Podcasts about itartdir

Our guests -- representatives from theatres receiving the American Theatre Wing 2011 National Theatre Company Grants: Buntport Theater Company, FUSION, Mo´olelo Performing Arts Company, Pig Iron Theatre Company, Rude Mechanicals, Synchronicity Theatre, TheatreSquared, TimeLine Theatre, Transport Group and Watts Village Theater Company -- discuss the challenges they face in tough economic times; their community outreach; and the creativity and diversity in the works they present.

Just as she departed for Massachusetts and her first season as the Williamstown Theatre Festival's first female artistic director Jenny Gersten discussed her plans for the company under her leadership and tells the story of how she sold herself as Associate Producer to prior artistic director Michael Ritchie, which resulted in her nine year tenure in that previous position at WTF. She discussed WTF's relationship both to its local audience, those who summer in the Berkshires and visitors from New York, as well as how she's reconfigured the season to allow for longer runs, but fewer productions, on the mainstage. She also talks about growing up in a performing arts household (as the daughter of Lincoln Center Theater's Bernard Gersten and The New 42nd Street's Cora Cahan, both previous Downstage Center guests); her post college job with the the highly praised 52nd Street Project; her time as artistic director of New York's Naked Angels as they began their renaissance; and her work as Associate Producer for Oskar Eustis at The Public Theater prior to getting the Williamstown gig. Original air date - June 15, 2011.

Just as she departed for Massachusetts and her first season as the Williamstown Theatre Festival's first female artistic director Jenny Gersten discussed her plans for the company under her leadership and tells the story of how she sold herself as Associate Producer to prior artistic director Michael Ritchie, which resulted in her nine year tenure in that previous position at WTF. She discussed WTF's relationship both to its local audience, those who summer in the Berkshires and visitors from New York, as well as how she's reconfigured the season to allow for longer runs, but fewer productions, on the mainstage. She also talks about growing up in a performing arts household (as the daughter of Lincoln Center Theater's Bernard Gersten and The New 42nd Street's Cora Cahan, both previous Downstage Center guests); her post college job with the the highly praised 52nd Street Project; her time as artistic director of New York's Naked Angels as they began their renaissance; and her work as Associate Producer for Oskar Eustis at The Public Theater prior to getting the Williamstown gig. Original air date - June 15, 2011.

From London, National Theatre artistic director Nicholas Hytner talks about his tenure leading that influential institution, including whether, as some have said, it was always his career goal; why he thrives on the need to embrace a general audience for the organization's survival; the impact of the £10 (now £12) Travelex season on the company and why he prefers to work under the budgetary rigor it imposes on the theatre's staff; his commitment to seeing new, "muscular" work by young playwrights on the National's large stages; and his assessment of the success of the NT Live screenings of the National's stage productions in international cinemas. He also talks about growing up in Manchester and later returning there as artistic associate of the Royal Exchange Theatre; his apprenticeship under great directors at a time when there was little director training in England -- and his bad early work in regional rep companies; why he thinks the British "megamusicals" are actually popular opera in the European tradition -- and how the "completely crazy" idea of "Miss Saigon" appealed to him; the pleasure he took in directing "The Wind in the Willows" at the National and how it began his ongoing collaboration with playwright Alan Bennett, including "The History Boys" and "The Habit of Art", which he considers the most important feature of his directing career; what drew him to "Carousel" and how it ushered in the British era of reexamining the musicals from Broadway's Golden Age; why he thinks the musical of "Sweet Smell of Success" is deserving of rediscovery; and why the National's production of "His Dark Materials" will never transfer to a commercial run and how he would do that enormous hit differently if he had the chance to do it over again. Original air date - April 6, 2011.

From London, National Theatre artistic director Nicholas Hytner (2006 Tony Award winner for Best Direction of a Play for “The History Boys”; 1994 Tony Award winner for Best Direction of a Musical for “Carousel”) talks about his tenure leading that influential institution, including whether, as some have said, it was always his career goal; why he thrives on the need to embrace a general audience for the organization's survival; the impact of the £10 (now £12) Travelex season on the company and why he prefers to work under the budgetary rigor it imposes on the theatre's staff; his commitment to seeing new, "muscular" work by young playwrights on the National's large stages; and his assessment of the success of the NT Live screenings of the National's stage productions in international cinemas. He also talks about growing up in Manchester and later returning there as artistic associate of the Royal Exchange Theatre; his apprenticeship under great directors at a time when there was little director training in England -- and his bad early work in regional rep companies; why he thinks the British "megamusicals" are actually popular opera in the European tradition -- and how the "completely crazy" idea of “Miss Saigon” appealed to him; the pleasure he took in directing “The Wind in the Willows” at the National and how it began his ongoing collaboration with playwright Alan Bennett, including “The History Boys” and “The Habit of Art”, which he considers the most important feature of his directing career; what drew him to “Carousel” and how it ushered in the British era of reexamining the musicals from Broadway's Golden Age; why he thinks the musical of “Sweet Smell of Success” is deserving of rediscovery; and why the National's production of “His Dark Materials” will never transfer to a commercial run and how he would do that enormous hit differently if he had the chance to do it over again.

From London, National Theatre artistic director Nicholas Hytner talks about his tenure leading that influential institution, including whether, as some have said, it was always his career goal; why he thrives on the need to embrace a general audience for the organization's survival; the impact of the £10 (now £12) Travelex season on the company and why he prefers to work under the budgetary rigor it imposes on the theatre's staff; his commitment to seeing new, "muscular" work by young playwrights on the National's large stages; and his assessment of the success of the NT Live screenings of the National's stage productions in international cinemas. He also talks about growing up in Manchester and later returning there as artistic associate of the Royal Exchange Theatre; his apprenticeship under great directors at a time when there was little director training in England -- and his bad early work in regional rep companies; why he thinks the British "megamusicals" are actually popular opera in the European tradition -- and how the "completely crazy" idea of "Miss Saigon" appealed to him; the pleasure he took in directing "The Wind in the Willows" at the National and how it began his ongoing collaboration with playwright Alan Bennett, including "The History Boys" and "The Habit of Art", which he considers the most important feature of his directing career; what drew him to "Carousel" and how it ushered in the British era of reexamining the musicals from Broadway's Golden Age; why he thinks the musical of "Sweet Smell of Success" is deserving of rediscovery; and why the National's production of "His Dark Materials" will never transfer to a commercial run and how he would do that enormous hit differently if he had the chance to do it over again. Original air date - April 6, 2011.

