Podcasts about Horton Foote

Vanessa Lynn Williams[1] (born March 18, 1963) is an American singer, actress, model, producer and dancer. She gained recognition as the first Black woman to win the Miss America title when she was crowned Miss America 1984. She would later resign her title amid a media controversy surrounding nude photographs published in Penthouse magazine. 32 years later, Williams was offered a public apology during the Miss America 2016 pageant for the events.Williams rebounded from the scandal with a successful career as a singer and actress. In 1988, she released her debut studio album The Right Stuff, whose title single saw moderate success as well as "Dreamin'", which peaked at number 8 on the Billboard Hot 100 in the United States in 1989. With her second and third studio albums, The Comfort Zone (1991) and The Sweetest Days (1994), she saw continued commercial success and received multiple Grammy Award nominations, including her number-one single and signature song, "Save the Best for Last", which she performed live at the 1993 Grammy Awards ceremonies. Her later studio albums include Everlasting Love (2005), The Real Thing (2009), and Survivor (2024).As an actress, Williams enjoyed success on stage and screen. She made her Broadway debut in 1994 with Kiss of the Spider Woman. In 2002, she starred as The Witch in the revival of Stephen Sondheim's Into the Woods that earned her a nomination for the Tony Award for Best Actress in a Musical at the 56th Tony Awards. She starred in the revival of Horton Foote's The Trip to Bountiful in 2013, and the ensemble political farce POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive in 2022. She is also known for her appearances in television with her best known roles being Wilhelmina Slater on Ugly Betty (2006–2010) for which she was nominated three times for the Primetime Emmy Award for Outstanding Supporting Actress in a Comedy Series; and Renee Perry on Desperate Housewives (2010–2012).Since 2024, she has been starring in the musical The Devil Wears Prada at the Dominion Theatre, London.PICTURE: By WBLS - YouTube: https://www.youtube.com/watch?v=pqXJj32T90o – View/save archived versions on archive.org and archive.today, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=80020422

fWotD Episode 2715: To Kill a Mockingbird Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Thursday, 10 October 2024 is To Kill a Mockingbird.To Kill a Mockingbird is a novel by the American author Harper Lee. It was published in July 1960 and became instantly successful. In the United States, it is widely read in high schools and middle schools. To Kill a Mockingbird has become a classic of modern American literature; a year after its release, it won the Pulitzer Prize. The plot and characters are loosely based on Lee's observations of her family, her neighbors and an event that occurred near her hometown of Monroeville, Alabama, in 1936, when she was ten.Despite dealing with the serious issues of rape and racial inequality, the novel is renowned for its warmth and humor. Atticus Finch, the narrator's father, has served as a moral hero for many readers and as a model of integrity for lawyers. The historian Joseph Crespino explains, "In the twentieth century, To Kill a Mockingbird is probably the most widely read book dealing with race in America, and its main character, Atticus Finch, the most enduring fictional image of racial heroism." As a Southern Gothic novel and Bildungsroman, the primary themes of To Kill a Mockingbird involve racial injustice and the destruction of innocence. Scholars have noted that Lee also addresses issues of class, courage, compassion, and gender roles in the Deep South. Lessons from the book emphasize tolerance and decry prejudice. Despite its themes, To Kill a Mockingbird has been subject to campaigns for removal from public classrooms, often challenged for its use of racial epithets. In 2006, British librarians ranked the book ahead of the Bible as one "every adult should read before they die".Reaction to the novel varied widely upon publication. Despite the number of copies sold and its widespread use in education, literary analysis of it is sparse. Author Mary McDonough Murphy, who collected individual impressions of To Kill a Mockingbird by several authors and public figures, calls the book "an astonishing phenomenon". It was adapted into an Academy Award-winning film in 1962 by director Robert Mulligan, with a screenplay by Horton Foote. Since 1990, a play based on the novel has been performed annually in Harper Lee's hometown.To Kill a Mockingbird was Lee's only published book until Go Set a Watchman, an earlier draft of To Kill a Mockingbird, was published on July 14, 2015. Lee continued to respond to her work's impact until her death in February 2016, although she had refused any personal publicity for herself or the novel since 1964.This recording reflects the Wikipedia text as of 00:23 UTC on Thursday, 10 October 2024.For the full current version of the article, see To Kill a Mockingbird on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Joey.

Two movies for the price of one! Our first double feature is a doozy! Tender Mercies and Crazy Heart both tell the story of aging country singer/songwriters fallen on hard times. Both have incredible star power from Robert DuVall, Tess Harper, Horton Foote, Jeff Bridges, Maggie Gyllenhaal & T-Bone Burnett. Both were award show darlings. And both have top notch country tunes! So roll down the windows and enjoy the sunset as we walk ya through all the ins and outs of Mac Sledge and Otis "Bad" Blake. Visit https://fictionradiopod.com for more episodes and links to all our feeds and socials. Contact us at FictionRadioPod@gmail.com with your comments or suggestions for future episodes.

In our discussion of the 1962 classic To Kill A Mockingbird we get into the differences from Harper Lee's novel, the justice system, childhood, innocents, innocence, child actors, chifferobes, racism, classism, and more!   I Love This You Should Too is hosted by Samantha & Indy Randhawa   To Kill a Mockingbird is a 1962 American coming-of-age legal drama crime film directed by Robert Mulligan. The screenplay by Horton Foote is based on Harper Lee's 1960 Pulitzer Prize–winning novel of the same name. The film stars Gregory Peck as Atticus Finch and Mary Badham as Scout. It marked the film debut of Robert Duvall, William Windom, and Alice Ghostley. It gained overwhelmingly positive reception from both the critics and the public; a box-office success, it earned more than six times its budget. The film won three Academy Awards, including Best Actor for Peck, and was nominated for eight, including Best Picture.

Mark Dawidziak's journalism career spans 45-years. A journalism graduate of George Washington University, Dawidziak worked as a theater, film and television critic for such newspapers as the Akron Beacon Journal and Cleveland's The Plain Dealer. In 1983, after stints as the arts and entertainment editor at the Bristol Herald-Courier in Bristol, Virginia, and the Kingsport Times-Times in Kingsport, Tennessee, he moved to the Akron Beacon Journal in Akron, Ohio, as that newspaper's TV critic (later becoming its film critic and critic-at-large). He joined the The Plain Dealer in Cleveland, Ohio, in 1999, beginning a 21-year run as that newspaper's television critic. A member of the Television Critics Association's board of directors for five years, he won five Cleveland Press Club awards for entertainment writing, as well as a Society of Professional Journalists award for coverage of minority issues. In 2015, he was inducted into the Press Club of Cleveland Journalism Hall of Fame.Dawidziak has written two non-fiction books about beloved TV characters: The Columbo Phile: A Casebook (The Mysterious Press, 1989; reprinted by Commonwealth Books in 2019), a history of Peter Falk's Lt. Columbo, and The Night Stalker Companion: A 25th Anniversary Tribute (Pomegranate Press, 1997), a history of the Carl Kolchak character played by Darren McGavin in two TV movies and the 1974-75 ABC series. His 2003 book, Horton Foote's The Shape of the River: The Lost Teleplay About Mark Twain (Applause Books), details the 1960 Playhouse 90 production on CBS. Everything I Need to Know I Learned in The Twilight Zone, his lighthearted tribute to Rod Serling's classic anthology series, was published by St. Martin's Press in 2017. He is a member of the board of directors for the Rod Serling Memorial Foundation.As an actor and director, he has played Mark Twain and Charles Dickens in productions staged by the Largely Literary Theater Company,Website markdawidziak.comBooks Everything I Need to Know I Learned in the Twilight Zone A Mystery of Mysteries: The Death and Life of Edgar Allan Poe The Night Stalker CompanionCome join the California Haunts radio Patreon group. Subscribers get exclusive access to prerecorded shows before they air on the main Youtube Channel, they get to participate in after show talks with guests and special events with Medium Nancy Matz. Visit patreon.com/CaliforniaHauntsRadio

Book: To Kill A Mockingbird    By Harper Lee   Film:   To Kill A Mockingbird (1962)   To Kill a Mockingbird is a novel by the American author Harper Lee. It was published in 1960 and was instantly successful. In the United States, it is widely read in high schools and middle schools. To Kill a Mockingbird has become a classic of modern American literature, winning the Pulitzer Prize. The plot and characters are loosely based on Lee's observations of her family, her neighbors and an event that occurred near her hometown of Monroeville, Alabama, in 1936, when she was ten.  Although the novel deals with rape and racial inequality, the book is told with warmth and humour.   The 1962 American drama film directed by Robert Mulligan. The screenplay by Horton Foote is based on Harper Lee's 1960 Pulitzer Prize–winning novel of the same name. The film stars Gregory Peck as Atticus Finch and Mary Badham as Scout. It marked the film debut of Robert Duvall, William Windom and Alice Ghostley.  It gained overwhelmingly positive reception from both the critics and the public; a box-office success, it earned more than six times its budget. The film won three Academy Awards, including Best Actor for Peck, and was nominated for eight, including Best Picture.  In 1995, the film was selected by the Library of Congress for preservation in the National Film Registry as "culturally, historically, or aesthetically significant".   Opening Credits; Introduction (2.33); Background History (17.50); Plot Synopsis (20.57); Book Thoughts(24.52); Let's Rate (1:33.07); Amazing Design Advertisement (1:31.42); Introducing a Film (1:37.53); Film Trailer (1:39.16); Lights, Camera, Action (1:41.55); How Many Stars (1:32.44); End Credits (2:41.44); Closing Credits (2:43.49)   Opening Credits– Epidemic Sound – copyright 2021. All rights reserved   Closing Credits:  Not All Heroes Wear Capes by Owl City – taken from the album Cinematic.  Copyright 2018 Sky Harbor Studios ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.

