Podcasts about in the next room

Kevin Samuels Didn't Like You, LA Fires Were Planned, Cheatin' In The Next Room

Kevin Samuels Didn't Like You, LA Fires Were Planned, Cheatin' In The Next Room

Josh, Spencer and Sue discuss Spencers' role on stage in the play In The Next Room..The Vibrator Play, where he removes his clothing! They also discuss covid precautions, the war in Ukraine and going out to see concerts. --- Support this podcast: https://anchor.fm/front-room/support

Sarah Ruhl is an Award-winning playwright, author, essayist and professor. She is a Pulitzer Prize Finalist, MacArthur Fellowship Recipient, Helen Hayes Award winner, and Tony Award nominee. Among her most popular plays are Eurydice, The Clean House, and In the Next Room (or the Vibrator Play).    In this episode, Sarah shares the stories behind her new book Smile: The Story of a Face. Smile chronicles her experience with Bell's palsy, a condition that came on suddenly after the birth of her twins. She talks with us about radical self acceptance, motherhood, and her love of soup.   Sarah Ruhl Surreal Life       

Sarah Ruhl is an Award-winning playwright, author, essayist and professor. She is a Pulitzer Prize Finalist, MacArthur Fellowship Recipient, Helen Hayes Award winner, and Tony Award nominee. Among her most popular plays are Eurydice, The Clean House, and In the Next Room (or the Vibrator Play).    In this episode, Sarah shares the stories behind her new book Smile: The Story of a Face. Smile chronicles her experience with Bell's palsy, a condition that came on suddenly after the birth of her twins. She talks with us about radical self acceptance, motherhood, and her love of soup.   Sarah Ruhl Surreal Life       

Do you know the history of the vibrator? Today we find out more with Sarah Hamilton the director of the play In The Next Room.IN THE NEXT ROOM or the vibrator play is a provocative, funny, touching, and entertaining story about a young doctor and his wife. Dr. Givings is obsessed with the marvels of technology and what they can do for his patients. His wife, Catherine, is only a bystander in her husband's world - listening at the door from the next room as he treats his female patients. Dr. Givings is not sure exactly how the vibrators help the women he treats - but they do keep coming back. The only woman whose problem is not helped by the doctor is his own wife who longs to connect with him - but not electrically.In this episode:01:00 - Who is Sarah Hamilton? Why did she decide to do theater?03:00 - The history of the vibrator08:00 - Why did Sarah start In The Next Room?15:00 - What is River & Rail?19:00 - Why did they set up tickets to pay what you wish?21:00 - A program to help women entrepreneurs improve their public speaking skills22:30 - How has directing the play affected Sarah? What was its impact on her?24:00 - Tips for a successful marriage in this time of pandemicSupport them and get your tickets at https://riverandrailtheatre.com/Support the show

Michael Cerveris is a two-time Tony Award and Grammy Award winning actor for Fun Home, The Who's Tommy, and Assassins, (also Lucille Lortel Award) with additional Tony nominations for Evita, LoveMusik, and John Doyle's Sweeney Todd.  Other Broadway includes In The Next Room, Hedda Gabler, Cymbeline, and Titanic.  Off-Broadway includes King Lear, Macbeth, Abingdon Square, Nikolai and the Others, Sondheim's Road Show, an oak tree, and The Games at BAM/Next Wave with Meredith Monk and Ping Chong, as well as Hedwig off-Broadway, in Los Angeles and on London's West End. Films include Ant Man and The Wasp, Cirque Du Freak and The Mexican. Television series include Julian Fellowes' upcoming “The Gilded Age” for HBO, David Fincher's “Mindhunter,” Stephen Soderberg's “Mosaic,” and “The Knick,” David Simon's “The Plot Against America,” and "Tremé," "Gotham," "The Tick," "Billions," “Evil,” “Blacklist,” “Madame Secretary,” "The Good Wife," and five seasons as September, The Observer on "Fringe."  Concerts include New York City Opera, National Symphony in DC New York Philharmonic, Carnegie Hall, Kennedy Center, Lincoln Center, New Orleans' JazzFest and a US/UK tour playing guitar for punk icon Bob Mould.  Cerveris has recorded three solo albums, ‘Dog Eared,' ‘Piety,' and ‘Hinterlands.' and his Americana band Loose Cattle records and performs frequently in New Orleans and New York. The UNITED STATES CONFERENCE OF MAYORS and the Board of Directors of AMERICANS FOR THE ARTS, honored Cerveris in 2017 with The Citizen-Artist Award which “recognizes artists who have made the highest contributions both in their professional artistic endeavors to advance the arts as well as in their personal charitable pursuits to improve the world." cerverismusic.com

