Podcasts about itchoreo

At its 2011 Emerging Artists Symposium, SDCF hosted a panel moderated by Ellen Rusconi and featuring established freelance theater artists Jeremy Dobrish, Sarah Maxfield, Daniel Talbott, and Wendy Seyb. Topics cover the career trajectories of these established freelance artists from start to the current moment, the term "emerging" versus "established" artist, how they got jobs at the start of their career vs. how they get jobs now, agents, what constitutes a successful collaboration, and everyday steps early career artists can take to further their career. This conversation is an inspiring window into how to get started and sustain a career as a working artist.

In 2003, SDCF hosted a panel moderated by Karen Azenberg featuring choreographers Hope Clarke, Devanand Janki, and Peter Pucci. The discussion centers on where work for choreographers is expanding. Topics cover ways in which choreographers work with actors and directors, how process and style vary for operas, musicals, and plays, and methods for breaking career boundaries from concert dance to theatre. This conversation sheds exciting light on the blending of performance genres and thus the increasing number of opportunities available for working artists.

At its 2002 Musical Theatre Symposium, SDCF hosted a panel moderated by SDC Executive Director Barbara Hauptman featuring directors David Warren, Christopher Ashley, Gabriel Barre, Jeff Calhoun, Mary B. Robinson, choreographers Daniel Pelzig and Joey McKneely and director/choreographers Rob Ashford and Karen Azenberg to discuss the director/choreographer relationship. Topics include the genesis of partnerships, the blurry line between dance and staging and the involvement of the choreographer in the movement throughout the production, and what it means to be a director/choreographer, among many others. Listen to this lively conversation for an in-depth look at this inspiring relationship told by ten masters of the craft.

Co-director and choreographer of Broadway's "The Book of Mormon", Casey Nicholaw, talks about his initial reaction on reading the irreverent new musical and how it was to work with Matt Parker and Trey Stone, heretofore most experienced with work in animation for "South Park". Nicholaw also talks about his early work at the San Diego Junior Theatre, his decision to leave California at age 19 and embark on a career in New York without even a completed college degree under his belt; his early acting gigs regionally and his later New York appearances in the original companies of "Crazy for You", "The Best Little Whorehouse Goes Public", "Victor/Victoria", "Steel Pier" and "Seussical"; how he gathered his friends to start building piece to showcase his choreographic skills; how a gig as a replacement choreographer for Encores! 2004 "Bye Bye Birdie" led directly to his Broadway choreographic debut with "Spamalot" and how that immediately led to his directing debut with "The Drowsy Chaperone"; his work on the still developing "Minsky's" and "Robin and the Seven Hoods" back in California; and what he might have up his sleeve for the stage adaptation of Disney's "Aladdin", debuting this summer in Seattle. Original air date - April 20, 2011.

Co-director and choreographer of Broadway's "The Book of Mormon", Casey Nicholaw, talks about his initial reaction on reading the irreverent new musical and how it was to work with Matt Parker and Trey Stone, heretofore most experienced with work in animation for "South Park". Nicholaw also talks about his early work at the San Diego Junior Theatre, his decision to leave California at age 19 and embark on a career in New York without even a completed college degree under his belt; his early acting gigs regionally and his later New York appearances in the original companies of "Crazy for You", "The Best Little Whorehouse Goes Public", "Victor/Victoria", "Steel Pier" and "Seussical"; how he gathered his friends to start building piece to showcase his choreographic skills; how a gig as a replacement choreographer for Encores! 2004 "Bye Bye Birdie" led directly to his Broadway choreographic debut with "Spamalot" and how that immediately led to his directing debut with "The Drowsy Chaperone"; his work on the still developing "Minsky's" and "Robin and the Seven Hoods" back in California; and what he might have up his sleeve for the stage adaptation of Disney's "Aladdin", debuting this summer in Seattle. Original air date - April 20, 2011.

On December 18, 2010, SDCF hosted their second One-on-One Conversation of the 2010-2011 season in the Beckett Theatre at Theatre Row with Donmar Warehouse Artistic Director Michael Grandage ("Red", "Hamlet") and Broadway Director/Choreographer Rob Ashford ("How To Succeed In Business...", "Promises, Promises") and moderated by SDCF Executive Director Laura Penn. The two directors discuss their trajectories from small town upbringings to the big city and from performing careers to directing. Other topics include the story of their professional relationship with each other, their rehearsal processes from first day to opening night and their views on mentorship. Full of humorous anecdotes, this conversation provides a unique opportunity to hear the voices of two trans-Atlantic masters of the craft in the prime of their careers.

Greg Graham, Dance Captain of "Billy Elliot", talks about the ongoing task of maintaining the choreography of the show; how one becomes a dance captain; the mix of civilian movement and tradition dance styles in this production. He is seen here teaching a tricky tap routine to new cast member David Hibbard.

Greg Graham, Dance Captain of "Billy Elliot", talks about the ongoing task of maintaining the choreography of the show; how one becomes a dance captain; the mix of civilian movement and tradition dance styles in this production. He is seen here teaching a tricky tap routine to new cast member David Hibbard.

In June 2002, the Stage Directors and Choreographers Foundation hosted a panel discussion on how Broadway directors and choreographers got their starts as part of its 3-day Musical Theatre Symposium. The panelists are Susan H. Schulman, Jeff Calhoun, David Warren, Scott Schwartz, Larry Fuller, Lynne Taylor-Corbett and Gabriel Barre. Some fell into their careers by accident while others had it planned all along, and their stories range from years of performing summer stock to meeting Tommy Tune. This conversation is filled with humorous and touching anecdotes featuring Richard Maltby, Carol Haney and Trevor Nunn, among others. The panelists impart valuable advice to emerging professionals, and the Pittsburgh dance class-to-Broadway stories of these successful directors and choreographers will inspire any theatre artist with hopes of the Great White Way.