After a hiatus of several months, See Hear podcast is back to fill your earholes with discussion of music-centric films and interviews with directors of such films. For episode 102, the focus is on Tender Mercies, the 1983 film starring Robert Duvall about an ex country singer who's trying to find some semblance of normality after an existence of alcoholism, music industry ego and domestic violence. It's a theme that's been tackled before in a myriad of films, but as the saying goes, the devil is in the detail. It's written by Horton Foote (script writer for To Kill a Mockingbird) and directed by Bruce Beresford, a director previously known more for his films about Australian machismo than the sensitive, quiet subject matter that pervades Tender Mercies. Tim is still on break (coming back soon I'm assured). This film was Bernie's pick but was also not available to record. Sadly, after this recording, he informed me that he's leaving the show. I'm going to miss his input. So onto the good news. Friend of the show Kerry Gately Fristoe was recruited for this episode as special guest, but had so much fun that she will now be a permanent member of the See Hear crew. I'm absolutely thrilled she's agreed to join. This episode isn't her debut with the show, but it is the start of a new era of See Hear. Please tune in and giver her a warm welcome. WE'RE BACK!!!!!! Spread the word.....please..... If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour. Learn more about your ad choices. Visit megaphone.fm/adchoices

After a hiatus of several months, See Hear podcast is back to fill your earholes with discussion of music-centric films and interviews with directors of such films. For episode 102, the focus is on Tender Mercies, the 1983 film starring Robert Duvall about an ex country singer who's trying to find some semblance of normality after an existence of alcoholism, music industry ego and domestic violence. It's a theme that's been tackled before in a myriad of films, but as the saying goes, the devil is in the detail. It's written by Horton Foote (script writer for To Kill a Mockingbird) and directed by Bruce Beresford, a director previously known more for his films about Australian machismo than the sensitive, quiet subject matter that pervades Tender Mercies. Tim is still on break (coming back soon I'm assured). This film was Bernie's pick but was also not available to record. Sadly, after this recording, he informed me that he's leaving the show. I'm going to miss his input. So onto the good news. Friend of the show Kerry Gately Fristoe was recruited for this episode as special guest, but had so much fun that she will now be a permanent member of the See Hear crew. I'm absolutely thrilled she's agreed to join. This episode isn't her debut with the show, but it is the start of a new era of See Hear. Please tune in and giver her a warm welcome. WE'RE BACK!!!!!! Spread the word.....please..... If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jan 24, 2021 In the first episode of Season Two of “The Claw's Corner” Rich Cyr continues his conversation with Mark Dawidziak as they talk all things “Twilight Zone” and even dive deep into “Columbo” and dip their toes into “Kolchak: The Night Stalker”, discuss some Hollywood history, Mark Twain, and cover Mark's amazing career! For more on Mark please visit his website http://www.markdawidziak.com/ And follow him on Facebook - https://www.facebook.com/mark.dawidziak And his theater company as well - https://www.facebook.com/profile.php?id=100049134711698&ref=page_internal For the first part of this interview, which also includes Anne Serling please use this link - https://www.youtube.com/watch?v=op93QmPYpno&t=479s About Mark Dauidziak from his website: Dawidziak was born in Huntington, New York, on September 7, 1956. He is a graduate of Harborfields High School, class of 1974. A journalism graduate of George Washington University, Dawidziak has worked as a theater, film and television critic since 1979. He has been the television critic for The Plain Dealer in Cleveland, Ohio, since 1999. A member of the Television Critics Association's board of directors for five years, he has won five Cleveland Press Club awards for entertainment writing, as well as a Society of Professional Journalists award for coverage of minority issues. In addition to Horton Foote's The Shape of the River: The Lost Teleplay About Mark Twain, he assembled Mark Twain's thoughts on writing and the writing process for Mark My Words: Mark Twain on Writing. He also teamed with noted Twain scholar R. Kent Rasmussen for the chapter Mark Twain on the Screen published in A Companion to Mark Twain. He has twice been the visiting Twain scholar giving the Trouble Begins at Eight lecture at Elmira College's Center for Mark Twain Studies. He has presented academic papers at four consecutive State of Mark Twain Studies conferences: on The Shape of the River in 2001; on the many similarities between Twain and Charles Dickens in 2005; on the importance of Hal Holbrook's one-man show, Mark Twain Tonight!, in 2009; and on director-producer Will Vinton's Claymation film The Adventures of Mark Twain in 2013. He also has been the featured speaker at the Mark Twain Museum in Buffalo and the keynote speaker at the National Endowment for the Arts Big Read initiatives devoted to Mark Twain. Two Twain-centric books appeared in 2015: Mark Twain in Ohio from Rod Serling Books and Mark Twain's Guide to Diet, Exercise, Beauty, Fashion, Investment, Romance, Health and Happiness from Prospect Park Books. Dawidziak currently is teaching part-time as an adjunct professor at Kent State University, in addition to writing for The Plain Dealer. Each semester since the spring of 2009, he has taught the Reviewing Film and Television and Vampires in Film and Television courses. He lives in Cuyahoga Falls, Ohio, with his wife, Sara Showman, and their daughter, Becky. Mark's Wiki - https://en.wikipedia.org/wiki/Mark_Dawidziak?fbclid=IwAR2o9IzBUQ4JYyGkmmpp0TAVogM6ttAJthXmramtDy3NeLX_FiaCg-K6nOk Mark's IMDB https://www.imdb.com/name/nm7189904/?ref_=fn_al_nm_1 Do not miss Rich's book, "Confessions of a Frenetic Mind" available now - https://www.amazon.com/Confessions-Frenetic-Mind-Blood-Curdling-Terror/dp/1946577103/ref=sr_1_1?keywords=Rich+Cyr&qid=1667737186&sr=8-1 Copyright 2023 The Claw's Corner - Produced by Rich Cyr https://www.facebook.com/richtheclawcyr/ Edited by Elmwood Productions - http://elmwoodproductions.com/index.html and subscribe to Elmwood Productions on YouTube: https://www.youtube.com/c/ElmwoodProductions/featured Show some love for Elmwood! It's your support that keeps content like this coming! Visit our Ko-Fi Page and help keep us caffeinated! - https://ko-fi.com/elmwoodproductions Enhanced and uploaded by Rob Bull. For Music, Podcast, Graphic Design, and Video info Email Rob At: robbull61792@gmail.com Also Follow and Message Him through FaceBook https://www.facebook.com/profile.php?id=100085244920212 Rob Bulls Music on youtube at https://www.youtube.com/@crackhouse2012 Rob Bulls Soundcloud https://soundcloud.com/robertbull Search Rob Bull on Spotify.

On this episode of “The Claw's Corner” Rich Cyr interviews Anne Serling and Mark Dawidziak. Anne Serling is an author and daughter of the legendary writer and producer Rod Serling. Mark Dawidziak is an author and "Twilight Zone" historian. Please visit both of their website for links on where to buy their books and social media accounts! https://anneserling.com/index.html http://www.markdawidziak.com/ About Anne Serling from her website: “I was born in Greenwich, Connecticut, but moved to Pacific Palisades in southern California when I was three. My dad had an office in the house, but then built one in the back yard so he could find some peace to write by getting away from my sister, me and our menagerie of dogs, cats and even two pet rats. Always preferring the East Coast, the change of seasons and the slower pace of small college towns, I remained in upstate New York to attend college. First Alfred University and then transferring to Elmira College where I earned a degree in Elementary Education with a minor in English. Upon graduation I substitute taught, worked at a school for children with special needs, and then was a preschool teacher at Cornell University's Early Childhood Program & Cooperative Nursery School. I have always loved writing. If my dad liked my writing he said so. Conversely, if not, he would declare it “interesting.” I wrote predominately poetry until I was published in The Twilight Zone, The Original Stories, an anthology, in which I adapted two of my father's teleplays, One for the Angels and The Changing of the Guard into short stories. The latter was subsequently published in The Twilight Zone Magazine. Additionally, I have had poetry published in The Cornell Daily Sun and Visions. I am represented by Erica Spellman-Silverman at Trident Media Group. Recently I started work on a novel and continue to promote my father's legacy as a Board Member of the Rod Serling Memorial Foundation.” About Mark Dauidziak from his website: Dawidziak was born in Huntington, New York, on September 7, 1956. He is a graduate of Harborfields High School, class of 1974. A journalism graduate of George Washington University, Dawidziak has worked as a theater, film and television critic since 1979. He has been the television critic for The Plain Dealer in Cleveland, Ohio, since 1999. A member of the Television Critics Association's board of directors for five years, he has won five Cleveland Press Club awards for entertainment writing, as well as a Society of Professional Journalists award for coverage of minority issues. In addition to Horton Foote's The Shape of the River: The Lost Teleplay About Mark Twain, he assembled Mark Twain's thoughts on writing and the writing process for Mark My Words: Mark Twain on Writing. He also teamed with noted Twain scholar R. Kent Rasmussen for the chapter Mark Twain on the Screen published in A Companion to Mark Twain. He has twice been the visiting Twain scholar giving the Trouble Begins at Eight lecture at Elmira College's Center for Mark Twain Studies. He has presented academic papers at four consecutive State of Mark Twain Studies conferences: on The Shape of the River in 2001; on the many similarities between Twain and Charles Dickens in 2005; on the importance of Hal Holbrook's one-man show, Mark Twain Tonight!, in 2009; and on director-producer Will Vinton's Claymation film The Adventures of Mark Twain in 2013. He also has been the featured speaker at the Mark Twain Museum in Buffalo and the keynote speaker at the National Endowment for the Arts Big Read initiatives devoted to Mark Twain. Two Twain-centric books appeared in 2015: Mark Twain in Ohio from Rod Serling Books and Mark Twain's Guide to Diet, Exercise, Beauty, Fashion, Investment, Romance, Health and Happiness from Prospect Park Books. Dawidziak currently is teaching part-time as an adjunct professor at Kent State University, in addition to writing for The Plain Dealer. Each semester since the spring of 2009, he has taught the Reviewing Film and Television and Vampires in Film and Television courses. He lives in Cuyahoga Falls, Ohio, with his wife, Sara Showman, and their daughter, Becky Enhanced and uploaded by Rob Bull

Hi, I'm Christy Shriver and we're here to discuss books that have changed the world and have changed us. And I'm Garry Shriver, and this is the How to Love Lit Podcast. Today we begin our discussion on a deeply beloved book by many but at the same time one of the most censored books ever written on the American continent. When it was published in 1960 it was an immediate hit with the public. Critics called it melodramatic and over-simplistic but that hasn't stopped people from reading it and loving it. Harper Collins boasts almost 50 million copies sold, by latest count, in over 40 languages. It won the coveted Pulitzer Prize. In 1962, it was adapted by Horton Foote into an Academy Award-winning film, admittedly diminishing the role of Scout and the story of the children but drawing considerable attention and acclaim for many reasons, one being the memorable and Oscar-winning performance of Gregory Peck as Atticus Finch. The focus of the movie is, of course, the trial of a wrongly convicted and clearly innocent African-American gentleman by the name of Tom Robinson. The film is considered one of the greatest American films of all time and even Harper Lee liked it. After viewing she had this to say, “"I can only say that I am a happy author. They have made my story into a beautiful and moving motion picture.” Of course, it's the racial element of the book that has always kept this book at the center of controversy- from both sides of the political aisle. It has been held in contempt for its language which is extremely raw, and obviously, and for that reason alone, it's been censored in many circles. But that's not the only problematic issue. Many have drawn attention to the idealized characterization of Atticus Finch as a paragon of respectability and champion of for the oppressed. Toni Morrison labeled him a “white savior”. More recently, social advocates have challenged Lee's characterization of the Ewells as feral animals depicting them basically as sub-human. There is no doubt the setting is the segregated South of the 1930s; there is no doubt; Maycomb is a broken town; there is no doubt that the child Scout looks at her father in that way we hope all 9 year old daughters are afforded the opportunity to look at their fathers. So, is this a dated sociological study or timeless classic? Lee's ability to stir so many emotions and raise so many questions is freakishly genius. Through the eyes of a child, she questions our ability as humans to even understand of the role of time in our world, the place of human judgement, our ability to give and receive social acceptance, the causes of human cruelty and human kindness. She goes a lot of directins- but what do all these things mean when presented as a whole? How do they connect us to each other? What did these things mean to the most provincial of people possible in 1935, what did they mean to a cosmopolitan American in 1960 and what do they mean to a world-wide interconnected globe today? I know you like to talk about timeless themes and universal truths and so do I, don't get me wrong, but historically speaking there's a lot here I think is important to discuss as well. This book is not just regarded as sensitive because of its language and racial issues; it's also considered one of the most revealing portraits of the American South to come out of that generation- and beyond issues of race there is a lot more to see. The book is important historically. Lee was born an insider to a very specific and closed cultural group, but she pulled out of her culture and tried to examine it critically in some ways as an outsider, but an outsider who understood the inside. Hosted on Acast. See acast.com/privacy for more information.