About Maria: Maria Dizzia currently teaches an ongoing scene study class at The Freeman Studio in NYC. She has taught both Public Speaking and Acting at the University of California at San Diego as well as master classes at Wheaton College, Penghao Theater in Beijing and the Sichuan People's Art Theater in Chengdu, China. She was a Beinecke Fellow at Yale School of Drama and a 2011 recipient of the Fox Foundation Resident Actor Fellowship. Broadway credits include: In The Next Room by Sarah Ruhl (Tony nomination Featured Actress; Lincoln Center). Recent theater credits include If I Forget by Steven Levenson (Roundabount Theater Company),  Belleville by Amy Herzog (Drama Desk Nomination; New York Theater Workshop, Yale Rep), Annie Baker's Uncle Vanya (Soho Rep), Drunken City by Adam Bock (Playwrights Horizons), and Eurydice by Sarah Ruhl (Second Stage, Yale Rep, Berkeley Rep). Outside of the United States, Maria has performed at The Gate Theater in London with The Civilians and at the Garasjen theater in Norway with Young Jean Lee's Theater Company. Television credits include: a recurring role on Louis C.K.'s "Horace and Pete," recurring role on "Orange Is the New Black" (SAG Award, Outstanding Ensemble), "Louie," "Master of None," "Newsroom," "Elementary," and "The Blacklist." Among her film roles are: Christine, Martha Marcy May Marlene (Gotham Film Award nomination, Best Ensemble), While We're Young, and Margin Call. To find a teacher who sees something in you and be able to have an adult conversation with you is essential. Everybody who keeps acting keeps learning. When it’s with Zoom, you get to take responsibility for yourself. When you work with celebrity, they love the story that they’re telling. Meeting them is wanting to tell that story with them, and to understand their vision. Really dig into the work relationship part of it. It always comes down to the work.

Tony Award-winner and five-time Tony Award nominee LAURA BENANTI is a highly celebrated stage and screen actress. This May, Benanti stars in the film Here Today opposite Billy Crystal and Tiffany Haddish and as a guest star on the Showtime series Cinema Toast. This Fall on Netflix, Benanti will be seen in Sara Colangelo’s WORTH starring opposite Michael Keaton, Stanley Tucci and Amy Ryan which premiered at the 2020 Sundance Film Festival. Additionally, Benanti will be seen in Lin-Manuel Miranda’s Tick, Tick...Boom! for Netflix and is currently in production on HBO Max’s much awaited “Gossip Girl” reboot.In 2020, Benanti created and executive produced the HBO Max special, HOMESCHOOL MUSICAL: CLASS OF 2020, an unscripted musical special featuring students from across the U.S. Additionally, Benanti released a self-titled studio album for Sony Music Masterworks.In 2019, Benanti made a triumphant return to Broadway as Eliza Doolittle in My Fair Lady. Since making her Broadway debut at the young age of 18 as Maria in The Sound of Music, Benanti has wowed audiences in numerous musicals and plays. Other Broadway roles include: ‘Amalia Balash’ in She Loves Me, for which she was nominated for Tony, Drama Desk, Outer Critics Circle and Drama League Awards; Women on the Verge of a Nervous Breakdown for which she was nominated for a Tony Award, and won both the Drama Desk and Outer Critics Circle Awards; In The Next Room, or the Vibrator Play; The Wedding Singer; Nine; her Tony, Drama Desk and Outer Critics Circle Award-nominated performance of ‘Cinderella’ in Into the Woods; and her Tony® nominated turn in Swing! Benanti earned the 2008 Tony Award for Outstanding Featured Actress in a Musical, a Drama Desk Award, and an Outer Critics Circle Award for her revelatory portrayal of 'Louise' in the Broadway revival of Gypsy opposite Patti LuPone. Weekly Round-Up:Read the Lit Hub article, “Eula Biss on How Motherhood Radicalized Adrienne Rich.”Read Ayad Akhtar’s New York Times piece from 2017, “An Antidote to Digital Dehumanization? Live Theater.”Listen to Simon Sinek’s A Bit of Optimism podcast episode, “The One with Brené Brown.”Read Cal Newport’s book Digital Minimalism which Laura recommends in the episode.Watch Homeschool Musical: Class of 2020 on HBOMax inspired by Laura’s online movement, #SunshineSongs, for which she also served as Executive Producer.Buy the digital album Laura produced for Ghostlight Records, Singing You Home: Children’s Songs for Family Reunification, with proceeds benefiting RAICES and ASTEP.