Our panel of choreographers - Christopher Gattelli, Liza Gennaro, Ken Roberson and Sergio Trujillo - discuss their childhood and early adult life and how it influenced their start in dance; the amount of research they do for each show; how choreography enhances a performance; the relationship between choreographers and directors; how recent TV programming has brought back an interest in dance, especially among young people; the difference between musical staging and choreography and preserving dance history for future audiences.

At the SDC Foundation's Choreography Symposium in 1986, choreographers Wayne Cilento (Tony Award for "The Who's Tommy"), Graciela Daniele (8 Tony nominations for Best Choreography), Janet Watson ("Ragtime") and Ted Pappas ("Paradise" Off-Broadway and the Broadway revival of "Zorba") spoke with director Marshall Mason about choreography in musical theatre at the time. The panel discusses how each began his or her career, their creative processes and the mentors that led them to Broadway. A major topic is the changing style of musical theatre, which was deep in the Sondheim era at the time, and the choreographer's role in musicals that involve less dance numbers and more musical staging. Other topics include working with a director vs. assuming both roles, how technology's role in the audience's lives changes the movement choreographers put onstage and anecdotes about working with Hal Prince and Michael Bennett.

In April 2010, Edie Cowan moderated an hour-long roundtable discussion with Broadway choreographers Kathleen Marshall and Jerry Mitchell and dance arrangers David Chase and Mark Hummel. They discuss the role of the dance arranger, who works with the choreographer to take what the composer has written and changes it to fit the choreographer's vision of each dance. Jerry Mitchell talks about choreographing a dance for "The Full Monty" before hearing the music and then having the arranger fit music to it, while some choreographers will have the dance arranger write something before choreographing anything. Other topics include period research, the involvement of the composer, and the role of estates in revivals. The nature of collaboration is at the heart of this lively discussion along with anecdotes from a dozen Broadway shows.

In February 2010, director Michael Mayer, who won a Tony Award for "Spring Awakening" and recently directed "American Idiot", and choreographer Rob Ashford, who won a Tony for "Thoroughly Modern Millie" and was nominated for "The Wedding Singer", "Curtains" and "Cry-Baby", were featured in a Director/Choreographer Network discussion on Working in Film. Michael Mayer recalls being asked to direct "A Home at the End of the World" and saying yes without hesitating, without any film experience. Rob Ashford talks about choreographing "Beyond the Sea" with Kevin Spacey and learning how to tell the DP what shots to take. Key differences they discuss between theater and film include lack of rehearsal, shooting out of order and film actors vs. theatre actors. This seventy-minute discussion is an enlightening glimpse into the world of filmmaking from the theatre professional's perspective.

In January of 1994, Susan Stroman sat down for an hour-long discussion of her career as a choreographer. She talks about working on "Crazy For You", "Kiss of the Spider Woman", and "Show Boat", noting how bad experiences are necessary to make the good ones what they are. Other topics include working with a cast of 73 actors, working with director Hal Prince, movie musicals and the lack of copyright protection for choreography. For wonderful advice and great stories from a five-time Tony-winning director and choreographer, listen now!

In this discussion with Director-Choreographer Lynne Taylor-Corbett in February of 2000, listen to a two-time Tony nominee share her research into the complex history and techniques of competitive swing dance. She tells about the improvisation and experimentation involved during her workshop process to adapt this dance form for the Broadway stage in the 1999 production of "Swing!" We also get a glimpse of the stories that influenced her career; from her first encounter with a professional dancer in her hometown of Denver that propelled her to New York, to her work touring Africa and the Middle East with the Alvin Ailey Dance Company, as well as her first Broadway experiences choreographing "Chess" and "Titanic". She explains how she built her career from the joy she feels for the theatre audience's enthusiasm for watching dance. This ninety minute interview ends with a frank discussion of the Director-Choreographer relationship, in which she describes the best collaboration as being a fluid, non-threatened relationship built on trust. This insight into the life of an undeniably talented theatre maker is a revealing glimpse into the strengths and struggles of a working Director-Choreographer, which should command the respect of any theatre professional.

Choreographer Sergio Trujillo talks about the development of the new Broadway musical "Memphis" and how the dance styles he employs in it draw upon research he'd already done for several other musicals. He also talks about his childhood in Colombia and how music was part of the country's daily life; his discovery, while studying science at the University of Toronto, of his love and aptitude for dancing; his journeyman years as a Broadway dancer in shows including "Jerome Robbins' Broadway", the 1992 "Guys and Dolls" and "Fosse"; his transition into choreography at Canada's Stratford Festival and in London's West End; how he created dance moves for "Jersey Boys" when the original Four Seasons only stood and sang; why "The Mambo Kings" was vital to his career even though it was never seen in New York; his many collaborations with director Des McAnuff, including the 2009 "Guys and Dolls" -- where he took his inspiration not from Frank Loesser, but from Louis Prima; why his credit isn't "choreographer" on "Next to Normal"; his meticulous preparation, which includes already having all the choreography worked out for this spring's "The Addams Family"; and his plans for his directing debut in 2010 with "Havana", and whether he thinks that will cause him to ultimately leave choreography behind. Original air date - September 21, 2009.

Choreographer Sergio Trujillo talks about the development of the new Broadway musical "Memphis" and how the dance styles he employs in it draw upon research he'd already done for several other musicals. He also talks about his childhood in Colombia and how music was part of the country's daily life; his discovery, while studying science at the University of Toronto, of his love and aptitude for dancing; his journeyman years as a Broadway dancer in shows including "Jerome Robbins' Broadway", the 1992 "Guys and Dolls" and "Fosse"; his transition into choreography at Canada's Stratford Festival and in London's West End; how he created dance moves for "Jersey Boys" when the original Four Seasons only stood and sang; why "The Mambo Kings" was vital to his career even though it was never seen in New York; his many collaborations with director Des McAnuff, including the 2009 "Guys and Dolls" -- where he took his inspiration not from Frank Loesser, but from Louis Prima; why his credit isn't "choreographer" on "Next to Normal"; his meticulous preparation, which includes already having all the choreography worked out for this spring's "The Addams Family"; and his plans for his directing debut in 2010 with "Havana", and whether he thinks that will cause him to ultimately leave choreography behind. Original air date - September 21, 2009.

