Podcast appearances and mentions of isaac gomez

Intro: teenage hackersLet Me Run This By You: setting limits with KanyeInterview: We talk to Josh Sobel about Cal Arts, Travis Preston, Yale School of Drama, Robert Brustein, Fig and the Wasp, Oberlin College, The O'Neill Theater Center, Michael Cadman, Royal Shakespeare Company, Chicago ensemble theatre, Strawdog Theatre Company, Ianesco's Rhinoceros, Rochester NY, Brighton High School, A Chorus Line, Cabaret, horizontal hierarchies, The Wooster Group, change talk vs. change action, Chris Ackerlind, Light in the Piazza, Paula Vogel's Indecent, Samantha Behr, Haven Chicago, The Den Theater, Rochester Philharmonic, Lorenzo Palomo, Ian Martin, Hal Prince, Dr. Seuss' The Sneetches, John de Lancie, Rochester Academy of Medicine, radiation oncology, The Xylophone West by Alex Lubischer, Isaac Gomez's The Displaced, Center Theatre Group, Jeremy O'Harris' Slave Play, Rashaad Hall, Chris Jones' review of Ms. Blakk for President.FULL TRANSCRIPT (unedited):3 (10s):And I'm Gina Pulice.1 (11s):We went to theater school together. We survived it, but we didn't quite understand it.3 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (21s):We survived theater school and you will too. Are we famous yet?2 (32s):I think, I think my son has fig he's gotten into sort of like the hacking side of things and he always wants to get around all of the restrictions we put on him. Like we have content restrictions, we have time limits. And I think he's just made it his mission. I mean, this is like the theme of his life. He has made it his mission to subvert the paradigm as my husband would say. And it's exhausting because all I can do is try to be like 10 steps behind them and learn like what's a VPN. That's what I, I think what he did. I think he installed a VPN to bypass the internet control that I have.2 (1m 20s):Oh1 (1m 20s):My God.2 (1m 22s):And it somehow how that relates to, I can watch, I couldn't tell you. I can tell you that if I turn off the wifi, I can watch it on my cellular data.4 (1m 33s):It's insane.2 (1m 35s):Yeah. It's, it's beyond insane. I, and you know, I like, I'm always on this thing where I'm vacillating between letting it go and just trying harder to, you know, impose the limit. I mean, you, I wouldn't, before I had kids, I would not have imagined it was this hard to impose limits on people, you know, because you don't want them to not have what they want. Right.4 (2m 6s):Right.2 (2m 7s):And, and it's a real battle to like, make myself, give myself and my children limits. It's really hard.4 (2m 17s):My God. Yeah. Yeah. And the other thing I'm stuck on, it's like maybe there was okay. I think I'm like trying to figure out the thing, which is like, I know what I think I know what happened. So you have restrictions on content. Like, and I think a genius, the Kanye trilogy, like completely has all those triggers in it. Like all the things are in it. There's sex, suicide. There's, there's, it's all the things you, I wouldn't want a susceptible teenager to watch. Right. Like just for various reasons, not, not for anything other than triggers. Right. So like my nieces and nephew, the same thing, so, okay.4 (2m 57s):So then you set that right? And you're like, no, no, but then the kid or anyone can get a VPN, which then resets, I think the con, but I think you're still on the, you're still, you're still on the content warning site, which is blocking genius. You from watching genius. That is fucking, I mean, it's kind of genius in a way, but it's also so infuriating. It's like, come on, dude. I'm just trying to watch my fucking Kanye west bullshit.2 (3m 26s):It's literally just this race of like today I'm on top. And then the next day it's like, oh my God, they, they, they run the show. I'll never forget. There was a scene in the first season of the Sopranos where Tony and Carmel are having a problem with Anthony, or maybe it was with the daughter, a meadow and they're in their bedroom. And he goes, if she finds out, we have no power. We're screwed. And I laughed. It was the time I had watched it after I had teenagers. Yeah. Like that's what it is. We actually have no power. And yet the, the, the con that we're forced to do is pretend like we have all the power.2 (4m 12s):It's4 (4m 13s):Like2 (4m 13s):Covering4 (4m 14s):A metaphor also for life about like my mom's friend sent me something that said, you know, I forget it was like her friend had passed away and it's not fair and it's not fair. And I, and it isn't, and that's the thing. Like it, the truth is not fair. Like it sucks. But like, and, and we pretend that things are fair because if we don't, it's absolute chaos. Like if we didn't pretend really that red means stop and green means go, we'd have a real fucking problem. If we all rebelled and said, you know what, fuck you, green means go. And red means stop. And we all sent a mass media thing around.4 (4m 56s):There would be chaos. It would be2 (5m 13s):The bus. And I guess that's just the headline right there. That's like the headline in the story. Like you took the bus from LA to San Fran, Fran, because gas is so expensive.4 (5m 22s):Well, many things. Okay. So driving, it's really a grind on the five coming home, especially it's like, so rough, like, it can be a nine hour instead of five, six hours situation. It's crazy. Cause the five sucks. So, so that was the first like, and then gas. So I wasn't gonna drive cause I did the drive Thanksgiving and it was like, oh God. And then, so I was like, okay, well I'll, I'll just, I I'll fly. But then I'm afraid to fly. Even though the flight is literally 45 minutes. And then I was like, okay, but then because of gas, I said, okay, I'm going to just get my balls into it. I'm going to build up my balls and I'm going to fly. But then because of gas, you know, does jets use gas fuel though?4 (6m 6s):The flights really went up six San Francisco. You shouldn't even get a flight for a hundred bucks on Southwest round trip, like 120. No, no, two 20. So I'm like, oh no. So then I say, okay, well I'll take my Amtrak. Of course, which is actually what I, what I looked at first. But the track of it, it's a beautiful ride. It takes forever, but it goes up the coast and it's gorgeous. And you can like bid to get a fancy room,2 (6m 28s):Right? Yeah.4 (6m 29s):Well, okay. Well the tracks being repaired, so then you'd have to take a Greyhound. I'm not taking a Greyhound. So then I was like, okay, what would it take a fancy bus? And it's a flick2 (6m 38s):Of a fancy4 (6m 39s):Flex bus flicks. And Flix is big in Europe and they're charter buses and they have bathrooms and it's like assigned seating. And I bought two seats because I was like, fuck you. And it's so inexpensive, but still listen. I just, you know, and I worked, my dad was an addict. I have food addict issues. I get addicts. So don't come. People don't come at me for saying this. But the bus is a place where heroin, heroin, addicts thrive. Like that2 (7m 9s):Is the heroin addict doing on the4 (7m 11s):Bus nodding out. So there's two, there was a couple and I was like, oh, these are heroin addicts. They just looked so like, their luggage was all fucked up. They couldn't barely get on the bus. They were fighting young people, LA style tattoos. Fine. I am tattoos. It's not that they, but it was like this very specific look thin bedraggled, but not, not, not a curated look like more like, I'm just fucked up inappropriate clothing for the weather. Like big. Although in San Francisco is cold. Maybe they need something. I didn't know. They had like heavy coats on it's like 90 degree, all their shit. Right? Like they're, you know, I've got one little carrier. They've got like bags, like big things.4 (7m 52s):Okay. And that you can check, but you have to pay more for it. And their suitcases are falling apart. Okay. Fine. But they have cell phones, which is so, but a lot of people have cell phones. I mean, I I'm always shocked when people have cell phones that look like they shouldn't, I'm like, what? How do you maintain that? But anyway, so they get on an immediate, they sit in the, they got the seats in the way back, which is like a little bigger, but also your brother bathroom's gross, but they just not out immediately. They get on and like midfoot, mid fighting. They just like pass out and I'm like, oh my God. Like not out like out. And then don't wake up until we get there. Like literally it's an eight hour ride.4 (8m 32s):They don't get up at all.2 (8m 35s):Wow. They'd probably been awake. Yeah. Or I guess maybe not4 (8m 41s):How2 (8m 42s):It works with the4 (8m 42s):Heroin. Well, it depends like, I mean,2 (8m 44s):Not the heroin.4 (8m 46s):That's my new band name. That's our new band name. The heroin's got mics on two levels.2 (8m 51s):Yeah,4 (8m 53s):That was good. Gina. Okay. So no for me and my, my, my clients were a lot of them on heroin. And what would happen is like, you can't always get heroin. Right. Because it's expensive. And because I mean, it's cheaper than whatever, but it's expensive. And then, so you go without it and you start to detox and then you're up, you can't sleep. You're a mess. And then when you finally score again or whatever, get your heroin, then you just feel great for about half an hour. Then you pass out. It's just so it's such a waste, but okay. It's a process.2 (9m 25s):You know, although I would never want to be a heroin addict. I will say something like what's occurring to me. As you're talking about this couple is like, you know how with addicts, their life is very focused around just scoring or whatever. So to be able to have your life goals in these little chunks is really appealing to me.4 (9m 47s):Yeah. Well, it's a very, very, very specified job2 (9m 52s):World. Right? You make, I think when you're a heroin addict, you must have a really small world and your objectives are like, get score. That's at a place to4 (10m 1s):Sleep and don't get arrested and don't2 (10m 3s):Get, don't get arrested. Like there's something and I, I'm sorry to be cheeky about it. Cause people have really suffered with heroin addiction. I, I'm not suggesting that people, anybody should be an addict. I'm just saying like the idea4 (10m 14s):Yeah. To you. It's like, yeah, me too.2 (10m 17s):Actually even just the other day I was thinking I was watching somebody who had, what I imagined was probably a minimum wage job. And I don't remember what the job was now, but I just, I was looking at the person doing their tasks and I was thinking, yeah, maybe I should get a job like that. You know? And then 30 seconds in, I'm really trying to imagine myself. And I'm like, what am I talking about? Oh, people don't love working at McDonald's. Don't love, you know, whatever the4 (10m 47s):Jobs. And I will in, in adulthood in 30 dumb, in 40 dumb, like the last one I had at that fucking donut shop, I was like, oh, this seemed quaint. The chef was a jerk. I got in like a fight with the chef was so rude. Like here I am 42, right. Or 43 or something. And I was working at this place in Rogers park for like cash only under the table owned by these two young SIRS. They, whatever their business was working. But like the fucking chef was like talking shit about me. Like,2 (11m 23s):Is that a doughnut chef? No,4 (11m 28s):I should have said that. No, they also serve sandwiches. That's brilliant. That's brilliant. I was2 (11m 33s):Just thinking to myself, like, do you have to be a chef?4 (11m 36s):No, that's hilarious. But she was like, or they were, they were talking shit about me. And I was like, oh no, no, no. And I was basically volunteering there. I was so outraged. I was like This person that2 (11m 51s):To read an essay about that, you've got, write an essay about your donut shop stint.4 (11m 55s):Oh, I will. And I want to name names. They were fucking assholes. And also they, like, when I went to confront the PR, like I was like, I like when you walk behind someone you're supposed to stay behind. Right. But if you've never worked in the restaurant industry that does not come naturally. And also I'm really fast moving. So like I just met, she goes, you have to stay behind. And I was like, oh my God, I'm gonna fucking kill you. And then she would under her breath talk shit to me about to the other people. And so, and so I finally, you get them, you get them every time, this way. So I pulled the owner aside and I was really upset, like crying because she was treating me like shit. And I said, listen, what the fuck is this? And then the next, the person wanted to then that the owner was like, look, this lady is doing as a favor by working here basically because we have no one and she's working on under the table.4 (12m 42s):So then the, the, the person wanted to talk to me, the chef and I talked to her, I'm like what? She goes, I'm sorry. If I come off a little, I go, oh no, no, you don't come off. You are. And I said, I don't know what's happening here. I'm like, just try to do my job and go the fuck home and make my money to pay my cell phone bill, bitch. Like I wrote that and then I just quit. I was like, fuck all. Y'all. So, no, it sounds really quaint, which is why I fucking get those jobs. And then you get in there and you're like, oh, this is how on earth.2 (13m 11s):Oh God, I am sure it was, I4 (13m 15s):Don't do2 (13m 15s):It. Yeah, no, no, I won't. I will not do it. It just, it just periodically, it just occurred to me4 (13m 20s):Because there's a set skill set set of tasks that no one eat you ma I imagine that no one is like on their high horse. No, no. People are still on their fucking high horse in minimum wage jobs. There's a hierarchy of fucking assholes anywhere you've.2 (13m 37s):But then I did get to watch the third episode of the Kanye documentary and then, okay, well, I didn't finish it though. I'm only like 20 minutes into it. It's so sad. Right? It's going to go on. It's going to turn4 (13m 50s):It. It does. But in also in an unexpected way, what I will say, I think we should talk about the third episode next time. Okay.2 (13m 58s):But4 (13m 59s):The first two, for me, fucking amazing in the storytelling, whether, regardless of how I feel about Kanye west, which I don't feel any kind of way other than, I mean, I just, I I'm talking about the, since we're about to make a documentary, right? Like I'm looking at, I love the first two. I love cooties filmmaking. And the first two episodes, it then takes a turn on the third, but like the first two are so packed with information and visuals and, and storytelling.4 (14m 39s):Like, I loved it. You and you also get a S he such a great job of like showing a slice of time, you know, and, and, and all the characters in it and real life people we know and get glimpses of. And I just thought, and for me, the most moving part of it, I mean, I have real lot of feelings about Donda and Connie's relationship and Donda herself. I have a lot of diagnoses for both of them, but I'm not, you know, like, I feel like she's got bipolar. Like, I think there's a whole thing going on there, but what I found, I have never, I have never been so moved for, for the hustle and the perseverance of a human being and the just sort of neutral and unwavering.4 (15m 32s):We know it's not really true, but like they're like, but the unwavered, what I saw was an unwavering unshakable, almost naive belief in oneself.2 (15m 42s):This is what I wanted to talk to you about. This is what I wanted to run by you. Cause the, the connection between talking about that, me working on the documentary and, and this a, I agree with you, Cody is an amazing documentarian. And we could totally learn a lot from the way that he weaved his own personal story into that, his relationship with this, you know, mega personality. But yeah, you know, the scene where he's talking to a bunch of kids and he's, he's talking about self-compassion, I mean, he, he has a point, you know, what, what should you, you created an amazing piece of art and somebody compliments you on it and you you're supposed to pretend like you're dumb.2 (16m 29s):You all, you don't agree that it's, that it's amazing. You know, like there's something to be said for that. And there's something to be said for what you're just describing the unshakable confidence, but I want to hear what your thoughts are about their relationship.4 (16m 45s):It was interesting to watch the process of what I would call a simultaneous process of infantilizing him as well as idolizing him as well as parental defying him, as well as believing in him. It's a combo platter. And I believe from watching her and watching what I noticed in her mannerisms and his that I think they both had a mania thing going on, like in her eyeballs. So I have become really good at looking at people's eyeballs.4 (17m 26s):And I notice in the documentary, as it goes along when Kanye is manic, his voice goes up in pitch and his eyeballs looked different and she had this eyeball situation, which is this sort of darty, Desperate eyeballs. And I noticed it in my clients all the time and I'd be like, oh, they're manic, they're manic. It's not an, and it's like, hypomania, it's not for her. But like, I saw that in her. And I was like, oh, like, what's happening? Where am I going? What's happening? Who can I okay. And, and covered with a bit of like, you know, self-help, you can do it this and perseverance, but it's, it's all a combo platter, but that was my take.4 (18m 15s):What was on their relationship was like a, I need you, you need me, what's happening. I'm worried about you, but I'm going to then hope that by, by really pumping you up, that I'm going to pump up the mental illness away.2 (18m 31s):. Yeah. Well, I, I agree with what you say about the, their relationship, their dynamic, and it makes sense that yeah, maybe she had a touch of the bipolar too. What I was thinking about it is, and like I say, I haven't gotten through the third episode, but what I was thinking is it's so evident how meaningful their relationship was to both of them, but in this case for, for him and that he could just maybe spend the rest of his life, chasing that relationship, chasing a woman who will fall over him, the way that she did.2 (19m 14s):I mean, really what it seems like, what he needs is a person who kind of use it as their sole purpose in life to, to, to support his genius, which is why he probably makes a terrible partner, But that the, she gave him like this, like she was mainlining love to.4 (19m 35s):Yeah.2 (19m 37s):And you know, he's unlikely to find that any place else. Right,4 (19m 41s):Right.2 (19m 41s):But he's still looking, I think, Well,4 (19m 46s):And then it's really interesting. So like Cody gave up his whole life to, to follow him and it wasn't enough. Like it, it becomes not enough. And then when the person literally is removed by death, then what do you do is what we're seeing in the documentary. But like the it's, it's a it's, it's so fucked up because I, I feel like from watching from the outside, she must've felt like she was his only hope. Right. Which is which, okay. Which I'm sure is it's2 (20m 18s):Hard to me was her only hope.4 (20m 19s):No, she was, she's like, I'm my son's only advocate. Right? My old, his only hope for love and happiness comes from me ultimately. And whatever went down in his childhood, I have to make up for what other, all of them, with the other, all the mothers stuff happens. Right. I can imagine. And then it's like, yeah, it sets him up to be, like you said, chasing that the rest of his entire life. And she's not going to be around forever. And she did the best she could. And she did so much compared to what a lot of people do. And he's, it's just, it, you throw in mega stardom in there and it is a recipe for absolute meltdown.2 (21m 6s):It actually, it really relates to the thing we were talking about when we started talking today, which is about limits and limit setting. And I think I mentioned to you that I'm also reading this book about Sandy hook conspiracy and the straight line between Sandy hook conspiracy and the January 6th instruction. But in the part of the book where they're talking about Adam Lanza and his mother, I hadn't heard this before that, you know, he, he he'd been flagged in the psychiatric system, you know, going back since he was a young boy and I don't know why she opted out of treatment for him. But what I do know from this book is that what she strove to do was keep meeting his needs wherever they were.2 (21m 53s):But because he was so mentally ill, his needs were things like w w when he had his, the intake at Yale, the clinician noted that he said to his mother, you need to stand with no part of your body touching the wall and that she just did it. And that at home, it had gotten too, there were things he couldn't have cooking odors, curtains, door knobs.4 (22m 23s):Yeah.2 (22m 24s):And she just kept meeting the need. And this was something that I really relate to. Hopefully I have not going off the rails like that, but when your child is suffering and what they're telling you is I want this thing, the decision to say, I know better than you. You think you want this thing, but that is not the right thing for you and for that child to be screaming in your face or not. But, you know, with all of their energy, all of their conviction, they're coming to you saying no, this with my kids, it's the screens.2 (23m 4s):No, I need my screen time. And I'm going. Yeah. But you, you can't know what I know, which is that you, it's not good for you. It's simply not good. And it's just so hard to tolerate when your child is enraged or hurt by you4 (23m 22s):Suffering the suffering.2 (23m 24s):So nobody said any limits for Kanye, and he's now floating like a balloon in the ether, right?4 (23m 32s):Yeah. It's, it's really bad. He's now he's now has restraining orders. And now he's got the Grammy said he can't perform there. So now the limits are being imposed that are huge. And I don't know what's going to, and I also, from working in Hollywood, what I noticed was it is so easy when you have money and power yeah. To, to develop a team that will, will do what you're saying. That, that Adam Lanza's Mrs. Or miss Lanza did. It's so easy to have that bought and built in.2 (24m 15s):And I will tell you this, my, one of my very most successful treatments that I did when I was at private practice therapist is I treated somebody with very, very severe borderline personality disorder. And it was a kind of situation where the client would quit all of the time, you know, quit, quit therapy. And then, and then you would do this dance of like, they, you know, they don't really mean it. So you don't, you don't give up their appointment time because they're going to show up. Sometimes they're going to show up and act like nothing happened. Like they never said they were going to quit. So with this one person that I've been working with for a really long time, and we had a good relationship, which, which is to say yes, she was very, very sick.2 (25m 4s):And she was very, very difficult, but also she had so many great qualities that it kept me. Like, it kept me really invested in her, but the 50th time or whatever it was that she quit after I, she was also in this group that I was running and she like got violent Sharna in the group and left and whatever. Anyway, this time around, when she quit treatment, I said, okay, we're done now. And then she showed up for her next appointment. And I said, no, we're, we're done now. And that precipitated a year long hospitalization for her, but this person is now doing amazing, honestly.2 (25m 49s):And I knew in her family dynamic, her parents were afraid to set limits with that because she was a very, very strong personality, but it was only through the limit setting anything. It had to go all the way to the end, right. For her and, and to, to reject and decry and be victimized and blah, blah, blah, for then her to like follow her dream College. She, she, I can't say what it is obviously, but she has a job that was the job of her dreams and that she learned, she only discovered was the job of her dreams in treatment and that she could have only gotten to do after having really had to contend with actually living with the limit.0 (26m 42s):Well,3 (26m 55s):Today on the podcast, we are talking to Josh . Josh is graduating this year with his MFA in directing from Cal arts. And he formerly had a whole career in Chicago as artistic director of the Haven in Chicago. And he has a lot of interesting insights about his experience of being in school again, after having well launched into his career. So please enjoy our conversation with Josh Sobel.2 (27m 36s):So Josh was just explaining the Cal arts is, I was saying, is it a conservatory? And he was saying, it's an art school in the truest sense. So go ahead and repeat what you're saying.6 (27m 44s):Yeah. So like Travis, who's an alum of like Yale back from the Robert Brustein days of Yale. He he's like, look, Yale school of drama is always considered like, Ooh, Yale school of drama, but he's like, if you think about it within the larger Yale structure, you've also got like the business school and like, you've got the journal, you've got the medical school, you've got all these things. So like within the theater universe, it's huge, but within the structure of the university, it Yale, you know, and so the beauty of Cal arts in a way is that it exists outside of that larger sort of academic structure. It isn't part of a university. It is an art school with a theater department.6 (28m 27s):And there's something that, that is really freeing honestly about that. And the Cal arts in particular sort of leaned into in terms of its sort of generative and, and experimental sort of Ben it's, it's been an interesting experience. Yeah, please.2 (28m 45s):Gina Bridget went there. Yes. Yeah. That's what I'm saying. I think she's the another co Cal arts alum we have.6 (28m 51s):Well, and it's funny, cause you mentioned they were an acting alum and the acting program I have to say is in particular fascinating and unique. And I love it because unlike a lot of programs I've encountered and I've like taught in academia a little bit before I went in, before I started as a student in it, it's like very few programs encouraged teach and want their actors to be generative artists in their own. Right. And bring that to the table in the room. And honestly, as a director, I'm like, it's a gift. It is such a goddamn gift in terms of the collaborative process. Like I, I can sometimes when I'm hitting my own moment, like really feel comfortable being like, I need like a physical gesture representing a panic attack in slow motion that moves across the stage this way, take third, take 30 minutes.6 (29m 44s):Here's some music and an object.4 (29m 46s):Oh God, that sounds like the greatest thing I've ever heard.6 (29m 51s):I did something similar with a particular actor in my thesis show thesis show, quote unquote. And like she killed it. Oh my God. Avalon Greenberg call. She's about to graduate from the BFA program and she's, or a couple of years. And she's incredible. But like she ran with it and these actors are sort of prepared to take that and like, just make shit and be like, is this what it is? What does it need? And then I can sit there and like sculpt, we can then like work together to be like, Ooh, let's expand that moment out. Let's tighten that bit. And we're then working collaboratively on this other thing.4 (30m 25s):So amazing Josh, like, like I, I, I do this every time we talked to someone that I really like, and I like their vibe and I like how they're talking about their education. I'm like, oh, I'm going to apply there. And then I remember that I did apply to Cal arts for undergrad and I got a call back, which was like the greatest thing, because I was a terrible actor. And I like in the truest sense, like what you're talking about, I would have been like, so, so I am, so I am so glad to talk to you because I, when you say things like that, about how you direct as well, and I'm not a director, Gina directs, I don't direct, but like I want to work with someone who says shit like that.6 (31m 7s):Well, I, I really, I don't know. It's funny. I, you know, outside of like grad school, when I was in undergrad, I went to undergrad at Oberlin college, which is really sort of a diamond in the rough school for theater. It's like, and it's a lot of OBS do well out there. And it's weird because it's like, it's not known, but it's really good. But while I was there, I also did a semester at the O'Neill and I don't know if you're familiar, the national theater Institute. Yeah. So I, I did fall 2007 and like, I really lucked out my partner and I were a year apart actually, before we ever met weird small world, but we both walked out because we've got there right at the time as this particular artistic director was there, Michael Cadman, who was a, an alum himself of the Royal Shakespeare company.6 (31m 52s):And like he understood ensemble. It's funny. Cause I always like, what am I, I love Chicago and I miss Chicago so much, but one of my like little gripes with Chicago is that the word ensemble gets thrown out a4 (32m 6s):Lot.6 (32m 7s):And I, I have a very particular opinion about that because it's like, I think ensemble sometimes it's just meant to mean or thought to mean like a collection of actors, you know, or the company members, you know, the, the Steppenwolf ensemble or the straw dog or whatever. And I'm like ensemble is a value. I think ensemble is, is some it's about how one sits in the middle of a collaborative process. It's about how the threads are drawn. Not even just in the actors, it's about the threads are drawn outside to stage management, to producing, to designers, to everything. Like, and we're all coming together to sort of generate something together, right?6 (32m 49s):Like that's ensemble and Michael understood more than anyone I've ever met in my life. Like how to nurture, how to build, how to find the ensemble impulse in people. And he would just build semesters of the young students and sort of demonstrate that for for four months. And yeah, that's sort of been a foundational thing from that point forward. So I'm, I'm always ready to like chill for the O'Neil. Like, I love the, I love being,2 (33m 16s):Yeah. I actually live kind of near there. I live in Connecticut. Yeah. Oh, that's6 (33m 21s):Brilliant.2 (33m 21s):So you just made me think about something. Has any group of theater artists ever called the ensemble? Also the, the whole entire staff, like everybody on crew, because it is such a group effort. And we as act, this is one of the big things about, you know, going through an acting program, you just, and maybe it was just me, but you just think like, it's all about this. It's all about the actors and you just think everybody else is there supporting what you're doing.4 (33m 55s):Well,6 (33m 56s):It treats it like a technical term, right? It's like, it's a category. And rather than like, no, it's actually about an energy. It's about a trust. It's about something else. And I will say to answer your question like that w when I was a strong dog ensemble member, that that was one of the things I loved most about being on the straw dog ensemble was you had designers, you had managers, you had people like from every aspect of the creative process, sort of understood as part of the ensemble. It was all framed that way.4 (34m 24s):It's interesting. Like, I feel like what happens maybe is like, so take Steppenwolf because everyone talks about Steppenwolf as the original ensemble, which really you're right. A side note tends to mean in Chicago. And I can say this because I'm from there means that nobody is prettier or more famous than, than other actors. Like, that's what they mean by ensemble. Like that's how people talk about that. They're like, no, this is an ensemble piece. Meaning that even though you're really pretty, you're not going to be the star, like to someone, they never say that to me. You know what I mean? Okay. But anyway, side note, but ensembles. So when it's interesting, because it's like when a theater gets bigger, meaning a broader audience, more money, I feel like there becomes a really strong, clear delineation between technical staff and the actors.4 (35m 15s):And it comes, becomes compartmentalized probably because they have to run a freaking business with a multimillion dollar budget as we're like straw, dog. Like