In this episode, I cover In The Next Room by Sarah Ruhl and give some background on the play, as well as providing some commentary on the themes. Special thanks to Cait and Andrew for lending their talent and voices to the show. --- Send in a voice message: https://anchor.fm/breaking-the-4th-wall-pod/message

It’s time for Batman’s origin again. So, of course we’re going to go over the well-worn tale of Bruce Wayne being taken in by Sanford and Son and spending 15 years living in a scrapyard directly across the street from where his parents were murdered. Wait, what?We also meet Jim Gordon, the only stand-up cop in Gotham who apparently gets home from work and struggles with whether to blow his brains out. EVERY NIGHT. With his wife IN THE NEXT ROOM. Join us as we experience Frank Miller’s slope from comics great to the hard-boiled, alt-right misogyny machine that he would eventually become. N this case, guided by the vision of extraordinary filmmaker Darren Aronofsky, who was just 15 years early on this concept. Like this podcast? Hate it? Either way, give us a review on your platform of choice! Here's an easy link to help: https://ratethispodcast.com/tablereadsAlso: Don’t forget that our patrons can join us on a livestream while we record these episodes roughly a month in advance! They also get early access to posted episodes, AD FREE. Just head on over to www.patreon.com/TableReads and make a pledge! We’ll love you whether you do or not, but becoming a patron is the best way not to get friend-zoned. Our episodes are also available as in-studio videos on YouTube! Just go to YouTube.tablereadspodcast.com and subscribe!As always, you can reach out to us on Twitter @TheTableReads or find us on Facebook at www.Facebook.com/Tablereads Or you can find us anywhere on the internet by going to https://linktr.ee/tablereadsIf you’d like more information on this script, our friends over at Screenplay Archaeology did a whole episode on it, which you can find here: https://screenplayarchaeology.podbean.com/e/screenplay-archaeology-episode-4-batman-year-one/

Noted playwright Sarah Ruhl, whose latest work “Becky Nurse of Salem” is having its premiere at Berkeley Rep through January 26, 2020, is interviewed by Richard Wolinsky. Sarah Ruhl's plays, The Clean House and In The Next Room (The Vibrator Play) have both been finalists for the Pulitzer Prize, and In The Next Room was also nominated for a Tony. In 2008 she received the Helen Hayes award for Dead Man's Cell Phone, and has written the screenplay for a new film about Gloria Steinem, The Glorias directed by Julie Taymore. Sarah Ruhl has also written a collection of essays published in 2015 and Letters from Max: A Book of Friendship, published in 2018. A collection, 44 Poems for You, will be published in February, 2020. From the Berkeley Rep website: Becky Nurse is an outspoken, sharp-witted tour guide at the Salem Museum of Witchcraft who's just trying to get by in post-Obama America. She's also the descendant of Rebecca Nurse, who was infamously executed for witchcraft in 1692—but things have changed for women since then…haven't they? After losing her job for calling out The Crucible in front of schoolkids, Becky visits a local witch for help. One spell leads to another, and then everything really goes off the rails. Becky Nurse of Salem was commissioned by Berkeley Rep and developed in The Ground Floor: Berkeley Rep's Center for the Creation and Development of New Work.     The post Interview: Sarah Ruhl, playwright, “Becky Nurse of Salem” appeared first on KPFA.