From Arena Stage's newly opened Mead Center for American Theater, artistic director Molly Smith discusses the development and construction of the new building, which encompasses the company's original theatres and adds a third stage, and how the plans for the venue began during her interview process by the board back in the late 1990s. She also talks about her connection to theatre in her youth, first in Washington State and then in Juneau, Alaska; her theatre studies and 7-year residency in Washington DC in the 70s, when she had the opportunity to see the early work of Arena Stage; her return to Juneau to found the Perseverance Theatre, which she led for 19 years, and how that company operated within the geography and frontier spirit of Alaska; how she managed to get the Arena job without a more traditional artistic resume; the theatrical scene she found in Washington upon her return, and how that led her to focus Arena Stage on American works, both new and classic; and what her personal focus on classic American musicals over the past decade has meant to her creatively. Original air date - January 26, 2011.

From Arena Stage's newly opened Mead Center for American Theater, artistic director Molly Smith discusses the development and construction of the new building, which encompasses the company's original theatres and adds a third stage, and how the plans for the venue began during her interview process by the board back in the late 1990s. She also talks about her connection to theatre in her youth, first in Washington State and then in Juneau, Alaska; her theatre studies and 7-year residency in Washington DC in the 70s, when she had the opportunity to see the early work of Arena Stage; her return to Juneau to found the Perseverance Theatre, which she led for 19 years, and how that company operated within the geography and frontier spirit of Alaska; how she managed to get the Arena job without a more traditional artistic resume; the theatrical scene she found in Washington upon her return, and how that led her to focus Arena Stage on American works, both new and classic; and what her personal focus on classic American musicals over the past decade has meant to her creatively. Original air date - January 26, 2011.

Jim Simpson, artistic director of New York's Off-Off-Broadway The Flea Theater, charts the company's 15 year journey from a collective meant to last for only five years to an ongoing institution on the verge of moving to a home that they own. Along the way, he tells about his years as a child actor in Honolulu appearing in touring musicals with stars such as John Raitt; his teenage summer spent studying with landmark Polish director and theorist Jerzy Grotowski; the highly politicized spirit of the Boston University theatre program during his time there; bridging the Robert Brustein and Lloyd Richards eras while in graduate school at Yale, including Richards' quashing of Simpson's all-male "Hamlet"; his ongoing development of the play "Benten Kozo" across multiple productions; his years as a freelancer at theatres including Williamstown and Hartford Stage; his forays into commercial runs both successful ("Nixon's Nixon") and incomplete ("Citizen Tom Paine"); why The Flea's central tenets included clean dressing rooms for the actors and bathrooms for the patrons; the company's ongoing relationship with playwrights, notably A.R. Gurney; and how the 9/11 tragedy nearly closed the theatre and then, largely thanks to "The Guys", spurred it into a new era; whether the presence of stars at The Flea, including Simpson's wife Sigourney Weaver, as well as John Lithgow and Marisa Tomei, has given them a profile beyond that of the customary downtown house; and why The Flea's resident young company, The Bats, forces the theatre to keep moving on to new challenges. Original air date - November 3, 2010.

Jim Simpson, artistic director of New York's Off-Off-Broadway The Flea Theater, charts the company's 15 year journey from a collective meant to last for only five years to an ongoing institution on the verge of moving to a home that they own. Along the way, he tells about his years as a child actor in Honolulu appearing in touring musicals with stars such as John Raitt; his teenage summer spent studying with landmark Polish director and theorist Jerzy Grotowski; the highly politicized spirit of the Boston University theatre program during his time there; bridging the Robert Brustein and Lloyd Richards eras while in graduate school at Yale, including Richards' quashing of Simpson's all-male "Hamlet"; his ongoing development of the play "Benten Kozo" across multiple productions; his years as a freelancer at theatres including Williamstown and Hartford Stage; his forays into commercial runs both successful ("Nixon's Nixon") and incomplete ("Citizen Tom Paine"); why The Flea's central tenets included clean dressing rooms for the actors and bathrooms for the patrons; the company's ongoing relationship with playwrights, notably A.R. Gurney; and how the 9/11 tragedy nearly closed the theatre and then, largely thanks to "The Guys", spurred it into a new era; whether the presence of stars at The Flea, including Simpson's wife Sigourney Weaver, as well as John Lithgow and Marisa Tomei, has given them a profile beyond that of the customary downtown house; and why The Flea's resident young company, The Bats, forces the theatre to keep moving on to new challenges. Original air date - November 3, 2010.

In this Directors Training Symposium from 1996, Lincoln Center Theater's artistic director Andre Bishop talks about his responsibilities as an artistic director, the qualities he looks for when hiring a director, his belief that many young directors lack knowledge in certain areas, how theatre as a whole can and must develop the next generation of directors, the key difference between commercial productions and the not-for-profit theatre, and why not-for-profit theatres must do more than simply produce shows.

In May of 1988, Peter Van Zandt moderated a talk with director and Lincoln Center Theatre artistic director Gregory Mosher, just weeks after the opening of the Broadway production of David Mamet's "Speed-the-Plow". In a conversation that focuses on Mosher's longstanding relationship with Mamet, and Mosher's leadership of Lincoln Center Theater since 1985, topics include Mosher and Mamet's first meeting in Chicago in 1974; the ambiguity of "Speed-the-Plow"; Mamet's preference for working with the same company of actors and Mosher's desire to open up the casting to a broader range of actors, including the casting of stage neophyte Madonna in her Broadway debut; the issues involved in releasing an actor; why Mosher loves producing perhaps more than directing; how the then-new Lincoln Center membership model compares with the classic theatrical subscription model; whether he believes Lincoln Center Theater should have a resident acting company, as it did when the Vivian Beaumont opened in the 1960s; the process of moving "Sarafina!"; and what he had learned from his new partner at LCT, Bernard Gersten.

As she celebrates her 20th season as artistic director of Princeton's McCarter Theatre, Emily Mann recalls the factors she considered when taking on the job; counsel she received at the time from directors Peter Hall and Mark Lamos; how she has evolved the McCarter audience in the direction of the work that most appeals to her; and her unique role as artistic director, director and playwright - including whether each of those roles ever gets in the way of the others. She also talks about making her way in the theatre as a female director and playwright coming up in the 1970s; her breakthrough as the first woman to direct on the mainstage of the Guthrie Theatre during Alvin Epstein's brief tenure leading the company; the development of her own playwriting style of documentary theatre through such acclaimed plays as "Still Life" and "Execution of Justice"; sharing a toast with Harold Pinter just after President Obama's election; working with Edward Albee on several plays, notably his newest, "Me Myself & I"; and why she chose to revisit "Having Our Say" at McCarter 14 years after its original Broadway success. Original air date - January 18, 2010.

