Podcasts about Hedda Gabler

The very busy actress, Laila Robins, was recently seen in Ryan Murphy's anthology series, American Horror Stories. She also has a recurring role as Colonel Grace Mallory on the hugely popular Amazon series, The Boys.  Laila starred opposite Amanda Seyfried in the Apple+ limited series, The Crowded Room and opposite Joshua Jackson and Alec Baldwin in the Hulu limited series, Dr. Death.  She also recurred memorably as Katarina Rostova on the hit NBC series The Blacklist, and she had a major arc playing Pamela Milton on the final season of AMC's The Walking Dead.  Among, Laila's many film appearances are: Eye in the Sky, Side Effects, Blumenthal, Concussion, The Good Shepherd, An Innocent Man, Welcome Home Roxy Carmichael, True Crime, and Planes, Trains, and Automobiles.  You may have also seen her in such TV series as: The Handmaid's Tale, Homeland, Deception, 30 Rock, So Help Me Todd, Bull, Person of Interest, Blue Bloods, Damages, In Treatment, The Sopranos, Law and Order, and the series lead in Gabriel's Fire opposite the late, legendary James Earl Jones. Laila's work on Broadway includes Heartbreak House, the Tony-nominated play Frozen, and The Real Thing, as well as Off-Broadway in: the quartet of Richard Nelson's Apple Family plays. She's also appeared around the U.S. in numerous stage performances in shows such as: The Lady from Dubuque, Antony and Cleopatra, A Midsummer's Night's Dream, Sore Throats, Tiny Alice, Mrs. Klein, The Merchant of Venice, and many productions at The Guthrie in her hometown of St. Paul/Minneapolis, including Hedda Gabler and The Lion in Winter.   Over the years, I've enjoyed quite a few of Laila's on-screen performances in shows of which I'm a big fan, including everything she did in The Walking Dead, Homeland, The Blacklist and The Boys. Laila never hits a false note even when the stories in which she's acting brilliantly defy reality.Of note: Laila also happens to be married to a favorite StoryBeat guest, and someone to whom I owe a great debt of gratitude, the phenomenal actor and singer, Robert Cuccioli, who originated the roles of Henry Jekyll and Edward Hyde in the musical I created with Frank Wildhorn, Jekyll & Hyde.

Wat vertelt Babygirl ons over hedendaags feminisme, seksualiteit, kink, taboes en familierelaties? Aaf Brandt Corstius gaat met Halina Reijn in gesprek over haar meest persoonlijke film tot nu toe.Nu al behoort Babygirl tot een van de meest besproken films van het jaar. Krantenkolommen zijn volgeschreven over de vraag of deze film, waarin een vrouwelijke ceo (Nicole Kidman) een affaire begint met een jonge maar dominante stagiair (Harris Dickinson), nou feministisch is of juist helemaal niet. Aaf Brandt Corstius gaat met Halina Reijn in gesprek over haar regisseurschap, haar culturele inspiratiebronnen en drijfveren.Halina Reijn (1975) is regisseur en actrice. Van 2003 t/m 2019 was Reijn verbonden aan Theatergroep Amsterdam (nu ITA). Hier speelde zij onder andere in La voix humaine, Hedda Gabler en Maria Stuart. In 2019 debuteerde ze als regisseur met de speelfilm Instinct. Haar Engelstalige debuut, de horrorkomedie Bodies Bodies Bodies, verscheen in 2022. In 2024 ging haar nieuwste film Babygirl in première op het filmfestival van Venetië.Programmamaker: Katarina SchulZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Hedda Gabler is the self-absorbed, only daughter of a military officer who has an overblown grandiose sense of her own importance, and a lack of empathy for others. She feels trapped in a world of bourgeois values full of expectations she cannot control. It is her perception that the men around her seem to enjoy much more freedom to pursue their own public and private interests with less scrutiny and fewer consequences.Ibsen's well-crafted story reveals the inadvertent dangers of social pressure and a lifetime of pain that comes to a logical conclusion through events taking place over roughly 48 hours. 

This terrific actor is admired for her work in Grey's Anatomy and Hedda Gabler—range!—so I was sure that she seldom has heard a discouraging word. I was wrong. “Oh, please, are you kidding? I could do a dramatic reading of all my bad reviews.” And she'd be brilliant in it! Music: Hubby Jenkins. Produced with Red Bull Theater.

Dudás-Simó Emese Csíkszeredán született színésznő, pszichodráma asszisztens, pszichodráma vezető jelölt és színházművészetre specializálódott PhD-hallgató. Független és intézményi színházi háttérrel rendelkezik, és olyan neves rendezőkkel dolgozott együtt, mint Tomi Janezic, Silviu Purcarete, Kokan Mladenovic, Tom Dugdale, Urbán András és Radu Afrim. Elismerései között szerepel a legjobb 30 év alatti színésznőnek járó díj (2016), valamint a Pro Cultura Timisiensis díj, amelyet a 2023-as Európa Kulturális Fővárosában, Temesváron végzett kulturális tevékenységéért kapott. PhD-kutatásának címe "Pszichodráma technikák és eszközök alkalmazásának hatásai a színész munkájában", amelyben a pszichodráma és a színházi gyakorlatok közötti kölcsönhatását kívánja feltárni. Doktori tanulmányai során több művészeti ösztöndíjban részesült, és együttműködött az ELTE Budapesti Egyetemmel, a Vilniusi Litván Zeneművészeti Akadémiával az Erasmus+ Gyakornoki Program keretében, valamint a szlovéniai Krusce Kreatív Központtal. Jelenleg egy nemzetközi színházi projektben vesz rész, egy tizenkét előadásból álló, Dodekológicímet viselő sorozatban, amely különböző országok színházait kapcsolja össze egy rendkívüli projekt keretében a Nova Gorica (Szlovénia) // Gorizia (Olaszország) 2025 Európa Kulturális Fővárosa program részeként. Az előadás sorozat rendezője a szlovén származású, többszörösen díjazott, Európa szerte ismert kortárs színházi rendező, Tomi Janezic. A Dodekalógia tizenkét egymással összekapcsolódó színházi előadás gyűjteménye, amely 1972-1983-ig tartó címsorozatot viseli, és amelyeket önállóan vagy egy egyéves, folyamatos előadás részeként lehet megtekinteni. A projektben részt vesz a szlovén Nova Goricai Nemzeti Színház, az ukrán Ivano Frankivski Nemzeti Színház, a Krusce Creative Center, a ljubljanai Mladinsko Színház, és két magyar nyelvű színház is, az Újvidéki Magyar Színház, illetve a Temesvári Csiky Gergely Állami Magyar Színház. Utóbbival együttműködve tavaly mutatták be a sorozat 7.ik részét az 1978-at, amelyben Emese is részt vett. Illetve tavasszal kerül bemutatásra az 1977 a Krusce Creative Center együttműködésében, amelyben szintén látni lehet a színésznőt. Ezenkívül akadémiai munkái megjelentek magyar (Játéktér), román (Revista Scena), litván (Teatro žurnalas) és angol (Játéktér) színházi folyóiratokban. A pszichodráma terén egy angol nyelvű publikációja is megjelenés előtt áll: a FEPTO Research Commettee által kiadott Journal for Psychodrama and Sociometry c. tudományos folyóiratban. Ezek a publikációk nemzetközi szintű tudományos hozzájárulásait tükrözik. https://www.instagram.com/mesi_simo/ https://www.filmmakers.eu/de/actors/emese-dudas-simo #színész #művész #színház 0:00 Beköszönés 2:00 Családi háttér, Erdély 5:00 Művészethez kapcsolódás 7:30 Diákszínjátszás 9:22 Színház, mint kifejező eszköz 10:23 Kréta-kör: Feketeország 11:30 Alternatív vs kőszínház 13:00 Kolozsvár, színészmesterség 15:00 Temesvár, kőszínházba kerülés 21:00 Koldusopera 22:00 Hedda Gabler 25:20 Legjobb 30 év alatti színésznőnek járó díj, 2016 26:00 Szabadúszó élet 32:00 PhD, ösztöndij, Vilnius, akadémiai munkák megjelentek magyar, román, litván és angol színházi folyóiratokban 34:00 Pszichodráma 37:00 'EGO' egyéni előadás: író, színész, rendező, 2021 41:00 Nyári táborok hátrányos helyzetű, vak/látássérült gyereknek, 2018 45:00 Kulturális tevékenység: Pro Cultura Timisiensis díj, 2023 48:00 Ausztriába kerülés 51:00 Művész házaspár 54:00 1978, Nemzetközi színházi projekt: 12 előadás, rendező: Tomi Janezic 1:04:00 Elköszönés --------------------

Henrik Ibsen'in “Hedda Gabler” oyunu üzerine

这期节目分享吴天明 1995 年导演的电影「变脸」和 Alex Segal 1962 年根据易卜生同名剧本导演，英格丽褒曼领衔主演的 Hedda Gabler 「海达·加布勒」这期节目的编辑推荐有吴天明 的电影「人生」（1984）古装剧集「繁城之下」（2023）跟拍一个成都夜生活小团体的的纪录片「午夜出走」（2023） Hosted on Acast. See acast.com/privacy for more information.

Det er fredag og i studio finner du Carina, Isolde og Andreas. De tar deg med på en woke reise denne morgenen, hvor de blant annet snakker om woke vs. anti-woke, jammerdal på Stortinget og "skal vi danse" USA-edition med fotlenkedrama! Vi høres!