you can kind of stay it's like that storefront. It kind of, you can really get in there, which is how stepping will start it. So I think what we're talking about is the capitalization of the,6 (35m 33s):Oh, always, I mean, honestly, always all the time,4 (35m 37s):But yeah, but I'm, I'm curious about she and Gina, did you say2 (35m 42s):I did and I'm so sorry. I forgot to say Josh Sobell congratulations. Your surviving theater school. You're almost done4 (35m 49s):Art school theater school, you know, it's all the thing, but yeah. So I wanted to ask, I guess, take it back before I get on the runaway train of like, did you start out as a direct, like where you would act what's what was your path to the school of Cal arts? I guess6 (36m 7s):I've, I've been a director most of the time. I of course did a little bit of actually got rather late. Like I'm not one of those people who was like really involved in a lot of things when I was really, really little, but I had sort of a formative experience in high school as an audience member. My school was really remarkable. I, I unfortunately should catch up with them and see what they're doing in their theater department. But at the time, like we were a high school that was doing like Ian ESCO and Tom Stoppard and shit. Like, it was pretty cool. I assistant directed rhinoceros my senior year of high school, like Steve Rochester, New York, right in high school, shout out to Steve angle, Mr. Angle.6 (36m 47s):He was incredible. He also was the AP lit teacher and ran an incredible AP lit class. Like, oh my God, we, we read and watched just incredible stuff. And so actually his show, but he was one of the other directors there did chorus line and they did like an unedited chorus line in high school, which I also very much admired. And Paul's monologue hit me like eight when I don't know how familiar you are with, with the show. But like, you know, it's a classic Broadway, 1970s. It was sort of groundbreaking at the time because it was all real interviews of people who were all fighting chorus.6 (37m 27s):Of course, Paul Paul's monologue when he sort of finally breaks down and tells the story about his, his parents meeting him at the drag show in the back of, I lost it. Like I was a weeping mess. I don't know. And I had not had that particular experience before. And I walked out, I remember going home nerdy, like misfit fucking high school student hadn't found themselves yet and was like, I feel different. I don't know how I don't, I can't quantify it, but I feel like I am moving through the world differently than I was before I had that experience.6 (38m 8s):Wow. I want to do that. And that was, that was the moment. And so I started auditioning a little bit, but I always got interested in directing because I, it was the idea of like creating that holistic experience for an audience member, the way it was created for me. And so we also had, I think it was like an official partnership, like you could license with the 24 hour plays in New York. So my high did the 24 hour plays every year. And so I would stay overnight at the fucking school and, and do and direct. And that was sort of my first directing configuration. I was terrible. God. And my first few shows like first few shows at Oberlin were terrible.6 (38m 55s):Why, why? Oh my God, too, in my own head, I'm still too in my own head. It's the main thing I'm working on. I'm a very cerebral artist and that's not necessarily a bad thing. I just am seeking balance. That's part of the reason I went to Cal arts and Kellogg's was actually really the right choice for that in a lot of reasons to sort of break down some of my more cerebral and rigid habits. But I just didn't like, I, I was in my own way. It was that classic. Like it, my insecurity, I was second guessing. I was, it was actually Michael Cadman. It was the O'Neil. That was the turning point of that as well. So like I, anyways, I went through high school, got into it, went to Oberlin, was sort of jumping between theater and film got focused in theater because I liked the linearity of the process.6 (39m 40s):It just fit my brain better. You can really build the Dominos in order and watch them fall. And I love that from a process standpoint, joy. And so I went to the O'Neill and I was still like, I was overthinking and I was over like complicating and convoluting and Michael Cadman who I'm the final day of the program. I was like, you asshole, you couldn't have said this to me like weeks ago. I'm the final day of the program was like, you're very, very smart stop trying so hard to prove it.7 (40m 19s):Ah,6 (40m 20s):And that was, that was another game changing moment for me. And I, I started sort of stepping back and letting myself have more fun with it and just found myself sort of like what were my passion projects? What were the things that made me feel the way I did it, chorus line in a way. And my first show back in undergrad was a cabaret. And that was, that was a really huge, huge show for me. And I was very proud of that show and still have, like, I watched the video sometimes I was like, oh God, those transitions fucking suck. But, but yeah, directing, directing has always been sort of my thing because of that idea of like, I get to sort of, I don't know.6 (41m 4s):I, I, it's funny because so many people think about directing in this very hierarchical standpoint, right? Like they like the sort of like top-down, they get to sit at the head of the thing and create their vision. I challenged that constantly. And it's funny because people think by challenging that you give up the sort of directorial authority I call bullshit. I I'm interested in what I like to refer to as horizontal hierarchy. I say, I refer to it. I didn't invent the phrase, but like I've sort of taken it and I really love applying it to collaboration. I like the idea that as the director, I'm sort of sitting in the middle, I'm the same plane as everyone else surrounded by all of these brilliant fucking artists.6 (41m 48s):And I get to be like, Ooh, yes, it's a bit of that. It's not quite that. Can we bring it over there? I, yes, let's bring that in and pulling all of it towards the middle. And I still get to, by virtue of being in the center of a doll, just make decisions I get to make, be the arbiter of the quote, unquote vision or whatever you want to call it. But it's not that it breaks down the hierarchy in a way I'm not above anyone else that doesn't have to be my idea. It has to be the coolest idea. And so by sitting in the middle of it, I just get to sort of help tie the threads together in a way that feels like the audience experience we're going for. Like, that's my job to God.4 (42m 30s):Interesting. So it's so, oh yes. And I'm so curious as to why more directors don't do a horror. Is that, is it just an ego thing? A horizontal.6 (42m 47s):Yeah. Yeah. I think there's a lot of fear. There's a lot of like, I'm not even going to call it insecurity. Cause I actually think that doesn't do it justice and I think it's too easily dismissible. I think it's fear. I think there's a lot of fear. I mean, if I'm really Frank, I'm confronting it in certain areas of my program right now.4 (43m 25s):Okay. Wait, so you're saying that I just want to reiterate for my own brain because this happens all the time in all organizations across the board. So I'm really, and we're like, we were talking about it yesterday sort of. So, so you, you, you, there is an atmosphere of like, we want to make change, right.6 (43m 43s):Faded a stated goal,4 (43m 46s):Right? Not an atmosphere. Okay. So a stated goal, which a lot of theaters that I am familiar with and institutions are making these statements right now that the statement on paper or on the web or wherever it is saying, we want to take your feedback and make change. And it usually revolves around the word change. Like we're open to change. And if we're always, if we're honest, nobody's fucking open to change. We fucking,6 (44m 14s):And that's what we're talking about. It's the same fear to me. It's the same fear that you find in directing. It's a fear of some, some kind of loss of authority. It's a fear of some kind of loss of control. It's the fear of, I don't know. And it's so funny, like all of the ways you encounter it, because then yeah, you go and you actually say, here's the thing. And like I did this recently and I got yelled at, I got, and again, I've been, I've been working in Chicago theater for a decade before this. I don't give a shit. I was an artistic director, right. Like I was artistic director of Haven, Chicago. I don't like, this is, I don't need your ego. So I think it was actually kind of fun.6 (44m 56s):I think whether it's directing, whether it's artistic directors and institutional leadership, whether it's corporate leadership, whether it's, it's all of this, it's, it's, it's a full each year that, that somehow you're going to lose your Control.4 (45m 10s):This is so classic in, in terms of, so Gina and I were both therapists for years and look, and obviously we were children of parents. So I would go to my mom and say, this is the exact same thing. I would go to her and say, Hey mom, you're pretty abusive verbally. And she would say, but I'm the best mom. I know how to be. And at least you're not being beaten. Like I was beaten. And I'm like, okay. Yes, true. That all that is true. I, and you're still abusive to me. You're hurting me and sh and whether or not you want to make changes. That's the thing.4 (45m 50s):So we, we are literally reenacting parent child relationships in every walk of life. Like this sounds like a conversation a kid might have with their father where the father is like, well, I provide, we we're great.6 (46m 8s):And it's not about perfection. Like, it's not about like everyone and just like, we're all human beings. Right? Like I, I never wanted to feel like, and that's sometimes my problem with like, like I'm, I'm as left to center as you can get in a lot of ways, but it's like my one problem with sometimes a lot of left wing stuff is w where it's like, I think there is a purism that sometimes get, gets into it. And it's like, no, like we're all fucking human beings, right? If we believe in the ability to change and restorative justice and all of these things, then we have to actually believe that people can improve and get better. But it's like, there needs to be that honest interest in improving and getting better. There needs to be that genuine interest in it. And it's like, it's one of the things I was really proud of that we built it at Haven in Chicago with4 (46m 47s):Such a great theater. Gina Pavan is amazing. We're going to be there in the summer. So maybe we'll check it.6 (46m 53s):Ian Martin, like it's so funny. Cause it was such a, it was also a gift to really be able to do a transition process with Ian, you know, cause we really tried to be in, I've been part of some really unintentional transition processes. So like there were a lot of reasons where I really felt like Ian was exactly like, not, it wasn't even about sustaining what Haven had been doing. It was about how do we build and evolve on what Haven had been doing. And so Ian was sort of perfect. And we built the structure that you don't see very often where I, he was, yeah, he was my art, my associate artistic director for half the final season. And then we switched and he became artistic director and I was his associate artistic director for the other half of the season.6 (47m 36s):So he could have the responsibility and be in the decision-making position, but have the institutional memory sort of right at hand. And then it's like, and then I step away. So like I bring that up because there was an intentionality that we tried to bring to, like, we're going to be a theater company, let's be a theater company. Like you mentioned the business. Like let's, let's try to be a business, but let's try to be a next generation business.2 (48m 2s):And by the way, statements statements are to change as you know, sex is to relationships. Like it's a good start, but like you have to do more6 (48m 12s):Exact than just exactly.4 (48m 13s):So I guess the question is, what is it for me for me anyway? What is it in you, Josh? That is the kind of person because what is it? And there's a reckoning, obviously that I talk about a lot in, in terms of American theater and theater in general and the movie industry, the reckoning that's coming or in is, is that part of your drive right now to do this? Or it sounds like you've always been this sort of way, but why the fight? What, what, what about the fight?6 (48m 43s):Yeah, I think, I think, I think it's got it. That's such an interesting question because it's making me think in a chicken egg way, like is my ethics and my politics, like in here, like I don't know, the weirdest thing just came to mind and I'm going to follow that impulse.4 (48m 58s):Great.6 (48m 59s):Do it. And forgive me if I get a little bit emotional right now, it's it's my dad. If I'm really being honest, my dad is actually, he's not in the arts, but he's very artistic. He's a cellist. He's a musician. His odd actually, if you go to the Dem theater in Chicago, where Haven is the space that Haven exists in is the Bookspan theater specifically, the Janet Bookspan theater. Janet Bookspan is my aunt, his sister who was a major opera director, vocal coach, teacher, performer, actor assisted how prince back in the day, like holy4 (49m 40s):Shit.6 (49m 41s):Yeah. So like, and I have it on my mom's side as well, but my mom actually is an artist. She's a painter, but my dad, my dad is a radiation oncologist. He's a cancer physician, but music and art has always been a very big part of his life. His family, my life, he actually sidebar. Cause this is just a fun thing. And I hope this gets included. Cause I love bragging about this. My dad talk about politics and, and art colliding and art ed creative ethics. My dad has always been a big fan of Dr. Seuss's the snitches, this exists. You can go online. It's amazing. I'm so inspired by this. He was part of the Rochester academy of medicine and they have this amazing old building that has a roof.6 (50m 23s):That was basically, it's like a mansion that was donated and it's got this that was built for chamber music. And he developed relationships with the Rochester Philharmonic re developed friendships with musicians and created basically a chamber trio to play at the Rochester academy of medicine. And through this met a composer as Spanish composer, living in Berlin, named the Lorenzo. Palomo, who's pretty bright. His music is pretty outstanding and ended up commissioning a piece of music for this trio. And one thing led to another. And we found out that since my dad was young, he had believed that Dr.6 (51m 6s):Seuss is the snitches one. It was one of the most impactful, universal and effective lessons about acceptance and like anti-racism that you could find. And it was always his dream to have a piece of music, Allah, Peter, and the Wolf that was composed to be performed in tandem with a narration of Dr. Seuss's the snitches. So you can license this now on music theater international, because he did it. He commissioned Lorenzo to compose a piece of music for Dr. Seuss's the snitches. And we also by hooker by crooked premiered at my Alma mater at Oberlin and has since played around the country actually.6 (51m 52s):And I believe internationally. And, and it was all because he wanted to spread the message. It was because he wanted to use art to create an anti-racist piece of art. And the other cool thing is through a connection with his niece who ran the department of cultural affairs in Miami Dade county. She had a connection to John Delancey, who you might know as Q from star Trek, the next generation who did the original narration, the premiere. And so actually it's all on YouTube. You can hear John Delancey doing the speeches. And so like that's an aspect of my dad right there.6 (52m 33s):Another aspect was that I'll never forget this story. He actually built, he in Clifton Springs, New York built the cancer center, finger lakes, radiation oncology, because there, you know, there was a large elderly in particular community out there if I recall. And so, you know, as people are getting later in life, you know, biology happens and access to cancer treatment was non-existent except like 45 minutes or more at least minimum drive out of the way, if not hours out of the way. And especially as you're getting older, that becomes less and less sustainable for radiation treatments, for chemo treatments for all of these things.6 (53m 15s):So he found funding and worked his ass off as I, in some of my youngest days and built this cancer center from the ground up. And there was a day that I remember very distinctly hearing this story where as we've all been in any doctor's office, they were just running like, you know, three, four hours behind and sorry, I get emotional tug this story. It's so funny because it's like, that's, that's my true north in a way. You know, he, he sent his technicians out. This was back in the day when like Rent-A-Center was still a thing and blockbuster and shit, and like went out to get like sent them out to get like a television, sent them out to get a bunch of movies, sent them out to get like a sandwich platter and just showed up and basically were like, Hey, we're sorry.6 (54m 11s):We're we know we're running behind. We just want you to know, we haven't forgotten that you're here. You know? And like when does that happen at a doctor's office? Like when has that ever actually happened? Right. That's my,2 (54m 27s):Not for nothing, but my dad sold x-ray equipment. I've met a lot of radiation oncologists, and it's very unusual. Like there tends to be kind of a personality type with people who go into radar and it, it's not that what you're describing. So your dad must be a really remarkable person,6 (54m 45s):But yeah, no. And so I think it was a values thing. If we really want to talk about it, it's a values thing. It's, it's, it's a sense of how can we make this better? Like how can we be people first? How can we like again, we talk about Haven, right? One of the things I used to say, and I, and I would try, I tried to work hard to embody was like, oh, sorry, this does plug into our original conversations to bring it back perfectly on topic. One of my first shows I did in Chicago, I did a production of a play called xylophone west by Alex who's becoming a leg. Yeah. Alex is great. He's he's rising really well.6 (55m 26s):And like, we, he was actually, when I was the associate director of the summer Oneal program, he was a playwriting student when I was associate director. And that was our first. So it's cool. Just like, as we've sort of grown together, it's been amazing. And we did a reading of it and I, we have very strong opinions, especially because of the O'Neil being sort of a hub of new play development about what new play development is. There's a lot of bad, new play development. There's a lot of bad talk-backs, there's, there's a lot. And really it comes down to the difference between responsive feedback versus prescriptive feedback and how to cultivate that and understanding the difference.6 (56m 6s):And these, this artistic director did not understand this. And well, similar to what we're talking about, we were like, Hey, can we structure the talk back this way? Can we, this would really help Alex, Alex would say, this would really help me, like understand my play better. And artistic director's response was, I'll never forget this. Just remember who's the employer and who's the employee.4 (56m 34s):Right, right,6 (56m 35s):Right,4 (56m 35s):Right.6 (56m 36s):Case in point to everything we're talking about. And so like, I, it's sort of, when I think about like the sort of challenge to, sorry, I completely lost my train of thought.4 (56m 49s):No, no. What we're talking about is no, no, it's fine. It's when we're talking about a lot of things.6 (56m 53s):So4 (56m 54s):That's okay. What we're talking about is like this whole idea of like that your mentor wasn't your mentor anymore and why people don't want to change and the message versus what is actually happening in.6 (57m 6s):Yeah. Yeah. I'm trying to remember why I specifically brought up xylophone west, but it was like this idea of, I don't know. I think about this, this, I owe my, my dad my values. Yeah. Value system. That's right. Thank you. I just needed to hear about, yeah. Yeah. It's a value system thing. It's like, that tells me what that person's value system is. Right. That tells me sort of the culture that they built. And for me as at Haven, sort of taking a note from my dad, right? Hey guys, that you're here. We see that you're here. The way I would phrase that as an artistic director was like, yes, you are our employees. Let's be like, it's not that, that isn't real. Like we are, you were signing a contract to work for us.6 (57m 49s):We have expectations based on their contract. You are also a guest in our home. And that is our responsibility. Like as leadership as a company, as an institution, as a director, like you are, you are a guest in our home. This is our home. We are responsible. Especially if we want to talk about mentorship in academia, some of us are paying $50,000 a year,4 (58m 14s):Right.6 (58m 15s):Be in your home. Like you have all of the control of this space. You can, you can make this, whatever you want it to be, and we're paying you to exist inside of it. And, and it becomes a question for me of how do you take that responsibility? Like what if, whether it's an academic responsibility of like, we are literally paying for the privilege of this, or in a professional standpoint where it's like, it's, it's a little bit in the reverse either way. It's like you are in the position of power. You are in the position where you can like build culture that I use, that I find that word comes up a lot. When I rant about this, which I rant about4 (58m 53s):Culture, building culture,6 (58m 54s):Building culture, whether it's academic, whether it's professional, like that's the responsibility. And if you don't take that as the responsibility it's so,4 (59m 3s):Okay. The, the, the other thing that I was going to say is you had a moment where, so I have these moments where I say to myself, usually not out loud, but you kind of almost said it out loud, but you didn't either. Which is I say, my mama did not come to this country as an and work her ass off for this shit. And your moment was, my dad did not build a fucking radiology oncology center and then get Rent-A-Center furniture and sandwiches for me to be doing this shit like that is that moment. Well, I think, well, that's what I heard there. Everyone has a line and a true north of like, wait, wait, my legacy is not going to be, this is not going to be not saying anything to you.6 (59m 47s):And legacy is, is something I think about sometimes, but it's like, it's not even about that per se. It's like, I see what it means to people. Right? And like, if, if we believe in our own bullshit, like, especially as artists, you know, because artists are, are at the forefront of talking a lot of shit about like empathy, right. About community, about humanity, about seeing each other about uplifting each other about making the world a better place. And it's like, well, that's all well and good. But like, are you like how? And it's not even just like, again, like there's so many ways to do it, but I think sometimes we take for granted the small ways of doing it.6 (1h 0m 29s):I think sometimes we take for granted the like, what if we just buy everyone dinner? What if we like make a concerted effort to pay people a little bit better? Like, what if we, what if we show our work in that? Like, what if we actually believe in the transparency that we add? Like so much, like we talk about transparency so much in our industry, like, or rather not in our industry, I should say like artists talk about transparency in the world, right? Like we want corporate transparency. We want more governmental transparency. What are some of the least transparent motherfuckers?2 (1h 1m 4s):Yeah. I feel like I know why that happens in theater too. It's because there's no money. So everybody goes into it with all of their, like very theoretical and ideological approaches. And when you get very cerebral, very theoretical, you forget about things like, oh yeah, people don't want to do 10 out of twelves anymore because it's, it's, it's too fatiguing. And it actually works against the thing that they're there to do, which is create a new each performance, like being able to offer something fresh each time. So it, it, that is actually an area in which it's helpful to think about theater as a business.2 (1h 1m 47s):Because if this, if you were running a seven 11 and you had an employee, you'd have to have a bathroom, like it's, you know, you just think about the pragmatic things more when you're thinking about it as a business.6 (1h 1m 57s):Right. And, and it's like, I, and for me, it's like a lot of these things are considered mutually exclusive for some, or they're treated as mutually exclusive, but like, you have to, it's like the business and the sort of like cultural, ethical side, somehow don't mix. And I just don't agree. I don't agree for a lot of reasons. I don't agree in part through the Haven experiment. You know, I it's like, look, we, we're still not making money. And we, we, I want to say we were very privileged to have particular financial support. I don't want to take that for granted that we were not starting in the same place as a lot of other people. And I, and I don't take that for granted. It's not a brag. It's like a, like the bootstrap Smith. Like I want to make sure that it's not like, you know, taken for granted, but it's also like, there's still this idea that people won't show up sometimes like that, like literally I've had other artistic directors talk to me about Haven work in Chicago being like, what are you sure there's an audience here.6 (1h 2m 53s):I'm like motherfuckers. We just sent like 15 people away at the door for Isaac Gomez, horror play. But no one else would produce like, like why, what are we it, and those decisions are made because of business, right? Because, because how are we going to sell it to Chris Jones? Because like, how are we going to, and I, I, we found time and time again, that there is an audience for this work that we were able to at times even make money on, like compared to what we, what our show to show budget work. We were able to make money back, like, and we were paying people, you know, it still stipends, you know, not what they're worth. I don't want to pretend we were ever able to pay people what they worth.6 (1h 3m 35s):But we were able to pay people, usually double the typical storefront stipend it's like, and, and still keep ourselves on a typical like budget that I was used to for other storefronts. So it's like, it's this question of like, why are these things treated as mutually exclusive on a bigger scale? Look at center theater group right now, an article just got written. I got to see slave play out here, which amazing production also Chicago, shout out. I got to see cause he's under studying. And I got to see him perform that night. Rashad hall. Brilliant, brilliant. And his2 (1h 4m 11s):Shot6 (1h 4m 11s):Is brilliant. Oh my God, his Phillip just broke my goddamn heart. Oh my God. He was so good. That's a show that is deeply controversial, deeply challenging queer by PAC sexual BDSM oriented, racist, racist, racist, or in terms of its its topic matter like racism in the United States. And historically, and today it's it's and they gave away like 5,000 or more like free and discounted tickets. And they still made money.2 (1h 4m 48s):Jeremy DOE he recently just put something up on social about this that he made. He made accessibility like the most important feature of his, you know, this play being produced and it worked and it worked better still made money on this scarcity model, which is, I mean, that's a lot of this just comes from the scarcity model, influencing how everybody feels. So constantly afraid of losing the one little sliver of the pie that they have that, you know, all they can think about is how to make that tiny little sliver. How to divvy it up instead of saying no, how can we get more pie people? We want more pie. We want to just keep getting our tiny little slivers we want, we, we want to add.2 (1h 5m 28s):So I'm mindful of the time because I know we're about 50 and we're going to be having to wrap up and I want to hear about it's your last semester and you're working on a project and you're going to have spring break next week. What is your, is it a thesis? Is that, is that,6 (1h 5m 43s):That, that was actually last semester. That last semester. Yeah. That's so that's done. I've I've kept myself a little bit busy. I don't know. I, I found myself strangely in spite of the pandemic lab, maybe because of the pandemic last year and now being back in in person and, and all of that. I just, and also I think because of like big was amazing and like my designers were incredible. The students here are unbelievable, but it was also because of some of the things I shared, like an exhausting process, excuse me. And so I sort of took a break and then got into the semester and for some reason just was like, I want to make shit. I want to be involved in making shit.6 (1h 6m 24s):I want to, I want to be involved in my own shit. I want to get involved in other people's shit. I just want to make shit. And so I'm like, I just finished up working on a collaboration with a doctoral student in the music school where we created a, I worked with a lighting designer and we worked collaboratively to create a light based sort of design journey, like a sort of light experience in conversation with the music called busking style in real time, as part of his doctoral thesis.2 (1h 6m 60s):Wait, you're saying it was busking like that the project was6 (1h 7m 4s):The, the style of, of calling the lighting. Was it wasn't like, it was sort of like, Yeah, it was a, yeah. So it was board op up in the booth watching and listening for particular moments. And the music was also highly improv. The reason is because the composition had moments of high improvisation. So there were moments where it was literally like just listening for certain things to shift the lighting responsibly to the music as it was happening. And it was just something I had never done before. So I'm like, let's try this out. And then I'm, I'm drama turking and assistant directing a play that an acting MFA student who's a dear, dear friend has written in his performing it.6 (1h 7m 48s):So I can be sort of the outside eye while she's on the inside of it. And then I might have another project cooking for right before graduation. I'm I'm figuring that out right now. And then I've also got things outside. I'm thrilled to say my partner is actually going to be going to USC for film school next year. So she and I are actually working collaboratively on a couple of things with another acting alum from, from Cal arts, actually a which I'll be able to share a little bit more, actually there's some stuff online with little like BTS stuff it's called goon and I'm actually really pumped about it. Yeah. I'm really, it's, it's, it's super fun, super quirky.6 (1h 8m 30s):We found a great cinematographer. Right. We shed who's just has an inspired eye. And so, yeah, just, I don't know, just finding myself in that moment of like, I think also out of frustration, maybe with Cal arts at times, like I just want to get with the students here and make some shifts. Let's just make some,2 (1h 8m 47s):I think your thing is you want to helm your own ship, always. You want to kind of be in charge of your own destiny and which is a very good, I mean, I see you're making a face about it, but I just, from my prime saying that's a very good quality to have. And it actually leads me to another question I was going to ask you, which is, are you, age-wise about there with your peers in this MFA6 (1h 9m 9s):And that's been interesting. Yeah. Older, older. Yeah. I'm in my mid thirties. And that has been a, an interesting difference of experience at times. Yeah.2 (1h 9m 19s):Yeah. Well, we've talked to a lot of MFA's who, because they were in their thirties, we're able to see the whole thing about school in a m