As she celebrates her 20th season as artistic director of Princeton's McCarter Theatre, Emily Mann recalls the factors she considered when taking on the job; counsel she received at the time from directors Peter Hall and Mark Lamos; how she has evolved the McCarter audience in the direction of the work that most appeals to her; and her unique role as artistic director, director and playwright - including whether each of those roles ever gets in the way of the others. She also talks about making her way in the theatre as a female director and playwright coming up in the 1970s; her breakthrough as the first woman to direct on the mainstage of the Guthrie Theatre during Alvin Epstein's brief tenure leading the company; the development of her own playwriting style of documentary theatre through such acclaimed plays as "Still Life" and "Execution of Justice"; sharing a toast with Harold Pinter just after President Obama's election; working with Edward Albee on several plays, notably his newest, "Me Myself & I"; and why she chose to revisit "Having Our Say" at McCarter 14 years after its original Broadway success. Original air date - January 18, 2010.

In January of 1987, noted director, educator and SDC Board Member Mary Robinson met with directors Mark Lamos and Nagle Jackson to discuss running regional theatres. At the time, these two men were the Artistic Directors of Hartford Stage and Princeton's McCarter Theatre respectively. The conversation begins as many of SDCF's one-on-one interviews do, with Lamos and Jackson outlining the origins of their careers as directors, and specifically as Artistic Directors. We find that both men transitioned from performance to direction, and as Lamos puts it "were the kind of actor's you saw and said 'it looks like he should be a director'". These two master artists talk about the lessons they learned in the various posts which they've held at America's leading regional theatres, including: A.C.T; Arizona Theatre Company, Guthrie Theatre, Milwaukee Rep and others. We learn that though there are issues unique to each theatre and community wherein they reside, there are common obstacles and rewards that face all artists and administrators who work in regional theatre. Lamos and Jackson speak about how they've dealt with enhancing subscriber bases, choosing a season, working with Boards of Directors, finding new audiences and engaging their communities, and reaching out to communities that are not regularly exposed to theatre. This is a discussion not to be missed by anyone who's ever had the goal of running or starting a theatre company.

The role of Regional Theatre in supporting and presenting new works to their communities was among the topics discussed by our panel: Christopher Ashley, Artistic Director of La Jolla Playhouse, Gordon Edelstein, Artistic Director of Long Wharf Theatre, Sara Garonzik, Producing Artistic Director of the Philadelphia Theatre Company, and Eric Rosen, Artistic Director of Kansas City Repertory Theatre. They also explored how they share works and resources; the kind of show they feel best serves their audiences; their interaction with the local community; how they deal with competition within the theatrical community in their cities; what they learn from visiting Directors to their theatres; and the effect it has on their theatres when one of their shows moves to Broadway.

Director Anne Bogart discusses the formation of her SITI Company and why, after 16 years of existence, they're only now staging their first New York season at Dance Theatre Workshop. She also talks about her family's heritage in the Navy and how theatre played a role in her life as she moved from school to school (including two years in Japan), and why theatre and the Navy are alike; her "All About Eve"-like assumption of the direction of her first show, while in high school in Rhode Island; the profound effect of seeing "Macbeth" at Trinity Rep; her journey through four colleges over five years on her way to a degree; her early work in New York, including sit-specific theatre on a shoestring; her time running the Experimental Theatre Wing at NYU, including her acclaimed production of "South Pacific" set in a veterans' mental institution; her "great and horrible" year as artistic director of Trinity Rep; how the SITI Company married the teachings of Tadashi Suzuki and the "Viewpoints" system of performance; and why she sees Violence, Terror, and Eroticism as central to the task of directing. Original air date - October 26, 2009.

Director Anne Bogart discusses the formation of her SITI Company and why, after 16 years of existence, they're only now staging their first New York season at Dance Theatre Workshop. She also talks about her family's heritage in the Navy and how theatre played a role in her life as she moved from school to school (including two years in Japan), and why theatre and the Navy are alike; her "All About Eve"-like assumption of the direction of her first show, while in high school in Rhode Island; the profound effect of seeing "Macbeth" at Trinity Rep; her journey through four colleges over five years on her way to a degree; her early work in New York, including sit-specific theatre on a shoestring; her time running the Experimental Theatre Wing at NYU, including her acclaimed production of "South Pacific" set in a veterans' mental institution; her "great and horrible" year as artistic director of Trinity Rep; how the SITI Company married the teachings of Tadashi Suzuki and the "Viewpoints" system of performance; and why she sees Violence, Terror, and Eroticism as central to the task of directing. Original air date - October 26, 2009.

The panelists -- theatre critic Howard Kissel, Artistic Director of Manhattan Theatre Club Lynn Meadow (who steered the organization to Tony wins for Love! Valour! Compassion!, Proof and Doubt), actor/director Zakes Mokae (Tony winner for Mastor Harold… and the Boys), producer/general manager Dorothy Olim, producer/general manager Albert Poland, general manager Ben Sprecher, and playwright Wendy Wasserstein (The Sisters Rosensweig and Tony winner for The Heidi Chronicles) -- discuss how not-for-profit and regional theaters differ from commercial productions, developing plays out of town, escalating production costs, and viable stage careers compared to television and film.

The panelists - theatre critic Howard Kissel, Artistic Director of Manhattan Theatre Club Lynn Meadow, actor/director Zakes Mokae ("The Song Of Jacob Zulu"), producer/general manager Dorothy Olim, producer/general manager Albert Poland, general manager Ben Sprecher, and playwright Wendy Wasserstein ("The Sisters Rosensweig") - discuss how not-for-profit and regional theaters differ from commercial productions, developing plays out of town, escalating production costs, and viable stage careers compared to television and film.

The resident theatre panelists -- Randall Arney, Artistic Director of Steppenwolf Theatre; Zelda Fichandler, Artistic Director of the Acting Company; Emily Mann, Artistic Director of McCarter Theater; Mac Pirkle, Artistic Director of Tennessee Repertory Theatre; Michael P. Price, Executive Director of Goodspeed Opera House; and Tony Award winner Lloyd Richards (for Fences), Artistic Director of Eugene O'Neill Theatre Center -- discuss the beginnings of regional theatre as a place to develop new plays and playwrights, relationships with commercial theatre, marketing and building a subscriber base, and diversity in playwrights and audiences.

The resident theatre panelists - Randall Arney, Artistic Director of Steppenwolf Theatre; Zelda Fichandler, Artistic Director of the Acting Company; Emily Mann, Artistic Director of McCarter Theater; Mac Pirkle, Artistic Director of Tennessee Repertory Theatre; Michael P. Price, Executive Director of Goodspeed Opera House; and Lloyd Richards, Artistic Director of Eugene O'Neill Theatre Center - discuss the beginnings of regional theatre as a place to develop new plays and playwrights, relationships with commercial theatre, marketing and building a subscriber base, and diversity in playwrights and audiences.