This week on the blog, a podcast interview with playwright and screenwriter Jeffrey Hatcher on Columbo, Sherlock Holmes, favorite mysteries and more!LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Jeffrey Hatcher Facebook Page: https://www.facebook.com/jeffrey.hatcher.3/The Good Liar (Trailer): https://youtu.be/ljKzFGpPHhwMr. Holmes (Trailer): https://youtu.be/0G1lIBgk4PAStage Beauty (Trailer): https://youtu.be/-uc6xEBfdD0Columbo Clips from “Ashes to Ashes”Clip One: https://youtu.be/OCKECiaFsMQClip Two: https://youtu.be/BbO9SDz9FEcClip Three: https://youtu.be/GlNDAVAwMCIEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: Can you remember your very first mystery, a movie, book, TV show, play, a mystery that really captured your imagination? Jeffrey: You know, I was thinking about this, and what came to mind was a Disney movie called Emile and the Detectives from 1964. So, I would have been six or seven years old. It's based on a series of German books by Eric Kastner about a young man named Emile and his group of friends who think of themselves as detectives. So, I remember that—I know that might've been the first film. And obviously it's not a play because, you know, little kids don't tend to go to stage thrillers or mysteries and, “Daddy, please take me to Sleuth.But there was a show called Burke's Law that I really loved. Gene Barry played Captain Amos Burke of the Homicide Division in Los Angeles, and he was very rich. That was the bit. The bit was that Captain Burke drove around in a gorgeous Rolls Royce Silver Ghost, and he had a chauffeur. And every mystery was structured classically as a whodunit.In fact, I think every title of every episode was “Who Killed Cock Robin?” “Who Killed Johnny Friendly?” that kind of thing. And they would have a cast of well-known Hollywood actors, so they were all of equal status. Because I always think that's one of the easiest ways to guess the killer is if it's like: Unknown Guy, Unknown Guy, Derek Jacobi, Unknown Guy, Unknown Guy. It's always going to be Derek Jacobi. John: Yeah, it's true. I remember that show. He was really cool. Jim: Well, now I'm going to have to look that up.Jeffrey: It had a great score, and he would gather all of the suspects, you know, at the end of the thing. I think my favorite was when he caught Paul Lynde as a murderer. And, of course, Paul Lynde, you know, kept it very low key when he was dragged off. He did his Alice Ghostly impersonation as he was taken away.John: They did have very similar vocal patterns, those two.Jeffrey: Yep. They're kind of the exact same person. Jim: I never saw them together. John: You might have on Bewitched. Jim: You're probably right.Jeffrey: Well, I might be wrong about this, either Alice Ghostly or Charlotte Ray went to school with Paul Lynde. And Charlotte Ray has that same sound too. You know, kind of warbly thing. Yes. I think they all went to Northwestern in the late 40s and early 50s. So maybe that was a way that they taught actors back then. John: They learned it all from Marion Horne, who had the very same warble in her voice. So, as you got a little older, were there other mysteries that you were attracted to?Jeffrey: Yeah. Luckily, my parents were very liberal about letting me see things that other people probably shouldn't have. I remember late in elementary school, fifth grade or so, I was reading Casino Royale. And one of the teachers said, “Well, you know, most kids, we wouldn't want to have read this, but it's okay if you do.”And I thought, what's that? And I'm so not dangerous; other kids are, well they would be affected oddly by James Bond? But yeah, I, I love spy stuff. You know, The Man from Uncle and The Wild Wild West, all those kind of things. I love James Bond. And very quickly I started reading the major mysteries. I think probably the first big book that I remember, the first novel, was The Hound of the Baskervilles. That's probably an entrance point for a lot of kids. So that's what comes in mind immediately. Jim: I certainly revisit that on—if not yearly basis, at least every few years I will reread The Hound of the Baskervilles. Love that story. That's good. Do you have, Jeffrey, favorite mystery fiction writers?Jeffrey: Oh, sure. But none of them are, you know, bizarre Japanese, Santa Domingo kind of writers that people always pull out of their back pockets to prove how cool they are. I mean, they're the usual suspects. Conan Doyle and Christie and Chandler and Hammett, you know, all of those. John Dickson Carr, all the locked room mysteries, that kind of thing. I can't say that I go very far off in one direction or another to pick up somebody who's completely bizarre. But if you go all the way back, I love reading Wilkie Collins.I've adapted at least one Wilkie Collins, and they read beautifully. You know, terrifically put together, and they've got a lot of blood and thunder to them. I think he called them sensation novels as opposed to mysteries, but they always have some mystery element. And he was, you know, a close friend of Charles Dickens and Dickens said that there were some things that Collins taught him about construction. In those days, they would write their novels in installments for magazines. So, you know, the desire or the need, frankly, to create a cliffhanger at the end of every episode or every chapter seems to have been born then from a capitalist instinct. John: Jeff, I know you studied acting. What inspired the move into playwriting?Jeffrey: I don't think I was a very good actor. I was the kind of actor who always played older, middle aged or older characters in college and high school, like Judge Brack in Hedda Gabler, those kind of people. My dream back in those days was to play Dr. Dysart in Equus and Andrew Wyke in Sleuth. So, I mean, that was my target. And then I moved to New York, and I auditioned for things and casting directors would say, “Well, you know, we actually do have 50 year old actors in New York and we don't need to put white gunk in their hair or anything like that. So, why don't you play your own age, 22 or 23?” And I was not very good at playing 22 or 23. But I'd always done some writing, and a friend of mine, Graham Slayton, who was out at the Playwrights Center here, and we'd gone to college together. He encouraged me to write a play, you know, write one act, and then write a full length. So, I always say this, I think most people go into the theater to be an actor, you know, probably 98%, and then bit by bit, we, you know, we peel off. We either leave the profession completely or we become directors, designers, writers, what have you. So, I don't think it's unnatural what I did. It's very rare to be like a Tom Stoppard who never wanted to act. It's a lot more normal to find the Harold Pinter who, you know, acted a lot in regional theaters in England before he wrote The Caretaker.Jim: Fascinating. Can we talk about Columbo?Jeffrey: Oh, yes, please. Jim: This is where I am so tickled pink for this conversation, because I was a huge and am a huge Peter Falk Columbo fan. I went back and watched the episode Ashes To Ashes, with Patrick McGowan that you created. Tell us how that came about. Jeffrey: I too was a huge fan of Columbo in the 70s. I remember for most of its run, it was on Sunday nights. It was part of that murder mystery wheel with things like Hec Ramsey and McCloud, right? But Columbo was the best of those, obviously. Everything, from the structure—the inverted mystery—to thw guest star of the week. Sometimes it was somebody very big and exciting, like Donald Pleasence or Ruth Gordon, but often it was slightly TV stars on the skids.John: Jack Cassidy, Jim: I was just going to say Jack Cassidy.Jeffrey: But at any rate, yeah, I loved it. I loved it. I remembered in high school, a friend and I doing a parody of Columbo where he played Columbo and I played the murderer of the week. And so many years later, when they rebooted the show in the nineties, my father died and I spent a lot of time at the funeral home with the funeral director. And having nothing to say to the funeral director one day, I said, “Have you got the good stories?”And he told me all these great stories about, you know, bodies that weren't really in the casket and what you can't cremate, et cetera. So, I suddenly had this idea of a Hollywood funeral director to the stars. And, via my agent, I knew Dan Luria, the actor. He's a close friend or was a close friend of Peter's. And so, he was able to take this one-page idea and show it to Peter. And then, one day, I get a phone call and it's, “Uh, hello Jeff, this is Peter Falk calling. I want to talk to you about your idea.” And they flew me out there. It was great fun, because Falk really ran the show. He was the executive producer at that point. He always kind of ran the show. I think he only wrote one episode, the one with Faye Dunaway, but he liked the idea.I spent a lot of time with him, I'd go to his house where he would do his drawings back in the studio and all that. But what he said he liked about it was he liked a new setting, they always liked a murderer and a setting that was special, with clues that are connected to, say, the murderer's profession. So, the Donald Pleasant one about the wine connoisseur and all the clues are about wine. Or the Dick Van Dyke one, where he's a photographer and most of the clues are about photography. So, he really liked that. And he said, “You gotta have that first clue and you gotta have the pop at the end.”So, and we worked on the treatment and then I wrote the screenplay. And then he asked McGoohan if he would do it, and McGoohan said, “Well, if I can direct it too.” And, you know, I've adored McGoohan from, you know, Secret Agent and The Prisoner. I mean, I'd say The Prisoner is like one of my favorite television shows ever. So, the idea that the two of them were going to work together on that script was just, you know, it was incredible. John: Were you able to be there during production at all? Jeffrey: No, I went out there about four times to write, because it took like a year or so. It was a kind of laborious process with ABC and all that, but I didn't go out during the shooting.Occasionally, this was, you know, the days of faxes, I'd get a phone call: “Can you redo something here?” And then I'd fax it out. So, I never met McGoohan. I would only fax with him. But they built this whole Hollywood crematorium thing on the set. And Falk was saying at one point, “I'm getting pushback from Universal that we've got to do all this stuff. We've got to build everything.” And I was saying, “Well, you know, 60 percent of the script takes place there. If you're going to try to find a funeral home like it, you're going to have all that hassle.” And eventually they made the point that, yeah, to build this is going to cost less than searching around Hollywood for the right crematorium, And it had a great cast, you know, it had Richard Libertini and Sally Kellerman, and Rue McClanahan was our murder victim.Jim: I'll tell you every scene that Peter Falk and Mr. McGoohan had together. They looked to me as an actor, like they were having a blast being on together. Jeffrey: They really loved each other. They first met when McGoohan did that episode, By Dawn's Early Light, where he played the head of the military school. It's a terrific episode. It was a great performance. And although their acting styles are completely different, You know, Falk much more, you know, fifties, methody, shambolic. And McGoohan very, you know, his voice cracking, you know, and very affected and brittle. But they really loved each other and they liked to throw each other curveballs.There are things in the, in the show that are ad libs that they throw. There's one bit, I think it's hilarious. It's when Columbo tells the murderer that basically knows he did it, but he doesn't have a way to nail him. And, McGoohan is saying, “So then I suppose you have no case, do you?” And Falk says, “Ah, no, sir, I don't.” And he walks right off camera, you know, like down a hallway. And McGoohan stares off and says, “Have you gone?” And none of that was scripted. Peter just walks off set. And if you watch the episode, they had to dub in McGoohan saying, “Have you gone,” because the crew was laughing at the fact that Peter just strolled away. So McGoohan adlibs that and then they had to cover it later to make sure the sound wasn't screwed up. Jim: Fantastic. John: Kudos to you for that script, because every piece is there. Every clue is there. Everything pays off. It's just it is so tight, and it has that pop at the end that he wanted. It's really an excellent, excellent mystery.Jim: And a terrific closing line. Terrific closing line. Jeffrey: Yeah, that I did right. That was not an ad lib. Jim: It's a fantastic moment. And he, Peter Falk, looks just almost right at the camera and delivers that line as if it's, Hey, check this