The panel -- Tony Award-winning director and lyricist Martin Charnin (for Annie), Best Little Whorehouse Goes Public playwright Larry L. King and director/co-writer Peter Masterson, choreographer Rob Marshall (Kiss of the Spiderwoman), director/writer Lonny Price (Sally Marr and Her Escorts), Second Stage Theatre dramaturg/literary manager Erin Sanders, director Robert Jess Roth (Beauty and the Beast), Ernest Schier director of the National Critics' Institute at the Eugene O'Neill Theatre Center, and Tazewell Thompson Artistic Director of the Syracuse Stage -- talk about the different ways that writers collaborate, the role of a dramaturg, how choreography and directing can be intertwined, developing a production in workshops, and reimagining an animated film as a stage musical.

The panel - director Martin Charnin ("The Flowering Peach"), "Best Little Whorehouse Goes Public" playwright Larry L. King and director/co-writer Peter Masterson, choreographer Rob Marshall ("Kiss of the Spiderwoman"), director/writer Lonny Price ("Sally Marr and Her Escorts"), Second Stage Theatre dramaturg/literary manager Erin Sanders, director Robert Jess Roth ("Beauty and the Beast"), Ernest Schier director of the National Critics' Institute at the Eugene O'Neill Theatre Center, and Tazewell Thompson Artistic Director of the Syracuse Stage - talk about the different ways that writers collaborate, the role of a dramaturg, how choreography and directing can be intertwined, developing a production in workshops, and reimagining an animated film as a stage musical.

The panelists - director/playwright Vernel Bagneris ("Jelly Roll!"), playwright David Ives ("All in the Timing"), actor Nancy Opel ("All in the Timing"), director Lawrence Sacharow ("Three Tall Women"), Playwrights Horizons artistic director Don Scardino ("A Cheever Evening"), choreographer Matthew West ("Beauty and the Beast") - discuss their current productions, the relationship between director and playwright, and the role of a dramaturg.

On February 4, 1996 the Drama League Directors Project co-hosted with SDCF a moderated discussion between Director/Choreographer Gillian Lynne and musical Director/Arranger Marvin Laird. In this candid discussion of Gillian's life in the theatre - the prolific dancer, choreographer, director of musicals and straight plays speaks of the mentors who helped her develop her comprehensive "theatrical vocabulary". She demystifies the true genesis of "Cats", explaining that her participation began over a glass of wine with Andrew Lloyd Webber. She discusses how that musical changed the way actors would be trained in the UK, for the better. She covers her own training and her unlikely entrée into the business of choreographing; developing Jazz ballets with Dudley Moore. She speaks frankly on what it means to be a woman in show business and what steps she is taking to champion the cause of increasing dancer's respect in this industry.

The multi-disciplined panelists -- director/choreographer Jeff Calhoun (Busker Alley), director/playwright Michael Leeds (Swinging on a Star), actor/playwright Anne Meara (After-Play), director Mike Ockrent (Big, Crazy For You, Me and My Girl), director/choreographer Lee Roy Reams (Hello, Dolly! revival), Tony Award winning-director Lloyd Richards (for Fences), and director John Tillinger (Deathtrap) -- discuss the director's role in relationship to the playwright, the differences in developing of musicals and plays, directing revivals, the challenges of auditions, and the pros and cons of workshops.

The multi-disciplined panelists -- director/choreographer Jeff Calhoun ("Busker Alley"), director/playwright Michael Leeds ("Swinging on a Star"), actor/playwright Anne Meara ("After-Play"), director Mike Ockrent ("Big, Crazy For You, Me and My Girl"), director/choreographer Lee Roy Reams ("Hello, Dolly!" revival), director Lloyd Richards ("Fences"), and director John Tillinger ("Deathtrap") -- discuss the director's role in relationship to the playwright, the differences in developing of musicals and plays, directing revivals, the challenges of auditions, and the pros and cons of workshops.

In 2001, Charles Repole and Joe Miloscia of the Stage Directors and Choreographers Foundation had the opportunity to bring together a trio of Broadway's hottest hit-makers for a special conversation. Michael Mayer, Christopher Ashley, and Jerry Mitchell spent an evening catching up, reminiscing and discussing the intricacies of creating comic plays and musicals.

On February 9, 2004, Tony Award winning choreographer and director Kathleen Marshall sat down for a One-on-One Conversation with Ted Chapin, President and Executive Director of the Rodgers and Hammerstein Organization, at the Beckett Theatre. The discussion traced her meteoric rise from Broadway gypsy, to assisting her brother Rob Marshall on "Kiss of the Spiderwoman", to winning a Tony award for her choreography for the Broadway revival of "Wonderful Town". The following is a recording of this wonderful conversation.

In June of 2000, just days after winning two Tony Awards for her spectacular work on the record-breaking hit, "The Producers", in between her rehearsals for the national tour of "Contact" and the development of her new musical "Thou Shalt Not", Susan Stroman took time out of her busy schedule to participate in SDCF's acclaimed One-on-One conversations series. Ms. Stroman was interviewed by her colleague and friend, Charles Repole, before a sold-out crowd. Together they discussed the genesis of Ms. Stroman's work, the foundation of her craft and the expert use of comedy in her work.

The creative teams of Legs Diamond: director Robert Allan Ackermam, playwright Harvey Fierstein (who won acting Tony Awards for Hairspray and Torch Song Trilogy—for which he also won a Best Play Tony in addition to his best book Tony for La Cage Aux Folles), and choreographer Alan Johnson, Paul Robeson: playwright Phillip Hayes Dean and director Harold Scott, and Spoils of War: director Austin Pendleton and playwright Michael Weller -- discuss their productions, and how they began their careers in theatre.