"Tender Mercies" (1983) is about a former successful musician named Mac Sledge (Robert Duvall) who lost everything good in his life due to alcohol. When the film opens, he and a friend are staying in a motel, getting drunk and fighting while the proprietor, Rosa Lee (Tess Harper), and her young son, Carl (known as Sonny, played by Allan Hubbard), watch from their porch. When the friend skips out before paying the bill the next day, Mac offers to work for Rosa Lee in order to compensate for the room. She agrees, but tells him that he can't drink while he's working there. Thus begins Mac's slow streak of improving his life. He sticks with sobriety, marries Rosa Lee, and starts writing music again. It's the kind of movie that's not really plot-driven … more slice of life, at arm's length, character study about Mac's quiet redemption. Other highlights are Betty Buckley, who plays Mac's successful country star ex-wife, Dixie, and Ellen Barkin as Mac's estranged teen daughter, Sue Ann. The screenplay is written by Horton Foote, who won the best adapted screenplay Oscar for “To Kill a Mockingbird” in 1962. He also won a best original screenplay Oscar for “Tender Mercies” in 1983 and has a Pulitzer Prize for drama for his play, “The Young Man From Atlanta” and an Emmy for a TV adaptation of William Faulkner's “Old Man.” The director, Bruce Beresford (who we completely forgot to mention by name — sorry, Bruce), is probably best known for “Driving Miss Daisy” (1989), although my personal favorite film of his is “Double Jeopardy” (1999). Here are some things we mentioned during the episode and/or that we think you should check out: Norman K. Denzin's article in The Sociological Quarterly that provides a feminist close-reading of the film. Unfortunately, you need access to JSTOR to read it, but if you email me (lindsay@womaninrevolt.com), I can send you a copy. 1991 Robert Duvall interview on "Later with Bob Costas" 2002 Horton Foote interview at the Austin Film Festival Tess Harper presenting an award to Bruce Beresford at the 2010 Woodstock Film Festival Some interesting trivia: Duvall's only Oscar is for this film. He had been nominated for the following films (but did not win): “The Godfather” (1972), “Apocalypse Now” (1979), “The Great Santini” (1979), “The Apostle” (1997), “A Civil Action” (1998), and “The Judge” (2014). Duvall's contract stipulated that all of the songs had to be sung by him. “Over You,” the song Dixie performs at the Opry, was also nominated for an Oscar. Duvall wrote two of Mac's songs, "Fool's Waltz" and "I've Decided to Leave Here Forever.” Others were country classics and not written for the film. Universal Studio lost faith in the film after it performed poorly at test screenings. They also sort of ignored Willie Nelson's offers to promote the film. David Lynch was a contender for director at one point. Can you imagine this film with him at the helm? Actually, it probably would have been like “The Straight Story" (1999). The film was selected to screen in competition for the prestigious Palme d'Or (Golden Palm) Award at the Cannes Film Festival in 1983. Robert Duvall made his official cinema movie debut as Arthur "Boo" Radley in “To Kill a Mockingbird” (1962), whose screenplay was written by Horton Foote. Horton Foote and Duvall worked together on five projects: “TKAM,” William Faulkner's “Tomorrow” (1972), “Tender Mercies,” “The Midnight Caller” (play, 1958 debut), and “The Chase” (1966, based on his 1956 novel). Tess Harper and Bruce Beresford worked together on three films: “Tender Mercies,” “Crime of the Heart” (1986), and “Alibi” (1989).  Jeannine Oppewall was hired as art director. Beresford praised her as "absolutely brilliant," especially for her attention to very small details, "going from the curtains to the color of the quilts on the floors." It was Oppewall who named the motel Mariposa, Spanish for "butterfly," which symbolizes the spiritual resurrection Mac Sledge would experience there. Oppewall has four academy award nominations for best art direction:  "Seabiscuit" (2003), "LA Confidential" (1997), "Pleasantville" (1998), and "The Good Shepherd" (2006).

Matthew Broderick is currently appearing opposite his wife, Sarah Jessica Parker, in the hit Broadway revival of Neil Simon's Plaza Suite. He made his stage debut at 17 in Horton Foote's On Valentine's Day (opposite his father, James Broderick), and quickly became one of the most respected and beloved actors of his generation.  Broadway credits include Brighton Beach Memoirs (Tony, OCC, Theatre World awards), Biloxi Blues, How to Succeed in Business... (Tony, DD, OCC awards), Night Must Fall, Taller Than a Dwarf, The Producers (Tony, DD, OCC nominations) The Foreigner, The Philanthropist, The Odd Couple, Nice Work If You Can Get It, Sylvia and It's Only a Play. Off-Broadway, Mr. Broderick has appeared in The Seafarer, The Closet, Evening at the Talk House, Shining City (Obie Award), Torch Song Trilogy (OCC, Villager awards), The Widow Claire, and in the recent London production of The Starry Messenger. Selected film and television credits include: Max Dugan Returns, WarGames, 'Master Harold'...and the Boys, Ladyhawke, On Valentine's Day, Ferris Bueller's Day Off, Biloxi Blues, Glory, The Freshman, A Life in the Theater, The Lion King, The Cable Guy, Infinity, Election, You Can Count on Me, Wonderful World, The Music Man, Margaret, Tower Heist, Rules Don't Apply, Manchester by the Sea and To Dust. Mr Broderick will next be seen in Painkiller for Netflix. Photo credit: Tawni Bannister

Episode 309 - Special Guest:  John Pirruccello   The Buzzards are big fans of the acting profession and we're especially fond of character actors...the best kind. It's even better when those people are even cooler in real life.   Take the career of John Pirruccello. He started out doing voiceover work for TV and radio commercials, video games, cartoons and movies. He leads a weekly improv group while also performing in sketch comedies, theater and television and movie roles. He also did stand-up all around Los Angeles. On stage he was in Horton Foote's (Best Screenplay Oscars for To Kill a Mockingbird, Tender Mercies) play Harrison, Texas. Davdi Mamet caught that and went on to cast him in many roles including in his HBO movie Phil Spector. He also worked with Mamet's daughter, Clara Mamet, in a play and a film. He was in the third season of David Lynch's Showtime series "Twin Peaks" and in the hit HBO sitcoms "Barry" and "Curb Your Enthusiasm" and was in the bigbudget feature film Godzilla vs. Kong.   He has also had an extraordinary life outside of the entertainment world.  He was a cab driver, has a degree in Italian, was a military brat as a youngster and has lived in many places including San Antonio, TX, Northern Virginian, Southern Vermont, Amherst, MA, Siena, Italy, San Francisco and Los Angeles. One of the more important jobs he does is volunteer to help children with special needs. He has a unique approach from his acting training that allows young people to be heard, be confident and be focused.   So, wipe off your grease paint, take a hot bath, wrap yourself in some warm pajamas and relax with a glass of wine while Nate, George and Roger get to hear the skinny on all things acting, Mamet, teaching children, and what happens when you hang out with Helen Mirren on this episode of FIVE DOLLAR BUZZ.   And remember, please, hit "like" for this episode and "subscribe" to our channels on our current platforms; YouTube, iTunes and Spotify. You can email us with questions, comments, possible topics or guests at FIVEDOLLARBUZZ@gmail.com.  We'll get back to you as soon as we stop talking like this...you mean the?...the thing...yeah...talking like this...this...the talking...yeah...no...

Don Noble speaks with acclaimed author Horton Foote, screenwriter for To Kill A Mockinbird.

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

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

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

There's no better time to share the second part of Beth Grant's podcast episode than a few days before her birthday (9/18). From being fired to checking her ego to working with Patrick Swayze & Stockard Channing, Beth talks about lessons learned! Beth Grant is a character actress who has been featured in many iconic films & TV shows: Donnie Darko, King of the Hill, Little Miss Sunshine, A Time To Kill, Speed, No Country For Old Men + over 200 more. Beth will next be seen in Season 4 of Goliath on Amazon Prime, starring Billy Bob Thornton, which drops 9/24. Beth will also be seen in Kit Williamson's new series Unconventional, playing Beau Bridges' girlfriend. This show is currently in production. Release date TBD. Connect with Beth: Facebook Twitter Instagram IMDB Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Beth: Known as a Hollywood lucky charm, Beth Grant has co-starred in three Academy Award winning Best Pictures: THE ARTIST, NO COUNTRY FOR OLD MEN & RAIN MAN. She has twice received the Screen Actors Guild Ensemble Award for LITTLE MISS SUNSHINE & NO COUNTRY FOR OLD MEN & voiced Academy Award winning Best Animated Feature, RANGO. Now on Amazon Prime, Beth co-stars with Charlie Plummer, Andy Garcia, Molly Parker & Walton Goggins in WORDS ON BATHROOM WALLS. Beth also has a five episode arc on Amazon's GOLIATH, starring Billy Bob Thornton, J.K. Simmon s & Bruce Dern. Beth co-stars with Josh Leonard & Jess Weixler in FULLY REALIZED HUMANS, which premiered at Tribeca in April. Picked as a DGA film & director to watch, Beth co-stars with Sienna Miller & Diego Luna in Sundance favorite, Tara Miele's WANDER DARKLY, now in theaters & VOD. Beth can also be seen in WILLY'S WONDERLAND, starring Nicolas Cage. On Hulu, Beth is the “Cat Lady,” guardian angel to Kat Dennings; & regular “Beverly” on Mindy Kaling's THE MINDY PROJECT. Beth plays opposite Neil Patrick Harris & Richard E. Grant, in A SERIES OF UNFORTUNATE EVENTS on Netflix; “Jack” on AMERICAN GODS by Bryan Fuller & Michael Green for STARZ.  Beth received the Los Angeles Drama Critics Circle Award, L.A. Stage Alliance Ovation, LA Weekly Award, Backstage West Garland Award for Lead Actress in THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE. In 2011 Beth starred Off-Broadway in Tony George's TRICKS THE DEVIL TAUGHT ME at The Minetta Lane Theater in NYC. Beth has won three L.A. Stage Alliance Ovation Awards, including Lead Actress for GRACE AND GLORIE at The Colony Theatre. Other theatre credits include world premieres by Maya Angelou, Romulus Linney, Horton Foote, & Mark V. Olsen. Beth produced & starred in 2012's BLUES FOR WILLADEAN, with Academy Award winner Octavia Spencer; written/directed by Del Shores – now on iTunes, Amazon & Walmart.com. Beth co-produced & starred in the ComiCon 2010 Best Comedy Award winner, HERPES BOY – on Netflix, iTunes, Amazon, X-Box & most VOD. Beth produced, After The Ball, a documentary about the cultural life of the elderly, With over 200 credits to her name, Beth's movie & TV credits can be found on her IMDB page. Beth has been married to fellow actor, Michael Chieffo, for almost 35 years. Their daughter, Mary Chieffo stars as Klingon Commander, "L'Rell" on the new STAR TREK: DISCOVERY. Learn more about your ad choices. Visit megaphone.fm/adchoices