line out. It was great. Enjoyed every minute of it. Can we, um, can I ask some questions about Sherlock Holmes now?Jeffrey: Oh, yes. Jim: So, I enjoyed immensely Holmes and Watson that I saw a couple summers ago at Park Square. I was completely riveted and had no, absolutely no idea how it was going to pay off or who was who or what. And when it became clear, it was so much fun for me as an audience member. So I know that you have done a number of Holmes adaptations.There's Larry Millet, a St. Paul writer here and I know you adapted him, but as far as I can tell this one, pillar to post was all you. This wasn't an adaptation. You created this out of whole cloth. Am I right on that? Jeffrey: Yes. The, the idea came from doing the Larry Millet one, actually, because Steve Hendrickson was playing Holmes. And on opening night—the day of opening night—he had an aortic aneurysm, which they had to repair. And so, he wasn't able to do the show. And Peter Moore, the director, he went in and played Holmes for a couple of performances. And then I played Holmes for like three performances until Steve could get back. But in the interim, we've sat around saying, “All right, who can we get to play the role for like a week?” And we thought about all of the usual suspects, by which I mean, tall, ascetic looking actors. And everybody was booked, everybody was busy. Nobody could do it. So that's why Peter did it, and then I did it.But it struck me in thinking about casting Holmes, that there are a bunch of actors that you would say, you are a Holmes type. You are Sherlock Holmes. And it suddenly struck me, okay, back in the day, if Holmes were real, if he died—if he'd gone over to the falls of Reichenbach—people probably showed up and say, “Well, I'm Sherlock Holmes.”So, I thought, well, let's take that idea of casting Holmes to its logical conclusion: That a couple of people would come forward and say, “I'm Sherlock Holmes,” and then we'd wrap it together into another mystery. And we're sitting around—Bob Davis was playing Watson. And I said, “So, maybe, they're all in a hospital and Watson has to come to figure out which is which. And Bob said, “Oh, of course, Watson's gonna know which one is Holmes.”And that's what immediately gave me the idea for the twist at the end, why Watson wouldn't know which one was Holmes. So, I'm very grateful whenever an idea comes quickly like that, but it depends on Steve getting sick usually. Jim: Well, I thoroughly enjoyed it. If it's ever staged again anywhere, I will go. There was so much lovely about that show, just in terms of it being a mystery. And I'm a huge Sherlock Holmes fan. I don't want to give too much away in case people are seeing this at some point, but when it starts to be revealed—when Pierce's character starts talking about the reviews that he got in, in the West End—I I almost wet myself with laughter. It was so perfectly delivered and well written. I had just a great time at the theater that night. Jeffrey: It's one of those things where, well, you know how it is. You get an idea for something, and you pray to God that nobody else has done it. And I couldn't think of anybody having done this bit. I mean, some people have joked and said, it's kind of To Tell the Truth, isn't it? Because you have three people who come on and say, “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” Now surely somebody has done this before, but Nobody had. Jim: Well, it's wonderful. John: It's all in the timing. So, what is the, what's the hardest part about adapting Holmes to this stage?Jeffrey: Well, I suppose from a purist point of view‑by which I mean people like the Baker Street Irregulars and other organizations like that, the Norwegian Explorers here in Minnesota‑is can you fit your own‑they always call them pastiches, even if they're not comic‑can you fit your own Holmes pastiche into the canon?People spend a lot of time working out exactly where Holmes and Watson were on any given day between 1878 and 1930. So, one of the nice things about Holmes and Watson was, okay, so we're going to make it take place during the three-year interregnum when Holmes is pretending to be dead. And it works if you fit Holmes and Watson in between The Final Problem and The Adventure of the Empty House, it works. And that's hard to do. I would say, I mean, I really love Larry Millett's book and all that, but I'm sure it doesn't fit, so to speak. But that's up to you to care. If you're not a purist, you can fiddle around any old way you like. But I think it's kind of great to, to, to have the, the BSI types, the Baker Street Irregular types say, “Yes, this clicked into place.”Jim: So that's the most difficult thing. What's the easiest part?Jeffrey: Well, I think it's frankly the language, the dialogue. Somebody pointed out that Holmes is the most dramatically depicted character in history. More than Robin Hood, more than Jesus Christ. There are more actor versions of Holmes than any other fictional character.We've been surrounded by Holmes speak. Either if we've read the books or seen the movies or seen any of the plays for over 140 years. Right. So, in a way, if you're like me, you kind of absorb that language by osmosis. So, for some reason, it's very easy for me to click into the way I think Holmes talks. That very cerebral, very fast, sometimes complicated syntax. That I find probably the easiest part. Working out the plots, you want them to be Holmesian. You don't want them to be plots from, you know, don't want the case to be solved in a way that Sam Spade would, or Philip Marlowe would. And that takes a little bit of work. But for whatever reason, it's the actor in you, it's saying, all right, if you have to ad lib or improv your way of Sherlock Holmes this afternoon, you know, you'd be able to do it, right? I mean, he really has permeated our culture, no matter who the actor is.Jim: Speaking of great actors that have played Sherlock Holmes, you adapted a movie that Ian McKellen played, and I just watched it recently in preparation for this interview.Having not seen it before, I was riveted by it. His performance is terrific and heartbreaking at the same time. Can we talk about that? How did you come to that project? And just give us everything.Jeffrey: Well, it's based on a book called A Slight Trick of the Mind by Mitch Cullen, and it's about a very old Sherlock Holmes in Surrey, tending to his bees, as people in Holmesland know that he retired to do. And it involves a couple of cases, one in Japan and one about 20 years earlier in his life that he's trying to remember. And it also has to do with his relationship with his housekeeper and the housekeeper's son. The book was given to me by Anne Carey, the producer, and I worked on it probably off and on for about five years.A lot of time was spent talking about casting, because you had to have somebody play very old. I remember I went to meet with Ralph Fiennes once because we thought, well, Ralph Fiennes could play him at his own age,‑then probably his forties‑and with makeup in the nineties.And Ralph said‑Ralph was in another film that I'd done‑and he said, “Oh, I don't wear all that makeup. That's just far too much.” And I said, “Well, you did in Harry Potter and The English Patient, you kind of looked like a melted candle.” And he said, “Yes, and I don't want to do that again.” So, we always had a very short list of actors, probably like six actors in the whole world And McKellen was one of them and we waited for him to become available And yeah, he was terrific. I'll tell you one funny story: One day, he had a lot of prosthetics, not a lot, but enough. He wanted to build up his cheekbones and his nose a bit. He wanted a bit, he thought his own nose was a bit too potatoish. So, he wanted a more Roman nose. So, he was taking a nap one day between takes. And they brought him in, said, “Ian, it's time for you to do the, this scene,” and he'd been sleeping, I guess, on one side, and his fake cheek and his nose had moved up his face. But he hadn't looked in the mirror, and he didn't know. So he came on and said, “Very well, I'm all ready to go.” And it was like Quasimodo.It's like 5:52 and they're supposed to stop shooting at six. And there was a mad panic of, Fix Ian's face! Get that cheekbone back where it's supposed to be! Knock that nose into place! A six o'clock, we go into overtime!” But it was very funny that he hadn't noticed it. You kind of think you'd feel if your own nose or cheekbone had been crushed, but of course it was a makeup. So, he didn't feel anything. Jim: This is just the, uh, the actor fan boy in me. I'm an enormous fan of his work straight across the board. Did you have much interaction with him and what kind of fella is he just in general?Jeffrey: He's a hoot. Bill Condon, the director, said, “Ian is kind of methody. So, when you see him on set, he'll be very decorous, you know, he'll be kind of like Sherlock Holmes.” And it was true, he goes, “Oh, Jeffrey Hatcher, it's very good to meet you.” And he was kind of slow talking, all that. Ian was like 72 then, so he wasn't that old. But then when it was all over, they were doing all those--remember those ice Dumps, where people dump a tub of ice on you? You have these challenges? A the end of shooting, they had this challenge, and Ian comes out in short shorts, and a bunch of ballet dancers surrounds him. And he's like, “Alright, everyone, let's do the ice challenge.” And, he turned into this bright dancer. He's kind of a gay poster boy, you know, ever since he was one of the most famous coming out of the last 20 some years. So, you know, he was suddenly bright and splashy and, you know, all that old stuff dropped away. He has all of his headgear at his house and his townhouse. He had a party for us at the end of shooting. And so, there's a Gandalf's weird hat and there's Magneto's helmet, you know, along with top hats and things like that. And they're all kind of lined up there. And then people in the crew would say, can I take a picture of you as Gandalf? “Well, why, of course,” and he does all that stuff. So no, he's wonderful. Jim: You do a very good impression as well. That was great. Now, how did you come to the project, The Good Liar, which again, I watched in preparation for this and was mesmerized by the whole thing, especially the mystery part of it, the ending, it was brilliant.How did you come to that project?Jeffrey: Well, again, it was a book and Warner Brothers had the rights to it. And because Bill and I had worked on Mr. Holmes--Bill Condon--Bill was attached to direct. And so I went in to talk about how to adapt it.This is kind of odd. It's again based in McKellen. In the meeting room at Warner Brothers, there was a life size version of Ian as Gandalf done in Legos. So, it was always, it'll be Ian McKellen and somebody in The Good Liar. Ian as the con man. And that one kind of moved very quickly, because something changed in Bill Condon's schedule. Then they asked Helen Mirren, and she said yes very quickly.And it's a very interesting book, but it had to be condensed rather a lot. There's a lot of flashbacks and going back and forth in time. And we all decided that the main story had to be about this one con that had a weird connection to the past. So, a lot of that kind of adaptation work is deciding what not to include, so you can't really be completely faithful to a book that way. But I do take the point with certain books. When my son was young, he'd go to a Harry Potter movie, and he'd get all pissed off. Pissed off because he'd say Dobby the Elf did a lot more in the book.But if it's a book that's not quite so well-known—The Good Liar isn't a terribly well-known book, nor was A Slight Trick of the Mind--you're able to have a lot more room to play. Jim: It's a very twisty story. Now that you're talking about the book, I'll probably have to go get the book and read it just for comparison. But what I saw on the screen, how did you keep it--because it was very clear at the end--it hits you like a freight train when it all sort of unravels and you start seeing all of these things. How did you keep that so clear for an audience? Because I'll admit, I'm not a huge mystery guy, and I'm not the brightest human, and yet I was able to follow that story completely.Jeffrey: Well, again, I think it's mostly about cutting things, I'm sure. And there are various versions of the script where there are a lot of other details. There's probably too much of one thing or another. And then of course, you know, you get in the editing room and you lose a couple of scenes too. These kinds of things are very tricky. I'm not sure that we were entirely successful in doing it, because you say, which is more important, surprise or suspense? Hitchcock used to have that line about, suspense is knowing there's a bomb under the table. And you watch the characters gather at the table. As opposed to