The creative teams of "Legs Diamond": director Robert Allan Ackermam, playwright Harvey Fierstein, and choreographer Alan Johnson, "Paul Robeson": playwright Phillip Hayes Dean and director Harold Scott, and "Spoils of War": director Austin Pendleton and playwright Michael Weller -- discuss their productions, and how they began their careers in theatre.

On October 10, 1993 Graciela Daniele was interviewed by SDCFoundation Board Member Frank Ventura at ArtsConnection. In this conversation, Ms. Daniele discusses her life in the arts as a series of transitions. She covers the totality of her career to date, remarking on her evolution from ballerina to musical theatre performer to assistant to director/choreographer. She speaks fondly of former mentors and past productions and candidly articulates her point of view on where American theatre is heading.

The panel -- director Melvin Bernhardt (The Blues Are Running), playwright David Henry Hwang (who won a Tony for his play M. Butterfly), composer Mary Rodgers (Once Upon A Mattress), playwright Nicky Silver (Fit To Be Tied), director David Warren (Fit To Be Tied), and choreographer Marlies Yearby (Rent) -- discuss how directors collaborate with playwrights, how actors may influence how a role is written, the purpose of the Society of Stage Directors and Choreographers union and Dramatists' Guild, and the panelists' individual education and training.

The panel - director Melvin Bernhardt ("The Blues Are Running"), playwright David Henry Hwang ("Golden Child", "M. Butterfly"), composer Mary Rodgers ("Once Upon A Mattress"), playwright Nicky Silver ("Fit To Be Tied"), director David Warren ("Fit To Be Tied"), and choreographer Marlies Yearby ("Rent") - discuss how directors collaborate with playwrights, how actors may influence how a role is written, the purpose of the Society of Stage Directors and Choreographers union and Dramatists' Guild, and the panelists' individual education and training.

The panel of directors Walter Bobbie (Chicago, Tony Award), Tony Award-winning choreographer Wayne Cilento (for The Who’s Tommy), Scott Elliott (Present Laughter), Ron Lagomarsino (Last Night at Ballyhoo), Gene Saks (Tony Award winner for Best Direction for I Love My Wife, Brighton Beach Memoirs and Biloxi Blues), and Tony Award winning-playwright Alfred Uhry (1999 for Parade and 1997 for his play The Last Night of Ballyhoo) talk about how they got started, developing their current productions, a show's relevance to contemporary audiences, determining the length of a play, and how directors maintain an ongoing show.

The panel of directors Walter Bobbie ("Chicago"), director/choreographer Wayne Cilento ("Dream"), Scott Elliott ("Present Laughter"), Ron Lagomarsino ("Last Night at Ballyhoo"), Gene Saks ("Barrymore"), and playwright Alfred Uhry ("Last Night at Ballyhoo") talk about how they got started, developing their current productions, a show's relevance to contemporary audiences, determining the length of a play, and how directors maintain an ongoing show.

The panelists -- Julianne Boyd (Society of Stage Directors and Choreographers); Dean Brown and Muriel Stockdale (United Scenic Artisis); Shirley Herz and Bernice Weiler (Assoc. of Theatrical Press Agents and Managers); Conard Fowkes (Actors' Equity Association); and Barry Moss (Casting Society of America) -- talk about how and why their organizations were formed, the importance of unions, the specific roles of company managers and general managers, and production costs and ticket prices.

The panel -- "A Few Good Men"'s director Don Scardino and playwright Aaron Sorkin, director George C. Wolfe ("Spunk") and director Luke Yankee ("The Cherry Orchard") -- discusses their current productions and how each show was conceived. The creative team of "Once On This Island" -- book writer/lyricist Lynn Ahrens, director/choreographer Graciela Daniele, and composer Stephen Flaherty -- talk about adapting the musical from a novel, and the show's development at Playwrights Horizons.

The panel -- A Few Good Men's director Don Scardino and playwright Aaron Sorkin, director George C. Wolfe (Tony Award winner for Best Direction for 1993’s Angels in America and 1996’s Bring in ‘da Noise/Bring in ‘da Funk) and director Luke Yankee (The Cherry Orchard) -- discusses their current productions and how each show was conceived. The creative team of Once On This Island -- book writer/lyricist/composer team Lynn Ahrens and Stephen Flaherty (1998 Tonys for Best Original Score with Ragtime), director/choreographer Graciela Daniele -- talk about adapting the musical from a novel, and the show's development at Playwrights Horizons.

The panel of playwrights Vernel Bagneris ("Further Mo'") and Tom Cole ("About Time"), lyricist John Driver ("Shogun"), director Tony Giordano ("About Time & Handy Dandy"), lyricist Sheldon Harnick ("The Rothschilds"), Executive Director of the Dramatists Guild David LeVine, and director Lonny Price ("The Rothschilds") discuss how they got started in their careers, writing for the stage, and the role of the Dramatists Guild.

The panel of playwrights Vernel Bagneris (Further Mo') and Tom Cole (About Time), lyricist John Driver (Shogun), director Tony Giordano (About Time & Handy Dandy), lyricist Sheldon Harnick (Tony winner for Fiorello! and two Tonys for Fiddler on the Roof), Executive Director of the Dramatists Guild David LeVine, and director Lonny Price (The Rothschilds) discuss how they got started in their careers, writing for the stage, and the role of the Dramatists Guild.

The panel of theatre professionals -- playwright Michael J. Chepiga (Getting and Spending), choreographer Graciela Daniele (Ragtime), playwright/director Christopher Durang (Sex and Longing), director Garry Hynes (Best Director Tony Award for The Beauty Queen of Leenane), and director Joe Mantello (2003 for Best Direction for Take Me Out and 2004 for Assassins) -- discuss how they got their start, auditioning actors, controversy surrounding a play, and taking on alternate roles of choreographer, actor, or director.