When you look at the scope of Vivienne Benesch’s career thus far, she certainly has an impressive resume, from actress to director to the Producing Artistic Director of http://playmakersrep.org/ (PlayMakers Repertory Company). In fact, it was recently announced that Vivienne will make her Broadway directorial debut next year, directing Debra Messing in Noah Haidle’s play BIRTHDAY CANDLES. But when you speak to Vivienne, it becomes very clear that what is most important to her is building connections and nurturing relationships. Hear what Vivienne has to say about that, the role theater has in strengthening community, and her full-circle journey back to Broadway, this time as a director. About the Guest Vivienne Benesch is in her fourth full season as a theater maker and company member and Producing Artistic Director here at PlayMakers in Chapel Hill. For 12 seasons, she served as Artistic Director of the renowned https://chq.org/chautauqua-theater-company (Chautauqua Theater Company and Conservatory), presiding over the company’s transformation into one of the best summer theatres and most competitive summer training programs in the country. She directed over 15 productions at CTC including an acclaimed re-imagining of ROMEO AND JULIET featuring the Chautauqua Symphony Orchestra, Theatre, Opera and Dance companies. She brought CTC’s production of AMADEUS performed with the Chautauqua Symphony Orchestra and Buffalo Philharmonic, to the Virginia Arts Festival featuring PlayMakers company member Ray Dooley. She has helmed productions of LIFE OF GALILEO, THE MAY QUEEN, THREE SISTERS, LOVE ALONE, RED and IN THE NEXT ROOM for PlayMakers, directed extensively for The Shakespeare Theatre of New Jersey, and directed THE HEIDI CHRONICLES for Trinity Repertory Company. As an actress, Vivienne has worked on and off-Broadway, in film and television, and at many of the country’s most celebrated theatres. She has appeared with Gene Wilder, Al Pacino and Blythe Danner, performed with Maggie Smith in the London revival of Edward Albee’s THE LADY FROM DUBUQUE, and received an OBIE Award for her performance in Lee Blessing’s GOING TO ST. IVES. Vivienne is a graduate of Brown University and NYU’s Graduate Acting Program. As an educator, she has directed for and served on the faculty of some of the nation’s foremost actor training programs, including The Juilliard School, UNC-Chapel Hill’s Professional Actor Training Program, Brown/Trinity Rep MFA Program and at her alma mater, NYU’s Graduate Acting Program. She is the 2017 recipient of the Zelda Finchandler Award given by the Stage Directors and Choreographers Foundation. Connect with RDU on Stage Facebook – @rduonstage Twitter – @rduonstage Instagram – @rduonstage Web http://www.rduonstage.com/ (www.rduonstage.com) Support this podcast