simply having a bomb blow up and you didn't know about it.So, we often went back and forth about Should we reveal that the Helen Mirren character knows that Ian's character is doing something bad? Or do we try to keep it a secret until the end? But do you risk the audience getting ahead of you? I don't mind if the audience is slightly ahead. You know, it's that feeling you get in the theater where there's a reveal and you hear a couple of people say, “Oh, I knew it and they guessed it may be a minute before. But you don't want to get to the point where the audience is, you know, 20 minutes or a half an hour ahead of you.Jim: I certainly was not, I was not in any way. It unfolded perfectly for me in terms of it being a mystery and how it paid off. And Helen Mirren was brilliant. In fact, for a long time during it, I thought they were dueling con men, the way it was set up in the beginning where they were both entering their information and altering facts about themselves.I thought, “Oh, well, they're both con men and, and now we're going to see who is the better con man in the end.” And so. when it paid off. In a way different sort of way, it was terrific for me. Absolutely. Jeffrey: Well, and I thank you. But in a way, they were both con men. Jim: Yes, yes. But she wasn't a professional con man.Jeffrey: She wasn't just out to steal the money from him. She was out for something else. She was out for vengeance. Jim: Yes. Very good. Very, if you haven't seen it, The Good Liar folks, don't wait. I got it on Amazon prime and so can you.Jeffrey: I watched them do a scene, I was over there for about five days during the shooting.And watching the two of them work together was just unbelievable. The textures, the tones, the little lifts of the eyebrow, the shading on one word versus another. Just wonderful, wonderful stuff. Jim: Yeah. I will say I am a huge Marvel Cinematic Universe fan along with my son. We came to those together and I'm a big fan of that sort of movie. So I was delighted by this, because it was such a taut story. And I was involved in every second of what was going on and couldn't quite tell who the good guys were and who the bad guys were and how is this going to work and who's working with who?And it was great. And in my head, I was comparing my love for that sort of big blow it up with rayguns story to this very cerebral, internal. And I loved it, I guess is what I'm saying. And, I am, I think, as close to middle America as you're going to find in terms of a moviegoer. And I thought it was just dynamite. Jeffrey: It was very successful during the pandemic--so many things were when people were streaming--but it was weirdly successful when it hit Amazon or Netflix or whatever it was. And, I think you don't have to be British to understand two elderly people trying to find a relationship. And then it turns out that they both have reasons to hate and kill each other. But nonetheless, there is still a relationship there. So, I pictured a lot of lonely people watching The Good Liar and saying, “Yeah, I'd hang out with Ian McKellen, even if he did steal all my money.” John: Well, speaking of movies, I am occasionally handed notes here while we're live on the air from my wife. And she wants you to just say something about the adaptation you did of your play, Stage Beauty, and what that process was like and how, how that process went.Jeffrey: That was terrific because, primarily Richard Eyre--the director who used to run the National Theater and all that--because he's a theater man and the play's about theater. I love working with Bill Condon and I've loved working with Lassa Hallstrom and other people, but Richard was the first person to direct a film of any of my stuff. And he would call me up and say, “Well, we're thinking of offering it to Claire Danes.” or we're thinking…And usually you just hear later, Oh, somebody else got this role. But the relationship was more like a theater director and a playwright. I was there on set for rehearsals and all that.Which I haven't in the others. No, it was a wonderful experience, but I think primarily because the, the culture of theater saturated the process of making it and the process of rehearsing it and—again--his level of respect. It's different in Hollywood, everybody's very polite, they know they can fire you and you know, they can fire you and they're going to have somebody else write the dialogue if you're not going to do it, or if you don't do it well enough. In the theater, we just don't do that. It's a different world, a different culture, different kind of contracts too. But Richard really made that wonderful. And again, the cast that he put together: Billy Crudup and Claire and Rupert Everett and Edward Fox and Richard Griffiths. I remember one day when I was about to fly home, I told Richard Griffiths what a fan Evan-- my son, Evan--was of him in the Harry Potter movie. And he made his wife drive an hour to come to Shepperton with a photograph of him as Mr. Dursley that he could autograph for my son. John: Well, speaking of stage and adaptations, before we go into our lightning round here, you did two recent adaptations of existing thrillers--not necessarily mysteries, but thrillers--one of which Hitchcock made into a movie, which are Dial M for Murder and Wait Until Dark. And I'm just wondering what was that process for you? Why changes need to be made? And what kind of changes did you make?Jeffrey: Well, in both cases, I think you could argue that no, changes don't need to be made. They're wildly successful plays by Frederick Knott, and they've been successful for, you know, alternately 70 or 60 years.But in both cases, I got a call from a director or an artistic director saying, “We'd like to do it, but we'd like to change this or that.” And I'm a huge fan of Frederick Knott. He put things together beautifully. The intricacies of Dial M for Murder, you don't want to screw around with. And there are things in Wait Until Dark having to do just with the way he describes the set, you don't want to change anything or else the rather famous ending won't work. But in both cases, the women are probably not the most well drawn characters that he ever came up with. And Wait Until Dark, oddly, they're in a Greenwich Village apartment, but it always feels like they're really in Westchester or in Terre Haute, Indiana. It doesn't feel like you're in Greenwich Village in the 60s, especially not in the movie version with Audrey Hepburn. So, the director, Matt Shackman, said, why don't we throw it back into the 40s and see if we can have fun with that. And so it played out: The whole war and noir setting allowed me to play around with who the main character was. And I know this is a cliche to say, well, you know, can we find more agency for female characters in old plays or old films? But in a sense, it's true, because if you're going to ask an actress to play blind for two hours a night for a couple of months, it can't just be, I'm a blind victim. And I got lucky and killed the guy. You've got a somewhat better dialogue and maybe some other twists and turns. nSo that's what we did with Wait Until Dark. And then at The Old Globe, Barry Edelstein said, “well, you did Wait Until Dark. What about Dial? And I said, “Well, I don't think we can update it, because nothing will work. You know, the phones, the keys. And he said, “No, I'll keep it, keep it in the fifties. But what else could you What else could you do with the lover?”And he suggested--so I credit Barry on this--why don't you turn the lover played by Robert Cummings in the movie into a woman and make it a lesbian relationship? And that really opened all sorts of doors. It made the relationship scarier, something that you really want to keep a secret, 1953. And I was luckily able to find a couple of other plot twists that didn't interfere with any of Knott's original plot.So, in both cases, I think it's like you go into a watch. And the watch works great, but you want the watch to have a different appearance and a different feel when you put it on and tick a little differently. John: We've kept you for a way long time. So, let's do this as a speed round. And I know that these questions are the sorts that will change from day to day for some people, but I thought each of us could talk about our favorite mysteries in four different mediums. So, Jeff, your favorite mystery novel”Jeffrey: And Then There Were None. That's an easy one for me. John: That is. Jim, do you have one?Jim: Yeah, yeah, I don't read a lot of mysteries. I really enjoyed a Stephen King book called Mr. Mercedes, which was a cat and mouse game, and I enjoyed that quite a bit. That's only top of mind because I finished it recently.John: That counts. Jim: Does it? John: Yeah. That'll count. Jim: You're going to find that I am so middle America in my answers. John: That's okay. Mine is--I'm going to cheat a little bit and do a short story--which the original Don't Look Now that Daphne du Murier wrote, because as a mystery, it ties itself up. Like I said earlier, I like stuff that ties up right at the end. And it literally is in the last two or three sentences of that short story where everything falls into place. Jeff, your favorite mystery play? I can be one of yours if you want. Jeffrey: It's a battle between Sleuth or Dial M for Murder. Maybe Sleuth because I always wanted to be in it, but it's probably Dial M. But it's also followed up very quickly by Death Trap, which is a great comedy-mystery-thriller. It's kind of a post-modern, Meta play, but it's a play about the play you're watching. John: Excellent choices. My choice is Sleuth. You did have a chance to be in Sleuth because when I directed it, you're the first person I asked. But your schedule wouldn't let you do it. But you would have been a fantastic Andrew Wyke. I'm sorry our timing didn't work on that. Jeffrey: And you got a terrific Andrew in Julian Bailey, but if you wanted to do it again, I'm available. John: Jim, you hear that? Jim: I did hear that. Yes, I did hear that. John: Jim, do you have a favorite mystery play?Jim: You know, it's gonna sound like I'm sucking up, but I don't see a lot of mystery plays. There was a version of Gaslight that I saw with Jim Stoll as the lead. And he was terrific.But I so thoroughly enjoyed Holmes and Watson and would love the opportunity to see that a second time. I saw it so late in the run and it was so sold out that there was no coming back at that point to see it again. But I would love to see it a second time and think to myself, well, now that you know what you know, is it all there? Because my belief is it is all there. John: Yeah. Okay. Jeff, your favorite TV mystery?Jeffrey: Oh, Columbo. That's easy. Columbo.John: I'm gonna go with Poker Face, just because the pace on Poker Face is so much faster than Columbo, even though it's clearly based on Columbo. Jim, a favorite TV mystery?Jim: The Rockford Files, hands down. John: Fair enough. Fair enough. All right. Last question all around. Jeff, your favorite mystery movie? Jeffrey: Laura. Jim: Ah, good one. John: I'm going to go with The Last of Sheila. If you haven't seen The Last of Sheila, it's a terrific mystery directed by Herbert Ross, written by Stephen Sondheim and Anthony Perkins. Fun little Stephen Sondheim trivia. The character of Andrew Wyke and his house were based on Stephen Sondheim. Jeffrey: Sondheim's townhouse has been for sale recently. I don't know if somebody bought it, but for a cool seven point something million, you're going to get it. John: All right. Let's maybe pool our money. Jim, your favorite mystery movie.Jim: I'm walking into the lion's den here with this one. Jeffrey, I hope this is okay, but I really enjoyed the Robert Downey Jr. Sherlock Holmes movies. And I revisit the second one in that series on a fairly regular basis, The Game of Shadows. I thought I enjoyed that a lot. Your thoughts on those movies quickly? Jeffrey: My only feeling about those is that I felt they were trying a little too hard not to do some of the traditional stuff. I got it, you know, like no deer stalker, that kind of thing. But I thought it was just trying a tad too hard to be You know, everybody's very good at Kung Fu, that kind of thing.Jim: Yes. And it's Sherlock Holmes as a superhero, which, uh, appeals to me. Jeffrey: I know the producer of those, and I know Guy Ritchie a little bit. And, I know they're still trying to get out a third one. Jim: Well, I hope they do. I really hope they do. Cause I enjoyed that version of Sherlock Holmes quite a bit. I thought it was funny and all of the clues were there and it paid off in the end as a mystery, but fun all along the road.Jeffrey: And the main thing they got right was the Holmes and Watson relationship, which, you know, as anybody will tell you, you can get a lot of things wrong, but get that right and you're more than two thirds there.