The panel of theatre professionals - playwright Michael J. Chepiga ("Getting and Spending"), choreographer Graciela Daniele ("Ragtime"), playwright/director Christopher Durang ("Sex and Longing"), director Garry Hynes ("The Beauty Queen of Leenane"), and director Joe Mantello ("Corpus Christi") - discuss how they got their start, auditioning actors, controversy surrounding a play, and taking on alternate roles of choreographer, actor, or director.

The panel -- director Scott Ellis (That Championship Season), Tony-winning director Robert Falls (for Death of a Salesman), playwright David Marshall Grant (Snakebit), director/choreographer Robert Longbottom (The Scarlet Pimpernel), playwright Paul Rudnick (The Most Fabulous Story Ever Told), and director John Tillinger (Night Must Fall) -- discuss working with rewrites, revisions and multiple versions of a script, the playwright's input during rehearsals, and the role of a dramaturg.

The panel -- director Scott Ellis ("That Championship Season"), director Robert Falls ("Death of a Salesman"), playwright David Marshall Grant ("Snakebit"), director/choreographer Robert Longbottom ("The Scarlet Pimpernel"), playwright Paul Rudnick ("The Most Fabulous Story Ever Told"), and director John Tillinger ("Night Must Fall") -- discuss working with rewrites, revisions and multiple versions of a script, the playwright's input during rehearsals, and the role of a dramaturg.

The panelists -- playwright Douglas Carter Beane ("As Bees In Honey Drown"), director/choreographers Kathleen Marshall ("Kiss Me Kate") and Rob Marshall ("Damn Yankees", "She Loves Me"), director Vivian Matalon ("Morning's At Seven"), and playwright John Pielmeier ("Agnes of God") -- discuss the impact of efficient cast sizes, casting for multi-talented performers, respectfully auditionining and rejectioning performers, their individual performing backgrounds, compromising with producers, and collaborating with playwrights and directors.

The panelists -- playwright Douglas Carter Beane (As Bees In Honey Drown), director/choreographers Kathleen Marshall (Kiss Me Kate and two-time winner for her choreography of Wonderful Town and The Pajama Game) and Rob Marshall (Damn Yankees, She Loves Me), director Vivian Matalon (Tony Award for Morning's At Seven), and playwright John Pielmeier (Agnes of God) -- discuss the impact of efficient cast sizes, casting for multi-talented performers, respectfully auditionining and rejectioning performers, their individual performing backgrounds, compromising with producers, and collaborating with playwrights and directors.

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.

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.

Director David Esbjornson ("The Ride Down Mt. Morgan"), director David Leveaux ("The Real Thing"), playwright Becky Mode ("Fully Committed"), director Richard Nelson ("James Joyce's The Dead"), and director/choreographer Lynne Taylor-Corbett ("Swing!") discuss how they became theatre professionals, their work ethic, and their reasons for remaining and working in theatre.

Director David Esbjornson (The Ride Down Mt. Morgan), director David Leveaux (The Real Thing), playwright Becky Mode (Fully Committed), director Richard Nelson (James Joyce's The Dead, Tony Award), and director/choreographer Lynne Taylor-Corbett (Swing!) discuss how they became theatre professionals, their work ethic, and their reasons for remaining and working in theatre.

Playwrights David Auburn (Proof, Tony Award) and Charles Busch (The Tale of the Allergist's Wife), director/choreographer George Faison (For Colored Girls and a Tony winner for The Wiz), choreographers David Marques (The Adventures of Tom Sawyer) and Jerry Mitchell (Tony winner for the 2005 revival of La Cage aux Folles), and director John Rando (2002 for Best Direction for Urinetown ) discuss their experiences in professional theatre, including their backgrounds, creative processes, rehearsals, and transfers to Broadway from off-Broadway and out-of-town productions.

Playwrights David Auburn ("Proof") and Charles Busch ("The Tale of the Allergist's Wife"), director/choreographer George Faison ("For Colored Girls"), choreographers David Marques ("The Adventures of Tom Sawyer") and Jerry Mitchell ("The Full Monty"), and director John Rando ("The Dinner Party") discuss their experiences in professional theatre, including their backgrounds, creative processes, rehearsals, and transfers to Broadway from off-Broadway and out-of-town productions.

This panel of artists -- playwright/actress Pamela Gien, playwright/director/actor Lonny Price, choreographer/director Randy Skinner, director Rebecca Taylor, playwright August Wilson (Tony winner for Fences), and director Joel Zwick -- who provide the creative heart of the theatre and breathe life into their stage productions discuss their work, backgrounds, and education; becoming a choreographer; building a book show around pre-existing songs; and how poetry relates to stage work.

This panel of artists - playwright/actress Pamela Gien, playwright/director/actor Lonny Price, choreographer/director Randy Skinner, director Rebecca Taylor, playwright August Wilson, and director Joel Zwick - who provide the creative heart of the theatre and breathe life into their stage productions discuss their work, backgrounds, and education; becoming a choreographer; building a book show around pre-existing songs; and how poetry relates to stage work.

Tony Award-winning choreographers Rob Ashford (for Thoroughly Modern Millie) and Wayne Cilento (for The Who’s Tommy), Tony-winning playwright Michael Frayn (for Copenhagen), playwright/lyricist Greg Kotis (Tony Award for Urinetown), and directors Sean Mathias and Lynne Meadow (who has helmed Manhattan Theatre Club through many Tony wins) discuss various aspects of their respective crafts, including the focus on storytelling, the benefits and challenges of collaboration, bad reviews, and the evolution of the director/choreographer relationship.

Choreographers Rob Ashford and Wayne Cilento, playwright Michael Frayn, playwright/lyricist Greg Kotis, and directors Sean Mathias and Lynne Meadow discuss various aspects of their respective crafts, including the focus on storytelling, the benefits and challenges of collaboration, bad reviews, and the evolution of the director/choreographer relationship.