Douglas Aibel, artistic director of New York's Vineyard Theatre, reflects upon the six year run and impending closing of the Broadway musical "Avenue Q", which made its Off-Broadway debut at the Vineyard and has been the company's longest-running commercial transfer -- out of a field that also includes "[title of show]", "How I Learned to Drive", "Three Tall Women", "Fully Committed", "Lady Day at Emerson's Bar and Grill" and "Goblin Market", among many others. He also talks about his vision for the Vineyard and how it grew out of a 65-seat, multi-disciplinary performance space into a full-fledged theatre company; how his father's love of Broadway musicals, and incessant playing of cast albums, put him on the path towards a career in theatre; his early years doing five and six internships or part-time jobs at theatres around the city in order to break into the business and make connections; how a job in fundraising at Manhattan Theatre Club led him to work in film; how his dual career as theatrical artistic director and noted film casting director inform each other; and why he believe that people in theatrical chat rooms should be required to use their real names. Original air date - August 24, 2009.

Douglas Aibel, artistic director of New York's Vineyard Theatre, reflects upon the six year run and impending closing of the Broadway musical "Avenue Q", which made its Off-Broadway debut at the Vineyard and has been the company's longest-running commercial transfer -- out of a field that also includes "[title of show]", "How I Learned to Drive", "Three Tall Women", "Fully Committed", "Lady Day at Emerson's Bar and Grill" and "Goblin Market", among many others. He also talks about his vision for the Vineyard and how it grew out of a 65-seat, multi-disciplinary performance space into a full-fledged theatre company; how his father's love of Broadway musicals, and incessant playing of cast albums, put him on the path towards a career in theatre; his early years doing five and six internships or part-time jobs at theatres around the city in order to break into the business and make connections; how a job in fundraising at Manhattan Theatre Club led him to work in film; how his dual career as theatrical artistic director and noted film casting director inform each other; and why he believe that people in theatrical chat rooms should be required to use their real names. Original air date - August 24, 2009.

Our guests -- Jonathan Bank, Artistic Director of The Mint Theater, Sarah Benson, Artistic Director of Soho Rep., Susan Bernfield, Artistic Director of New Georges and David Van Asselt, Artistic Director of Rattlestick Playwrights Theater -- all share the distinction of running theatres that are quite different from Broadway...venues with 99 seats or under. They discuss their mission statements and how each of their companies got started; making sure they are able to balance new voices in playwriting with more established writers when choosing and presenting plays; how, instead of competing with one another, their companies serve as resources for each other; the wealth of material, and talent, available to them; who their base audiences are and marketing strategies for broadening that base; funding challenges, particularly in difficult financial times; the pros and cons of subscriptions for their companies; how pricing structure for their smaller theatres affects the bottom line; and their goals for expansion beyond their current theatre size.

Playwrights Horizons' production team for "Fit To Be Tied" -- production manager Chris Boll, production stage manager Carol Clark, casting director Janet Foster, general manager Lynn Landis, managing director Leslie Marcus, Artistic Director of Playwrights Horizons Tim Sanford, playwright Nicky Silver and director David Warren -- talk about their individual jobs, their backgrounds, and the steps in bringing this play to the not-for-profit stage.

Just after returning from a year-long sabbatical, Manhattan Theatre Club artistic director Lynne Meadow (who steered the organization to Tony wins for Love! Valour! Compassion!, Proof and Doubt) talks about what she did and didn't do during her hiatus and explains how she shared planning for last season and the coming year with interim artistic director Daniel Sullivan. She also recalls her childhood as a stage struck youth in New Haven, including her performance in a new Maltby & Shire musical when she was only 12 years old; her struggle to be accepted into the directing program at the Yale School of Drama; her first experience at the Manhattan Theatre Club and how she came to be named its artistic director; the play she couldn't get the rights to until Joseph Papp agreed to co-produce with MTC; the impact of MTC's successive venues (East 73rd Street, City Center and Broadway's Friedman Theatre) on the company's repertoire; and the company's long history with playwright Terrence McNally and the controversy that surrounded the late 90s production of Corpus Christi.

Just after returning from a year-long sabbatical, Manhattan Theatre Club artistic director Lynne Meadow talks about what she did and didn't do during her hiatus and explains how she shared planning for last season and the coming year with interim artistic director Daniel Sullivan. She also recalls her childhood as a stage struck youth in New Haven, including her performance in a new Maltby & Shire musical when she was only 12 years old; her struggle to be accepted into the directing program at the Yale School of Drama; her first experience at the Manhattan Theatre Club and how she came to be named its artistic director; the play she couldn't get the rights to until Joseph Papp agreed to co-produce with MTC; the impact of MTC's successive venues (East 73rd Street, City Center and Broadway's Friedman Theatre) on the company's repertoire; and the company's long history with playwright Terrence McNally and the controversy that surrounded the late 90s production of "Corpus Christi". Original air date - October 3, 2008.

Just after returning from a year-long sabbatical, Manhattan Theatre Club artistic director Lynne Meadow talks about what she did and didn't do during her hiatus and explains how she shared planning for last season and the coming year with interim artistic director Daniel Sullivan. She also recalls her childhood as a stage struck youth in New Haven, including her performance in a new Maltby & Shire musical when she was only 12 years old; her struggle to be accepted into the directing program at the Yale School of Drama; her first experience at the Manhattan Theatre Club and how she came to be named its artistic director; the play she couldn't get the rights to until Joseph Papp agreed to co-produce with MTC; the impact of MTC's successive venues (East 73rd Street, City Center and Broadway's Friedman Theatre) on the company's repertoire; and the company's long history with playwright Terrence McNally and the controversy that surrounded the late 90s production of "Corpus Christi". Original air date - October 3, 2008.

Diane Paulus, director of the acclaimed 40th anniversary revival of the musical "Hair" in Central Park, talks about her long-standing love of the musical -- despite the fact that she'd never actually seen it -- and how she indoctrinated her youthful cast with the spirit of the 60s. Paulus also discusses her development as a theatre artist, from her collegiate days at Harvard to staging a show in a New York City community garden to her sojourn in Wisconsin to her return to New York for graduate school at Columbia; how she created "The Donkey Show" and why she often turns to Shakespeare for source material for her work; what she knew of Laura Nyro before directing "Eli's Coming"; and her plans for her new role as the artistic director of the American Repertory Theatre Cambridge. Original air date - September 5, 2008.