Forrest es sin lugar a dudas uno de los personajes más icónicos que ha tenido la suerte y el acierto de interpretar Tom Hanks, actor que a lo largo de toda su carrera nos ha robado el corazón ya fuera representando a un niño que se hace mayor mágicamente, un enfermo de VIH, un capitán de barco o un "tonto listo" como lo califican en esta película. No recuerdo cuando me encontré con esta cinta pero es de los claros ejemplos en lo que da igual en la ocasión que me la encuentre en televisión, no puedo evitar quedarme anclado al sofá y disfrutar como un niño de esta historia que en muchos momentos me recuerda a Big Fish. Una película que gracias a los visibles avances informáticos y de técnicas de proceso de imagen sigue sobreviviendo dignamente al paso de los tiempos y aún sorprendiéndonos por la inteligencia técnica que desarrollaron para mostrarnos un acabado impecable. Por eso, sin desplazarnos hasta la lejana Alabama, nos hemos reunido hoy un equipo formado por Pablo Lopez, Champi y el que escribe Domingo Dark Vinyl junto a la colaboración en diferido de Ignacio Zarranz e Isaac Gomez para reencontrarnos con esta piedra preciosa del cine contemporáneo. Accede a la Oferta Hogar Ilimitable Vodafone Tv que te comentamos en el programa a través de este enlace https://bit.ly/3Cin7fO Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