Thoroughly Modern Millie's creative and production team -- Tony Award-winning choreographer Rob Ashford (for Thoroughly Modern Millie), general manager Nina Lannan, producer Hal Luftig (Tony Awards for Annie Get Your Gun and Thoroughly Modern Millie), Tony Award winning-director Michael Mayer (for Spring Awakening), book writer/lyricist Dick Scanlan and composer Jeanine Tesori -- discuss the Tony Award winning musical's journey to Broadway; obtaining the rights to the 1967 Universal Pictures film written by Richard Morris and starring Julie Andrews; years of development in workshops and readings; how the production team came together, including Rob Ashford's choreographer audition; the mixture of existing songs and new Tesori compositions; the advantages and disadvantages of mounting the show in partnership with La Jolla Playhouse; the many producers involved, including road presenters; the decision and budgetary considerations in opening on Broadway with a rigious preview period versus a second out-of-town tryout.

"Thoroughly Modern Millie"'s creative and production team -- choreographer Rob Ashford, general manager Nina Lannan, producer Hal Luftig, director Michael Mayer, book writer/lyricist Dick Scanlan and composer Jeanine Tesori -- discuss the Tony Award winning musical's journey to Broadway; obtaining the rights to the 1967 Universal Pictures film written by Richard Morris and starring Julie Andrews; years of development in workshops and readings; how the production team came together, including Rob Ashford's choreographer audition; the mixture of existing songs and new Tesori compositions; the advantages and disadvantages of mounting the show in partnership with La Jolla Playhouse; the many producers involved, including road presenters; the decision and budgetary considerations in opening on Broadway with a rigious preview period versus a second out-of-town tryout.

Tony Award-winning director and lyricist Martin Charnin (for Annie); director and choreographer Graciela Daniele (Annie Get Your Gun); lyricist and book writers Rupert Holmes (Tony Award for The Mystery of Edwin Drood) and Michael Kunze (Dance of the Vampires); and directors Marion McClinton (King Hedley II) and Lawrence Sacharow (Director of Fordham University Theatre Program) talk about the evolution of both play and musical writing in the United States today and the changes in directorial style and direction over the years.

Director and lyricist Martin Charnin ("Annie"); director and choreographer Graciela Daniele ("Annie Get Your Gun"); lyricist and book writers Rupert Holmes ("Say Goodnight, Gracie") and Michael Kunze ("Dance of the Vampires"); and directors Marion McClinton ("King Hedley II") and Lawrence Sacharow (Director of Fordham University Theatre Program) talk about the evolution of both play and musical writing in the United States today and the changes in directorial style and direction over the years.

The creative team behind the Broadway musical Hairspray, producers Richard Frankel (Tony Award winner for the 2007 revival of Company) and Margo Lion (Tony Awards for Hairspray in 2003 and Elaine Stritch at Liberty in 2002), co-book writer Thomas Meehan (Tony Awards for Annie, The Producers and Hairspray), choreographer Jerry Mitchell (Tony winner for the 2005 revival of La Cage aux Folles), director Jack O'Brien (Tony Winner for Hairspray, Henry IV in 2004 and The Coast of Utopia), co-book writer Mark O'Donnell (Tony Award for Hairspray) andTony winning-composer/lyricist team Marc Shaiman and Scott Wittman (for Hairspray) outline the journey the piece took from being a John Waters and Divine cult movie to hitting the Broadway stage; offer a peek at the process that created this smash hit and discuss the social messages that the show sends, both in its content and it's non-traditional casting.

The creative team behind the Broadway musical "Hairspray", producers Richard Frankel and Margo Lion, co-book writer Thomas Meehan, choreographer Jerry Mitchell, director Jack O'Brien, co-book writer Mark O'Donnell, composer Marc Shaiman and lyricist Scott Wittman outline the journey the piece took from being a John Waters and Divine cult movie to hitting the Broadway stage; offer a peek at the process that created this smash hit and discuss the social messages that the show sends, both in its content and it's non-traditional casting.

Tony Award-winning choreographer Jerry Mitchell talks about taking on the dual roles of director and choreographer for the first time with "Legally Blonde" and charts the development of the musical from the selection of the writing team to its San Francisco tryout to its Broadway debut. He also shares his experience of becoming a professional dancer while still in college, when he was chosen by the legendary Agnes DeMille for the 1980 revival of "Brigadoon", his work with two other legends -- Michael Bennett on "Scandal" and Jerome Robbins on "Jerome Robbins' Broadway"; how he develops a dance vocabulary for each of his shows according to the needs of the material, with sources as diverse as 60s dances (for "Hairspray") and basketball (for "The Full Monty"); and how dancing nearly naked on a drum for Tommy Tune in "The Will Rogers Follies" led to "Broadway Bares", which has raised millions of dollars for Broadway Cares. Original air date – May 11, 2007.

Tony Award-winning choreographer Jerry Mitchell (for the original Cabaret and 2005 and 2010’s revivals of La Cage aux Folles) talks about taking on the dual roles of director and choreographer for the first time with Legally Blonde and charts the development of the musical from the selection of the writing team to its San Francisco tryout to its Broadway debut. He also shares his experience of becoming a professional dancer while still in college, when he was chosen by the legendary Agnes DeMille for the 1980 revival of Brigadoon, his work with two other legends -- Michael Bennett on Scandal and Jerome Robbins on Jerome Robbins' Broadway; how he develops a dance vocabulary for each of his shows according to the needs of the material, with sources as diverse as 60s dances (for Hairspray) and basketball (for The Full Monty); and how dancing nearly naked on a drum for Tommy Tune in The Will Rogers Follies led to Broadway Bares, which has raised millions of dollars for Broadway Cares.