Career Q&A with Betty Buckley. Moderated by Richard Ridge, Broadway World. Betty Buckley, who has been called “The Voice of Broadway,” is one of theater's most respected and legendary leading ladies. She is an actress/singer whose career spans theater, film, television and concert halls around the world. She most recently was inducted into the Theater Hall of Fame for 2012. Betty Buckley won a Tony Award for her performance as Grizabella, the Glamour Cat, in Andrew Lloyd Webber's CATS. She received her second Tony Award nomination for Best Actress in a musical for her performance as Hesione in TRIUMPH OF LOVE, and an Olivier Award nomination for her critically acclaimed interpretation of Norma Desmond in the London production of Andrew Lloyd Webber's SUNSET BOULEVARD, which she repeated to more rave reviews on Broadway. Her other Broadway credits include 1776, PIPPIN, SONG AND DANCE, THE MYSTERY OF EDWIN DROOD and CARRIE. Off-Broadway credits include the world premiere of Horton Foote's THE OLD FRIENDS for which she received a Drama Desk Nomination in 2014, WHITE'S LIES, Lincoln Center's ELEGIES, the original NYSF production of EDWIN DROOD, THE EROS TRILOGY, JUNO SWANS and GETTING MY ACT TOGETHER AND TAKING IT ON THE ROAD. Regional credits include THE PERFECTIONSIT, GYPSY, THREEPENNY OPERA, CAMINO REAL, BUFFALO GAL, ARSENIC AND OLD LACE and THE OLD FRIENDS. She starred in the London production of DEAR WORLD in 2013 and PROMISES, PROMISES. She co-starred in M. Night Shyamalan's THE HAPPENING released in June 2008. Other films include her debut in Brian de Palma's screen version of Stephen King's CARRIE, Bruce Beresford's TENDER MERCIES, Roman Polanski's FRANTIC, Woody Allen's ANOTHER WOMAN and Lawrence Kasden's WYATT EARP. On television, Buckley appeared in THE PACIFIC for HBO and on the Kennedy Center Honors in 2006 and 1983. She also starred for three seasons in the HBO series OZ and as Abby Bradford in the hit series EIGHT IS ENOUGH. She has appeared as a guest star in numerous television series, miniseries and films for television including EVERGREEN, ROSES FOR THE RICH, the CBS series WITHOUT A TRACE, LAW & ORDER: SVU for NBC, ABC Family's PRETTY LITTLE LIARS and HBO's GETTING ON. She received her second Grammy Nomination for the audio book THE DIARIES OF ADAM AND EVE. For over forty years Ms. Buckley has been a teacher of scene study and song interpretation, giving workshops in Manhattan and various universities and performing arts conservatories around the country. She has been a faculty member in the theatre department of the University of Texas at Arlington, the T. Schreiber Studio in New York City and currently teaches at The Modern Art Museum of Fort Worth, TX. In April of 2009, Ms. Buckley received the Texas Medal of Arts Award for Theater and was inducted into the Texas Film Hall of Fame in 2007.

Beth Grant is a character actress whose career spans 40 years between Film, TV & Theatre. With over 200 credits to her name, Beth's talent has been seen everywhere including The Mindy Project, The Golden Girls, Speed, A Time To Kill, Donnie Darko, Netflix's A Series of Unfortunate Events, Little Miss Sunshine, To Wong Foo, Thanks For Everything! Julie Newmar & Del Shores' Sordid Lives. Today I talk with Beth about her illustrious career as well as some Tricks The Devil Taught Me. Catch Beth in Season 4 of Goliath on Amazon Prime, starring Billy Bob Thornton, which drops 9/24. Beth will also be seen in Kit Williamson's new series Unconventional, playing Beau Bridges' girlfriend. This show is currently in production. Release date TBD. Connect with Beth: Facebook Twitter Instagram IMDB Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Beth: Known as a Hollywood lucky charm, Beth Grant has co-starred in three Academy Award winning Best Pictures: THE ARTIST, NO COUNTRY FOR OLD MEN & RAIN MAN. She has twice received the Screen Actors Guild Ensemble Award for LITTLE MISS SUNSHINE & NO COUNTRY FOR OLD MEN & voiced Academy Award winning Best Animated Feature, RANGO. Now on Amazon Prime, Beth co-stars with Charlie Plummer, Andy Garcia, Molly Parker & Walton Goggins in WORDS ON BATHROOM WALLS. Beth also has a five episode arc on Amazon's GOLIATH, starring Billy Bob Thornton, J.K. Simmon s & Bruce Dern. Beth co-stars with Josh Leonard & Jess Weixler in FULLY REALIZED HUMANS, which premiered at Tribeca in April. Picked as a DGA film & director to watch, Beth co-stars with Sienna Miller & Diego Luna in Sundance favorite, Tara Miele's WANDER DARKLY, now in theaters & VOD. Beth can also be seen in WILLY'S WONDERLAND, starring Nicolas Cage. On Hulu, Beth is the “Cat Lady,” guardian angel to Kat Dennings; & regular “Beverly” on Mindy Kaling's THE MINDY PROJECT. Beth plays opposite Neil Patrick Harris & Richard E. Grant, in A SERIES OF UNFORTUNATE EVENTS on Netflix; “Jack” on AMERICAN GODS by Bryan Fuller & Michael Green for STARZ.  Beth received the Los Angeles Drama Critics Circle Award, L.A. Stage Alliance Ovation, LA Weekly Award, Backstage West Garland Award for Lead Actress in THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE. In 2011 Beth starred Off-Broadway in Tony George's TRICKS THE DEVIL TAUGHT ME at The Minetta Lane Theater in NYC. Beth has won three L.A. Stage Alliance Ovation Awards, including Lead Actress for GRACE AND GLORIE at The Colony Theatre. Other theatre credits include world premieres by Maya Angelou, Romulus Linney, Horton Foote, & Mark V. Olsen. Beth produced & starred in 2012's BLUES FOR WILLADEAN, with Academy Award winner Octavia Spencer; written/directed by Del Shores – now on iTunes, Amazon & Walmart.com. Beth co-produced & starred in the ComiCon 2010 Best Comedy Award winner, HERPES BOY – on Netflix, iTunes, Amazon, X-Box & most VOD. Beth produced, After The Ball, a documentary about the cultural life of the elderly, With over 200 credits to her name, Beth's movie & TV credits can be found on her IMDB page. Beth has been married to fellow actor, Michael Chieffo, for almost 35 years. Their daughter, Mary Chieffo stars as Klingon Commander, "L'Rell" on the new STAR TREK: DISCOVERY. Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you consider yourself a writer? Even if you don't, writing can change your life. Writing helps you formalize your thoughts and helps you become a better communicator, and we all need that! Join host, Carol DeChaine and her guest, writer and teacher, Darrell Bartell, as they speak about how he teaches his students to get involved with writing and how it has changed some of their lives. They also go deep into writer's block and help you work your way through it. Whether you choose to write to inform, to reflect, to educate or to entertain, writing stimulates your brain and can make you a better person.  It forces you to face who you are, speak your truths and discover things about yourself you may never have known. Rate and review this podcast:  https://lovethepodcast.com/living life Guest Darrell Bartell is a U.S Army veteran and a cancer survivor. He is an actor, playwright, short story writer, and an author of two books. Barry and The Vampire in The Rosedale Encounter and Ten-Five. You're Going Home, Marine! His play, The Specter Society, about paranormal investigations, was recently produced on Zoom by the Dallas County Community College in Dallas, Texas. His first play, Bragging Rights earned him a trip to the Last Frontier Theater conference in Valdez, Alaska, where he had the privilege of meeting Pulitzer Prize-winning playwrights Edward Albee and Horton Foote and actresses Marian Seldes and Betty Buckley. Darrell has a Master's Degree in Theater and English. To purchase a copy of his books, Barry and The Vampire in The Rosedale Encounter and Ten-Five. You're Going Home, Marine!   at Barnes and Noble, CLICK HERE.To watch his play, The Specter Society, about paranormal investigations, CLICK HERE. Host Carol DeChaine is a spiritual guide for practical matters; a certified life and business coach, intuitive and Marconic multidimensional energy lightworker and teacher. For more information on the host and her business, Connect2Joy, check out https://connect2joy.com/ or www.marconics.com for additional Marconics energy information and to receive the energy or become a practitioner.    Subscribe to the host's YouTube Channel here.Follow Connect2Joy and Carol DeChaine on Instagram @connect2joyTo contact the host, Carol DeChaine,  directly email carol@connect2joy.com to schedule a free 30 minute get to know you session and to ask about life coaching, Marconic energy, energy space clearing or intuitive readings. She is also available for workshops and motivational speaking. 

Career Conversations with Estelle Parsons on June 11, 2014. Moderated by Richard Ridge, Broadway World. ESTELLE PARSONS is most widely known for her Academy Award winning performance in Bonnie and Clyde and her ten years as Mother Bev on the hit sitcom Roseanne. In the theater, she is best known for her portrayal of the tyrannical eighth grade teacher in Roberto Athayde's classic about totalitarian power, Miss Margarida's Way, which she performed on Broadway, all over the United States and in London, Dublin, Turkey and Australia. She has appeared in plays by the great writers of our time, including Edward Albee, Tennessee Williams, Dario Fo, Arthur Miller, Samuel Beckett, Paul Zindel and Horton Foote. Estelle starred in August: Osage County by Tracy Letts on Broadway for a year and on the road for a year. Most recently Estelle was seen in Good People by David Lindsay-Abaire and the George & Ira Gershwin musical, Nice Work If You Can Get It with Matthew Broderick. In 2012, she was directed by Neil LaBute in Marco Calvani's Things of This World. As a director, she created the New York Shakespeare Festival Players for Joseph Papp in the 1980s. For two seasons, they performed Shakespeare on Broadway for New York City school students and their families in an effort to develop a multicultural audience for New York She also directed Al Pacino in Oscar Wilde's Salome: the Reading on Broadway. Estelle Parsons is a member of The Actors Studio and was inducted into the Theatre Hall of Fame in 2004. She is currently starring on Broadway in The Velocity of Autumn at Arena Stage.

Today we're talking about Horton Foote (1916-2009), the award-winning playwright and screenwriter. In the recently released documentary Horton Foote: The Road to Home, the celebrated screenwriter Anne Rapp helps us to learn more about this unsung Texas and American legend. Foote was born and raised in Wharton, Texas, and he went on to become a Pulitzer Prize winning playwright, the winner of two Academy Awards for screenwriting, an Emmy Award for television writing, and was a recipient of the National Medal of Arts among numerous other theatrical and literary prizes. His best known works are the Oscar-winning screenplays for To Kill a Mockingbird (1962) and Tender Mercies (1983).  Ann Rapp met Foote on the set of Tender Mercies, where she worked as a screenplay supervisor. She developed a life-long friendship with this unsung gentleman playwright. With this documentary, she wants to share with everybody her inside look into Foote's humanity, integrity and empathy that played into his work during his whole life. “To be a good writer, you don't have to be educated, you don't even need to speak good grammar. If you are an observer and a listener, and you find a voice to reflect that, then you can write. Horton was the best listener I've ever known.” - Anne Rapp Time Stamps: 3:40 - Introducing Anne Rapp and her film Horton Foote: the Road to Home. 5:00 - When and where the film will be released to a wider audience. 9:08 - Who Horton Foote was. 13:14 - The first clip from the film: people talking about his writing and personality. 15:32 - What the film is really about. 20:35 - How it was for Anne to spend time visiting Horton Foote and recording him. 25:05 - What is Foote's home town Wharton, Texas like. 32:56 - The second clip: Ludie's monologue from the play The Trip to Bountiful. 34:09 - Why it took 13 years for Anne to release this documentary. 42:00 - How Foote's daughters reacted to the film. 50:10 - The experience of supervising Foote's scripts. 55:33 - What it was like for Anne to work with Robert Duvall. 59:55 - What it was like to work with Robert Altman and how Anne became a screenwriter. 1:04:30 - The storytelling tradition in Texas. 1:09:22 - What Anne's writing process looks like. 1:13:40 - What is the essence of Foote's writing genius. 1:18:50 - How young people can get to know his work better. 1:21:10 - What Anne's wish for the documentary is and what her next projects are. Resources: Horton Foote: The Road to Home (2020) To Kill a Mockingbird (1962) Tender Mercies (1983) The Trip to Bountiful (1985) The Major Plays of Horton Foote by Robert W. Haynes Cookie's Fortune (1999) Alamo Pictures Connect with Factual America: Facebook Instagram Twitter Connect with Matthew Sherwood: Facebook LinkedIn Twitter

In 'Horton Foote: The Road to Home' (2020), screenwriter Anne Rapp helps us learn more about this legendary award-winning playwright from Texas. The post Horton Foote: The Greatest Playwright You’ve Never Heard Of appeared first on Factual America.