A very special episode joined by composer Spencer Channell and musician Isaac Gomez. These guys are fantastic. Be sure to check out Spencer's website (https://linktr.ee/spencerchannell) and Isaac's band New Modern (listen on Spotify)! Also, get a sneak peak behind Logan's new film "Deliverance", streaming soon. Follow us on our social media platforms! Spotify: https://open.spotify.com/show/5wMacG89qD2Yg6W9O82NX6?si=pA4BZLMuSgSAD65UVJLqOg Website: www.clubhousefilms.net Twitter: @FromClubhouse Facebook: www.facebook.com/ReviewsFromTheClubhouse Instagram: @reviewsfromtheclubhouse --- Support this podcast: https://anchor.fm/reviewsfromtheclubhouse/support

Ensemble member Karen Rodriguez joins Caroline Neff to speak about her path to becoming an actor, moving to Chicago and joining the Steppenwolf ensemble. The conversation ranges from Karen’s childhood growing up in Mexico, Indiana and Texas to her first Steppenwolf audition. Hear Karen reflect on if she sees herself as a role model and what it means to reach "bruja status." Interview begins at 4:40Karen Rodriguez is an acclaimed Chicago-based actor hailing from Matamoros, Tamaulipas, Mexico. A member of the esteemed Steppenwolf ensemble, productions there include: I Am Not Your Perfect Mexican Daughter, Dance Nation, La Ruta, The Doppelgänger, The Rembrandt. In Chicago, she starred in the critically-acclaimed solo show The Way She Spoke by Isaac Gomez. Other selected Chicago credits include Breach (Victory Gardens Theatre); The Displaced (Haven Theater); Hookman (Steep Theatre); Blue Skies Process (Goodman Theatre); good friday (Oracle Productions); Romeo and Juliet (Teatro Vista). Television credits include Chicago Fire and Chicago Justice. Ms. Rodriguez is a 2020 50 Players recipient, with NewCity Stage calling her “a force to be reckoned with” and a performer “on the cutting edge.” Up next: the remount of I Am Not Your Perfect Mexican Daughter and Seagull at Steppenwolf Theatre Company.You can find a transcript for this podcast here: https://www.steppenwolf.org/globalassets/half-hour-podcast/half-hour-ep8-transcript.pdfLearn more at steppenwolf.org. Want to get in touch? Emailhalfhour@steppenwolf.org.

Piensa en un fin de semana perfecto de 1987, el mío seria sin ninguna duda con Coca-Cola, palomitas, un buen puñado de chicles Boomer e ir al cine o bajar al videoclub para poder ver una peli de aventuras y ciencia ficción como El Chip Prodigioso. 1987 fue un año donde la competencia en torno a los estrenos fue salvaje, una inmensidad de actualmente grandes clásicos llenaban las salas de cines de espectadores fervientes de ser sorprendidos y de disfrutar de el aun en ebullición cine fantástico. El Chip Prodigioso llego a mi vida en formato Vhs ¡¡y que pedazo de carátula tenia!!, una película que aquel primer fin de semana la degusté a lo grande y el lunes estaba en clase comentándosela a mis colegas... Y es que la combinación humor, aventuras y ciencia ficción nunca falla y más cuando detrás del proyecto encontramos a grandes magos del cine como Spielberg, Joe Dante, Industrias Light & Magic, Jerry Goldsmith es difícil que algo falle. Lejos de ser la típica historia, el film nos muestra el proceso de auto superación de un auténtico hipocondríaco de manual, una transformación de oruga a mariposa bien contada y con un ritmo perfecto. Y por eso hoy nos hemos miniaturizado y metido en el cuerpo de Isaac Gomez para disfrutar del magnifico paisaje de sus amígdalas, entre otras cosas, y hablar largo un grupo de seres microscópicos formado por: Champi, Pablo Lopez, David Webb y el siempre escribiente Domingo Dark Vinyl. Que disfrutes de este nuevo viaje alucinante.

Piensa en un fin de semana perfecto de 1987, el mío seria sin ninguna duda con Coca-Cola, palomitas, un buen puñado de chicles Boomer e ir al cine o bajar al videoclub para poder ver una peli de aventuras y ciencia ficción como El Chip Prodigioso. 1987 fue un año donde la competencia en torno a los estrenos fue salvaje, una inmensidad de actualmente grandes clásicos llenaban las salas de cines de espectadores fervientes de ser sorprendidos y de disfrutar de el aun en ebullición cine fantástico. El Chip Prodigioso llego a mi vida en formato Vhs ¡¡y que pedazo de carátula tenia!!, una película que aquel primer fin de semana la degusté a lo grande y el lunes estaba en clase comentándosela a mis colegas... Y es que la combinación humor, aventuras y ciencia ficción nunca falla y más cuando detrás del proyecto encontramos a grandes magos del cine como Spielberg, Joe Dante, Industrias Light & Magic, Jerry Goldsmith es difícil que algo falle. Lejos de ser la típica historia, el film nos muestra el proceso de auto superación de un auténtico hipocondríaco de manual, una transformación de oruga a mariposa bien contada y con un ritmo perfecto. Y por eso hoy nos hemos miniaturizado y metido en el cuerpo de Isaac Gomez para disfrutar del magnifico paisaje de sus amígdalas, entre otras cosas, y hablar largo un grupo de seres microscópicos formado por: Champi, Pablo Lopez, David Webb y el siempre escribiente Domingo Dark Vinyl. Que disfrutes de este nuevo viaje alucinante.