Diane Paulus, director of the acclaimed 40th anniversary revival of the musical "Hair" in Central Park, talks about her long-standing love of the musical -- despite the fact that she'd never actually seen it -- and how she indoctrinated her youthful cast with the spirit of the 60s. Paulus also discusses her development as a theatre artist, from her collegiate days at Harvard to staging a show in a New York City community garden to her sojourn in Wisconsin to her return to New York for graduate school at Columbia; how she created "The Donkey Show" and why she often turns to Shakespeare for source material for her work; what she knew of Laura Nyro before directing "Eli's Coming"; and her plans for her new role as the artistic director of the American Repertory Theatre Cambridge. Original air date - September 5, 2008.

25 years after coming to New York's Roundabout Theatre Company, artistic director Todd Haimes talks about the company's growth from a financially troubled Off-Broadway group into one of the country's largest not-for-profit theatres; his own transition from managing the business side to setting the artistic agenda; the relationship of the company to the world of commercial theatre, since both produce on Broadway; how he manages to attract top level artists to work at Roundabout for relatively minimal salaries; why he planned to leave the company 10 years ago -- and why he ended up staying put; and how the company expanded its repertoire from Ibsen, Shaw and Shakespeare into more modern works, musicals and even brand-new plays. Original air date - July 18, 2008.

25 years after coming to New York's Roundabout Theatre Company, artistic director Todd Haimes talks about the company's growth from a financially troubled Off-Broadway group into one of the country's largest not-for-profit theatres; his own transition from managing the business side to setting the artistic agenda; the relationship of the company to the world of commercial theatre, since both produce on Broadway; how he manages to attract top level artists to work at Roundabout for relatively minimal salaries; why he planned to leave the company 10 years ago -- and why he ended up staying put; and how the company expanded its repertoire from Ibsen, Shaw and Shakespeare into more modern works, musicals and even brand-new plays. Original air date - July 18, 2008.

25 years after coming to New York's Roundabout Theatre Company, artistic director Todd Haimes talks about the company's growth from a financially troubled Off-Broadway group into one of the country's largest not-for-profit theatres; his own transition from managing the business side to setting the artistic agenda; the relationship of the company to the world of commercial theatre, since both produce on Broadway; how he manages to attract top level artists to work at Roundabout for relatively minimal salaries; why he planned to leave the company 10 years ago -- and why he ended up staying put; and how the company expanded its repertoire from Ibsen, Shaw and Shakespeare into more modern works, musicals and even brand-new plays. Original air date - July 18, 2008.

Royal Shakespeare Company artistic director Michael Boyd gives an overview of the company's work, including its acclaimed "Complete Works" Festival and the recent two-year journey of the "Histories" cycle. He also talks about his own evolution as a theatre artist, with significant stints in Moscow and Glasgow; the experience of joining the RSC as Associate Director and later rising to the artistic directorship; the work he had to do addressing the variety of troubles that surrounded the RSC as the time of his appointment; why he speaks of 'knocking Shakespeare off his pedestal'; the status of the rebuilding of the main theatre in Stratford; and what his plans are for the company in the next few years. Original air date - July 4, 2008.

Royal Shakespeare Company artistic director Michael Boyd gives an overview of the company's work, including its acclaimed "Complete Works" Festival and the recent two-year journey of the "Histories" cycle. He also talks about his own evolution as a theatre artist, with significant stints in Moscow and Glasgow; the experience of joining the RSC as Associate Director and later rising to the artistic directorship; the work he had to do addressing the variety of troubles that surrounded the RSC as the time of his appointment; why he speaks of 'knocking Shakespeare off his pedestal'; the status of the rebuilding of the main theatre in Stratford; and what his plans are for the company in the next few years. Original air date - July 4, 2008.

Barbara Gaines, founder and artistic director of the newly Tony-recognized Chicago Shakespeare Theater, talks about the company's evolution from a classical acting workshop to a major institution with an impressive home on Chicago's Navy Pier. She discusses her own background, including training at Northwestern University and an acting stint in NYC, alongside her approach to classical theatre, the expanding repertoire of the company (including why their next production features Willy Wonka), the nature of the Chicago theatre community, the development of Chicago Shakespeare's international work, and her plans for the company's future -- including a 1,000 proscenium theatre to complement their current 500 seat thrust stage. Original air date - June 20, 2008.

Barbara Gaines, founder and artistic director of the newly Tony-recognized Chicago Shakespeare Theater, talks about the company's evolution from a classical acting workshop to a major institution with an impressive home on Chicago's Navy Pier. She discusses her own background, including training at Northwestern University and an acting stint in NYC, alongside her approach to classical theatre, the expanding repertoire of the company (including why their next production features Willy Wonka), the nature of the Chicago theatre community, the development of Chicago Shakespeare's international work, and her plans for the company's future -- including a 1,000 proscenium theatre to complement their current 500 seat thrust stage. Original air date - June 20, 2008.

Producer/Artistic Director André Bishop and Executive Producer Bernard Gersten of Lincoln Center Theater , Marketing Director and Director of Special Projects for Lincoln Center Theater (whose tenure as Executive Producer of Lincoln Center Theater has scored them numerous Tony Awards including the recent revival of South Pacific, Coast of Utopia and Contact), Thomas Cott, Executive Producer of Lincoln Center Theater Bernard Gersten, five-time Tony Award-winning director and choreographer Susan Stroman (for Crazy for You, Showboat, Contact, and 2 awards for The Producers) and playwright John Weidman discuss the Tony Award winning Contact; from Lincoln Center Theater's invitation to Stroman and Weidman to develop their original ideas, how the individual stories are connected, multiple workshops, the casting process, using pre-existing recorded music versus live musicians, deciding on the show's name, as well as producing for non-commercial theatre with a longstanding member base.

Producer/Artistic Director of Lincoln Center Theater André Bishop, Marketing Director and Director of Special Projects for Lincoln Center Theater Thomas Cott, Executive Producer of Lincoln Center Theater Bernard Gersten, director/choreographer Susan Stroman and playwright John Weidman discuss the Tony Award winning "Contact"; from Lincoln Center Theater's invitation to Stroman and Weidman to develop their original ideas, how the individual stories are connected, multiple workshops, the casting process, using pre-existing recorded music versus live musicians, deciding on the show's name, as well as producing for non-commercial theatre with a longstanding member base.

The Artistic Directors of four off-Broadway not-for-profit theatre companies -- Douglas Aibel of Vineyard Theatre, Charlotte Moore of Irish Repertory Theatre, Tim Sanford of Playwrights Horizons and Jim Simpson of The Flea Theater -- share their thoughts about attracting audiences to their shows, the cost of keeping their theaters going, the challenges they face competing with commercial productions, how they choose the works performed on their stages and what they hope to accomplish for their companies in the next several years.