New "Kahnversations" Podcast with Actor Ellen Humphreys!   In this episode of "Kahnversations," we interview Ellen Humphreys. Ellen Humphreys is a New Mexico-based actress. She was born and raised in Tulsa, Oklahoma, where she got her first on-set SAG film experience fresh out of high school as a stand-in, driving double, background casting associate and more. After receiving her BFA in Theatre Arts, she moved to Los Angeles and found Lesly Kahn’s Comedy Intensive. With a year of audition practice and practical job skills beneath her belt, she moved to New Mexico to find her place in its blossoming film & television biz. Her love of acting was founded upon, and will forever be fueled by her absolute adoration of the spoken word. Some favorite past productions include IN THE NEXT ROOM by Sarah Ruhl (Santa Barbara, 2016), and HOME WITH A VIEW OF THE MONSTER. Catch her in the film OUTLAWS DON’T GET FUNERALS, streaming now on Amazon and the upcoming film, RUNNING WITH THE DEVIL (starring Nicolas Cage and Laurence Fishburne). And make sure you get CBS All Access, mostly for Jordan Peele’s THE TWILIGHT ZONE, but also to see her recurring role opposite Peter Sarsgaard in INTERROGATION. Find her at ellenhumphreys.com and @themaverickess on Instagram. You can download or subscribe to our podcast for FREE by clicking below. If you like “Kahnversations,” please leave a rating or review on our iTunes page!       There are so many inspiring podcasts with fabulous stars out there. But their careers feel light years away from ours, don’t they? Wouldn’t it be great to hear from the guy who just booked his first pilot? Or the kid finally doing a studio pic after a bunch of low budget indies? Or the woman who’s been a series regular a few times but is only now becoming a name? What about the guy who’s been on a show for years and you know his face but what’shisnameagain? Or that actress who is now a freakin’ showrunner???? How’d THEY do it, right? How did they transition from relative obscurity, bartending and bottle service, to buying that house in Brentwood? We’re producing “Kahnversations,” a podcast that provides access to THOSE people -- your immediate predecessors -- so that you can learn from them while their battle scars are still fresh. In “Kahnversations,” our own Ryan Bailey interviews some of Lesly Kahn & Company’s working actors, directors, and writers in order to learn how they got started in Hollywood, the challenges and hurdles they faced, and how they overcame the odds. (They also dish out some crazy stories!) Listen in and enjoy as these entertainers speak candidly about their paths, processes, and experiences. You might even hear a bit about how Lesly and the Kahnstitute have influenced and shaped their careers.

In Victorian England, the unhappy wife of a repressed doctor yearns to feel alive - and finally takes matters into her own hands. In an imaginary steam-punk version of Victorian England, a band of brave, opera-singing women similarly yearn to be happy, free - and a little bit naughty - and they make it happen through the power of song. In East Berlin, Germany, a mysterious woman with a powerful secret survives against impossible odds, ultimately becoming an inspiration to a young American journalist. She survives through the power of her own belief in herself. In three productions either currently running or about to open in the North Bay, the concept of “gender” is just the tip of the iceberg in stories that challenge us, the audience, to look beneath the surface of some amazing human beings - some real, some fictional - all with something to show us we might not be expecting. Let’s start with "Heroines," opening tomorrow night at Sonoma State University. This one is a brand new original musical review featuring classic operetta tunes from the likes of Bertolt Brecht, Franz Lehar, Gilbert & Sullivan and others. It was created by musical director Lynn Morrow and stage director Jane Irwin Hammett, who appropriately titled their piece, "Heroines." Set during a time of radical change in England, when women were demanding the vote and a whole lot more, the piece pulls famous females from out of other stories and throws them all together. Due to a magical twist of time, these women from various centuries join forces to express their feelings through indelible songs borrowed from shows like "The Threepenny Opera," "The Merry Widow," and other musical masterpieces, and number from the operettas of Gilbert and Sullivan. In a fantasy version of London, these iconic characters come together in a city blending visuals from Dickens with ideas from Jules Verne, joining their hearts and voices in a revolutionary effort to break the shackles of tradition and inequality. Sounds fun, huh? New shows deserve our support, and SSU, in recent years, has made a strong effort to present at least one original show a year. And with voices recruited from SSU’s Departments of Music and Theater Arts & Dance, this is a production that probably will sound like a blast of pure operatic dynamite - and then some. Meanwhile, At Cinnabar Theater, Doug Wright’s Pulitzer-winning one-actor drama "I Am My Own Wife" introduces audiences to a different kind of heroine: the real-life Charlotte von Mahlsdorff, a transgender woman whose courage - and possibly a bit of treasonous duplicity - allowed her to escape Hitler’s concentration camps, and survive, in her own way, operating a small museum under the noses of her enemies, all during the communist party’s decades-long reign of suspicion and terror. I’ll be reviewing it in full next week. And finally, there’s Sarah Ruhl’s eye-opening drama, "In the Next Room," subtitled, "The Vibrator Play." This is a daring move for the usually fairly reserved Raven Players. The play looks at the marriage of a late Victorian woman and her husband, a doctor specializing in the treatment of hysterical women. He has been using a new treatment, made possible through the power of electricity, which seems to leave his patience extremely happy, and eager for their next appointment. It only his wife could become the focus of his attentions, she - and maybe even he - could find what is missing in their lives. Gorgeously written by Ruhl, it’s a love story with a jolt of raw truth, another story of what happens when strong women are given the power they need to take control of their own destinies, their own happiness, their own world. "I Am My Own Wife" runs February 6-22 at Cinnabar Theater, cinnabartheater.org. "Heroines" runs February 5-15 in the Evert B. Person Theater at Sonoma State University, Sonoma.edu. "In the Next Room" (or "The Vibrator Play") runs through February 14 at Raven Theater, Raventheater.org