If you're enjoying the Hardcore Literature Show, there are two ways you can show your support and ensure it continues: 1. Please leave a quick review on iTunes. 2. Join in the fun over at the Hardcore Literature Book Club: patreon.com/hardcoreliterature Thank you so much. Happy listening and reading! - Benjamin

Shelly Hudson is here with actors Maya Small and Azalea Hudson as we look ahead to the production of  Henrik Ibsen's Hedda Gabler at the Maxfield Parrish Stage at the historic Plainfield Townhall May 23 - 26.  We discuss the play, how it is a challenge, why this selection, the Victorian age, "break a leg", and lots more.  Tickets are available through eventbrite.com    

The critically acclaimed Canadian theatre director and actor Moya O'Connell is directing a new production of Henrik Ibsen's 1891 masterpiece “Hedda Gabler.” The play follows a woman named Hedda who's trapped in a loveless marriage as she struggles with the realities of domestic life. When her old flame comes back to town, she's driven to commit some manipulative and disturbing acts. Moya sits down with Tom to tell us more about the play, what makes Hedda such a timeless character, and her own experience of playing the iconic role in 2012.

If you're looking for a tragi-comedy where the lyric insight of Virginia Woolf meets the electric cruelty of Hedda Gabler… consider this post-war portrait of a woman created and creating through destruction. Claire Archer attempts to transcend the constraints of modern life through the breeding of new plants, despite a literal Tom, Dick, and Harry trying to stop her. As the blossoming of her latest creation approaches, her sanity is called into question and tensions around her unique way of life explode. A piece that is by turns devastating philosophical portraiture, droll farce, and scathing feminist cry, The Verge comes together in a pressure cooker analysis of prescribed womanhood. Hosted by Emily Lyon and Kalina Ko.Edited by Daniel OpkaraMonologue performed by Gwen KelsoSupport this podcast at — https://redcircle.com/this-is-a-classic-the-expand-the-canon-theatre-podcast/donations

Hello Therese, we're back for our annual holiday extravaganza. This year we're movie-clubbing Todd Haynes' very luscious and very gay Carol (2015), starring Cate Blanchett, Rooney Mara, and Sarah Paulson. We discuss the erotic imagery of merely a glove, lesbian sex scenes through the lens of a gay man, and the joy in watching flat male characters (what even IS Jake Lacy's character's name?). All that Carol talk for you plus our reactions to the Golden Globe nominations, our dream casting of Da'Vine Joy Randolph and Emma Stone as Pearl Bailey and Carol Channing in a future film, and some Muppet talk. And then…we give you a solid ten minutes on our theory that gay men hate all gay male things while lesbians are much more accepting, our trip down memory lane to remember “lesbian kiss episodes” during November sweeps, the legacy of Roseanne, and Natalie Zea hunting down Kimberly Pierce for the Boys Don't Cry short she starred in!  Anyway, happy holidays! Do you think Linda Perry and Sara Gilbert watched Carol together? Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this week: Golden Globe nominations came out HFPA dissolved last year Anne liked Priscilla Actors on Actors with Emma Stone and Bradley Cooper. Better or Actors on Actors with Hathaway and Blunt Da'Vine Joy Randolph getting Oscar buzz for The Holdovers and should definitely star as Pearl Bailey. We vote Emma Stone for Carol Channing Is Wonka good?! We love Pepe the Prawn now  Lonny Price is in Muppets Take Manhattan Austin Pendleton is in The Muppet Movie We love Ollie's on 42nd Street (sighted Lois Smith and Austin Pendleton)  Rooney Mara in The Social Network We love the movie Union Square and the Angelika Film Center Former guest, Vicki Lewis in Pushing Tin  “Do you want to fuck me, Barbara??” - Cate to Judi in Notes on a Scandal She has done lots of NYC theatre: Streetcar (2009), Hedda Gabler (2006), The Maids (2014) Damian always thinking of Playwright, Theresa Rebeck Jake Lacy looks good in a waistcoat Are the Maras billionaires? Their mom's family founded the Pittsburgh Steelers and dad's family founded the New York Giants.  We can't pronounce Joaquin Phoenix and Cillian Murphy Gay Christmas movies: Michael Urie in Single All the Way and Happiest Season (with Aubrey Plaza and Kristen Stewart)  BFI listed Carol as the best LGBTQ movie of all time  Anne hated Bros Remember that Muriel Heminway kissed Roseanne Barr?  Lucy Liu and Calista Flockheart kissed for sweeps on Ally McBeal Did Linda Perry and Sara Gilbert watched Carol together? Famous lesbian Christine Vachon produced Carol Kimberly Peirce was attached to Carol before it made its way to Todd Haynes  Former YMKHF guest, Natalie Zea was in the student film version of Boys Don't Cry and we talked to her about it on the pod Famous lesbian Kimberly Peirce directed episodes of P Valley and The L Word

For episode 099 of Actorcast, we are joined by Olivier award-winning actress, Fiona Shaw! I had such a wonderful time speaking with Fiona. I had taken a master class with her several years ago, and ever since then I've been fascinated with her perspective on acting. We discuss what acting means to her, how actors get in their own way, how the entertainment industry has evolved, and how to determine if you are on the right path as an actor. You do not want to miss this episode! Fiona Shaw is an Irish film and theatre actress, known for her work with the Royal Shakespeare Company and the National Theatre, as well as in film and television.  She won the 1990 Laurence Olivier Award for Best Actress for roles in the plays Electra, As You Like It, The Good Person of Szechwan, and Machinal. She received three Olivier Award nominations for her roles in Mephisto, Hedda Gabler, and Happy Days. She made her Broadway debut playing the title role in Medea for which she earned a nomination for the Tony Award for Best Actress in a Play. She returned to Broadway in the Colm Tobin play The Testament of Mary. In film, she played Petunia Dursley in the Harry Potter film series. Other notable film roles include in My Left Foot, Persuasion, Jane Eyre, The Tree of Life, Colette, and Enola Holmes. Follow my work at https://patrick-mcandrew.com and @patrick.mcandrew Photo credit:  © Marie-Lan Nguyen / Wikimedia Commons