Book Vs Movie Of Mice and Men John Steinbeck’s Classic Story Vs the 1992 Adaptation  The last week in September is “Banned Books Week” and the Margos want to celebrate by talking about one of the most controversial of John Steinbeck’s work-- 1937’s Of Mice and Men. Censors have attacked the story for its use of vulgarities (including racist language) and it is listed by the American Library Association’s list of “Most Controversial Books of the 20th Century.”  Steinbeck grew up in the Salinas Valley area of California where he based many of his novels & short stories. Some of his best work includes Cannery Row, East of Eden & The  Grapes of Wrath. He was known as a ‘giant among American letters” and won the Nobel Prize for Literature in 1962.  Of Mice and Men is a story about migrant farmworkers during the Great Depression George Milton & Lennie Small. George is intelligent and thoughtful while Lennie is very large and has some type of mental disability. Different from most migrants, they stick together on their journey with George being the caretaker of his friend who has a habit of crushing small animals by accident and violent outbursts.  The men travel to Soledad, CA to work at the farm of Curley and his father. Curly is a short brutish man who hates Lennie on sight. Candy is an older worker who wants to join them in their scheme to one day own their own farm & land. The story has a tragic yet predictable ending that has haunted readers for over 80 years.  The 1992 adaptation was written by Horton Foote (who changes a few things from the original material) and is directed by & stars Gary Sinise. John Malkovich plays Lennie with Sherilyn Fenn playing the part of Curly’s lonely wife who is never given a name. The film made its debut at the Cannes Film Festival.  So which did we prefer between the book and the movie? Have a listen and find out.  In this ep the Margos discuss: The messy/intriguing life of John Steinbeck  The history of migrant farmers in the 1930s Changes in this adaptation  The “Looney Tunes” version of Lennie The cast including Gary Sinise (George,) John Malkovich (Lennie,) Sherilyn Fenn (Curly’s wife,) Ray Walston (Candy,) Casey Siezmaszko (Curly,) John Terry (Slim,) Joe Morton (Crooks,) Alexis Arquette (Whitt,) and Noble Winningham (The Boss.)    Clips Featured: Of Mice and Men  trailer “George & Lennie at the beginning of the movie”  “Curly’s wife & Lennie in the barn” “Lennie at the end” Music: by Mark Isham Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie  Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/ Twitter @bookversusmovie www.bookversusmovie.com Email us at bookversusmoviepodcast@gmail.com Brought to you by Audible.com You can sign up for a FREE 30-day trial here http://www.audible.com/?source_code=PDTGBPD060314004R Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.com Margo P. @ShesNachoMama https://coloniabook.weebly.com/ 

Keturah speaks with librettist and director, Leonard Foglia about directing new work, working with Ricky Ian Gordon, Jake Heggie, Gene Scheer, and Horton Foote, working as a dramaturge on Moby-Dick, and writing/creating the genre of the Mariachi Opera.

Dennis goes to the Hollywood home of playwright Del Shores to talk to Del and actress Dale Dickey about their just-opened play This Side of Crazy, which is about an egocentric gospel diva and her three estranged daughters. Del talks about the show's themes of forgiveness and reconciliation, writing for specific actors, sitting behind one of his idols Horton Foote in the theater, what it's like when one of his actors hits it big in Hollywood and having your plays published by Samuel French. Dale talks about her character of Abigail, what it's like to have a role written for you, smoking on stage, singing harmony with her co-stars, her Witchiepoo connection, getting recognized from Breaking Bad, finding her way into characters some might consider "undesirables" and performing as Shrek and Barney for kids' birthday parties before being able to act full time. Other topics include: their first meeting 17 projects ago, hanging in in such a challenging business, the overwhelming reaction their previous collaborations Southern Baptist Sissies and The Trials and Tribulations of a Trailer Trash Housewife and what it feels like after a killer show. www.delshores.com  

047 James VanDemark: Technical Discipline & Interpretive Magic This episode is full of inspiration and extremely useful information!  Eastman School of Music Bass Professor, James VanDemark, offers us tip after great tip to bring our practice and performance to the next level! Among many topics, James talks to us about creating a technical discipline that leads to interpretive magic, and about on how crucial it is to have clear goals and setting the intention to build up our entire identity as an artist whenever we enter the practice room.  He elaborates on the importance of: using the bow in an imaginative way (having the bow be an extension of our imagination) while having a left hand that is as immaculate as can be acutely playing in the present moment establishing a great basic posture slow practice using the mirror having interpretation be at the center of the technical work create the concert experience in the practice room ear training - through listening to recording actively and with imagination, and through exercises having a schedule, have a clear intent, and be kind to others   MORE ABOUT JAMES: Eastman School of Music: https://www.esm.rochester.edu/faculty/james-vandemark/ YouTube Videos: Here Instagram: https://www.instagram.com/bassfilm1/     "Some people seemed destined to lead unconventional lives, and James VanDemark is certainly one of them," said the New York Times in the first of its three profiles on VanDemark. Performer, academic, boxer, producer, and entrepreneur - these are the principal roles VanDemark has successfully played in a highly diverse career spanning nearly four decades.   VanDemark's arts and culture projects have been featured in the New York Times, Connoisseur Magazine, on the MacNeil/Lehrer NewsHour, the BBC, CBC, NPR, and in many other media outlets around the world. In considerable demand as a speaker on entrepreneurial skills at colleges across the United States and Canada, VanDemark has also received great acclaim for his frequent role as narrator with many prominent symphony orchestras, including more than 40 performances with the Rochester Philharmonic and 15 with the Texas Festival Orchestra.   Appointed to the Eastman School of Music at the age of 23, VanDemark was the youngest faculty member ever appointed to a professorial position at a major American music school. His students perform in many of the world's great orchestras – the New York Philharmonic, Cleveland Orchestra, Pittsburgh Symphony, Los Angeles Philharmonic, Orpheus Chamber Orchestra, Philadelphia Orchestra, Rochester Philharmonic, Buffalo Philharmonic, Vienna Chamber Orchestra, Tokyo Chamber Orchestra, Singapore Symphony, Hong Kong Philharmonic – and many more. His students have also been nominated for—and won—numerous Grammy awards in various categories, including classical, contemporary, jazz, and bluegrass.   VanDemark's students have also held positions at major music schools, including Indiana University, Oberlin Conservatory, Eastman School of Music, Louisiana State University, Carnegie-Mellon, Peabody Conservatory, University of Delaware, NYU's Steinhardt School of Music, Michigan State University, University of Colorado, University of Alabama, University of Tennessee, and many others.   VanDemark's performing career has included solo appearances with the New York Philharmonic, St. Paul Chamber Orchestra, Buffalo Philharmonic, National Symphony of Mexico, Netherlands Radio Symphony, Symphony Nova Scotia, Minnesota Orchestra, Orchestre Symphonique de Quebec, Mostly Mozart Festival Orchestra, and many more. Chamber music appearances have included the Cleveland, Guarneri, Muir, Colorado and Ying Quartets, the Gryphon Trio, violinist Yehudi Menuhin, as well as legendary pianists Andre Watts, Alfred Brendel, and Gary Graffman. VanDemark has also been featured on Lincoln Center's “Great Performers Series” on three occasions, including in recital with Andre Watts.   VanDemark is also the recipient of commissioned works by many composers, including three Pulitzer Prize winners: Gian-Carlo Menotti, Joseph Schwantner, and Christopher Rouse. As a founding member of Square Peg Entertainment, VanDemark developed and represented screenplays and properties of Oscar winners Ernest Thompson, Horton Foote, Eiko Ishioka, Ron Harwood, Oscar nominee Hesper Anderson, Stu Silver, Paul Theroux, and many others. VanDemark also developed the World War I story CODE BROTHERS for CTV (Toronto), THE WAYNE AND SUE SHOW for Tribune Entertainment, produced the album and music video THE GIFT with singer Linda Eder for Atlantic Records, and with television legend Sir David Frost, developed the Frederick Forsyth novella THE SHEPHERD in conjunction with Shaftesbury Films (Toronto). VanDemark also co-produced and cast SPEAK LOW, the highly successful Brooklyn Academy of Music (BAM) Gala featuring Jerry Orbach, Donna Murphy, Duncan Sheik, and other stars of Broadway and the Metropolitan Opera in the music of Kurt Weill. VanDemark has also served as Music Supervisor for John Cougar Mellencamp's film, AFTER IMAGE.   Acclaimed for his extensive work in the Native American community, VanDemark commissioned and developed the Native collaborative musical work CIRCLE OF FAITH, profiled in The New York Times, Cleveland Plain Dealer, Detroit Free Press, Minneapolis Star and Tribune, Denver Post, Lakota Times, and on NPR's Morning Edition. VanDemark has helped produce more than 40 performances of the work in the United States and Canada.   As an accomplished amateur boxer, VanDemark was recently profiled on the front page of The Wall Street Journal, The Strad, on CBC's "Q," WNYC's "Soundcheck," and was featured at length on ESPN's E-60. VanDemark's conditioning and boxing program for students, musicians, and the general public has also brought him considerable worldwide acclaim. His recent boxing/ conditioning presentations include the University of Tennessee, the University of Alabama, Louisiana State University, Loyola University New Orleans, and the University of Santiago (Chile).   VanDemark attributes the longevity and diversity of his career not only to his own athletic training, but also to his work in the the health care field in the 1970's, when he worked extensively under the renowned neurologist Dr. Howard S. Barrows at the McMaster University School of Medicine in Canada in developing the groundbreaking Simulated/Standardized Patient Program (SPP). As a result of these achievements, VanDemark was named to the Industry Board of the American Health Council in October 2017.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Nueva entrega de La Gran Evasión, viajamos a un momento crucial de la vida americana, al sur profundo, a una aldea idílica donde se pondrán en entredicho los valores que rigen la sociedad. Un abogado que se enfrenta a una injusticia, un pueblo que es complice, tres niños que emprenden un viaje hacia el mundo de los adultos, un negro y unos desarrapados blancos como víctimas, un Ruiseñor que aparece en las sombras para entonar un canto de amor y libertad….. La Historia de Matar a un Ruiseñor, 1962, Robert Mulligan. La novela de Harper Lee es un texto imprescindible de lo sesenta, el libro recorre la historia mas oscura de los EE.UU, el racismo y la forma de vida aceptada en el sur. Repasa el sistema judicial americano, las injusticias sociales, el status quo reinante en la comunidad sureña, el momento de cambio de los sesenta, pero sobre todo el libro está lleno de amor por la figura del Padre, por ese Atticus Finch, que ya por y para siempre será Gregory Peck para todo los amantes del cine. El héroe cotidiano por excelencia. Mulligan capta todo los niveles de profundidad que tiene el libro y los funde en la película, apoyado en un gran guión de Horton Foote. Comienza siendo un retrato costumbrista de Maycomb, y por ende, del Sur de los EE.UU. Conocemos sus veranos, sus vecinos, como se para el tiempo para esos tres niños que empiezan a crecer y vivir aventuras. También es un cuento de terror, con la figura de Boo, esa casa lóbrega y misteriosa de la esquina, con tesoros en el hueco de un árbol. Vaya primer papel del gran Robert Duvall. Nos movemos por la comunidad negra y su vida de trabajo conviviendo con una comunidad blanca que no los considera iguales, el eje central con el juicio y la defensa de Atticus desenmascara lo que hay oculto en ese pueblo encantador. Aunque las pruebas sean irrefutables, ningún negro puede librarse de una acusación, simplemente por que lo ha denunciado una persona de piel blanca. La figura de Bob Ewel , y su hija Mayella, son la prueba del fracaso de la sociedad, basura blanca que vive al borde de la miseria y se siente superior a los negros. Extraordinaria obra maestra con escenas inolvidables, unos niños, Jem Y Scout, rememorando a la madre ausente en la habitación, mientras Atticus abraza el hueco de esa ausencia en el porche; Una turba dispuesta a linchar a un negro, que es derrotada por la inocencia de una niña; Un alegato, una suplica, pidiendo a todo un pueblo que no cometa una injusticia, mientras una fila de negros se levanta en señal de respeto…… Todo engarzado por una hermosa e intima banda sonora de Elmer Bernstein y una portentosa fotografía en blanco y negro de Russell Harlan, una de ese puñado de películas que te reconcilia con la vida. Esta noche soporífera, sudamos cine y nos ponemos los zapatos del otro, José Miguel Moreno, Raúl Gallego, Zacarías Cotán, Elio Cubiles y Gervi Navío.

