has now blown its way into the Harvey Theater at BAM. The play is by no means a straightforward biographical drama and, in fact, it's unusual enough that we’ll just let New York Times theater critic Charles Isherwood explain. "The Glory of the World" can be seen at the Harvey Theater through Feb. 6.

If there is a lesson to be learned from the post-curtain talk between John Hurt — who has just finished a limited run at the Brooklyn Academy of Music’s Harvey Theater in Beckett’s “Krapp’s Last Tape” — and philosopher Simon Critchley, it’s that if you throw philosophy at an actor, he’ll throw it right back. The two sat down — on the very stage where Krapp obsessively listens to the tapes of his past life — on Dec. 15th, and engaged in a gentle duel of words about exactly how to interpret Beckett’s intense 55-minute play. Hurt began disarmingly by saying, “I’ve always felt that very clever people had to play Beckett,” people with “strings of letters after their names.”  And Critchley’s, “What do you think this play is about?” drew the response, “I was hoping you were going to tell me that!” But when pressed, it was clear that Hurt has very strong ideas about the play, ones that come from inside the experience, from his views on Krapp’s life choice (to abandon love for a life of the mind), to exactly what those bananas mean. “I’m a huge believer in the word,” he maintained. “I’m here to serve Beckett, and that’s absolutely all I’m here for.” Bon Mots: Hurt on interviewers: "The one thing that all interviewers want to know — they have about six questions, I reckon — and all of them are, 'How do you act?' … couched in different ways." Hurt on Krapp: "It’s an intensely private play. If Krapp for a second thought that all you wonderful people were out there watching him … he would be devastated." Hurt on Krapp’s tape: "[That spool] means so much, doesn’t it? That’s a man who loves the sound of language, and he chose that image — it’s lovely."