Joanna Murray-Smith's plays have been produced and translated all over the world, in over two dozen languages, including on Broadway, the West End and at the Royal National Theatre in London. Joanna has worked across many forms, from plays to novels, journalism, opera libretti and screenplays.  Her plays include Three Little Words, Switzerland, Pennsylvania Avenue, True Minds, Songs for Nobodies, The Gift, Rockabye, The Female of the Species, Ninety, Bombshells, Berlin and Flame (Melbourne Theatre Company); L'Appartement (Queensland Theatre); American Song (Milwaukee Repertory); Day One-A-Hotel-Evening (Red Stitch); Fury (Sydney Theatre Company); Rapture, Nightfall, Redemption, Love Child and Honour (Malthouse Theatre).  Both Honour and Rapture won the Victorian Premier's Literary Award for Best Play.   Joanna has also adapted Hedda Gabler (for the State Theatre Company of South Australia) and Ingmar Bergman's Scenes from a Marriage for Sir Trevor Nunn (Coventry/London).  Her adaptation of Chekhov's Uncle Vanya will be seen at the Ensemble Theatre in Sydney next year; as will Switzerland. While a tour of her extraordinary examination of our female Prime. Minister, Julia will play in Melbourne, Adelaide and a return Sydney season. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Richard Roberts is an award-winning designer and educator. His body of work spans theatre, ballet, opera, musical theatre, and film, across Australia and internationally. Richard is currently Head of Design and Production at the Victorian College of the Arts.  He has held positions as Head of Design at The Western Australian Academy of Performing Arts, Head of Production at The Victorian College of the Arts and Head of Design at The Hong Kong Academy of Performing Arts. Richard's designs for opera include: for Opera Australia, Rigoletto, Don Pasquale, The Magic Flute and Die Fledermaus (with West Australian Opera); for Victorian Opera, Parsifal, Cunning Little Vixen; Nixon In China, The Magic Flute, Baroque Triple Bill, The Marriage Of Figaro; The Corronation Of Poppea and Don Giovanni; for Opera Queensland, Ruddigore; and for New Zealand Opera, Seattle Opera, and Philadelphia Opera Rigoletto. For dance, Richard's designs include: for Australian Ballet, Don Quixote, Requiem, Molto Vivace and Raymonda; La Sylphide and La Fille Mal Gardee for West Australian Ballet and Queensland Ballet. For theatre, Richard's designs include: for Queensland Theatre, Othello, The Sunshine Club, Death Of A Salesman, Noises Off (with MTC), Much Ado About Nothing, Tartuffe and Managing Carmen (with Black Swan); for Ensemble Theatre, Black Cockatoo; for TML, Fiddler On The Roof; for Melbourne and Sydney Festivals, The Season national tour; for Melbourne Theatre Company, Last Man Standing, Solomon And Marion, Next To Normal, The Gift and Frost/Nixon, Macbeth, Dreams in an Empty City, As You Like It, Hedda Gabler, The Sapphires, All My Sons; for Sydney Theatre Company, Australia Day(with MTC), True West, Riflemind; for Black Swan, The Caucasian Chalk Circle and Glengarry Glen Ross; for Belvoir, The Sapphires (with Black Swan). For screen, Richard's work includes production design for George Ogilvie's The Battlers for the Seven Network, the 12-part series Five Times Dizzy for SBS and I Own The Racecourse for Barron Films. Richard has designed the Operatic adaptation of Jane Harrison's The Visitors for Victorian Opera, currently playing The Arts Centre in Melbourne. For Opera Australia's Summer season he is Design Consultant for the Mozart Opera's Idomeneo and The Magic Flute. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Antonia Thomas, who starred in E4's Misfits and The Good Doctor, and writer Nina Segal, join us to talk about new play Shooting Hedda Gabler at the Rose Theatre.Nina discusses why she decided to do a play about making a film of Hedda Gabler, rather than adapting Ibsen's masterpiece directly, how the MeToo movement influenced the work and issues actors can face on set. Antonia talks about the challenges playing this new version of Hedda, and the ‘weird' hierarchy that still takes place on film sets.Nancy and Nick Curtis review Lynn Nottage's Mlima's Tale, directed by Miranda Cromwell at the Kiln Theatre. While Nick and Nick review Untitled F*ck M*ss S**gon Play at the Young Vic. That's by award-winning Kimber Lee and directed by Roy Alexander Weise.They talk about the death of Michael Gambon, plus news that Mean Girls the musical is arriving this side of the Atlantic, the winners of the Stage Debut Awards winners, and chat about Woody Harrelson's return to the London stage after two decades.The team also discuss the other shows they've seen this week from long-runner Wicked to the powerful Woodhill as well as Frank and Percy, starring Sir Ian McKellen and Roger Allam.You can hear our interview with Gabrielle Brooks, star of Mlima's Tale, here, and our interview with Sir Ian McKellen and Roger Allam here.For the latest news and reviews, visit https://www.standard.co.uk/culture. Hosted on Acast. See acast.com/privacy for more information.

Norman is busy rehearsing for Much Ado About Nothing, so we have Neil Harkins (who was on Episode 222) as our guest host. Our guest today is Marty Pistone, the director and board member of Sixth Street Playhouse. I worked with Marty when he was a consultant for Off Broadway West, and their production of Hedda Gabler, back in 2010. We talk about Marty's upbringing in Chicago, his views on the state of theatre today and where he sees himself in the future. Marty can be reached directly via Facebook and LinkedIn. SHOWS: Much Ado About Nothing (Sparc Theatre) June 22 – August 6 Norman Gee is in the show https://sparctheater.org/shakespeare-in-the-vineyard/ Cymbeline (San Francisco Shakespeare Festival) July 22 – Sept 24 Eiko Yamamoto (Episodes 120 & 225) is in the show https://sfshakes.org/cymbeline/ Domestica Realidad (Brava Theatre) Aug 3 – 13 Virginia Blanco (Episode 238) is directing the show https://www.brava.org/all-events/domestica-realidad Aren't You.. (The Marsh) July 21 – August 18 Fred Pitts (Episode 256) is in the show https://themarsh.org/shows_and_events/marshstream/fred-pitts-arent-you/ Hamlet (Marin Shakespeare Company) June 16 – July 16 Jon Tracy (Episode 169) directs the show https://www.marinshakespeare.org/wp-content/uploads/2023/06/MSC-Summer-23-Digital-Program-HAM-2.pdf The Birds (Altarena Players) August 11 – Sept 10 Kimberly Ridgeway is directing the show https://www.altarena.org The Dignity Circle (Central Works) June 24 – July 23 Kimberly Ridgeway (Episodes 155 & 251) is in the show Gary Graves (Episode 24) is directing the show; Tammy Berlin (Episode 208) is doing costumes and Greg Scharpen (Episode 188) is the sound designer https://centralworks.org/the-dignity-circle/#showtab=details Beautiful: The Carol King Musical (Woodminister Ampitheatre) July 7 – July 16 Tanika Baptiste (Episode 253) is in the show https://woodminstersummermusicals.csstix.com/?fbclid=IwAR37Sz6HhjWuJbw61jtTcnYHQyBIY4eUuk1rwJcVNIZxdQcYK_XN9HgdMUY King Lear (Silicon Valley Shakes) – an ALL WOMAN CAST July 28 – Sept 1 Cynthia Lagodzinski (Episode 96) is directing the show https://www.svshakespeare.org/lear Barry Graves (Episode 104) has a new podcast out! The Black Man's Heart On Spotify and all your podcast apps Our wonderful consulting producer Mallory Somera (Episode 151) produces two podcasts for KCBS radio: As Prescribed, a weekly conversation with leading medical experts at UCSF Medical Center; and It's Generational, a deep dive on how each generation looks at things differently. Each episode features subject matters from perspectives of the Boomers, Gen X, Millennials and Gen Z. Check out As Prescribed and It's Generational on all podcast apps. Central Works Script Club is a podcast where you download and read a play script and then listen to an audio interview with the playwright. Delivered semi-annually. You can find the Central Works Script Club on any podcast app. Also, Bindlestiff Studios has a podcast called the Fobcast, exploring Filipino American immigrant stories. Check out The Fobcast in any podcast app. The Yay (Twitter: @TheYay3) Reg Clay (@Reg_Clay) Norman Gee (@WhosYrHoosier)

Chukwudi Iwuji is an award winning actor as well as a writer. An extraordinary actor both on screen and on stage, Chukwudi continues to captivate audiences with his versatility and establish himself as one to watch.   He recently made his debut in the Marvel universe in James Gunn's GUARDIANS OF THE GALAXY VOL 3, the final instalment in the blockbuster franchise. Starring as the main villain ‘High Evolutionary', Chukwudi has received rave reviews for his performance as an all-time Marvel Villain.  In 2022, he made his debut in the DC Universe starring as ‘Clemson Mern' in the DC Comics and HBOMax series PEACEMAKER, also from the mind of James Gunn. Additional television credits include the BBC drama THE SPLIT, Michael Morrissey's THE GIRL WHO GOT AWAY, as well as the Emmy nominated Amazon limited series THE UNDERGROUND RAILROAD for director Barry Jenkins. Other television appearances include WHEN THEY SEE US, DESIGNATED SURVIVOR, QUANTICO, THE BLINDSPOT, MADAM SECRETARY, and DOCTOR WHO.   His additional film credits include the Netflix feature SHINE YOUR EYES, the thriller DANIEL ISN'T REAL opposite Sasha Lane and Patrick, Netflix's BARRY, Chad Stahelski's JOHN WICK: CHAPTER 2 opposite Keanu Reeves, A WOMAN A PART, NOW: IN THE WINGS OF A WORLD STAGE, the multi-award winning EXAM, and FALL TO RISE.  As an accomplished theater veteran, Chukwudi starred in OTHELLO for The Public Theatre's Shakespeare in the Park as well as in ANTONY AND CLEOPATRA, KING LEAR, and HAMLET. His performance in THE LOW ROAD, directed by Michael Greif, earned him an Obie Award, as well as 2018 Lucille Lortel and Drama League nominations. An Associate Artist of the prestigious Royal Shakespeare Company for his numerous Shakespearean performances, he has also received two Olivier awards for his titular role as HENRY VI in the RSC's 2009 productions of parts I, II, and III.    Other stage credits include the titular role in the Public Theatre's HAMLET directed by Patricia McGregor; Ivo van Hove's OBSESSION opposite Jude Law, and HEDDA GABLER opposite Ruth Wilson, both for The National Theatre; The Public Theatre's productions of KING LEAR and ANTONY AND CLEOPATRA; Theatre for a New Audience's TAMBURLAINE directed by Michael Boyd; and the Old Vic's RICHARD III directed by Sam Mendes.  He is also a founding member of Chudor House Productions, his family's production and management company. We chat about the cycle of highs and lows, having his own stamp, the benefits of meditation, Guardians of the Galaxy 3, working hard at our emotions, fear, pay offs, signs and guardian angels. The video footage of this entire chat is now out as well (one day after release)! So check them out on YouTube under Michael Kahan Check Chukwudi out on: Instagram: https://www.instagram.com/chukwudi_iwuji/ ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

Hollywood Fringe 2023: Hedda Gabler @ Broadwater – 8 out of 10! Good Show! LA Theatre Bites Recommended! June 4 - 24, 2023. www.latheatrebites.com

In this episode the Maestro turns the tables on Joanna and asks her questions about her life, her career as an actress and how she became a diarist for the Times. Joanna talks about why she wanted to become an actress, how being a model held her back and why she'll keep wearing make up till the day she dies. We also hear why her favourite ever part was playing Hedda Gabler at the Dundee Repertory Theatre and why Stephen and Joanna never go on holiday.