Jaclyn Backhaus is the 2018 Horton Foote prizewinner for her play India Pale Ale. Her play Men on Boats has been produced at Clubbed Thumb's Summerworks, Playwrights Horizons, & regionally in the US. Her new play Wives will be opening Playwrights Horizons' 2019-2020 season, running from August 23-October 6. She is a co-founder of Fresh Ground Pepper, a theater company committed to developing new work, and a member of the Kilroys.Listen in as Jaclyn and Rachel talk about how she came to realize playwriting was her path, the challenges of moving her work to more established institutions, and how she's allergic to Final Draft.Info & Tickets for Wives available here.Support the show (https://www.patreon.com/upstageleft)

Recently, an Austin Filmmaker by the name of Anne Rapp, who is currently producing a documentary about  Horton Foote, visited the Taylor residence in Fort Davis. Foote, a Pulitzer prize-winning playwright and Screenwriter, based most of his plays and films off people who lived in Wharton, Texas - a sleepy, cotton-planting town on the Colorado River near Houston, that he called home. Wharton also just so happens to be the hometown of Lonn's grandmother ; On this edition of The Rambling Boy, Lonn explores Foote's tall tales of Wharton. Hosted by for KRTS

Presented and produced by Seán Delaney Theme tune by David Vesey This week my guest is Thomas Moore who gave a talk on "The Inner Landscape of the Educator in Difficult Times" in Marino Institute of Education earlier this year. Among the topics we discussed are: How as a culture we prefer training to education and the differences between them Where he would like education to take place Why the colours, sounds, images and textures around you matter when you learn Source of curriculum: What does it mean to be an educated person? What it requires of each of us to be human, to be good citizens The spiritual nature of humans in our search for meaning Having students go on a “pilgrimage” back to their childhood to get in touch with their essential selves Aspects of spirituality religions have traditionally ignored in their emphases on dogmatism and moralism Exploring basic questions through literature and the arts He referred to Homer's Odyssey, Horton Foote's play The Trip to Bountiful, and the poets Emily Dickinson, Wallace Stevens and John Keats.

In this week's program, I tell you why this didn't post on Thursday and why it has to do with Theresa Rebeck & my day job. Four theatres announce their upcoming seasons. Two theatres choose new ADs. The Horton Foote prizes for plays are announced. Theresa Rebeck, Theresa Rebeck, Theresa Rebeck which is also Something I Had To Share With You... JOIN THE MAILING LIST SEASON ANNOUNCEMENTS Red Bull Theater, NYC Soho Rep, NYC Arrow Rock Lyceum Theatre, MO Washington Stage Guild, DC WHO'S IN AND WHO'S OUT Shakepeare Theatre Company in DC chooses Simon Godwin as new AD Johanna Pfaelzer will be the new AD at Berkeley Repertory Theatre in CA ARTICLES & INTERVIEWS Lauren Yee & Jaclyn Backhaus win Horton Foote Prize for Plays NYTimes.com article about Theresa Rebeck, "She's not revered, and she should be." SOMETHING I HAD TO SHARE WITH YOU... I discuss seeing Theresa Rebeck's new play, Bernhardt/Hamlet and provide an additional article about Sarah Bernhardt from BBC.COM  THANKS FOR LISTENING AND HAVE A CREATIVE DAY!!!  

Is being associated with a place important in photography? Photographer Keith Carter once told me he heard the author Horton Foote say that it is part of being an artist to embrace your surroundings. So today, as a YouTuber and photographer I will take you along to explore my home town. Music from Epidemic Sound: https://goo.gl/v5wWKr

Molly Ringwald,  international movie star, gets candid with Ilana about how she has handled a  lifetime of fame, growing up with a blind parent ,why she won't let her kids act and more. Molly began her film career at the age of 13 in Paul Mazursky’s Tempest, for which she received a Golden Globe nomination. She went on to star in numerous films, including The Pick-Up Artist, For Keeps, Fresh Horses, Betsy’s Wedding, Cindy Sherman’s directorial debut Office Killer, Billy Bob Thornton’s short film Some Folks Call It a Sling Blade, and the iconic movies Sixteen Candles, The Breakfast Club, and Pretty in Pink.  In 1992, Ms. Ringwald moved to Paris and acted in such foreign films as Tous Les Jours Dimanches, Enfants de Salaud, and Jean-Luc Goddard’s King Lear. Her television credits include the critically-acclaimed comedy series Townies, Stephen King’s The Stand, the Emmy-nominated Allison Gertz Story, and the movie Molly: An American Girl, based on the American Girl series.  In 1997, Ms. Ringwald moved to New York City, where she starred in Paula Vogel’s Pulitzer Prize winning How I Learned to Drive, a role she reprised at the Mark Taper Forum in Los Angeles. Subsequent theater credits include playing the legendary “Sally Bowles” in the Broadway production of Cabaret; the Tony-nominated Broadway production of Enchanted April; and the London production of When Harry Met Sally. She created the role of Horton Foote’s Lily Dalein the NY off-Broadway production, performed the role of Salome (with Al Pacino), starred in Jonathan Larson’s musical Tick, Tick…Boom!, the hit comedy Modern Orthodox, and a national theater tour of the Bob Fosse musical Sweet Charity.  Molly was in the comedy TV show Raising Expectations, created by Tom Saunders (Arrested Development) which premiered on The Canadian Family Channel in May 2016. She starred in The Secret Life of the American Teenager on ABC Family, and was in the Blumhouse feature Jem and the Holograms, directed by Jon Chu, and the comic indie Bad Night. Molly can be seen in Justin Kelly’s film King Cobra, which premiered at The 2016 Tribeca Film Festival. Molly recently guest starred on Bravo’s Odd Mom Out. Ms. Ringwald is the author of the national bestsellers, Getting the Pretty Back and When It Happens to You, and her writing has appeared in the New York Times, Vogue, Salon, Esquire, Allure, Tin House, the New York Times Book Review, and the Guardian, where she pens a weekly advice column.  

Join Carlos as explores the psychology of method acting with Dr. Beguiristain. Theatrical Realism was an American film movement of the 1950s noted for its high aspirations to create a significant 'art' cinema. Ironically, the films that comprise this movement are virtually forgotten today. As Hollywood's continuation of the Italian Neo-Realist movement, Theatrical Realism was a direct result of the confluence of "Method Acting" as taught by Lee Strasberg at the Actors Studio, the screen adaptations of the plays of Tennessee Williams, Arthur Miller, William Inge and Truman Capote, as well as the teleplays of the Golden Age of Television by Paddy Chayefsky, Rod Serling, Horton Foote and Robert Alan Aurthur, among others.What is method acting? What is sense memory? What are the benefits of improvisation? How does out of character development work? What are some examples of the animal exercises and what are the benefits? Does an actor have to be emotionally healthy to do method acting?Dr. Mario Beguiristain joined the full-time faculty at Miami Dade College's School of Entertainment and Design Technology after thirty years of experience in the fields of film production, advertising, broadcasting, and television program production.Mario has created, written, produced and/or directed hundreds of television and radio commercials and over forty television special programs in English, Spanish and French for the NBC, Univision, CBC and Telemundo television networks