Es bonito (y preocupante) ver como el paso de los años hace cambiar nuestros criterios de calidad, el gusto como concepto general en aspectos variopintos y centrándonos en el cine vemos como aquí también ocurre. Aquella película que en su día te apasionaba hoy no es tan potente, aquella otra que no entendías hoy la aprecias a otro nivel y te sientes identificado con ella. Cara a Cara fue uno de estos casos de películas que en su momento no aprecié como una gran película, es más, no me hacía mucha gracia. Acostumbrado a los grandes clásicos del cine de acción de los 80s y 90s, ver al histriónico Nicolas Cage y al bailongo John Travolta no me cuadraban en absoluto, por lo que en mi vida la película pasó con más pena que gloria hasta que decidí volver a verla y me encontré con esta alocada cinta de acción. Conceptos aún tan futuristas como el cambio de cara como el que se cambia de chaqueta quedan supeditados a toda una trama de traumas y confrontaciones sentimentales que enganchan nuestra atención durante todo el metraje de la cinta. Un elenco de personajes secundarios con un carisma arrollador, una música que empasta todos los acontecimientos de manera soberbia y sobretodo una enorme actuación de ambos protagonistas cumplen la misión de entretener, hacernos flipar, y divertir a la perfección. Por eso hoy nos hemos reunido en esta clínica de trasplantes de caras un elenco de colegas flipados por el cine d los 90 formado por Champi, Pablo Lopez, Isaac Gomez, David Webb y el siempre escribiente Domingo Dark VInyl para ponernos el rostro de David Hasselhoff y ya de paso comentar las bonanzas y problemas de este esencial clásico noventero.

Es bonito (y preocupante) ver como el paso de los años hace cambiar nuestros criterios de calidad, el gusto como concepto general en aspectos variopintos y centrándonos en el cine vemos como aquí también ocurre. Aquella película que en su día te apasionaba hoy no es tan potente, aquella otra que no entendías hoy la aprecias a otro nivel y te sientes identificado con ella. Cara a Cara fue uno de estos casos de películas que en su momento no aprecié como una gran película, es más, no me hacía mucha gracia. Acostumbrado a los grandes clásicos del cine de acción de los 80s y 90s, ver al histriónico Nicolas Cage y al bailongo John Travolta no me cuadraban en absoluto, por lo que en mi vida la película pasó con más pena que gloria hasta que decidí volver a verla y me encontré con esta alocada cinta de acción. Conceptos aún tan futuristas como el cambio de cara como el que se cambia de chaqueta quedan supeditados a toda una trama de traumas y confrontaciones sentimentales que enganchan nuestra atención durante todo el metraje de la cinta. Un elenco de personajes secundarios con un carisma arrollador, una música que empasta todos los acontecimientos de manera soberbia y sobretodo una enorme actuación de ambos protagonistas cumplen la misión de entretener, hacernos flipar, y divertir a la perfección. Por eso hoy nos hemos reunido en esta clínica de trasplantes de caras un elenco de colegas flipados por el cine d los 90 formado por Champi, Pablo Lopez, Isaac Gomez, David Webb y el siempre escribiente Domingo Dark VInyl para ponernos el rostro de David Hasselhoff y ya de paso comentar las bonanzas y problemas de este esencial clásico noventero.

¿Quién controla el mundo? ¿Estamos continuamente manipulados? ¿Somos realmente libres? Estas son las preguntas básicas que responde el film de John Carpenter del año 88. Una crítica al establishment de la época que bien podría trasladarse al momento actual, ya que el mundo poco ha cambiado en torno al poder que mueve el mundo. Este es tu dios se puede leer en uno de los billetes que nuestro héroe ve cuando se pone esas gafas que dejan ver como es realmente la sociedad en la que vivimos, una sociedad que nos trata como simples engranajes de un sistema creado por unos seres que no podrían ser calificados como humanos. Lejos de las connotaciones ideológicas de Carpenter, la película es una brillante alegoría sobre la actualidad que lleva viviendo y soportando la gente de la calle desde hace miles de años en diferentes manifestaciones, como a través de diferentes herramientas ya sea la religión, publicidad y la misma información supuestamente veraz que recibimos diariamente. Una película que pese a sus evidentes problemas de ritmo y construcción del guion es uno de los más acertados alegatos sociales que encontraras en algún film de terror/ciencia ficción. Por ello y por mucho más que escucharás en el transcurso de esta grabación nos hemos juntado un equipo de humanos que pueden ver formado por Pablo Lopez, Champi, David Webb, Isaac Gomez y el aquí siempre escribiente Domingo Dark Vinyl para decir que se encomienden a su Dios, por que ya estamos hasta las pelotas y estamos dispuestos a combatir con nuestro arma mas poderosa, el VHS.

¿Quién controla el mundo? ¿Estamos continuamente manipulados? ¿Somos realmente libres? Estas son las preguntas básicas que responde el film de John Carpenter del año 88. Una crítica al establishment de la época que bien podría trasladarse al momento actual, ya que el mundo poco ha cambiado en torno al poder que mueve el mundo. Este es tu dios se puede leer en uno de los billetes que nuestro héroe ve cuando se pone esas gafas que dejan ver como es realmente la sociedad en la que vivimos, una sociedad que nos trata como simples engranajes de un sistema creado por unos seres que no podrían ser calificados como humanos. Lejos de las connotaciones ideológicas de Carpenter, la película es una brillante alegoría sobre la actualidad que lleva viviendo y soportando la gente de la calle desde hace miles de años en diferentes manifestaciones, como a través de diferentes herramientas ya sea la religión, publicidad y la misma información supuestamente veraz que recibimos diariamente. Una película que pese a sus evidentes problemas de ritmo y construcción del guion es uno de los más acertados alegatos sociales que encontraras en algún film de terror/ciencia ficción. Por ello y por mucho más que escucharás en el transcurso de esta grabación nos hemos juntado un equipo de humanos que pueden ver formado por Pablo Lopez, Champi, David Webb, Isaac Gomez y el aquí siempre escribiente Domingo Dark Vinyl para decir que se encomienden a su Dios, por que ya estamos hasta las pelotas y estamos dispuestos a combatir con nuestro arma mas poderosa, el VHS.

Professor Brian Herrera (aka StinkyLulu) introduces the premise of this cycle of episodes as he offers his reflections, first, on the impact of the COVID-19 shutdown on the contemporary US theatre and, then, on the way she spoke, an audioplay by Isaac Gomez.

Las tres conchas, Simón dice, hamburguesa de carne de rata, el sexo virtual y multa por violación del estatuto de moralidad verbal son algunos de los elementos que llegan hasta mi memoria cuando pienso en Demolition Man, una de las cintas de acción futurista esenciales para entender el cine de los años 90 y una película que dada la actual situación en el mundo de pandemia y aislamiento entra como un tiro en cualquier noche palomitera. Sin más y para que podías tener cuanto antes una nueva dosis de Carne de Videoclub en estos días de encierro nos hemos juntado un grupo de delincuentes sacados de la criogenización gracias a la técnica de "al baño maría" formado por Champi, David Webb, Isaac Gomez y el siempre escribiente Domingo Dark Vinyl. Que lo disfrutes y no os olvidéis de usar las tres conchas

Las tres conchas, Simón dice, hamburguesa de carne de rata, el sexo virtual y multa por violación del estatuto de moralidad verbal son algunos de los elementos que llegan hasta mi memoria cuando pienso en Demolition Man, una de las cintas de acción futurista esenciales para entender el cine de los años 90 y una película que dada la actual situación en el mundo de pandemia y aislamiento entra como un tiro en cualquier noche palomitera. Sin más y para que podías tener cuanto antes una nueva dosis de Carne de Videoclub en estos días de encierro nos hemos juntado un grupo de delincuentes sacados de la criogenización gracias a la técnica de "al baño maría" formado por Champi, David Webb, Isaac Gomez y el siempre escribiente Domingo Dark Vinyl. Que lo disfrutes y no os olvidéis de usar las tres conchas

Alucine o Noche de Lobos fueron fuente inagotable de películas que han pasado a nuestro imaginario colectivo como grandes clásicos del cine de terror. En este caso, no es la típica película de "miedo" al uso, sino que encontrábamos una refrescante propuesta que combinaba los "sustos" con cierto grado de comedia y su pizca de acción. Temblores es sin duda una de las películas de mi adolescencia, no se el número de veces que llegué a verla en la época ya que se convirtió en una habitual en la programación de varios canales a causa del buen recibimiento en formato domestico y con ello su fama entre el fandom de estos eventos palomiteros que te rellenaban de lujo cualquier mediodía. Como los protagonistas de la cinta nos encontramos en un estado de excepción confinados en este momento concreto del tiempo con la pandemia del COVID-19, desde aquí queremos mandaros toda la energía y buenos augurios para esos días de encierro. Por eso desde los tejados de diferentes establecimientos de este pueblo perdido de la mano de dios un equipo de cazadores de Graboides formado por Pablo Lopez, David Webb, Isaac Gomez y el aquí siempre escribiente Domingo Dark Vinyl nos hemos juntado hablando a través de walkie talkies (de los que se transforman en robots además) para recordar este esencial en el cine de encierros y situaciones limite. Que los disfrutes.

Alucine o Noche de Lobos fueron fuente inagotable de películas que han pasado a nuestro imaginario colectivo como grandes clásicos del cine de terror. En este caso, no es la típica película de "miedo" al uso, sino que encontrábamos una refrescante propuesta que combinaba los "sustos" con cierto grado de comedia y su pizca de acción. Temblores es sin duda una de las películas de mi adolescencia, no se el número de veces que llegué a verla en la época ya que se convirtió en una habitual en la programación de varios canales a causa del buen recibimiento en formato domestico y con ello su fama entre el fandom de estos eventos palomiteros que te rellenaban de lujo cualquier mediodía. Como los protagonistas de la cinta nos encontramos en un estado de excepción confinados en este momento concreto del tiempo con la pandemia del COVID-19, desde aquí queremos mandaros toda la energía y buenos augurios para esos días de encierro. Por eso desde los tejados de diferentes establecimientos de este pueblo perdido de la mano de dios un equipo de cazadores de Graboides formado por Pablo Lopez, David Webb, Isaac Gomez y el aquí siempre escribiente Domingo Dark Vinyl nos hemos juntado hablando a través de walkie talkies (de los que se transforman en robots además) para recordar este esencial en el cine de encierros y situaciones limite. Que los disfrutes.

On this edition of The Arts Section, host Gary Zidek sits down with world renowned chef Rick Bayless for a conversation about the arts. The award-winning chef is huge fan of theatre and Frida Kahlo. Later in the program, Gary previews the Oscars with film critics Nick Allen and Lisa Trifone. What movie will win Best Picture? Gary also caught up with filmmaker Kitty Green to talk about her new film THE ASSISTANT. The movie offers a realistic look at the realities of workplace harassment. And the Dueling Critics, Kerry Reid and Jonathan Abarbanel, stop by to talk about the world premiere of Isaac Gomez's THE LEOPARD PLAY. All that plus, the weekly Arts Section calendar.

Jonathan Abarbanel, our first theatre critic guest, comes with great perspective not just as a theatre historian and scholar but also as an artist. He's been an actor, dramaturg, playwright, and producer, so he knows what it means and takes to bring work to the stage. He's the immediate past president of the American Theatre Critics Association. He's reviewed Chicago theatre for 50 years and continues as a great critic for the Windy City Times and Footlights magazine. He and Kerry Reid are the "Dueling Critics" on The Arts Section on WDCB public radio. This marvelous and nuanced conversation about Isaac Gomez's play, La Ruta, is a great example of their collaboration and a chance to hear some longer form criticism from two real pros. Frank tells us about his trip to the Dalmation Coast, including a visit to the "Museum of Broken Relationships" in Zagreb. Sounds like a must-see. Jonathan was an early member of the off-loop theatre movement and was part of exciting and important developments like working with Del Close on the Harold. He briefly worked as a copywriter and producer in advertising an came up with an iconic slogan "America spells cheese, K-R-A-F-T"! Another claim to fame was his appearance on the Antique Road Show with original artist boards of Winsor McCay's comic strip, "Little Nemo in Slumberland." Winsor invented animated cartoons with a character called "Gertie the Dinosaur". Jonathan was working summer stock and came across the boards in a barn. He offered to buy them from the property's owner who said just to take whatever he wanted...They were worth a lot of money when he went on the Road Show and are worth even more now. Picture here is one of the Little Nemo strips he owns, as it appeared in print in full color. Jonathan describes it as "a zoo on Mars and a Martian is showing Nemo and his gang around." We asked Jonathan about his philosophy of criticism and he responded that he does not believe in attack criticism. And since his review space in the Windy City Times is usually only about 450 words, he doesn't have space to show off his "style." He'd rather spend 10 words writing about a costume or sound design than trying to show off his wit. He is very direct. To Jonathan, every single word sounds. Especially when writing about new work. About 50% of the shows produced in Chicago are new work. He will generally approach the script first, rather than the production elements or acting. The question is, "Does it work?" He talks about how consistently excellent most of the performances in Chicago theatre are right now. Speaking of which, Gary, Frank, and Jonathan agree that the performances in Steppenwolf's production of the new play by Tina Landau and Tarell Alvin McCraney, Ms. Blakk for President, were just terrific! Jonathan quotes the famous New Yorker critic, John Lahr's book title, Astonish Me, Adventures in Contemporary Theatre about what he's looking for when he walks into a theater. "Make me walk out full of the wonder of your production." He looks for that show that "just hits him in the guts." Sometimes he just "puts his pen down and lets it happen to him."    

We are thrilled to be part of the launch of the "Year of Chicago Theatre", helmed by the Department of Cultural Affairs & Special Events (DCASE) Commisioner, Mark Kelly. Mark at the Chicago Jazz Festival Mark joined us to talk about this first-ever City initiative that is "calling on the world to recognize the power of Chicago Theatre." Partnering with the League of Chicago Theatres and all of the individual theatres, the goal is: "to be a Chicagoan, you are welcome into a Chicago Theatre." From the City's press release: "To truly fall in love with Chicago, you must go to our theaters. This is where the city bares its fearless soul. From joy to heartache and every feeling in between, Chicago theatre tells stories that evoke big emotions. Stories that take risks, inspire awe, ask tough questions – and dare audiences to do the same. Through Broadway musicals or storefront plays and improv, the energy of the city comes alive in our theaters. And with a diverse collection of over 250 dynamic theaters throughout our neighborhoods, there’s always a seat waiting for you...The Year of Chicago Theatre will also encourage dialog within Chicago’s theatre and philanthropic communities around inclusion and equity issues – and will seek to expand the geographic scope of Chicago theatre, especially on the city’s south and west sides." Sandra Marquez - photo credit Joe Mazza We also welcome to the show an important member of the theatre community, actress and director Sandra Marquez. Most recently we saw her brilliant direction of Isaac Gomez's play, "La Ruta" (episode 89) and her wonderful performance in Jen Silverman's "The Roommate" with Ora Jones. Marquez is a longtime member of Teatro Vista, the only equity Latino theatre company in the midwest. She has also been a member of the Steppenwolf Theatre ensemble since 2016. She is on the faculty at Northwestern University, teaching acting and voice. She is in rehearsal to play Nora in Steppenwolf's production of "A Doll's House, Part 2". Previews start Jan. 31. Can't wait to see her in this. Hear Sandra and Mark's takes on what makes theatre here so special. "We are doing new work all the time, everyone supporting and pushing each other to do gutsy and innovative work...We have more world premieres than anywhere else." Chicago Theatre Week is coming up from Feb. 7 - 17, with theatres of all sizes offering tickets from $15 to $30. Click on this link for a complete schedule of some really great shows. Learn about Mark's fascinating job at DCASE, which presents theatre, music, art, and other mostly free cultural events to 28 million people annually and awards grants across a wide spectrum of the arts. One of his goals is to encourage more support for the vitality of Chicago arts organizations, financially and otherwise. Hear some fascinating stories about Mark and Sandra's backgrounds and other interests. As in Mark is a drummer and Sandra once tried to join a convent. And you don't want to miss Mark's story about pretending to be a celebrity so he could sit in the actual Booth One at the Pump Room back in the day. Kiss of Death: Marc Hauser World-renowned photographer Marc Hauser was a friend and a guest on our show. Read about him in Mark Brown's excellent obituary for the Chicago Sun-Times, which surprisingly quotes Marc's Booth One interview. He was a remarkable talent and character. We will all miss him. Here is a link to our interview with him. If you check out the show notes, you will see several of his iconic images. The photo above is Marc with Gary and Roscoe in his studio.