Career Conversations Q&A with Olivier Award winner Chukwudi Iwuji who is currently starring in Othello, moderated by Broadway World's Richard Ridge of "Backstage with Richard Ridge!" Chukwudi Iwuji can currently be seen starring as the title character in Othello for The Public Theatre's Shakespeare in the Park. He most recently starred as John Blanke in Michael Greif's The Low Road at The Public Theater. For his performance, Chukwudi won a 2018 Obie Award and earned nominations for a 2018 Drama League Award in the category of Distinguished Performance and a 2018 Lucille Lortel Award in the category of Outstanding Lead Actor in a play. The show was also nominated for an Outer Critics Circle Award. Chukwudi is an Associate Artist of the Royal Shakespeare Company, for his numerous Shakespearean performances. He received two Olivier awards for his titular role as Henry VI in the RSC's 2009 productions of parts I, II, and III Additional theatre credits include The National Theatre's Hedda Gabler, The Public Theatre's Hamlet, King Lear, Antony and Cleopatra, Theatre for a New Audience's Tamburlaine, and Old Vic's Richard III. On television Chukwudi will next be seen in the upcoming SundanceTV & BBC series The Split. His past television credits include NBC's The Blindspot and Crossing Lines, CBS's Madam Secretary, Doctor Who, Wizard Vs. Aliens, Casualty, and The Slave Trade for BBC, Sky's The Three Kings, Tiger Aspect's The Garden, and RTE's Proof. He can also be seen in multiple films including Netflix's Barry, Chad Stahelski's John Wick: Chapter 2 opposite Keanu Reeves, A Woman A Part, Now: In the Wings of A World Stage, Exam, and Fall to Rise.

Hedda Gabler

Actor Robert Bathurst chats to Broadcaster Dominic King about his working life on stage and screen.Robert is best known for playing  management consultant David Marsden in comedy-drama television series Cold Feet, as well as Wild at Heart, Downton Abbey and Ed Howzer-Black in Toast of London.His theatre credits include  Noises Off,  The Rover, Blithe Spirit, Three Sisters, Hedda Gabler, The Importance of Being Earnest, Love Loss & Chianti, King Charles IIIThis episode was recorded at Robert's home in East Sussex.TALK KING is a Laughing Frog Production.Support the show

ELLIDA, 85min., Switzerland, Drama/Relationships Directed by Leon Mitchell Producer/Star: Katrina Syran Writer: Birgit Syran Myaard Based upon Henrik Ibsen's famous play, The Lady From The Sea. It's set in a timeless period shot south of Norway where Munch painted his masterpiece The Sun. We follow the journey of Ellida's world of loss, love and passion, heightened with the compositions of Grammy winner Mark Thomas and cinematography of Bafta-nominated Ian James Gray. From Katrina Syran: Being Norwegian I've grown up with Ibsen and I have played many of his roles, Gerd from Brand, Hilde from The Master Builder, Nora from The Dolls House & I have even translated for U.K. big theatre director Mike Alfreds the play, Ghosts. After writing 3 of his plays into monologues, Hedda Gabler,The Dolls House & The Lady From The Sea and producing & directing them I realised The Lady From The Sea is a very visual play and could work beautifully as a movie. Interview conducted by Matthew Toffolo Playing on the Film Festival Streaming service later this month. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

"I just feel there is already a connection, something I have to come to, but that I'm trying to search it out or see what's already there. I feel that we are truly connected as a world. And I'm just trying to make people aware of an existing connection we already have, to send that message out there. And I like to do it in the form of...I guess you'd call it a mundane image, where it's not really about bells and whistles, but it's about something in it makes you want to look, and you want to know why. And it's because you've been there before, regardless of whether you are a dancer or that particular guy in the subway, you know you've been in his head in that mood that he's experiencing."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastImage: The Dancers, Acrylic on canvas, Gloria Pacis

Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome."I just feel there is already a connection, something I have to come to, but that I'm trying to search it out or see what's already there. I feel that we are truly connected as a world. And I'm just trying to make people aware of an existing connection we already have, to send that message out there. And I like to do it in the form of...I guess you'd call it a mundane image, where it's not really about bells and whistles, but it's about something in it makes you want to look, and you want to know why. And it's because you've been there before, regardless of whether you are a dancer or that particular guy in the subway, you know you've been in his head in that mood that he's experiencing."IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"I've always been fascinated by the interaction of people and why they say and do the things they do. And I could see how theater impacted my work because actually, I have a broad brush when I paint, mainly. And it gets kind of fuzzy as you get close, but as you go further, you see things. That's the discipline of the theater. You're painting up close, but for an image that can be seen from a distance, from the last chair in the theater. So that's kind of my thing.I've got to say, I'm particularly interested in murder mysteries myself. Because murder mysteries, more than any other story, they answer the question: why did this guy do this? And that's what I like, to answer the questions of why people act the way they do it. Now you can find that regardless of what the theatrical production is about. I tend to like classic stuff, but I can't imagine a more fascinating topic than people and what moves them. What makes them act the way they do? I just can't think of anything more interesting. And the goal of my work in particular is to make people just stop enough to look at it and then be reminded of themselves a little bit in what they're looking at, regardless of what they look like compared to the image. And that's it. Sometimes I'm just sitting at a coffee shop, watching people and trying to invent stories. It's just a fascination for me."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastImage: Men, Acrylic on Canvas, Gloria Pacis

Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome."I've always been fascinated by the interaction of people and why they say and do the things they do. And I could see how theater impacted my work because actually, I have a broad brush when I paint, mainly. And it gets kind of fuzzy as you get close, but as you go further, you see things. That's the discipline of the theater. You're painting up close, but for an image that can be seen from a distance, from the last chair in the theater. So that's kind of my thing.I've got to say, I'm particularly interested in murder mysteries myself. Because murder mysteries, more than any other story, they answer the question: why did this guy do this? And that's what I like, to answer the questions of why people act the way they do it. Now you can find that regardless of what the theatrical production is about. I tend to like classic stuff, but I can't imagine a more fascinating topic than people and what moves them. What makes them act the way they do? I just can't think of anything more interesting. And the goal of my work in particular is to make people just stop enough to look at it and then be reminded of themselves a little bit in what they're looking at, regardless of what they look like compared to the image. And that's it. Sometimes I'm just sitting at a coffee shop, watching people and trying to invent stories. It's just a fascination for me."IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome."Sometimes I'll paint images of people watching a parade go by, but nobody takes the pictures of the crowd watching. And just to focus the attention on: this is what you're missing. I like to do stuff like that. And it's just to draw attention to an aspect of humanity that I'm just trying to make people pay attention to, that's all. Like sometimes walking through Times Square, you see all the razzle-dazzle, and then every once in a while you see a dilapidated little section of Times Square. And I'm going: look at that. That's a good...nobody's noticing that. I don't know what it is, my fascination for just zeroing in on stuff that nobody will look at, but I just like that, you know. I'd like to say that another artist I like is Rothko. And my opinion about him is that I just can't help but get sucked into his pictures. I just stare there for the longest time. Everybody has moved on, and I'm sucked in. I want to achieve something to stick people in that place. Just keep them still for a second."IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"Sometimes I'll paint images of people watching a parade go by, but nobody takes the pictures of the crowd watching. And just to focus the attention on: this is what you're missing. I like to do stuff like that. And it's just to draw attention to an aspect of humanity that I'm just trying to make people pay attention to, that's all. Like sometimes walking through Times Square, you see all the razzle-dazzle, and then every once in a while you see a dilapidated little section of Times Square. And I'm going: look at that. That's a good...nobody's noticing that. I don't know what it is, my fascination for just zeroing in on stuff that nobody will look at, but I just like that, you know. I'd like to say that another artist I like is Rothko. And my opinion about him is that I just can't help but get sucked into his pictures. I just stare there for the longest time. Everybody has moved on, and I'm sucked in. I want to achieve something to stick people in that place. Just keep them still for a second."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.“And I try to make my figures not so gender-specific necessarily. Sometimes you can guess, but the image on the left was actually a man. You can't tell really. And the right one was a woman, but the idea that they could be the same person is...I'm just very fascinated also by the whole idea of what gender is because in my head I'm kind of masculine. I don't comport myself as transgender or anything, but I think I operate in the world like a male in a lot of respects. And I just want to bring that out that I think a lot of people do this. They're not, they might look female, act male in a certain way, under a certain spectrum. It's a very fascinating age we live in. It's as if we're just being made aware of all these things that were already there. That we are on the spectrum of things, on the spectrum of female, on the spectrum of male. And then we look a certain way outwardly that's all that is. I think I'm basically, heterosexual female is what I still do, but I know when I'm just by myself, I don't even think of myself as a pronoun. I just think, Hey, this is…I am me in the world doing me things.”IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

“And I try to make my figures not so gender-specific necessarily. Sometimes you can guess, but the image on the left was actually a man. You can't tell really. And the right one was a woman, but the idea that they could be the same person is...I'm just very fascinated also by the whole idea of what gender is because in my head I'm kind of masculine. I don't comport myself as transgender or anything, but I think I operate in the world like a male in a lot of respects. And I just want to bring that out that I think a lot of people do this. They're not, they might look female, act male in a certain way, under a certain spectrum. It's a very fascinating age we live in. It's as if we're just being made aware of all these things that were already there. That we are on the spectrum of things, on the spectrum of female, on the spectrum of male. And then we look a certain way outwardly that's all that is. I think I'm basically, heterosexual female is what I still do, but I know when I'm just by myself, I don't even think of myself as a pronoun. I just think, Hey, this is…I am me in the world doing me things.”Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"It's because I consider life a dance, really. A dance. Some dancers are clunky, and some dancers are graceful, but it's a dance, a compromise, a puzzle, kind of, and it just has a lot of elements that I can draw comparisons with life. You know, the dance of the planets. There are so many dances all the time, all around us. And do you know what they're all saying? Yes, no, maybe...but that's what we're in. And we're trying to figure out why are we here? Why do I have to do this dancing? And what's animating me? I just like the way there are a lot of analogies between life and dance, between the way people interact. You know, people who are not dancers. I just like that. Lines can be drawn between regular life and dancing. But also the advantage that this art has over dance is it freezes the moment. A moment you miss because time goes by and the dancer has got to keep moving, but you miss something unless somebody freezes it."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome."It's because I consider life a dance, really. A dance. Some dancers are clunky, and some dancers are graceful, but it's a dance, a compromise, a puzzle, kind of, and it just has a lot of elements that I can draw comparisons with life. You know, the dance of the planets. There are so many dances all the time, all around us. And do you know what they're all saying? Yes, no, maybe...but that's what we're in. And we're trying to figure out why are we here? Why do I have to do this dancing? And what's animating me? I just like the way there are a lot of analogies between life and dance, between the way people interact. You know, people who are not dancers. I just like that. Lines can be drawn between regular life and dancing. But also the advantage that this art has over dance is it freezes the moment. A moment you miss because time goes by and the dancer has got to keep moving, but you miss something unless somebody freezes it."IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"I just feel there is already a connection, something I have to come to, but that I'm trying to search it out or see what's already there. I feel that we are truly connected as a world. And I'm just trying to make people aware of an existing connection we already have, to send that message out there. And I like to do it in the form of...I guess you'd call it a mundane image, where it's not really about bells and whistles, but it's about something in it makes you want to look, and you want to know why. And it's because you've been there before, regardless of whether you are a dancer or that particular guy in the subway, you know you've been in his head in that mood that he's experiencing."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastImage: The Dancers, Acrylic on canvas, Gloria Pacis