Tony Award-winning choreographer Jerry Mitchell talks about taking on the dual roles of director and choreographer for the first time with "Legally Blonde" and charts the development of the musical from the selection of the writing team to its San Francisco tryout to its Broadway debut. He also shares his experience of becoming a professional dancer while still in college, when he was chosen by the legendary Agnes DeMille for the 1980 revival of "Brigadoon", his work with two other legends -- Michael Bennett on "Scandal" and Jerome Robbins on "Jerome Robbins' Broadway"; how he develops a dance vocabulary for each of his shows according to the needs of the material, with sources as diverse as 60s dances (for "Hairspray") and basketball (for "The Full Monty"); and how dancing nearly naked on a drum for Tommy Tune in "The Will Rogers Follies" led to "Broadway Bares", which has raised millions of dollars for Broadway Cares. Original air date – May 11, 2007.

Director Jeff Calhoun, actor Phyllis Frelich, actor Tyrone Giordano, producer Todd Haimes, actor Daniel Jenkins and producer Bill O'Brien explain how Deaf West Theatre Company, a sign language theatre company, decided to put on the musical "Big River"; why that is not a bad idea, as many initially thought; the integration of signing into the choreography of the show; and how 2 actors, one hearing and one deaf, shared each of the principal roles.

Director Jeff Calhoun, actor Phyllis Frelich (Tony winner for Children of a Lesser God), actor Tyrone Giordano, producer Todd Haimes (who has scored multiple Tonys while serving as Artistic Director for Roundabout Theatre Company) , actor Daniel Jenkins and producer Bill O'Brien explain how Deaf West Theatre Company, a sign language theatre company, decided to put on the musical Big River; why that is not a bad idea, as many initially thought; the integration of signing into the choreography of the show; and how 2 actors, one hearing and one deaf, shared each of the principal roles.

Choreographer Jonathan Butterell ("The Light In The Piazza", "Nine"), director Moises Kaufman ("The Laramie Project", "Gross Indecency"), playwright Arthur Kopit ("Nine", "Oh Dad, Poor Dad..."), choreographer Joey McKneely("The Boy From Oz", "Wild Party"), playwright Theresa Rebeck ("Ominum Gatherum", "Bad Dates") and director Susan H. Schulman ("Little Women", "Secret Garden") explore how playwrights, directors and choreographers place themselves in the body of the character so that the character's voices and actions can emerge, what happens in the theatre to make the experience different from film and television, what it means to be an artist - and how an artist's success is measured.

The development of the musical "Caroline, or Change" and its move from The Public Theatre to Broadway is explored with Tony Kushner (writing a musical book and lyrics for the first time), composer Jeanine Tesori, choreographer Hope Clarke and actors Tonya Pinkins and Veanne Cox.

The development of the musical Caroline, or Change and its move from The Public Theatre to Broadway is explored with Tony Kushner (writing a musical book and lyrics for the first time and winner of two Tony Awards for both parts of Angels in America), composer Jeanine Tesori, choreographer Hope Clarke and actors Tonya Pinkins (Tony winner for Jelly’s Last Jam) and Veanne Cox.

With her autobiography "Time Step" now in bookstores, Donna McKechnie reminisces about coming to New York in the late 50s with dreams of being a ballet star; her first Broadway show, "How To Succeed In Business Without Really Trying", with choreographer Bob Fosse and dance captain Gwen Verdon; being part of the ensemble of the groundbreaking "Company", and the process that led to her Tony-winning role as Cassie in the original "A Chorus Line". Original air date - October 13, 2006.

With her autobiography "Time Step" now in bookstores, Donna McKechnie reminisces about coming to New York in the late 50s with dreams of being a ballet star; her first Broadway show, "How To Succeed In Business Without Really Trying", with choreographer Bob Fosse and dance captain Gwen Verdon; being part of the ensemble of the groundbreaking "Company", and the process that led to her Tony-winning role as Cassie in the original "A Chorus Line". Original air date - October 13, 2006.

With her autobiography "Time Step" now in bookstores, Donna McKechnie reminisces about coming to New York in the late 50s with dreams of being a ballet star; her first Broadway show, "How To Succeed In Business Without Really Trying", with choreographer Bob Fosse and dance captain Gwen Verdon; being part of the ensemble of the groundbreaking "Company", and the process that led to her Tony-winning role as Cassie in the original "A Chorus Line". Original air date - October 13, 2006.

Tony Award-winning choreographer Rob Ashford (for Thoroughly Modern Millie), director Chris Ashley, director/choreographer John Carrafa and choreographer Gillian Lynne talk about making musicals speak, move and sing.

Choreographer Rob Ashford, Director Chris Ashley, Director/Choreographer John Carrafa and Choreographer Gillian Lynne talk about making musical speak, move and sing.

An in-depth look at the creation of the Broadway musical comedy, Dirty Rotten Scoundrels, with actors Norbert Leo Butz (winner of a Tony Award for his role in the show) and Sherie Rene Scott, authors Jeffrey Lane and David Yazbek, director Jack O'Brien (Tony Winner for Hairspray, Henry IV in 2004 and The Coast of Utopia), and choreographer Jerry Mitchell (Tony winner for the 2005 revival of La Cage aux Folles).

An in-depth look at the creation of the Broadway musical comedy with authors Jeffrey Lane and David Yazbek, director Jack O'Brien, choreographer Jerry Mitchell and actors Norbert Leo Butz and Sherie Rene Scott.

Hinton Battle, a three-time Tony winner for "Sophisticated Ladies", "The Tap Dance Kid" and "Miss Saigon", surveys his career from his Broadway debut at age 15 in "The Wiz" to a trio of new projects: choreographing the Outkast film "Idlewild", directing and choreographing a stage version of the "Evil Dead" movies, and appearing on screen in the much anticipated "Dreamgirls". Original air date - August 18, 2006.