Isaac Gomez grew up on the U.S.-Mexico border, across from El Paso Texas in Ciudad Juarez. For years, it was called the most dangerous city in the world. And while some of the drug cartel-linked violence has eased, hundreds upon hundreds of young women have been murdered or disappeared since the 1990’s. La Ruta, a new play at Steppenwolf Theater, tells the stories of some of the missing, and those who continue to seek answers.

The world premiere of “La Ruta” at the Steppenwolf Theater, Chicago by playwright Isaac Gomez who has figuratively commandeered a bus transporting “maquila” workers to and from their jobs in Juarez, then pointed its headlights into the vast darkness exposing the despair and anguish of the mothers and sisters of hundreds of young women kidnapped, used as sex slaves, murdered and disposed of in the Mexican desert.

Rising stars Isaac Gomez & Karen Rodriguez join us in the Booth to talk about the rehearsal process for their world premiere production of Isaac's play, La Ruta, at Steppenwolf Theatre. Previews begin December 13 and the show runs through January 27. We are going to press opening on December 20 and cannot wait! This amazing project features a number of Steppenwolf debuts: It is Isaac's as a playwright, ensemble member Sandra Marquez's as a director, and Karen's as a new ensemble member! Director Sandra Marquez with Karen Rodriguez Isaac tells us that the play is "about a community of women who are living in the wake of unspeakable loss...About how resiliance takes form in various capacities and directions for each of them." La Ruta is a bus that takes women to the U.S. owned factories in Ciudad Juarez. Along this route, many women have disappeared, been attacked, and murdered. Steppenwolf Poster The eight Latina actresses in this play all represent real women Isaac has interviewed. As he describes it, "I made a promise to these women that their stories would be heard by as many people as humanly possible, and through this world premiere at Steppenwolf, we are one step closer to keeping that promise -- to bear witness and carry their stories forward. As a queer Mexicano from the border, I owe my entire existence to Mexican women. This play is for them. Para todas. Para siempre.” Gomez grew up in the border town of El Paso and Ciudad Juarez. Though he lived on the El Paso side, much of his extended family lived and still lives in Juarez. He visited Mexico every weekend. He was brought up by two "superheroes, who gave all of themselves when they had nothing to begin with." Gomez's motivation to write plays is to never forget. He wants to never forget the things that happen to him each day, the callouses on his father's hands when he would cook fajitas, the stories of the women he met in Juarez...  Karen Rodriguez is also from a Mexican border town, Matamoros, Tamaulipas, which is directly across the border from Brownsville, Texas. Her family moved for a time to Kokomo, Indiana because of her father's job. She spoke no English at that time. They moved back to Mexico and she applied to the University of Texas, Austin to major in marketing and business. She got interested in theatre and decided to double major. She met Isaac in a theatre class and they became best friends. Together, they moved to Chicago 5 years ago. Karen inspires Isaac's writing in many ways, both as a person and an actress. Gomez talks about her "willingness to go there, to explore unapologetically, unsure of the result." Isaac's plays inspire her work too. They "bring out the best in each other." You will hear the chemistry of their amazing collaboration in this interview. Kiss of Death: Kitty O'Neil Hear about the fascinating life of stuntwoman extraordinaire, Kitty O'Neil. She was absolutely fearless. And what makes her daredevil feats even more impressive, she was deaf. What a story!

The playwright talks about growing up the border and his play 'La Ruta,' currently running at Steppenwolf Theatre.

Según van pasando los programas voy marcando poco a poco las películas que me marcaron la infancia y la adolescencia, BrainScan es una de ellas sin ninguna duda. En aquellos años estaba totalmente loco con Terminator dos y por ende con Edward Furlong, ese John Connor genuino que nunca volvió a encarnar por desgracia, y la llegada de esta cinta en la que se aunaba su presencia junto a los iconos y atmósfera del cine de terror me encandilo desde el primer instante. A esto hay que sumar que en mis primeros viente años de vida los videojuego y arcades me obsesionaban de manera crucial por lo que esta aventura en la que un juego de ordenador podía fundir la realidad con la ficción se me antojaba una maravillosa locura. El ambiente de la cinta es inmejorable, música, iluminación, la decoración de la habitación de Michael todo se confabula para sumergidos en un ambiente entre onírico y terrorífico durante el metraje de la misma. Realmente el paso de los años ha desenmascarado ciertos fallos y la tecnología infográfica también vive mejores décadas pero pese a ello sigue siendo una entrañable experiencia el revisionarla con un buen cargamento de palomitas y cocacola. Sin más que como siempre lo interesante es el contenido de la grabación os presento a los integrantes del club del Horror de Albacete: Pablo Lopez, Champi, David Webb, Isaac Gomez y el aquí siempre escribiente Domingo Dark Vinyl, junto a nosotros preparate para vivir la experiencia terrórifica más apasionante de tu vida. Conectamos. Igor Marca el 1-800-555-Carnedevideoclub

Según van pasando los programas voy marcando poco a poco las películas que me marcaron la infancia y la adolescencia, BrainScan es una de ellas sin ninguna duda. En aquellos años estaba totalmente loco con Terminator dos y por ende con Edward Furlong, ese John Connor genuino que nunca volvió a encarnar por desgracia, y la llegada de esta cinta en la que se aunaba su presencia junto a los iconos y atmósfera del cine de terror me encandilo desde el primer instante. A esto hay que sumar que en mis primeros viente años de vida los videojuego y arcades me obsesionaban de manera crucial por lo que esta aventura en la que un juego de ordenador podía fundir la realidad con la ficción se me antojaba una maravillosa locura. El ambiente de la cinta es inmejorable, música, iluminación, la decoración de la habitación de Michael todo se confabula para sumergidos en un ambiente entre onírico y terrorífico durante el metraje de la misma. Realmente el paso de los años ha desenmascarado ciertos fallos y la tecnología infográfica también vive mejores décadas pero pese a ello sigue siendo una entrañable experiencia el revisionarla con un buen cargamento de palomitas y cocacola. Sin más que como siempre lo interesante es el contenido de la grabación os presento a los integrantes del club del Horror de Albacete: Pablo Lopez, Champi, David Webb, Isaac Gomez y el aquí siempre escribiente Domingo Dark Vinyl, junto a nosotros preparate para vivir la experiencia terrórifica más apasionante de tu vida. Conectamos. Igor Marca el 1-800-555-Carnedevideoclub

Hace 6 años publicamos el primer episodio de esta aventura llamada Carne de Videoclub desde la que hemos ido abriendo nuestro corazón y nuestros recuerdos a vosotros. Cien programas oficiales pero realmente más de ciento treinta en nuestros archivos donde cine, melancolía, risas, cervezas y sobre todo ganas de pasarlo bien se aúnan sin intentar sentar cátedra en cada programa, por que como digo al principio de algunos programas: esto no es para sacar un master. David Webb, Isaac Gomez, Pablo Lopez, Champi, Angel Codón, Juan Sanchez, Roberto Garcia y yo mismo Domingo Dark Vinyl hemos sido las diferentes voces que de manera oficial han formado parte del plantel de integrantes de este podcast, de esta reunión donde una infinidad de amigos han ido pasando de manera física tales como: Jaime Sánchez, Blaya Balboa, Victor Cronenberg, Silvia la perra verde, Arturo González Campos, Ángel Sanchidrián, El Monaguillo, Antonio Clemente "El minicrítico", Antonio Solana, CJ Navas, Jorge Navas, Don Carlos, Eu Caricato, Paco Fox, Victor Olid, Miki Edge, Jaime Angulo, Nacho Cerdá, Agus, Jum, Jordi "Sinaudiencia", Barbi Harana, Antonio Runa, Carlos Pacheco, Ryan, Alberto y Sergio de AnsiaViva, Guille, Manuel Ferri, Toni Cebrian, Gosman, Javi Sánchez, Antonio Carrión, Chechu, Miguel Skywalker, Vence Sanchez, Marga, Jordy (Dame post y dime friki), Javi Albanime, Moli, Sergius Maximus, Pedro, Juanjo, Jordi (Telegram), Jose Moreno, Paco Collado, Ignacio, Logaran, Sherezade, Marta Albatoy, Joaquín Relaño Gómez, Álvaro Pita, Joseba Cómico, Noemí Risco, Isi y Fran Rosonmaria, para dar cuerpo a una inmensa cantidad de horas de ilusión por el mundo del celuloide. Solo puedo dar las gracias por todos y cada uno de los mensajes, audiocorreos, cartas y demás muestras de cariño que durante todo estos años nos habéis regalado y que nos han llegado hasta el corazón. Y solo puedo prometeros que intentaremos seguir aquí por mucho tiempo... Gracias por estar ahí de parte de todo el equipo. Domingo Dark Vinyl.

Hace 6 años publicamos el primer episodio de esta aventura llamada Carne de Videoclub desde la que hemos ido abriendo nuestro corazón y nuestros recuerdos a vosotros. Cien programas oficiales pero realmente más de ciento treinta en nuestros archivos donde cine, melancolía, risas, cervezas y sobre todo ganas de pasarlo bien se aúnan sin intentar sentar cátedra en cada programa, por que como digo al principio de algunos programas: esto no es para sacar un master. David Webb, Isaac Gomez, Pablo Lopez, Champi, Angel Codón, Juan Sanchez, Roberto Garcia y yo mismo Domingo Dark Vinyl hemos sido las diferentes voces que de manera oficial han formado parte del plantel de integrantes de este podcast, de esta reunión donde una infinidad de amigos han ido pasando de manera física tales como: Jaime Sánchez, Blaya Balboa, Victor Cronenberg, Silvia la perra verde, Arturo González Campos, Ángel Sanchidrián, El Monaguillo, Antonio Clemente "El minicrítico", Antonio Solana, CJ Navas, Jorge Navas, Don Carlos, Eu Caricato, Paco Fox, Victor Olid, Miki Edge, Jaime Angulo, Nacho Cerdá, Agus, Jum, Jordi "Sinaudiencia", Barbi Harana, Antonio Runa, Carlos Pacheco, Ryan, Alberto y Sergio de AnsiaViva, Guille, Manuel Ferri, Toni Cebrian, Gosman, Javi Sánchez, Antonio Carrión, Chechu, Miguel Skywalker, Vence Sanchez, Marga, Jordy (Dame post y dime friki), Javi Albanime, Moli, Sergius Maximus, Pedro, Juanjo, Jordi (Telegram), Jose Moreno, Paco Collado, Ignacio, Logaran, Sherezade, Marta Albatoy, Joaquín Relaño Gómez, Álvaro Pita, Joseba Cómico, Noemí Risco, Isi y Fran Rosonmaria, para dar cuerpo a una inmensa cantidad de horas de ilusión por el mundo del celuloide. Solo puedo dar las gracias por todos y cada uno de los mensajes, audiocorreos, cartas y demás muestras de cariño que durante todo estos años nos habéis regalado y que nos han llegado hasta el corazón. Y solo puedo prometeros que intentaremos seguir aquí por mucho tiempo... Gracias por estar ahí de parte de todo el equipo. Domingo Dark Vinyl.

Playwright Isaac Gomez joins hosts Landree Fleming and Drew Johnson to discuss the development of his new play "Perkup Elkhorn."

Los años están pasando a una velocidad endiablada y parece que fue ayer cuando el par de zanguangos estos se subieron al autobús para esta trepidante aventura. No recuerdo en el cine que la vi, ni el día exacto pero si la sensación de haber visto algo nuevo dentro del cien de acción al que estábamos acostumbrados por aquellos años. En esta cinta nos alejábamos del típico tío mazado, rudo e implacable que durante una década nos había conquistado con sus modales rudos y sus hostias con la mano abierta. De buenas a primeras ese chaval con pinta de bueno y una chica que no destacaría en un cumpleaños se descubrían como dos eficientes héroes igual o más resolutivo que aquellas ya entonces consagradas leyendas del cine más frenético. También tengo el mal sabor de boca de animado por los buenos sentimientos que me unan a esta cinta de ir al cine a ver esa infecta segunda parte, donde sin dudarlo comenzó mi relación de aprensión absoluta hacia los papeles y carrera de Sandra Bullock, es que no me gusta ni una de las que ha hecho desde entonces y a la tía le siguen dando papeles... acojonante, como si mi opinión no tuviera ningún valor en Hollywood :_D Desde aquí lanzo mi campaña y change.org si hace falta para que aparten a esta mujer de las pantallas del cine, si es que encima le dan premios... Sin embargo mi querido y amado Keanu esta como siempre espléndido y una vez más pese a sus detractores cumple lo esperado y nos ofrece una actuación acorde con lo que se esperaba para su segundo papel como hombre de acción consolidando de esta forma su carrera definitivamente. Una cinta que sin duda hay que revisionarla al menos un par de veces, no por que se te vayan a pasar detalles de la trama, sino para poder degustar de manera adecuada los diferentes tramos y ritmos que nos ofrece. Lento, rápido, parada y frenesí final. Sin más y montados en nuestro autobús escolar de camino a Peñiscola un equipo de viajeros formado por: Pablo Lopez, Isaac Gomez, David Webb y el aquí siempre escribiente y conductor Domingo Dark Vinyl, te ofrecemos dos horas de charla apasionada sobre este ya clásico del cine de acción.

Los años están pasando a una velocidad endiablada y parece que fue ayer cuando el par de zanguangos estos se subieron al autobús para esta trepidante aventura. No recuerdo en el cine que la vi, ni el día exacto pero si la sensación de haber visto algo nuevo dentro del cien de acción al que estábamos acostumbrados por aquellos años. En esta cinta nos alejábamos del típico tío mazado, rudo e implacable que durante una década nos había conquistado con sus modales rudos y sus hostias con la mano abierta. De buenas a primeras ese chaval con pinta de bueno y una chica que no destacaría en un cumpleaños se descubrían como dos eficientes héroes igual o más resolutivo que aquellas ya entonces consagradas leyendas del cine más frenético. También tengo el mal sabor de boca de animado por los buenos sentimientos que me unan a esta cinta de ir al cine a ver esa infecta segunda parte, donde sin dudarlo comenzó mi relación de aprensión absoluta hacia los papeles y carrera de Sandra Bullock, es que no me gusta ni una de las que ha hecho desde entonces y a la tía le siguen dando papeles... acojonante, como si mi opinión no tuviera ningún valor en Hollywood :_D Desde aquí lanzo mi campaña y change.org si hace falta para que aparten a esta mujer de las pantallas del cine, si es que encima le dan premios... Sin embargo mi querido y amado Keanu esta como siempre espléndido y una vez más pese a sus detractores cumple lo esperado y nos ofrece una actuación acorde con lo que se esperaba para su segundo papel como hombre de acción consolidando de esta forma su carrera definitivamente. Una cinta que sin duda hay que revisionarla al menos un par de veces, no por que se te vayan a pasar detalles de la trama, sino para poder degustar de manera adecuada los diferentes tramos y ritmos que nos ofrece. Lento, rápido, parada y frenesí final. Sin más y montados en nuestro autobús escolar de camino a Peñiscola un equipo de viajeros formado por: Pablo Lopez, Isaac Gomez, David Webb y el aquí siempre escribiente y conductor Domingo Dark Vinyl, te ofrecemos dos horas de charla apasionada sobre este ya clásico del cine de acción.