JOAN BENEDICT STEIGER Decades of work on stage, screen, and television and the love of three devoted men sounds like a full life; but in many ways, the story is just beginning for veteran performer Joan Benedict Steiger. With credits dating back to the original “Candid Camera” on television to her acclaimed solo performance as Leona Helmsley, she has lived the artistic life she first dreamed of as a child in Brooklyn, New York – and the dream shows no signs of ending. “I always thought when I was little I would be a dancer,” Steiger recalls today. “I was never really built for ballet, but I was tap dancing in public at age seven when I performed at the Brooklyn Academy of Music. I remember the first film I ever saw was with Fred Astaire and Ginger Rogers, and as I was leaving the theatre, I wanted to run back in, I knew I had to be a part of that world.” As the only grandchild in a large family – she had seven uncles – Steiger grew up in her grandfather’s house off Prospect Park, where she describes herself as “Eloise at the Plaza – every one of those rooms was my magic room.” Encouraged by her mother, young Steiger studied at the Rome Opera Ballet School, and spent time in Paris, soaking up her craft and European culture and learning French and Italian. Back in America, Steiger continued her theatrical education by studying with legendary acting coaches Robert Lewis and Stella Adler, founders of the Actor’s Studio in New York. That pursuit of her craft continues today, as she continues to get a charge out of the challenge that each new acting job brings. “The theatre for me is ike being in church,” she says with sincerity. “When you feel the audience, and feel that communication with other souls, it’s like music. As a performer, I’m always pursuing that wonderful experience where you are completely alert and clear, and yet transported through your imagination.” “The theatre for me is like being in church,” she says with sincerity. “When you feel the audience, and feel that communication with other souls, it’s like music. As a performer, I’m always pursuing that wonderful experience where you are completely alert and clear, and yet transported through your imagination.” Her list of stage credits include acclaimed productions of contemporary offerings such as “Promises, Promises,” “The Beauty Queen of Leenane,” “Collected Stories” by Donald Margulies, P.J. Barry’s “The Octette Bridge Club,” Horton Foote’s “The Traveling Lady,” and Morris West’s “The World is Made of Glass;” opposite Don Knotts in the comedy “The Mind with the Dirty Man;” classics like “Richard III,” “The Dyubbuk,” and “Dr. Faustus;” and her two solo shows, “Leona” (about notorious “Queen of Mean” Leona Helmsley) and the recent “The Loves of My Life,” based on her own life. On screen, she also co-starred with Knotts and Tim Conway in the comedy “The Prizefighter.” Indeed, perhaps Joan Benedict Steiger’s career is all the more remarkable for having endured through three long-term relationships, to what she describes as “three of the greatest guys in the world.” While marriages between professional actors are often fraught with jealousy and competition, Joan has found lightning in a bottle all three times. “Both of my husbands, and my lifetime partner Jeremy, were wonderful men who respected me as an actress,” she recalls. “They all died from different forms of cancer, so my memories are sometimes bittersweet, but with no regrets.” “Strangely, I met all three of these men when I was in New York, just beginning my career while I was still a teenager,” she says. She was only 19 when she met actor Rod Steiger, who took an instant liking to her when they appeared on the same television show together. “I was in complete awe of him at the time,” she admits. “I remember walking out after seeing him in the play ‘Rashomon’ on Broadway, and seeing his face on the marquee across the street for the movie ‘Al Capone.’ I thought, what a life – starring on Broadway and starring in a movie! Knowing him at that age was like living in a fantasy.” Though the initial romance with Rod was short-lived, given their respective dedication to pursuing their careers, Joan soon found herself in love with leading stage actor John Myhers. “He toured in ‘The Sound of Music’ for three years as Captain von Trapp, and I would take time off to travel with him,” she says. Settling in a home near Sunset Plaza in the Hollywood Hills, their marriage lasted thirty years before Myhers’ passing. Then, in the late 1990s, Rod and Joan found each other again. Rod had heard rave reviews of some of Joan’s stage work. “I got a call from him out of the blue…he’d been at a party where someone had mentioned me, and we got together again after all those years.” Joan and Rod were nearly inseparable for the final years of his life, becoming creative partners as well as spouses. “Rod was very impressed with my acting. Whenever a script would arrive at the house, he’d ask me to read it for my feedback, then he’d say ‘Did you pick out your part yet?’” They appeared in two films together, “A Month of Sundays” and the telefilm “The Flying Dutchman.” After a long life marked by tremendous highs and crushing lows – Steiger acknowledged suffering from chronic depression for much of his professional career – the Academy Award winning actor seemed to find new confidence and peace with his newly rediscovered love. “On one of the films we made, on the last day of shooting, Rod presented me with an Oscar-like statue he had made with my name on it, in front of the entire crew,” Joan remembers. “With me he said he was another person, and the only time in his life he had such happiness. He told me I was the only woman who could bring love out of a stone.” Steiger’s passing in 2002 was a devastating loss, but another friend from long ago was able to fill some of the void. Actor Jeremy Slate, a veteran of over 80 films and television shows dating back to 1959, was Joan’s partner until his passing in 2006. “They were all actors, writers, directors, brilliant, funny men,” Joan says of the men who captured her heart. Throughout her life, Joan Benedict Steiger has worked simultaneously on stage, in film, and on television. She’s still remembered for a classic bit from the original version of “Candid Camera,” where she played a lost tourist looking for directions from passersby, making sure that her fancy hat – beplumed with a particularly large feather – would distract them at every opportunity. She was also part of the ensemble of the original “Steve Allen Show,” where she did double duty as the spokesperson for Hazel Bishop cosmetics. On daytime drama, she had regular and recurring roles on “General Hospital,” “Days of our Lives,” and “Capitol.” Her dozens of series guest appearances include classic series like “Fantasy Island,” “T.J. Hooker,” “The Incredible Hulk,” “Kojak” and “Hotel,” with the latter being directed by series star James Brolin. Most recently Joan guested on Fox’s “Dollhouse.” Perhaps one of Joan’s most unusual jobs is one where she was asked to “fill in” – in a manner of speaking – for a Hollywood legend. “I had been bothering the casting director at MGM for a while when he finally told me, ‘I have something for you.’” MGM was preparing to make the film “Butterfield 8” starring Elizabeth Taylor; the star had been reluctant to cooperate because she was eager to begin work on the epic “Cleopatra.” MGM wanted to shoot the film in studios in New York and Taylor wanted to remain in Los Angeles. Joan was asked if she could go to New York to rehearse the film – playing Taylor’s part – with director Daniel Mann and therest of the cast. Joan worked for weeks reading Taylor’s lines, and her dedication paid off when she was awarded a small part (a single line) in the film – for which she still earns residuals. The role won Taylor her only Academy Award, but curiously, their paths would cross again years later through their mutual acquaintance with Rod Steiger. “When Rod and I were first dating, he went to see Elizabeth about working on a new project,” she says. “This was a period when she wasn’t feeling well, and Rod was one of the people who really encouraged her to get well and return to public life. That lead to speculation that Rod and Liz were dating and he was going to be her next husband. Rod and I were on an airplane to Spain, and he liked to read the tabloids: when I saw the headline saying Liz and Rod were going to wed, I said, ‘What’s this all about?’ And he smiled at me and said, “Joan, I’m sitting next to YOU!” For now, Joan keeps busy preserving the legacy of her late husband, as well as continuing her stage, film, and television work whenever the right opportunity presents itself. ‘There’s still so much I can do, I’m still learning after all these years,” she explains. “I have a regular table at my favorite restaurant in Malibu and it faces the door, because I want to watch everyone walk in, I want to observe the way they use their body, because that’s so much a part of my process as an actress.” Although she has written her memoirs, Joan still knows that there are more chapters of her life left to live, and many more roles left to play. www.joanbenedictsteiger.com

Reviews of (1) THE GLASS MENAGERIE, by Tennessee Williams, at Upstream Theater, (2) THE TRIP TO BOUNTIFUL, by Horton Foote, at The Theatre Guild of Webster Groves, (3) KISS ME, KATE, by Cole Porter and Samuel & Bella Spewack, at Family Musical Theater, (4) THE ADDAMS FAMILY, by Marshall Brickman & Rick Elise and Andrew Lippa, at the Kirkwood Theatre Guild, (5) BULLETS OVER BROADWAY, by Woody Allen and Glen Kelly, at the Peabody Opera House, and (6) LAUGHING STOCK, by Charles Morey, at KTK Productions.

Celebrated and busy actress, Annie Potts, takes some time to celebrate the 100th anniversary of Horton Foote and takes some time to talk to Keith Price about her love for theater. Go to Primary Stages: http://www.primarystages.org Follow @kpcurtaincall on Twitter Like us on FB: https://www.facebook.com/Keith-Prices-Curtain-Call-1380539615593807/?ref=hl

Tony award nominee, Veanne Cox celebrates Horton Foote's theatrical legacy along with her niece. They take a few minutes out of their schedule to chat with Keith Price. Go to Primary Stages: http://www.primarystages.org For all things Veanne Cox: http://www.veannecox.com/ Follow @kpcurtaincall Like Us on FB: https://www.facebook.com/Keith-Prices-Curtain-Call-1380539615593807/?ref=hl

Award winning theatrical director, Michael Wilson, takes some time at Primary Stages' Centennial Celebration of Horton Foote, and chats with Keith Price about his working relationship with Horton Foote. Go to Primary Stages: http://www.primarystages.org Follow @kpcurtancall on Twitter Like Us on FB: https://www.facebook.com/Keith-Prices-Curtain-Call-1380539615593807/?ref=hl

Tony award nominated actress/producer, Hallie Foote, and the legendary actress/recording and film star, Vanessa Williams, take some time to chat with Keith Price at Primary Stages Centennial celebration of Horton Foote. For all things Vanessa Williams: http://vanessawilliams.com/ Go to Primary Stages: http://www.primarystages.org Follow @kpcurtaincall on Twitter Like US on FB: https://www.facebook.com/Keith-Prices-Curtain-Call-1380539615593807/?ref=hl

Legendary actor/writer/producer/director, Arthur French, takes some time to chat with Keith Price about his relationship to the Horton Foote theatrical legacy. Go to Primary Stages: http://www.primarystages.org About Arthur French: http://www.broadwayworld.com/people/Arthur-French/# Follow @kpcurtaincall on Twitter Like Keith Price's Curtain Call on FB: https://www.facebook.com/Keith-Prices-Curtain-Call-1380539615593807/?ref=hl

Betty Buckley talks about her upcoming performances of her concert "The Other Woman: The Vixens of Broadway" in Las Vegas at The Smith Center. Plus, the Tony Award winner chats about her recent hit off-Broadway play, the world premiere of Horton Foote's  "The Old Friends." For more info on Betty Buckley, her performance and upcoming concert schedule, head to www.BettyBuckley.com  

This week on the Talk Theatre In Chicago podcast Tom Williams talks with Millicent Hurley Spencer, the star of The Trip to Bountiful at Raven Theatre. She talks about her preparation and execution of the role of Carrie Watts in the Horton Foote classic drama.

The Reformed Journal started reviewing films in the mid-1960s, just when the churches where most of its readers attended lifted their long-standing disapproval of the movies—and just as Hollywood began a revolution that made American cinema more stark, more real, and more controversial in both the subjects it handled and the ways it handled them. Roy Anker, a professor of English at Calvin College, soon emerged as the Journal’s leading film reviewer, a role he continues to play today in other venues. His treatment of Tender Mercies, the 1983 co-production of leading man Robert Duvall and screenwriter Horton Foote, perfectly captures what the author, and the magazine, hoped to accomplish in their film criticism.

The quiet cotton farming community of Wharton, Texas, is the touchstone for the career of playwright and screenwriter Horton Foote. He wrote plays about everyday people living in small Texas towns like his boyhood home, and his work was praised for its authenticity. "I believe very deeply in the human spirit," he once said. "I've known people that the world has thrown everything at. . . . And yet something about them retains a dignity. They face life and they don't ask quarters."

Downstage Center goes to Texas. Listen as Primary Stages Artistic Director Andrew Leynse talks with actress Hallie Foote about her father Horton's work, world, and new Primary Stages production "Harrison, TX," three plays by Horton Foote. In addition to discussing the current production directed by Pam McKinnon, Ms. Foote discusses acting, the family history, and her father's legacy.

Downstage Center goes to Texas. Listen as Primary Stages Artistic Director Andrew Leynse talks with actress Hallie Foote about her father Horton's work, world, and new Primary Stages production "Harrison, TX," three plays by Horton Foote. In addition to discussing the current production directed by Pam McKinnon, Ms. Foote discusses acting, the family history, and her father's legacy.