Hinton Battle, a three-time Tony winner for "Sophisticated Ladies", "The Tap Dance Kid" and "Miss Saigon", surveys his career from his Broadway debut at age 15 in "The Wiz" to a trio of new projects: choreographing the Outkast film "Idlewild", directing and choreographing a stage version of the "Evil Dead" movies, and appearing on screen in the much anticipated "Dreamgirls". Original air date - August 18, 2006.

Hinton Battle, a three-time Tony winner for "Sophisticated Ladies", "The Tap Dance Kid" and "Miss Saigon", surveys his career from his Broadway debut at age 15 in "The Wiz" to a trio of new projects: choreographing the Outkast film "Idlewild", directing and choreographing a stage version of the "Evil Dead" movies, and appearing on screen in the much anticipated "Dreamgirls". Original air date - August 18, 2006.

John Selya and Ashley Tuttle, original cast members of the dance musical "Movin' Out", discuss the development of Twyla Tharp's unique show, the difference between classical dance and the requirements of this new musical, and the physical rigors of a life of dance. Original air date - July 23, 2004.

John Selya and Ashley Tuttle, original cast members of the dance musical "Movin' Out", discuss the development of Twyla Tharp's unique show, the difference between classical dance and the requirements of this new musical, and the physical rigors of a life of dance. Original air date - July 23, 2004.

Director-choreographer Kathleen Marshall discusses remounting "Wonderful Town" for Broadway following its resounding success at Encores! two seasons earlier, growing up in Pittsburgh with her director-choreographer brother Rob, and making the transition from choreographer to director. Original air date - June 4, 2004.

An in-depth look at the creation of the Off-Broadway musical, with author Michael John LaChiusa, director Ted Sperling, musical stager Jonathan Butterell and actors Marc Kudisch and Mary Testa.

Originally created as a skit for a bachelor party, "The Drowsy Chaperone" has traveled from Toronto to Los Angeles to Broadway, growing in size along the way without sacrificing its skewed view of classic musicals. The ATW Working in the Theatre seminar will explore Chaperone's journey from one-off entertainment into that rarest of musicals—one not based on a book, play or movie.

Director-choreographer Kathleen Marshall discusses remounting "Wonderful Town" for Broadway following its resounding success at Encores! two seasons earlier, growing up in Pittsburgh with her director-choreographer brother Rob, and making the transition from choreographer to director. Original air date - June 4, 2004.

Originally created as a skit for a bachelor party, The Drowsy Chaperone has traveled from Toronto to Los Angeles to Broadway, growing in size along the way without sacrificing its skewed view of classic musicals. This ATW Working in the Theatre seminar will explore Chaperone's journey from one-off entertainment into that rarest of musicals—one not based on a book, play or movie. The panel includes actor Edward Hibbert, producer Roy Miller and Tony winners Lisa Lambert (Best Score), actor Beth Leavel (Best Actress), author and actor Bob Martin (Best Book), producer Kevin McCollum (Tonys for Best Musical with Avenue Q and In The Heights), author Don McKellar (Best Book), composer/lyricist Greg Morrison (Best Score) and director/choreographer Casey Nicholaw.

An in-depth look at the creation of the Off-Broadway musical, See What I Wanna See, with author Michael John LaChiusa, director Ted Sperling (who won a Tony for his orchestrations of Light in the Piazza), musical stager Jonathan Butterell and actors Marc Kudisch and Mary Testa.

Director-choreographer Kathleen Marshall discusses remounting "Wonderful Town" for Broadway following its resounding success at Encores! two seasons earlier, growing up in Pittsburgh with her director-choreographer brother Rob, and making the transition from choreographer to director. Original air date - June 4, 2004.

Bebe Neuwirth discusses creating the musical "Here Lies Jenny" with her "Chicago" co-star Ann Reinking and "Cheers" co-star Roger Rees, as well as her work on stage in "Sweet Charity" and "Damn Yankees". Original air date - April 30, 2004.

Bebe Neuwirth discusses creating the musical "Here Lies Jenny" with her "Chicago" co-star Ann Reinking and "Cheers" co-star Roger Rees, as well as her work on stage in "Sweet Charity" and "Damn Yankees". Original air date - April 30, 2004.

Bebe Neuwirth discusses creating the musical "Here Lies Jenny" with her "Chicago" co-star Ann Reinking and "Cheers" co-star Roger Rees, as well as her work on stage in "Sweet Charity" and "Damn Yankees". Original air date - April 30, 2004.

During previews for the new musical "Bernarda Alba", director-choreographer Graciela Daniele recalls being compelled to explore American musical theatre after encountering "West Side Story" while she was living in Paris, her apprenticeship with such dance masters as Jack Cole and Bob Fosse, and her collaborations with composers Michael John LaChiusa, William Finn, and Stephen Flaherty and Lynn Ahrens. Original airdate - March 10, 2006.

During previews for the new musical "Bernarda Alba", director-choreographer Graciela Daniele recalls being compelled to explore American musical theatre after encountering "West Side Story" while she was living in Paris, her apprenticeship with such dance masters as Jack Cole and Bob Fosse, and her collaborations with composers Michael John LaChiusa, William Finn, and Stephen Flaherty and Lynn Ahrens. Original airdate - March 10, 2006.

Director-choreographer Susan Stroman charts her career from her early days as a chorus member in regional theatre to her triumph with "The Producers" to her work with Nathan Lane bringing Stephen Sondheim's legendary but little seen "The Frogs" to life at Lincoln Center Theatre. Original airdate - October 1, 2004.

Director-choreographer Susan Stroman charts her career from her early days as a chorus member in regional theatre to her triumph with "The Producers" to her work with Nathan Lane bringing Stephen Sondheim's legendary but little seen "The Frogs" to life at Lincoln Center Theatre. Original airdate - October 1, 2004.

Director-choreographer Susan Stroman charts her career from her early days as a chorus member in regional theatre to her triumph with "The Producers" to her work with Nathan Lane bringing Stephen Sondheim's legendary but little seen "The Frogs" to life at Lincoln Center Theatre. Original airdate - October 1, 2004.