Director Jack O'Brien announces his new title as Artistic Director Emeritus at San Diego's Old Globe Theatre and charts his quarter-century tenure as Artistic Director from his hiring in 1981; reveals his original plans to be a musical comedy writer and star; describes his apprenticeship as a director in the APA Repertory Company under such mentors as Ellis Rabb and John Houseman; remembers his final acting appearance -- opposite Christopher Walken -- and how that set him firmly on the directing path for good; discusses his emergence as an acclaimed director of both musical comedies (including "Hairspray" and "The Full Monty") and the plays of Tom Stoppard (including "Hapgood" and "The Coast of Utopia"); and shares the impetus behind the creation of the stage version of "How The Grinch Stole Christmas". Original air date - December 14, 2007.

Director Jack O'Brien announces his new title as Artistic Director Emeritus at San Diego's Old Globe Theatre and charts his quarter-century tenure as Artistic Director from his hiring in 1981; reveals his original plans to be a musical comedy writer and star; describes his apprenticeship as a director in the APA Repertory Company under such mentors as Ellis Rabb and John Houseman; remembers his final acting appearance -- opposite Christopher Walken -- and how that set him firmly on the directing path for good; discusses his emergence as an acclaimed director of both musical comedies (including "Hairspray" and "The Full Monty") and the plays of Tom Stoppard (including "Hapgood" and "The Coast of Utopia"); and shares the impetus behind the creation of the stage version of "How The Grinch Stole Christmas". Original air date - December 14, 2007.

Director Jack O'Brien (Tony Award winner for Hairspray and The Coast of Utopia) announces his new title as Artistic Director Emeritus at San Diego's Old Globe Theatre and charts his quarter-century tenure as Artistic Director from his hiring in 1981; reveals his original plans to be a musical comedy writer and star; describes his apprenticeship as a director in the APA Repertory Company under such mentors as Ellis Rabb and John Houseman; remembers his final acting appearance -- opposite Christopher Walken -- and how that set him firmly on the directing path for good; discusses his emergence as an acclaimed director of both musical comedies (including Hairspray and The Full Monty) and the plays of Tom Stoppard (including Hapgood and The Coast of Utopia); and shares the impetus behind the creation of the stage version of How The Grinch Stole Christmas.

A panel of current New Dramatists playwrights -- Carlyle Brown, David Grimm, Quiara Alegría Hudes and Lucy Thurber -- talk about their differing styles of playwriting, what inspired them to start writing, how the world of the playwright has evolved and changed, what influences their writing and the challenges in getting their work produced. The program also includes an interview with New Dramatists Artistic Director Todd London, discussing how New Dramatists serves as haven for emerging playwrights and describing the new voice of the playwright, the opportunities for playwrights on and off Broadway and the different types of work being written today.

Lincoln Center Theater artistic director André Bishop talks about the selection of "Cymbeline" and "South Pacific" for the current season and the thread that unifies the work on the company's two stages; explains why its unlikely we'll see certain types of plays in their Lincoln Center complex; recalls his start in theatre and the ragtag early days of Playwrights Horizons, which he led for more than a decade; considers why he's perhaps less of a public figure than many artistic directors; and muses on why he's starting to feel like King Lear. Original air date - November 30, 2007.

During his time as artistic director of Lincoln Center Theater, Andre; Bishop has received multiple Tony Awards for the organization, including for 1994’s Carousel, 2000’s Contact, the 2008 revival of South Pacific. He talks about the selection of Cymbeline and South Pacific for the current season and the thread that unifies the work on the company's two stages; explains why its unlikely we'll see certain types of plays in their Lincoln Center complex; recalls his start in theatre and the ragtag early days of Playwrights Horizons, which he led for more than a decade; considers why he's perhaps less of a public figure than many artistic directors; and muses on why he's starting to feel like King Lear.

Lincoln Center Theater artistic director André Bishop talks about the selection of "Cymbeline" and "South Pacific" for the current season and the thread that unifies the work on the company's two stages; explains why its unlikely we'll see certain types of plays in their Lincoln Center complex; recalls his start in theatre and the ragtag early days of Playwrights Horizons, which he led for more than a decade; considers why he's perhaps less of a public figure than many artistic directors; and muses on why he's starting to feel like King Lear. Original air date - November 30, 2007.

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

The new artistic director of California's La Jolla Playhouse, Christopher Ashley, talks about his plans for the theatre, including whether he sees himself continuing or departing from the repertoire of his predecessor, Des McAnuff; explains how he found himself with an agent by age 22; describes his long-standing working relationships with playwrights Douglas Carter Beane and Paul Rudnick; considers the process of creating new musicals out of existing songs and how audience expectations are heightened for that music; and describes the evolution of of "Xanadu" the musical from social commentary to comic love story. Original air date - October 26, 2007.

The new artistic director of California's La Jolla Playhouse, Christopher Ashley, talks about his plans for the theatre, including whether he sees himself continuing or departing from the repertoire of his predecessor, Des McAnuff; explains how he found himself with an agent by age 22; describes his long-standing working relationships with playwrights Douglas Carter Beane and Paul Rudnick; considers the process of creating new musicals out of existing songs and how audience expectations are heightened for that music; and describes the evolution of of "Xanadu" the musical from social commentary to comic love story. Original air date - October 26, 2007.

James Houghton, the founding artistic director of New York's Signature Theater Company discusses the impulse that began the acclaimed Off-Broadway theater, which each season produces the work of a single playwright, and how that mission is still being played out 17 years later, and also describes the start of his tenure as director of the Drama Division at the famed Juilliard School -- including how it feels to fill the shoes of the esteemed John Houseman, who had given Houghton one of his first acting jobs more than 20 years ago. Original air date – October 5, 2007.

James Houghton, the founding artistic director of New York's Signature Theater Company discusses the impulse that began the acclaimed Off-Broadway theater, which each season produces the work of a single playwright, and how that mission is still being played out 17 years later, and also describes the start of his tenure as director of the Drama Division at the famed Juilliard School -- including how it feels to fill the shoes of the esteemed John Houseman, who had given Houghton one of his first acting jobs more than 20 years ago. Original air date – October 5, 2007.

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

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

Guthrie Theatre Artistic Director Joe Dowling talks about the company's move from its historic home into a brand new facility, including the reaction of the Minneapolis audiences to the shift; his own training as an actor at Ireland's Abbey School of Acting and his swift rise to the position of artistic director at the Abbey at age 29 -- only to depart seven years later; why his post-Ireland career took him to America instead of England; his first New York productions -- an acclaimed "Translations" for Manhattan Theatre Club and a panned "Playboy of the Western World" for Roundabout; why he particularly enjoyed working with American actors when he arrived -- even more than with their Irish counterparts; and why he believes there will never be an American national theatre on the European model. Original air date – June 8, 2007.