Saxophonist Ingrid Laubrock's most recent album is The Madness Of Crowds (Intakt, 2011) with the band Sleepthief. She's also part of the trio Paradoxical Frog with Kris Davis and Tyshawn Sorey. In this interview, Laubrock talks about her self-taught entry into improvised music; her collaborations with a variety of musicians; and why she went back to study standards even though she doesn't often play them. Learn more at www.ingridlaubrock.com/pages/home.htm. Programming note: Due to a technical problem, I lost part of this interview. My apologies to Ingrid. I'll have her back on the show for a longer conversation. Tracks used in this episode: Entraordinary Popular Delusions; You Never Know What's In The Next Room; The Slow Poisoners; There She Goes With Her Eye Out; Hindsight Is Always 20-20.

Playwright Sarah Ruhl, whose "Passion Play" made its New York City debut with the Epic Theater Center, talks about the roots of that play during her graduate work at Brown University, what initially got her musing on the story of the people who appear in passion plays, and why she wrote a third act for its production at Arena Stage more than a decade after its debut in Trinity Rep's New Play Festival. She also talks about growing up in a household that was intellectually and theatrically oriented; her days at the Piven Theater Workshop while in her teens; why she thinks that everyone has an "opera inside"; the visual images that become the starting point for her plays, and whether starting a play, "Dead Man's Cell Phone", in which the title character is deceased at the start, was a handicap; the impact of receiving a MacArthur Foundation "genius grant" on her life and career; the unorthodox gift that gave rise to "In The Next Room or the vibrator play" and why she chose to subtitle the play; and she responds to the suggestion that as her career has progressed, her plays have contained their flights of fancy more with each successive work. Original air date - June 16, 2010.

Playwright Sarah Ruhl, whose "Passion Play" made its New York City debut with the Epic Theater Center, talks about the roots of that play during her graduate work at Brown University, what initially got her musing on the story of the people who appear in passion plays, and why she wrote a third act for its production at Arena Stage more than a decade after its debut in Trinity Rep's New Play Festival. She also talks about growing up in a household that was intellectually and theatrically oriented; her days at the Piven Theater Workshop while in her teens; why she thinks that everyone has an "opera inside"; the visual images that become the starting point for her plays, and whether starting a play, "Dead Man's Cell Phone", in which the title character is deceased at the start, was a handicap; the impact of receiving a MacArthur Foundation "genius grant" on her life and career; the unorthodox gift that gave rise to "In The Next Room or the vibrator play" and why she chose to subtitle the play; and she responds to the suggestion that as her career has progressed, her plays have contained their flights of fancy more with each successive work. Original air date - June 16, 2010.

Broadway and television star Michael Cerveris, currently on the boards in In The Next Room or The Vibrator Play joins Robin Milling on Let's Do Lunch! for Chinese and pre-Christmas chat at John's Shanghai. Due to subject matter, this show may contain sexual content not suitable for young ears! No calls please as this is a pre-recorded show, but feel free to join the chat.