De pequeño pensaba que a Rambo lo habían metido en la cárcel y en esta película te contaban las movidas que le pasaban dentro, y pese a que no acerté... no iba muy desencaminado, ya que en el fondo creo que Stallone pone gran parte de si mismo en cada papel y se lleva un poco de cada personaje con el a la siguiente interpretación. Una película que pese a no ser una consecución de escenas frenéticas de acción poseía ese espíritu inmortal de prácticamente todas las películas de Sly en esta época y que te hacia empalizar con el y el resto dl elenco de secundarios que enriquecían cada plano y conversación, desde Eclipse a Primera base, pasando por Dallas y el puto alcaide, todos enormes actores y personajes. En este episodio bien podríamos habernos extendido hablando largo y tendido del cine carcelario que en la época fue tan reseñable, películas que crearon cátedra tales como La leyenda del indomable, de unas temáticas en el fondo variadas a hasta la saciedad, por que dentro de una cárcel se crea un micro-universo donde todas las historias vuelven a ser posibles, creo que en un futuro bien podríamos destinarle un programa especial bien merecido. Sin más un grupo de reclusos con la típica bola atada al tobillo formado por Pablo Lopez, David Webb, Isaac Gomez y el aquí escribiente Domingo Dark Vinyl hablamos y gozamos hablando de esta pequeña joya del cine de finales de los 80. Y el que no se acabe el rancho al agujero.

De pequeño pensaba que a Rambo lo habían metido en la cárcel y en esta película te contaban las movidas que le pasaban dentro, y pese a que no acerté... no iba muy desencaminado, ya que en el fondo creo que Stallone pone gran parte de si mismo en cada papel y se lleva un poco de cada personaje con el a la siguiente interpretación. Una película que pese a no ser una consecución de escenas frenéticas de acción poseía ese espíritu inmortal de prácticamente todas las películas de Sly en esta época y que te hacia empalizar con el y el resto dl elenco de secundarios que enriquecían cada plano y conversación, desde Eclipse a Primera base, pasando por Dallas y el puto alcaide, todos enormes actores y personajes. En este episodio bien podríamos habernos extendido hablando largo y tendido del cine carcelario que en la época fue tan reseñable, películas que crearon cátedra tales como La leyenda del indomable, de unas temáticas en el fondo variadas a hasta la saciedad, por que dentro de una cárcel se crea un micro-universo donde todas las historias vuelven a ser posibles, creo que en un futuro bien podríamos destinarle un programa especial bien merecido. Sin más un grupo de reclusos con la típica bola atada al tobillo formado por Pablo Lopez, David Webb, Isaac Gomez y el aquí escribiente Domingo Dark Vinyl hablamos y gozamos hablando de esta pequeña joya del cine de finales de los 80. Y el que no se acabe el rancho al agujero.

Este pasado día de navidad hablaba con mis tres hermanas sobre el último programa que habíamos grabado en carne de Videoclub y como yo tenía el recuerdo de ir con mi madre a recogerlas a ver Gremlins, y me dieron una gran alegría al confirmarme que al contrario de lo que dicen los médicos no estoy loco y tengo una memoria sobre mi infancia prodigiosa, ya que con tan solo 3 añitos recién cumplidos vi mi primer fragmento de la peli aunque tras acojonarme como el niño cagón que siempre fui hice que mi madre me sacara de la sala al ver al terrorífico Stripe. Gremlins significa para mi Navidad, infancia, terror y pura magia cinéfila. A día de hoy cada vez que me reencuentro con ella tengo la misma sensación, y esta es una curiosa credulidad a lo que veo en la pantalla, es decir, me creo la película una y otra vez, ¿que los Gremlins no existen? ¡Que se atrevan a demostrarlo si tienen redaños! Y lo mas curioso es que me ocurre tanto con la primera como con la segunda, pese a que la secuela es más un buen ejercicio de comedia alejado del humor negro que bañaba esta cinta de puro terror. Y es que tanto Guizmo como Stripe nos reflejan en la pantalla, ellos como nosotros se flipan con lo que ven en la tele y en el cine, nosotros somos en cierto modo Mogwais y Gremlins a la vez y por esa misma razón el conjunto nos crea una empatía arrolladora. Para esta ocasión contamos un autentico erudito de Joe Dante, el señor Álvaro Pita y eso se nota en el programa, tal vez seamos en este más Mogwais que Gremlins pero el programa se merecía que no le prendiéramos fuego a mi casa y darle un tratamiento cariñosos a la cinta que nos ocupa, de esta manera un grupo de Mogwais aun sin cenar pese a pasar de medianoche formado por Pablo Lopez, Champi, David Webb, Isaac Gomez, Alvaro Pita y el aquí siempre escribiente Domingo Dark Vinyl os acompañaremos durante tres horas de programa para reencontrarnos de nuevo con nuestros recuerdos más duraderos.

Este pasado día de navidad hablaba con mis tres hermanas sobre el último programa que habíamos grabado en carne de Videoclub y como yo tenía el recuerdo de ir con mi madre a recogerlas a ver Gremlins, y me dieron una gran alegría al confirmarme que al contrario de lo que dicen los médicos no estoy loco y tengo una memoria sobre mi infancia prodigiosa, ya que con tan solo 3 añitos recién cumplidos vi mi primer fragmento de la peli aunque tras acojonarme como el niño cagón que siempre fui hice que mi madre me sacara de la sala al ver al terrorífico Stripe. Gremlins significa para mi Navidad, infancia, terror y pura magia cinéfila. A día de hoy cada vez que me reencuentro con ella tengo la misma sensación, y esta es una curiosa credulidad a lo que veo en la pantalla, es decir, me creo la película una y otra vez, ¿que los Gremlins no existen? ¡Que se atrevan a demostrarlo si tienen redaños! Y lo mas curioso es que me ocurre tanto con la primera como con la segunda, pese a que la secuela es más un buen ejercicio de comedia alejado del humor negro que bañaba esta cinta de puro terror. Y es que tanto Guizmo como Stripe nos reflejan en la pantalla, ellos como nosotros se flipan con lo que ven en la tele y en el cine, nosotros somos en cierto modo Mogwais y Gremlins a la vez y por esa misma razón el conjunto nos crea una empatía arrolladora. Para esta ocasión contamos un autentico erudito de Joe Dante, el señor Álvaro Pita y eso se nota en el programa, tal vez seamos en este más Mogwais que Gremlins pero el programa se merecía que no le prendiéramos fuego a mi casa y darle un tratamiento cariñosos a la cinta que nos ocupa, de esta manera un grupo de Mogwais aun sin cenar pese a pasar de medianoche formado por Pablo Lopez, Champi, David Webb, Isaac Gomez, Alvaro Pita y el aquí siempre escribiente Domingo Dark Vinyl os acompañaremos durante tres horas de programa para reencontrarnos de nuevo con nuestros recuerdos más duraderos.

Y de nuevo me encuentro con una de esas cintas que en mi infancia, adolescencia y que cojones... adultez (¿se dice así al tener 36 años?) se me había escapado, no por no conocerla, sino por que curiosamente creía que si la había visto... tocarte la flor... Lo más cachondo es que siempre me he considerado un fan del cine de Eddie Murphy de los ochenta y noventa, pero no se como esta se me paso de manera tan flagrante. Pues desde el un de vista de la actualidad me ha sorprendido lo bien que se conserva y como la he disfrutado como si tuviera 10 años, aunque tengo claro que esta como todas las del señor Murphy se diferían más con cada nueva visualización al poder quedarte mejor con cada detalle y coña recurrente. Durante toda la vida había escuchado esa famosa frase de "Quiero el cuchilloooo, por favooor" y tengo que reconocer que no me hacia ni puta gracia al no poder situarla en el contexto adecuadamente... y claro tras verla ahora voy como un puto crío repitiendo a cada momento... nunca terminaré de crecer, por suerte. No me extiendo más, uno por que tengo que salir echando hostias para el curro, dos por que quiero dejarlo ya subido para que lo odias disfrutar cuanto antes y tres por que lo mejor es escucharlo y regocijaros en las anécdotas de mis compañeros que si la vieron cuando debían. Quiero dar especialmente las gracias en este programa a Frank-F Amigo y colaborador ocasional en el podcast que de nuevo ha salvado el audio que se nos había grabado muy saturado, y ha conseguido que sea escuchable. Sin más un equipo de monjes con el coco afeitado formado por : Isaac Gomez, Champi, David Webb y el aquí escribiente Domingo Dark Vinyl os ruegan una oración por los agapornis mientras nos escuchas en un nuevo episodio.

Y de nuevo me encuentro con una de esas cintas que en mi infancia, adolescencia y que cojones... adultez (¿se dice así al tener 36 años?) se me había escapado, no por no conocerla, sino por que curiosamente creía que si la había visto... tocarte la flor... Lo más cachondo es que siempre me he considerado un fan del cine de Eddie Murphy de los ochenta y noventa, pero no se como esta se me paso de manera tan flagrante. Pues desde el un de vista de la actualidad me ha sorprendido lo bien que se conserva y como la he disfrutado como si tuviera 10 años, aunque tengo claro que esta como todas las del señor Murphy se diferían más con cada nueva visualización al poder quedarte mejor con cada detalle y coña recurrente. Durante toda la vida había escuchado esa famosa frase de "Quiero el cuchilloooo, por favooor" y tengo que reconocer que no me hacia ni puta gracia al no poder situarla en el contexto adecuadamente... y claro tras verla ahora voy como un puto crío repitiendo a cada momento... nunca terminaré de crecer, por suerte. No me extiendo más, uno por que tengo que salir echando hostias para el curro, dos por que quiero dejarlo ya subido para que lo odias disfrutar cuanto antes y tres por que lo mejor es escucharlo y regocijaros en las anécdotas de mis compañeros que si la vieron cuando debían. Quiero dar especialmente las gracias en este programa a Frank-F Amigo y colaborador ocasional en el podcast que de nuevo ha salvado el audio que se nos había grabado muy saturado, y ha conseguido que sea escuchable. Sin más un equipo de monjes con el coco afeitado formado por : Isaac Gomez, Champi, David Webb y el aquí escribiente Domingo Dark Vinyl os ruegan una oración por los agapornis mientras nos escuchas en un nuevo episodio.

Desde bien pequeño he querido que una civilización alienígena llegara a la tierra y nos trajera su maravillosa tecnología y poder viajar en un futuro a sus planetas, sin embargo y a día de hoy ese deseo no se ha cumplido, por ello cuando Alien Nation (aunque en español sea Alien Nación) llego a mi vida me filmo ese aura oscura totalmente alejado de lo que en mi imaginación seria un contacto alienígena y totalmente distante a lo que Spielberg nos había vendido con Encuentros en la tercera fase. Siempre me han cautivado los universos distópicos con cierto aura afín al cyberpunk y esta película escenificada en buen grado ese estereotipo necesario para que se haya fijado a lo largo de los años como un producto de calidad. Bien en verdad que en esta última revisualización se me ha descubierto más floja que la última vez que la había visto, curiosamente no hace muchos años, y creo que es uno de esos casos concretos en los que es muy importante al ver la película el estado anímico y personal en el que te encuentras al enfrentarte a ella. Pese a ello, el concepto de la película y la idea inicial no ha perdido un ápice de fuerza y bien merece volver a rebobinar para engullir tanto esta cinta como echarle un buen repaso a la casi inconseguible serie que se creo a rebufo y que le guardaba también un buen recuerdo. Sin más dilación y compartiendo en grupo varios litros de rica leche agria y un bocadillo de castor en su jugo nos hemos juntado un equipo formado por los escorias Isaac Gomez, Pablo Lopez, Champi y el aquí siempre escribiente Domingo Dark Vinyl.

Desde bien pequeño he querido que una civilización alienígena llegara a la tierra y nos trajera su maravillosa tecnología y poder viajar en un futuro a sus planetas, sin embargo y a día de hoy ese deseo no se ha cumplido, por ello cuando Alien Nation (aunque en español sea Alien Nación) llego a mi vida me filmo ese aura oscura totalmente alejado de lo que en mi imaginación seria un contacto alienígena y totalmente distante a lo que Spielberg nos había vendido con Encuentros en la tercera fase. Siempre me han cautivado los universos distópicos con cierto aura afín al cyberpunk y esta película escenificada en buen grado ese estereotipo necesario para que se haya fijado a lo largo de los años como un producto de calidad. Bien en verdad que en esta última revisualización se me ha descubierto más floja que la última vez que la había visto, curiosamente no hace muchos años, y creo que es uno de esos casos concretos en los que es muy importante al ver la película el estado anímico y personal en el que te encuentras al enfrentarte a ella. Pese a ello, el concepto de la película y la idea inicial no ha perdido un ápice de fuerza y bien merece volver a rebobinar para engullir tanto esta cinta como echarle un buen repaso a la casi inconseguible serie que se creo a rebufo y que le guardaba también un buen recuerdo. Sin más dilación y compartiendo en grupo varios litros de rica leche agria y un bocadillo de castor en su jugo nos hemos juntado un equipo formado por los escorias Isaac Gomez, Pablo Lopez, Champi y el aquí siempre escribiente Domingo Dark Vinyl.