Guthrie Theatre Artistic Director Joe Dowling talks about the company's move from its historic home into a brand new facility, including the reaction of the Minneapolis audiences to the shift; his own training as an actor at Ireland's Abbey School of Acting and his swift rise to the position of artistic director at the Abbey at age 29 -- only to depart seven years later; why his post-Ireland career took him to America instead of England; his first New York productions -- an acclaimed "Translations" for Manhattan Theatre Club and a panned "Playboy of the Western World" for Roundabout; why he particularly enjoyed working with American actors when he arrived -- even more than with their Irish counterparts; and why he believes there will never be an American national theatre on the European model. Original air date – June 8, 2007.

The artistic directors of four major not-for-profit companies - Susan V. Booth of the Alliance Theatre, Oskar Eustis of The Public Theater, Emily Mann of the McCarter Theatre Center and Michael Wilson of Hartford Stage - discuss the unique task of the artistic director, touching upon issues including how they balance their personal artistic goals as directors with the institutional needs of their companies, whether their focus is on the local community or the larger national artistic community, the relationship between not-for-profit theatres and commercial producers, how they measure success, and their responsibility for developing the next generation of theatre artists.

The artistic directors of four major not-for-profit companies -- Susan V. Booth of the Alliance Theatre, Oskar Eustis of The Public Theater (which produced the 2009 Tony-winning revival of Hair), Emily Mann of the McCarter Theatre Center (1994 Regional Theatre Tony Award) and Michael Wilson of Hartford Stage (1989 Regional Theatre Tony Award) -- discuss the unique task of the artistic director, touching upon issues including how they balance their personal artistic goals as directors with the institutional needs of their companies, whether their focus is on the local community or the larger national artistic community, the relationship between not-for-profit theatres and commercial producers, how they measure success, and their responsibility for developing the next generation of theatre artists.

Neil Pepe, artistic director of New York's Atlantic Theater Company, discusses the development of the company as an outgrowth of acting classes led by playwright David Mamet and actor William H. Macy; his own introduction to the company as both carpenter and actor; the Atlantic's acclaimed work with playwright Martin McDonagh on his American debut, "The Beauty Queen of Leenane", and -- almost a decade later -- "The Lieutenant of Inishmore"; and how the Atlantic came to produce its most expensive production and first-ever musical, "Spring Awakening". Original air date – March 16, 2007.

Neil Pepe, artistic director of New York's Atlantic Theater Company, discusses the development of the company as an outgrowth of acting classes led by playwright David Mamet and actor William H. Macy; his own introduction to the company as both carpenter and actor; the Atlantic's acclaimed work with playwright Martin McDonagh on his American debut, "The Beauty Queen of Leenane", and -- almost a decade later -- "The Lieutenant of Inishmore"; and how the Atlantic came to produce its most expensive production and first-ever musical, "Spring Awakening". Original air date – March 16, 2007.

On "The Evolution of Encores!", guests Judith E. Daykin (founder), Rob Fisher (music director from founding to 2006), David Ives (book adapter for 18 productions) and Jack Viertel (artistic director since 2001) discuss the growth and success of the acclaimed musical concert series at New York's City Center, exploring how "Encores!" grew out of a concert at BAM in the late 80s; how the international success of "Chicago" impacted the series; how shows are selected; whether the addition of costumes, choreography and other "production" elements have moved the series away from its original goals; and whether there are shows they shouldn't have done or wish they could do again.

On "The Evolution of Encores!", guests Judith E. Daykin (founder), Rob Fisher (music director from founding to 2006), David Ives (book adapter for 18 productions) and Jack Viertel (artistic director since 2001) discuss the growth and success of the acclaimed musical concert series at New York's City Center, exploring how "Encores!" grew out of a concert at BAM in the late 80s; how the international success of "Chicago" impacted the series; how shows are selected; whether the addition of costumes, choreography and other "production" elements have moved the series away from its original goals; and whether there are shows they shouldn't have done or wish they could do again.

Jack Viertel, artistic director of the "Encores!" series at New York City Center, traces the evolution of the acclaimed concert stagings of little-seen musicals and offers a glimpse into how their classic shows come together with a short rehearsal period for a five-performance run. Original air date - January 21, 2005.

Jack Viertel, artistic director of the "Encores!" series at New York City Center, traces the evolution of the acclaimed concert stagings of little-seen musicals and offers a glimpse into how their classic shows come together with a short rehearsal period for a five-performance run. Original air date - January 21, 2005.

Margot Harley, co-founder and Producing Artistic Director of The Acting Company, talks about the troupe's origins as an outgrowth of the acting program at The Juilliard School in the early 70s, the challenges of touring serious drama as an ongoing series of one-night-stands around the country, and the state of actor training today; she also provides some insight into how her co-founder John Houseman made his professional acting debut so late in his illustrious life in the theatre. Original air date - January 19, 2007.

Margot Harley, co-founder and Producing Artistic Director of The Acting Company, talks about the troupe's origins as an outgrowth of the acting program at The Juilliard School in the early 70s, the challenges of touring serious drama as an ongoing series of one-night-stands around the country, and the state of actor training today; she also provides some insight into how her co-founder John Houseman made his professional acting debut so late in his illustrious life in the theatre. Original air date - January 19, 2007.

With three of New York's major not-for-profit theatres now producing in Broadway venues, their leaders—André Bishop and Bernard Gersten of Lincoln Center Theatre (with their most recent Tony Award coming with their revival of South Pacific), Lynne Meadow and Barry Grove of Manhattan Theatre Club (with multiple Tony wins for the organization), and Todd Haimes (who has scored multiple Tonys while serving as Artistic Director), along Ellen Richard and Julia C. Levy of Roundabout Theatre Company—gather for the very first time to explore the issues facing institutional theatres on Broadway.

With three of New York's major not-for-profit theatres now producing in Broadway venues, their leaders—Andre Bishop and Bernard Gersten of Lincoln Center Theatre, Lynne Meadow and Barry Grove of Manhattan Theatre Club, and Todd Haimes, Ellen Richard and Julia C. Levy of Roundabout Theatre Company—gather for the very first time to explore the issues facing institutional theatres on Broadway.

Five off-Broadway artistic directors—Tisa Chang of Pan Asian Repertory, Loretta Greco of The Women's Project, Eduardo Machado of INTAR, James C. Nicola of New York Theatre Workshop and Neil Pepe of the Atlantic Theatre Company—join with Virginia Louloudes of ART/NY for a discussion of the state of Off-Broadway's institutional theatres.