American actress Lois Smith, whose career in theatre, film, and television spans five decades, talks about her experience of playing the originally male role, Alcandre, in the Signature Theatre production of Tony Kushner's "The Illusion", an adaptation of Pierre Corneille's "L'Illusion Comique". She also talks about her upbringing in Kansas; experience in working on the film "East of Eden"; working with Helen Hayes on "The Wisteria Trees" and "The Glass Menagerie"; working with Andre Gregory at the Philadelphia Theatre of the Living Arts at the beginning of the regional theatre movement; doing Chekhov; her experience as a company member of Steppenwolf and performing "The Grapes of Wrath" as the first American theatre company to play The Royal National Theatre in London; her experience in playing Halie in Sam Shepard's "Buried Child"; and working with playwright Horton Foote on "The Trip to the Bountiful" again at Signature Theatre. Original air date - July 13, 2011.

American actress Lois Smith, whose career in theatre, film, and television spans five decades, talks about her experience of playing the originally male role, Alcandre, in the Signature Theatre production of Tony Kushner's "The Illusion", an adaptation of Pierre Corneille's "L'Illusion Comique". She also talks about her upbringing in Kansas; experience in working on the film "East of Eden"; working with Helen Hayes on "The Wisteria Trees" and "The Glass Menagerie"; working with Andre Gregory at the Philadelphia Theatre of the Living Arts at the beginning of the regional theatre movement; doing Chekhov; her experience as a company member of Steppenwolf and performing "The Grapes of Wrath" as the first American theatre company to play The Royal National Theatre in London; her experience in playing Halie in Sam Shepard's "Buried Child"; and working with playwright Horton Foote on "The Trip to the Bountiful" again at Signature Theatre. Original air date - July 13, 2011.

GERALD McRANEY stars as ("Judge Nicastro" on USA'S "Fairly Legal"). Gerald McRaney, who spent more than 17 years starring in several network series ("Simon and Simon," "Major Dad," “The Promised Land,” “Deadwood,” “Jericho,” “Undercovers”), continues to enjoy a blossoming career. He made his Broadway debut last year in the New York premiere of Horton Foote's play “Dividing The Estate” and went on to film "Get Low." Fairly Legal airs on the USA Network on Thursdays.

During her month in the cast of the Off-Broadway comedy "Love, Loss and What I Wore", Shirley Knight discusses the appeal of the "stool and music stand" style of presentation while pointing out that she had the only continuing narrative among the many interwoven stories. She also explains why she considers her every appearance on stage to be a rehearsal, not a performance; her attraction to the groundbreaking play "Dutchman" by LeRoi Jones (now Amiri Baraka), which she did in Los Angeles and on film; how she shifted from a planned career in music to acting and her trek out west to the Pasadena Playhouse to pursue that new goal; the extraordinary experience of appearing as Irina in "The Three Sisters" in her Broadway debut, with Geraldine Page and Kim Stanley as her siblings under the direction of Lee Strasberg -- and why she chose that role over playing Ophelia to Richard Burton's "Hamlet"; her years working in England, notably in plays by her husband John Hopkins, which she continued to perform upon their return to the U.S.; her memorable role in Robert Patrick's "Kennedy's Children"; what it was like to have Tennessee Williams write a role expressly for her in "A Lovely Sunday for Creve Coeur"; her affinity for the plays of fellow Kansan William Inge and her role in creating the ongoing Inge Festival; and her affection for the work of Horton Foote, which marked her most recent Broadway appearance, in the Pulitzer-winning "The Young Man from Atlanta". Original air date - April 28, 2010.

During her month in the cast of the Off-Broadway comedy "Love, Loss and What I Wore", Shirley Knight discusses the appeal of the "stool and music stand" style of presentation while pointing out that she had the only continuing narrative among the many interwoven stories. She also explains why she considers her every appearance on stage to be a rehearsal, not a performance; her attraction to the groundbreaking play "Dutchman" by LeRoi Jones (now Amiri Baraka), which she did in Los Angeles and on film; how she shifted from a planned career in music to acting and her trek out west to the Pasadena Playhouse to pursue that new goal; the extraordinary experience of appearing as Irina in "The Three Sisters" in her Broadway debut, with Geraldine Page and Kim Stanley as her siblings under the direction of Lee Strasberg -- and why she chose that role over playing Ophelia to Richard Burton's "Hamlet"; her years working in England, notably in plays by her husband John Hopkins, which she continued to perform upon their return to the U.S.; her memorable role in Robert Patrick's "Kennedy's Children"; what it was like to have Tennessee Williams write a role expressly for her in "A Lovely Sunday for Creve Coeur"; her affinity for the plays of fellow Kansan William Inge and her role in creating the ongoing Inge Festival; and her affection for the work of Horton Foote, which marked her most recent Broadway appearance, in the Pulitzer-winning "The Young Man from Atlanta". Original air date - April 28, 2010.

During her month in the cast of the Off-Broadway comedy “Love, Loss and What I Wore”, Shirley Knight (1976 Tony Award winner for Best Performance by an Actress in a Featured Role in a Play for “Kennedy’s Children”) discusses the appeal of the "stool and music stand" style of presentation while pointing out that she had the only continuing narrative among the many interwoven stories. She also explains why she considers her every appearance on stage to be a rehearsal, not a performance; her attraction to the groundbreaking play “Dutchman” by LeRoi Jones (now Amiri Baraka), which she did in Los Angeles and on film; how she shifted from a planned career in music to acting and her trek out west to the Pasadena Playhouse to pursue that new goal; the extraordinary experience of appearing as Irina in “The Three Sisters” in her Broadway debut, with Geraldine Page and Kim Stanley as her siblings under the direction of Lee Strasberg -- and why she chose that role over playing Ophelia to Richard Burton's Hamlet; her years working in England, notably in plays by her husband John Hopkins, which she continued to perform upon their return to the U.S.; her memorable role in Robert Patrick's “Kennedy's Children”; what it was like to have Tennessee Williams write a role expressly for her in “A Lovely Sunday for Creve Coeur”; her affinity for the plays of fellow Kansan William Inge and her role in creating the ongoing Inge Festival; and her affection for the work of Horton Foote, which marked her most recent Broadway appearance, in the Pulitzer-winning “The Young Man from Atlanta”.

Hallie Foote, perhaps the leading interpreter of the works of her father, the late Horton Foote, talks about her past year of work on "The Orphans' Home Cycle", the epic compilation of nine of her father's plays into a theatrical triptych spanning nine hours of performance. She discusses the process of condensing the plays to in order to find their central storyline; how far work had progressed before her father's passing in early 2009; how the plays have created their own repertory company, with actors even playing different roles in different plays in a single evening; and how it feels to now be playing a character based upon her great-grandmother, having originated the role based on her grandmother in the premieres (and films) of the original plays. She also discusses how she finally came around to a career in theatre after first pursuing music; why she has spent most of her professional life performing in her father's plays; what it has been like to also appear in plays by her sister, Daisy, once under the director of her father, in addition to often appearing with her husband (including playing his aunt in "Dividing The Estate"); the importance of her father's artistic homes at Signature Theatre and Hartford Stage, and their directors James Houghton and Michael Wilson; and her plans for her acting career now that she is also the literary executor of her father's more than 60 plays. Original air date - April 7, 2010.

Hallie Foote, perhaps the leading interpreter of the works of her father, the late Horton Foote, talks about her past year of work on "The Orphans' Home Cycle", the epic compilation of nine of her father's plays into a theatrical triptych spanning nine hours of performance. She discusses the process of condensing the plays to in order to find their central storyline; how far work had progressed before her father's passing in early 2009; how the plays have created their own repertory company, with actors even playing different roles in different plays in a single evening; and how it feels to now be playing a character based upon her great-grandmother, having originated the role based on her grandmother in the premieres (and films) of the original plays. She also discusses how she finally came around to a career in theatre after first pursuing music; why she has spent most of her professional life performing in her father's plays; what it has been like to also appear in plays by her sister, Daisy, once under the director of her father, in addition to often appearing with her husband (including playing his aunt in "Dividing The Estate"); the importance of her father's artistic homes at Signature Theatre and Hartford Stage, and their directors James Houghton and Michael Wilson; and her plans for her acting career now that she is also the literary executor of her father's more than 60 plays. Original air date - April 7, 2010.

Producers Jeffrey Seller and Thomas Viertel discuss the resiliency of Broadway during the Recession. Also, a brief conversation with the late playwright Horton Foote and his daughter, actress Hallie Foote, about his last play, “The Orphans' Home Cycle.”

A conversation about “Dividing The Estate,” with its playwright Horton Foote and two of its stars, Elizabeth Ashley and Hallie Foote.

In a one-on-one interview with playwright Horton Foote he talks about his early career as an actor, who was responsible for his becoming a playwright, how his connection to the past inspires his writing, what it was like to write for television's Golden Age, writing for different mediums, including his Oscar winning screenplays, and the influence his hometown of Wharton, Texas has had on his life and his work. He's then joined by four artists who have worked with him in recent years - his daughter, actress Hallie Foote; James Houghton, Artistic Director of Signature Theatre; Andrew Leynse, Artistic Director of Primary Stages; and Michael Wilson, Artistic Director of Hartford Stage - who discuss their roles in interpreting Foote's stories, the impact regional theatre has had in presenting his works, and how Horton Foote's plays relate to today's audiences.

Playwright Horton Foote reflects on his long career, including the traveling tent shows that first inspired his love of theatre; the contrast between his Texas neighbors' responses to his winning the Oscar and the Pulitzer; Brooks Atkinson and Ben Brantley's differing opinions on "The Trip To Bountiful"; his appreciation for theatres like Signature and Primary Stages, for giving him homes for his work; the experience of returning to Broadway with "The Young Man From Atlanta" after a hiatus of forty years; and how closely his characters model on some of their real-life inspirations. Original air date – September 28, 2007.

Playwright Horton Foote reflects on his long career, including the traveling tent shows that first inspired his love of theatre; the contrast between his Texas neighbors' responses to his winning the Oscar and the Pulitzer; Brooks Atkinson and Ben Brantley's differing opinions on "The Trip To Bountiful"; his appreciation for theatres like Signature and Primary Stages, for giving him homes for his work; the experience of returning to Broadway with "The Young Man From Atlanta" after a hiatus of forty years; and how closely his characters model on some of their real-life inspirations. Original air date – September 28, 2007.

Director Michael Wilson discusses his work on the first Broadway revival of John Van Druten's "Old Acquaintance" at the Roundabout and why the play is so different than the Bette Davis film; describes his theatrical education while working as house manager and company manager at Cambridge's American Repertory Theatre; recalls his hiring as artistic director of the Hartford Stage Company after many years of seeing the company's productions from the audience; explains his affinity for the work of Tennessee Williams and the ongoing Williams marathon in Hartford; and describes his ongoing professional relationships with actresses Annalee Jeffries and Elizabeth Ashley and the playwright Horton Foote. Original air date – July 13, 2007.

Director Michael Wilson discusses his work on the first Broadway revival of John Van Druten's "Old Acquaintance" at the Roundabout and why the play is so different than the Bette Davis film; describes his theatrical education while working as house manager and company manager at Cambridge's American Repertory Theatre; recalls his hiring as artistic director of the Hartford Stage Company after many years of seeing the company's productions from the audience; explains his affinity for the work of Tennessee Williams and the ongoing Williams marathon in Hartford; and describes his ongoing professional relationships with actresses Annalee Jeffries and Elizabeth Ashley and the playwright Horton Foote. Original air date – July 13, 2007.