¿A cuantos pasos estamos de ser cada uno de nosotros un William "D-FENS" Foster? En ocasiones pienso que todos y cada uno de nosotros estamos más cerca de lo que creemos dado el actual nivel de presión social, laboral, política y sentimental en el que en muchas ocasiones nos encontramos y lo difícil que es salir de este ritmo y manera de vida occidental en el que nos encontramos imbuidos y sumergidos. Yo descubrí esta película en Canal Plus en una de sus múltiples redifusiones que hacían de cada estreno y puedo afirmar que fliplé desde el primer momento, aunque solo me quedé en el mensaje superficial de la cinta y no seria allá por 2004 cuando volví a reencontrarme con ella y realmente comencé a sumergirme en toda esa historia que a lo largo de sus casi dos horas nos pega en toda la cara con la cruda y nefasta realidad en la que vivimos. Veinticuatro años han pasado desde que este peliculón fue estrenado y su validez y vigencia es evidente, seguimos viviendo como hormigas dentro de un hormiguero caótico y anárquico en el que nuestra voluntad y acciones si no siguen la densa marea social siempre serán vistas con recelo. Bill es el extremo desatado de cada uno de nosotros, el extremo más visceral y radical y el que en más de un momento nos gustaría ser aunque sea políticamente incorrecto afirmarlo. Bill es sobretodo el reflejo de todo aquel que se encuentra en el precipicio de su vida y las convenciones sociales y civiles ya no le importan si se enfrentan a lo que el cree que es justo y lógico. Sin más dilación (que hoy hace mas calor que en el coche de Bill) entablamos el viaje a casa un grupo de cuatro elementos al borde de un día de furia formado por: Isaac Gomez, Pablo Lopez, Champi y el aquí siempre escribiente Domingo Dark Vinyl. Solo os podemos desear que paséis un buen día sin furia :_D

¿A cuantos pasos estamos de ser cada uno de nosotros un William "D-FENS" Foster? En ocasiones pienso que todos y cada uno de nosotros estamos más cerca de lo que creemos dado el actual nivel de presión social, laboral, política y sentimental en el que en muchas ocasiones nos encontramos y lo difícil que es salir de este ritmo y manera de vida occidental en el que nos encontramos imbuidos y sumergidos. Yo descubrí esta película en Canal Plus en una de sus múltiples redifusiones que hacían de cada estreno y puedo afirmar que fliplé desde el primer momento, aunque solo me quedé en el mensaje superficial de la cinta y no seria allá por 2004 cuando volví a reencontrarme con ella y realmente comencé a sumergirme en toda esa historia que a lo largo de sus casi dos horas nos pega en toda la cara con la cruda y nefasta realidad en la que vivimos. Veinticuatro años han pasado desde que este peliculón fue estrenado y su validez y vigencia es evidente, seguimos viviendo como hormigas dentro de un hormiguero caótico y anárquico en el que nuestra voluntad y acciones si no siguen la densa marea social siempre serán vistas con recelo. Bill es el extremo desatado de cada uno de nosotros, el extremo más visceral y radical y el que en más de un momento nos gustaría ser aunque sea políticamente incorrecto afirmarlo. Bill es sobretodo el reflejo de todo aquel que se encuentra en el precipicio de su vida y las convenciones sociales y civiles ya no le importan si se enfrentan a lo que el cree que es justo y lógico. Sin más dilación (que hoy hace mas calor que en el coche de Bill) entablamos el viaje a casa un grupo de cuatro elementos al borde de un día de furia formado por: Isaac Gomez, Pablo Lopez, Champi y el aquí siempre escribiente Domingo Dark Vinyl. Solo os podemos desear que paséis un buen día sin furia :_D

De cuando en cuando llega hasta nuestra mesa de operaciones la propuesta de tratar una película que ninguno de los integrantes del programa habíamos visto en el pasado y se nos presenta un reto aun más apasionante. Muchas de estas cintas se sostienen en muchos casos en base a los pilares de la melancolía y añoranza de otros tiempo y de los buenos recuerdos que nos traen que en la calidad propiamente dicha, pero cuando dicha cinta para nosotros es nueva puede pasar cualquier cosa. Con El Beso de la Pantera nos encontramos justo en el caso en el que de manera casi al unísono todo el equipo del programa nos quedamos atrapados y cautivados por una cinta tan extraña como provocativa, violenta en algunos puntos y desconcertante en otros, terrorífica y excitante a la vez, y sobre todo interesante y sorprendente. No podría decir que es una obra maestra, ni tan siquiera una gran película, pero si una de esas cintas que te dejan poso y que las llevas en la cabeza los días posteriores a verla, que en la época en la que vivimos de sobreestimulación continua, ya es mucho. Por eso en esta ocasión nos hemos juntado en las calles de Nueva Orleans un equipo gatuno formado por Isaac Gomez, Champi y el aquí escribiente Domingo Dark Vinyl. Que lo disfrutéis acompañados de vuestros gatitos.

De cuando en cuando llega hasta nuestra mesa de operaciones la propuesta de tratar una película que ninguno de los integrantes del programa habíamos visto en el pasado y se nos presenta un reto aun más apasionante. Muchas de estas cintas se sostienen en muchos casos en base a los pilares de la melancolía y añoranza de otros tiempo y de los buenos recuerdos que nos traen que en la calidad propiamente dicha, pero cuando dicha cinta para nosotros es nueva puede pasar cualquier cosa. Con El Beso de la Pantera nos encontramos justo en el caso en el que de manera casi al unísono todo el equipo del programa nos quedamos atrapados y cautivados por una cinta tan extraña como provocativa, violenta en algunos puntos y desconcertante en otros, terrorífica y excitante a la vez, y sobre todo interesante y sorprendente. No podría decir que es una obra maestra, ni tan siquiera una gran película, pero si una de esas cintas que te dejan poso y que las llevas en la cabeza los días posteriores a verla, que en la época en la que vivimos de sobreestimulación continua, ya es mucho. Por eso en esta ocasión nos hemos juntado en las calles de Nueva Orleans un equipo gatuno formado por Isaac Gomez, Champi y el aquí escribiente Domingo Dark Vinyl. Que lo disfrutéis acompañados de vuestros gatitos.

Los recreativos y por conexión directa Street Fighter son parte inseparable de mi infancia y adolescencia, momentos en los que pasaba gran parte de mi tiempo libre en estos lugares donde la gente fumaba, los gitanos te esperaban en la puerta para intentar mangarte el poco dinero que llevabas, se escuchaba música molona y habían esas puertas a mundos fantásticos con forma de maquinas recreativas o arcades como luego aprenderíamos que se se llamaban. Street Fighter II, que la uno yo no la vi ni jugué nunca a ella, fue un terremoto en cada uno de los salones recreativos que visitaba: Rotonda, Luna Park, Picazo, Vivo´s, Feria, Pizarro... en todos y cada uno de ellos se formaban colas y grandes masas de gente rodeando esta maravilla de la informática donde dos luchadores se partan la cara a golpe de "magias" y hostiones nunca vistos o imaginados en maquinas anteriores. Yo era de Ken, sin duda alguna, el rojo entonces era mi color y tenia más pinta campechana que el remilgado y chinorri de Ryu, y nunca llegué a entender los que elegían a Guile o peor a Dalshim y sus para mi complejas técnicas de lucha. La película de Steven E. De Souza fue todo lo que nunca hubiéramos imaginado que seria, es decir, un mierdón con ventanas a la calle, dado que todos esperábamos una gran peli de acción que se tomara en serio la maquina y por fin pudiéramos ver a nuestros héroes en acción y saber más de su historia. Sin embargo con el tiempo y vista desde la perspectiva adecuada, sin llegar a ser buena si se ha convertido en una película que como diría Isaac esta llena de sin vergüenzas e impresentables pero es la mar de divertida. Hasta 3 veces me la vi para hacer el programa con risas diversas en cada visualización, y más de un sonrojo y manos a la cabeza por el nivel de cojones que le echaron al hacer el guión y llevarlo a la pantalla. Y sin embargo la de animación es todo lo que deseamos y nunca llegamos a imaginar que podría esta tan bien plasmado. El resto pues ya sabéis dentro de este nuevo programa donde en los recreativos "Xadolu" se han juntado un plantel de jugones y "viciaos" de las maquinitas formado por: Isaac Gomez, Pablo Lopez, Champi, Joaquin Relaño Gómez desde Meristation y autor del libro Final Round "El Legado de Street Fighter"editado por Héroes de Papel, y el aquí siempre escribiente Domingo Dark Vinyl para hacer todo tipo de Adukens, Sonic Booms y Sh?ry?kens durante algo más de dos horas y media.

Los recreativos y por conexión directa Street Fighter son parte inseparable de mi infancia y adolescencia, momentos en los que pasaba gran parte de mi tiempo libre en estos lugares donde la gente fumaba, los gitanos te esperaban en la puerta para intentar mangarte el poco dinero que llevabas, se escuchaba música molona y habían esas puertas a mundos fantásticos con forma de maquinas recreativas o arcades como luego aprenderíamos que se se llamaban. Street Fighter II, que la uno yo no la vi ni jugué nunca a ella, fue un terremoto en cada uno de los salones recreativos que visitaba: Rotonda, Luna Park, Picazo, Vivo´s, Feria, Pizarro... en todos y cada uno de ellos se formaban colas y grandes masas de gente rodeando esta maravilla de la informática donde dos luchadores se partan la cara a golpe de "magias" y hostiones nunca vistos o imaginados en maquinas anteriores. Yo era de Ken, sin duda alguna, el rojo entonces era mi color y tenia más pinta campechana que el remilgado y chinorri de Ryu, y nunca llegué a entender los que elegían a Guile o peor a Dalshim y sus para mi complejas técnicas de lucha. La película de Steven E. De Souza fue todo lo que nunca hubiéramos imaginado que seria, es decir, un mierdón con ventanas a la calle, dado que todos esperábamos una gran peli de acción que se tomara en serio la maquina y por fin pudiéramos ver a nuestros héroes en acción y saber más de su historia. Sin embargo con el tiempo y vista desde la perspectiva adecuada, sin llegar a ser buena si se ha convertido en una película que como diría Isaac esta llena de sin vergüenzas e impresentables pero es la mar de divertida. Hasta 3 veces me la vi para hacer el programa con risas diversas en cada visualización, y más de un sonrojo y manos a la cabeza por el nivel de cojones que le echaron al hacer el guión y llevarlo a la pantalla. Y sin embargo la de animación es todo lo que deseamos y nunca llegamos a imaginar que podría esta tan bien plasmado. El resto pues ya sabéis dentro de este nuevo programa donde en los recreativos "Xadolu" se han juntado un plantel de jugones y "viciaos" de las maquinitas formado por: Isaac Gomez, Pablo Lopez, Champi, Joaquin Relaño Gómez desde Meristation y autor del libro Final Round "El Legado de Street Fighter"editado por Héroes de Papel, y el aquí siempre escribiente Domingo Dark Vinyl para hacer todo tipo de Adukens, Sonic Booms y Sh?ry?kens durante algo más de dos horas y media.

Año 1992 veo un trailer de la película definitiva bajo mi prisma de chaval de 11 años, planeo ir al cine a verla. 14 horas después, se lo digo a mi madre y utilizando (ella) la presión psicológica-religiosa hace que por no tener movida me quede sin verla... 2 meses después hago "la comunión" y en el restaurante que lo celebro hay una maquina de Operation Wolf, planeo jugar a ella unas partidas para celebrar el día... 5 minutos después mi madre frustra mis planes de combate con los mismos argumentos beatos... Un tiempo después juego a Operation Wolf y veo Operación soldados de juguete, conclusión: Hacer la comunión es una puta mierda. Esta cinta que a mi siempre me ha recordado a La jungla de cristal, es de esos trabajos primerizos de un director que por desgracia no ha tenido muchas más ocasiones ni oportunidades para desarrollar su valía aunque no haya dejado de guionizar multitud de películas y series a lo largo de los años, sin embargo, yo hubiera pagado por ver una secuela de esta cinta que seguro que podría haber dado mucho más y se podrían haber desarrollado aun más los personajes. Una película con la que muchos de nosotros nos sentimos identificados al encontrarnos en esas edades convulsas de la llegada de la adolescencia donde queramos que se nos valorase y pensábamos que éramos capaces de realizar las mismas gestas que nuestros héroes del cine. Además de nuevo encontrábamos una pandilla de amigos como las que día a día muchos de nosotros teníamos en el colegio o barrio donde se promulgaba valores como el compañerismo, la amistad y en cierto modo la rebeldía juvenil. Por eso en esta ocasión nos hemos juntado para desbarrar durante poco más de dos horas un equipo de soldados de juguete de plastiquete verde de bolsa de a cinco pesetas formado por: David Webb, Pablo Lopez, Isaac Gomez y el aquí siempre escribiente Domingo Dark Vinyl. Ya sabeis no olvideis al acabar el programa llamar a vuestra linea erótica favorita...

Año 1992 veo un trailer de la película definitiva bajo mi prisma de chaval de 11 años, planeo ir al cine a verla. 14 horas después, se lo digo a mi madre y utilizando (ella) la presión psicológica-religiosa hace que por no tener movida me quede sin verla... 2 meses después hago "la comunión" y en el restaurante que lo celebro hay una maquina de Operation Wolf, planeo jugar a ella unas partidas para celebrar el día... 5 minutos después mi madre frustra mis planes de combate con los mismos argumentos beatos... Un tiempo después juego a Operation Wolf y veo Operación soldados de juguete, conclusión: Hacer la comunión es una puta mierda. Esta cinta que a mi siempre me ha recordado a La jungla de cristal, es de esos trabajos primerizos de un director que por desgracia no ha tenido muchas más ocasiones ni oportunidades para desarrollar su valía aunque no haya dejado de guionizar multitud de películas y series a lo largo de los años, sin embargo, yo hubiera pagado por ver una secuela de esta cinta que seguro que podría haber dado mucho más y se podrían haber desarrollado aun más los personajes. Una película con la que muchos de nosotros nos sentimos identificados al encontrarnos en esas edades convulsas de la llegada de la adolescencia donde queramos que se nos valorase y pensábamos que éramos capaces de realizar las mismas gestas que nuestros héroes del cine. Además de nuevo encontrábamos una pandilla de amigos como las que día a día muchos de nosotros teníamos en el colegio o barrio donde se promulgaba valores como el compañerismo, la amistad y en cierto modo la rebeldía juvenil. Por eso en esta ocasión nos hemos juntado para desbarrar durante poco más de dos horas un equipo de soldados de juguete de plastiquete verde de bolsa de a cinco pesetas formado por: David Webb, Pablo Lopez, Isaac Gomez y el aquí siempre escribiente Domingo Dark Vinyl. Ya sabeis no olvideis al acabar el programa llamar a vuestra linea erótica favorita...

En los ochenta aun encontrábamos directores que intentaban recuperar a los héroes propio del folletín detectivesco de las novelas pulp. Remo sin duda es un James Bond socarrón, torpe y tosco aunque provisto de una resistencia física y una integridad encomiable (ya que el pobre no es guapo precisamente algo tenia que tener el amigo...). Reconozco que esta ha sido mi primera vez con este héroe de acción y que pese a haber pasado un rato muy divertido viéndola no comprendo aun donde se fueron los cuarenta millones de dólares que costó realizarla y le he visto más fallos que virtudes. Esta es una de estas cintas que seguro que vestía mucho mejor en formato vhs que en 1080p, ya que el maquillaje de el maestro de Remo, por ejemplo, que fue nominado a los Oscar ahora canta por soleares y solo pudo hacer que me entrara la risa tonta cuando lo vi. Sin embargo es sin duda un producto de divertimento que tal vez si lo hubiera dirigido otro creativo más brillante seguramente seria a día de hoy recordado y conocido por todos. Esta una de las cintas que a David e Isaac les chifla y oye en cierto modo yo también le he pillado el gustillo, aunque de primeras no comulgara mucho con ella, otra revisualización por mi parte augura un futuro flipamiento con Remo una vez ya sabes que te vas a encontrar. Por eso nos hemos juntado un equipo de futuros agentes secretos de Albacete formado por David Webb, Isaac Gomez, Champi y el siempre escribiente Domingo Dark Vinyl.