Eric Schaeffer, founder and artistic director of Virginia's Signature Theatre, discusses the company's growth and acclaim as a home for musical theatre in the Washington DC area; the company's impending move from their 136-garage space into a two-theatre state of the art facility; how he's developed relationships with theatre royalty like Stephen Sondheim and Cameron Mackintosh; his view on the rumored Broadway move of his Kennedy Center "Mame"; and why he's looking forward to revisiting the musical "The Witches Of Eastwick" in a theatre roughly 1/6th the size of its original London home. Original air date - September 1, 2006.

Eric Schaeffer, founder and artistic director of Virginia's Signature Theatre, discusses the company's growth and acclaim as a home for musical theatre in the Washington DC area; the company's impending move from their 136-garage space into a two-theatre state of the art facility; how he's developed relationships with theatre royalty like Stephen Sondheim and Cameron Mackintosh; his view on the rumored Broadway move of his Kennedy Center "Mame"; and why he's looking forward to revisiting the musical "The Witches Of Eastwick" in a theatre roughly 1/6th the size of its original London home. Original air date - September 1, 2006.

Far from the fabled days of summer stock, today's summer theatres are ambitious artistic institutions that aren't really just for summer anymore. A discussion with Sybil Christopher of the Bay Street Theatre, Alison Harris of Westport Country Playhouse, Kate Maguire of the Berkshire Theatre Festival, Jackie Maxwell of Canada's Shaw Festival and Max Mayer of New York Stage and Film.

Michael Ritchie, artistic director of Los Angeles' Center Theatre Group, talks about taking the reins of the city's largest theatre organization and considers his tenure as head of the acclaimed Williamstown Theatre Festival in this interview that caught Ritchie amidst his transition between these two esteemed companies. Original air date - December 17, 2004.

Michael Ritchie, artistic director of Los Angeles' Center Theatre Group, talks about taking the reins of the city's largest theatre organization and considers his tenure as head of the acclaimed Williamstown Theatre Festival in this interview that caught Ritchie amidst his transition between these two esteemed companies. Original air date - December 17, 2004.

With the "DruidSynge" circle of plays visiting briefly in the United States, director Garry Hynes describes the process of melding six works by John Millington Synge into a marathon theatrical event; talks about the founding and development of the Druid Theatre Company, her artistic home in Ireland; considers the effect of "The Beauty Queen of Leenane" and her Tony Award (the first for a woman director) on both the Druid and her own career; and surveys the current crop of up and coming Irish dramatists. Original air date - August 4, 2006.

With the "DruidSynge" circle of plays visiting briefly in the United States, director Garry Hynes describes the process of melding six works by John Millington Synge into a marathon theatrical event; talks about the founding and development of the Druid Theatre Company, her artistic home in Ireland; considers the effect of "The Beauty Queen of Leenane" and her Tony Award (the first for a woman director) on both the Druid and her own career; and surveys the current crop of up and coming Irish dramatists. Original air date - August 4, 2006.

With the "DruidSynge" circle of plays visiting briefly in the United States, director Garry Hynes describes the process of melding six works by John Millington Synge into a marathon theatrical event; talks about the founding and development of the Druid Theatre Company, her artistic home in Ireland; considers the effect of "The Beauty Queen of Leenane" and her Tony Award (the first for a woman director) on both the Druid and her own career; and surveys the current crop of up and coming Irish dramatists. Original air date - August 4, 2006.

Elena K. Holy, artistic director of New York's International Fringe Festival, discusses the genesis of the Fringe as part of the Off-Off-Broadway Present Company, and its explosive growth as a vehicle for new work in New York, amidst the endless logistics of the 2004 Festival. Original air date - August 20, 2004.

Elena K. Holy, artistic director of New York's International Fringe Festival, discusses the genesis of the Fringe as part of the Off-Off-Broadway Present Company, and its explosive growth as a vehicle for new work in New York, amidst the endless logistics of the 2004 Festival. Original air date - August 20, 2004.

With Adam Rapp's "Red Light Winter" marking another export from Chicago to New York for the Steppenwolf Theatre Company, Steppenwolf's artistic director Martha Lavey talks about the company's 30th anniversary all-premiere season, the maturation of a company once identified as rough and tumble rock-and-roll theatre, and her own experiences becoming part of, and ultimately the leader of, this acclaimed actor-driven theatre. Original airdate - February 17, 2006.

With Adam Rapp's "Red Light Winter" marking another export from Chicago to New York for the Steppenwolf Theatre Company, Steppenwolf's artistic director Martha Lavey talks about the company's 30th anniversary all-premiere season, the maturation of a company once identified as rough and tumble rock-and-roll theatre, and her own experiences becoming part of, and ultimately the leader of, this acclaimed actor-driven theatre. Original airdate - February 17, 2006.

Early in his first season at the helm, Oskar Eustis, the new artistic director of The Public Theater, talks about his plans for that seminal theatrical institution, both on stage and off, lets slip plans to pay tribute to the company's original traveling Shakespeare mandate with new theatrical ventures in all of the city's five boroughs, and reflects on the choice of Rinne Groff's "The Ruby Sunrise" as his first directing project of his tenure. Original airdate - December 16, 2005.

Early in his first season at the helm, Oskar Eustis, the new artistic director of The Public Theater, talks about his plans for that seminal theatrical institution, both on stage and off, lets slip plans to pay tribute to the company's original traveling Shakespeare mandate with new theatrical ventures in all of the city's five boroughs, and reflects on the choice of Rinne Groff's "The Ruby Sunrise" as his first directing project of his tenure. Original airdate - December 16, 2005.

Early in his first season at the helm, Oskar Eustis, the new artistic director of The Public Theater, talks about his plans for that seminal theatrical institution, both on stage and off, lets slip plans to pay tribute to the company's original traveling Shakespeare mandate with new theatrical ventures in all of the city's five boroughs, and reflects on the choice of Rinne Groff's "The Ruby Sunrise" as his first directing project of his tenure. Original airdate - December 16, 2005.

Tony Award winning actor ("The Life and Adventures of Nicholas Nickleby"), Roger Rees, joins "Downstage Center" to talk acting in the Royal Shakespeare Company, as well as on Broadway, and about his newest "role" - as Artistic Director of the Williamstown Theatre Festival. Original airdate - June 17, 2005

Tony Award winning actor ("The Life and Adventures of Nicholas Nickleby"), Roger Rees, joins "Downstage Center" to talk acting in the Royal Shakespeare Company, as well as on Broadway, and about his newest "role" - as Artistic Director of the Williamstown Theatre Festival. Original airdate - June 17, 2005

Tony Award winning actor ("The Life and Adventures of Nicholas Nickleby"), Roger Rees, joins "Downstage Center" to talk acting in the Royal Shakespeare Company, as well as on Broadway, and about his newest "role" - as Artistic Director of the Williamstown Theatre Festival. Original airdate - June 17, 2005