Do you have the address of Henry Gibson?Kelly and Dermot welcome special guest Paul Ringo to Blooms & Barnacles. Topics include Joyce's love of Henrik Ibsen, Paul's love of Finnegans Wake via the stage, Joyce's study of Norwegian, realism as seen in the works of Joyce and Ibsen, the artist as a conduit for the world's filth, Joyce's dream to Europeanize Ireland, the search for Henry Gibson, Joyce's attempt to introduce Ibsen to Ireland, Joyce's letter to Ibsen on his birthday, Joyce's review of When We Dead Awaken, Hedda Gabler's influence onUlysses, gender roles in the works of Joyce and Ibsen, Ibsen's self-imposed exile, A Doll's House's influence on “The Dead”, the influence of Peer Gynt on Ulysses, Stanislaus Joyce and My Brother's Keeper, A Brilliant Career, Lou Reed, Laugh In, and who Paul would like to play in Hedda Gabler.Sweny's Patreon helps keep this marvelous Dublin landmark alive. Please subscribe!Paul Ringo:https://paulringo.blogspot.com/Social Media:Facebook | TwitterSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | Stitcher

In our ongoing project, Elowyn Castle, longtime company member and veteran New York actress/director, brings the soliloquy to life in French. A few of the many places Elowyn has turned up on stages in New York and elsewhere over the last 50 years.  NOISES OFF (ACC/Snarks); THE PHILANDERER & BLACK TIE (Triangle Theatre). Off-B'Way: THE NORWEGIANS (The Drilling Company), MUCH ADO ABOUT NOTHING and HAPPY BIRTHDAY WANDA JUNE (Equity Library Theater). KALLIE (American Renaissance Theater); PLAZA SUITE, ARMS AND THE MAN, CEMETARY CLUB (ACC/Snarks); OTHELLO, TWO GENTLEMEN OF VERONA A MIDSUMMER NIGHT'S DREAM, THE LADY'S NOT FOR BURNING, LOVE LETTERS. Acting: for The Drilling Company: TWO NOBLE KINSMEN (Queen) HAMLET (Polonia); ALL'S WELL THAT ENDS WELL (Countess); ROMEO & JULIET (Nurse); CORIOLANUS (Volumnia - “…the Mama Rose of the Roman Military” - NY Times)); Regional Theatre Acting: Gertie in FUDDY MEERS, Sara in THE SISTERS ROSENSWEIG, Hedda Gabler, Elvira in BLITHE SPIRIT, Celimene in THE MISANTHROPE, Athalie, Mehitabel in ARCHY & MEHITABEL, Queen Elizabeth 1.Educated in France, England, U.S.A. and Switzerland, Elowyn Castle received a Diplôme and the Grand Prix d'Art Dramatique in performance and directing from the Conservatoire de Genève in Geneva, Switzerland; President of the Episcopal Actors' Guild since 2008.

Episode 20: Got your coupons?! We have a TWO FOR ONE Script Tease episode, as Ty and Kiera break down two of Henrik Ibsen's most iconic pieces of work. Are you itchin' for Ibsen? We'll talk about the craziness of these two shows, the comparisons between the two protagonists and just how much of a feminist Henrik was... was he the original girlboss? Every Thespians dream: a podcast from two lifelong theatre kids talking all things theatre! Join Ty Eatherton and Kiera Sweeney each episode as they discuss their own theatre fantasies and knowledge! Theme Music: George Benson -- On Broadway (Master Chic Mix) Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research.

Kevin Adams shares developments in the craft of lighting, assembling his lighting department, and why he enjoys designing pop rock musicals specifically as it relates to A Beautiful Noise! If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! ABOUT KEVIN ADAMS Four-time Tony winner Kevin Adams has designed SpongeBob SquarePants (Tony nom.), Head Over Heels, Hedwig and the Angry Inch (Tony and Outer Critics Award), American Idiot (Tony Award), Spring Awakening (Tony Award; Olivier nom for the West End production), Next To Normal (Tony nom), The 39 Steps (Tony and Drama Desk Awards), Hair (Tony nom), Man And Boy, Everyday Rapture, Passing Strange, Take Me Out, A Class Act, Hedda Gabler with Kate Burton, solo shows by Eve Ensler and John Leguizamo. Off-Broadway he has worked on the original production of Hedwig and the Angry Inch, The Scottsboro Boys, Rent, Carrie, new work by Edward Albee, Eric Bogosian, Christopher Durang, Richard Greenberg, Tony Kushner, Terrence McNally, Neil Simon, Anna Deveare Smith and Paula Vogel. His work has also been seen at the Metropolitan Opera, Steppenwolf Theatre, Yale Rep, Berkeley Rep, Donmar Warehouse, and City Center Encores! On screen, he's worked on Mildred Pierce (HBO), Audra McDonald in concert (Town Hall, Joe's Pub, Lincoln Center), staged concerts featuring Patti Lupone (Gypsy, Candide, Anyone Can Whistle, Sunday in the Park with George and Regina) and Blue Man Group in Las Vegas and the Hollywood Bowl. For his work off-Broadway he has received an Obie for sustained excellence and two Lucille Lortel awards. MENTIONED IN THIS EPISODE: A Beautiful Noise on Instagram: instagram.com/abeautifulnoisemusical A Beautiful Noise on Facebook: facebook.com/ABeautifulNoiseMusical Get Your Tickets: abeautifulnoisethemusical.com ambermylar.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

Laila Robins is an actor who's pretty much done it all in both theatre and on screen. On Screen you may recognize her from her many roles such as in Homeland, The Blacklist, The Boys, Walking Dead, Planes, Trains & Automobiles, Eye in the Sky, True Crime, An Innocent Man, Dr Death, The Equalizer, Bull, Law and Order: Special Victims & Bored to Death.  She's also a veteran in the theatre and has appeared in many productions, including as Blanche Dubois in A STREETCAR NAMED DESIRE, Alma in SUMMER AND SMOKE, Annie in THE REAL THING, Mellita in MRS.KLEIN, Masha in THREE SISTERS, Ranyevskaya in CHERRY ORCHARD, Nina in THE SEAGULL, Carrie Nye in HEDDA GABLER, Olympia Dukakis in LION IN WINTER, ANTONY AND CLEOPATRA, THE APPLE FAMILY PLAYS, THE LADY FROM DUBUQUE to name a few. As you can imagine we dive deep and cover a lot such as chatting about confidence, teaching, scenes being cut from films, regrets, looking after her voice, growth, magic, vibration, being in the moment and her fear of public speaking. The video footage of this entire chat is now out as well! So check them out on YouTube under Michael Kahan Check Laila out on: Instagram: https://www.instagram.com/officiallailarobins/ Twitter: https://twitter.com/laila_robins ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

Margaret is directing Violet right now at Georgetown University but she never says why she wanted to discuss this album! Topics include: progress, Donald Margulies, Hedda Gabler, finding the humor in dramas, going too far, the state of modern theatre education, and perception Follow Margaret and her work on Instagram and Twitter Come see Violet! Free performances March 24th-27th, 30th, and April 1st-2nd at Georgetown University Learn more about Georgetown performing arts Earth Cover to Cover (Margaret's travel blog) Featured recording: Violet - Original Broadway Cast Recording (2014) Visit our Patreon for access to our monthly live stream The Original Cast at the Movies where this year we're talking musical sequels and musical biopics! Patreon • Twitter • Facebook • Email

The PlayWrights is a podcast all about plays! Sarah and Will take you through a variety of titles by award-winning playwrights.  We talk about our love of theatre, the secrets of production and acting and much more! It's a great time over here at The PlayWrights! This week we are looking at the father of modern drama, Henrik Ibsen and his incendiary psychological analysis of Hedda Gabbler.  Is she a raving lunatic who drives the people around her to early graves or is she a radical individualist who we all should aspire to become?  You decide! --- Send in a voice message: https://anchor.fm/theplaywrights/message Support this podcast: https://anchor.fm/theplaywrights/support

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

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

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

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

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

In this episode, we're doing something different. We're going to talk about a fictional character: Regina Geroge from Mean Girls. We're going to discuss her “mean-girl” facade and how other characters perceived her based on the image she portrayed and how she openly (or not so openly) treated them. And then we're going to talk about some of the reasons she might have acted that way. Dig a little below the surface. Finally we'll wrap up with our predictions for Regina “17 years later” (Harry Potter style, lol!... okay that was 19 years later, but you get the idea!)   Follow the podcast: Twitter: @BigRepPod Instagram: @BigReputationsPod   Merch: https://www.redbubble.com/shop/ap/86669619 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Hosts: Kimberly Fludd and Rebecca Salois Logo Design: Samantha Wallace Music: Shawn P. Russell Sound Consultant and Mixing: Shawn P. Russell Recording and Editing: Rebecca Salois ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Sources: Queen Bees and Wannabes by Rosalind Wiseman Why Do We Read This? Episode 13: Hedda Gabler, Tangled, and Mean Girls A compelling blog post: “Regina George: A Case of Closetation and Compulsory Heterosexuality”