Podcasts about itdesign

Manage your money, or it will control you! Especially in business, you have to monitor and manage your finances to grow your money and build financial strength! Whether you are employed, Self-employed, Company or Non-profit Organization, you will not achieve your financial goals if you don't control your finances. The importance of managing your money is common sense, but why is it that many people, including business owners, do not adequately control their finances and end up bankrupt? I think it's one of two things: 1. Having the right financial mindset and2. Managing your money emotions!As an experienced financial controller, this comes naturally to me, but how do you control your money? What processes and tools do you use? I would love to get some insights. email me at; roy@mmedu.co.ukTo control your finances – you have to control your Cash flows (Operational, Investing and financial). Multiple Streams of Income Expenses to control Invest surplus cash wisely. Access to money Most finical control Framework's cost of three broad areas Resources Management - efficient and effective development of business resources, be it: Financial, People, equipment, data/ITDesign adequacy - a measure of how well a control system performs its functionsOperational effectiveness - the capability of a company to deliver products or services to its customers in the most cost-effective and controlled manner, while still ensuring the high quality. Here are some tips to control your finances Have a Money Conscious MindsetHave a plan to get out of debt Allocate monies to different pots – profit first system Invest for the future – Compound interest Create Multiple Streams of IncomeYou can find out more about me through social media profiles or visiting my website www.racmacs.com. Follow me on Social Media:LinkedIn: https://www.linkedin.com/in/royston-andrew-cumberbatch-finance.Instagram: https://www.instagram.com/royston.cumberbatch/YouTube: https://www.youtube.com/feed/my_videosFacebook: https://www.facebook.com/RoyceCumJoin Facebook Community: https://www.facebook.com/1190826847779960/photos/10156549866807120/?av=558592119 Hosted on Acast. See acast.com/privacy for more information.

Downstage Center celebrates the season with cast members from the hit holiday musical, "Elf." Cast members Beth Leavel, Adam Heller, and Mark Jacoby discuss the play, the adaptation from the film, tap dancing on stage, music in plays, other roles, and their lives in the theatre.

Downstage Center celebrates the season with cast members from the hit holiday musical, "Elf." Cast members Beth Leavel, Adam Heller, and Mark Jacoby discuss the play, the adaptation from the film, tap dancing on stage, music in plays, other roles, and their lives in the theatre.

In this special Downstage Center, we celebrate the legendary Stage Door Canteen (a war relief effort founded by early members of the American Theatre Wing). Opened on March 2, 1942 in the 44th Street Theatre, the New York Stage Door Canteen serviced an average of 3,000 servicemen a night as a recreation center before many of the soldiers went off to war. In all, eight Stage Door Canteens throughout the United States as well as in London and Paris served soldiers. Theatrical luminaries gave of their time (as volunteers) and talents (singing, dancing) in the Canteens. Listen now as Pia Lindstrom talks with one of the original Canteen volunteers, Phyllis Jeanne Creore.

In this special Downstage Center, we celebrate the legendary Stage Door Canteen (a war relief effort founded by early members of the American Theatre Wing). Opened on March 2, 1942 in the 44th Street Theatre, the New York Stage Door Canteen serviced an average of 3,000 servicemen a night as a recreation center before many of the soldiers went off to war. In all, eight Stage Door Canteens throughout the United States as well as in London and Paris served soldiers. Theatrical luminaries gave of their time (as volunteers) and talents (singing, dancing) in the Canteens. Listen now as Pia Lindstrom talks with one of the original Canteen volunteers, Phyllis Jeanne Creore.

"Ten years after its New York premiere, The Exonerated still has the power to unsettle." - NY Times. Celebrating the ten year anniversary of their ground-breaking and thought-provoking docu-play, its writers, Jessica Blank and Erik Jensen, talk about its creation, style, relevance, cast, and the latest production at NYC's Culture Project.

"Ten years after its New York premiere, The Exonerated still has the power to unsettle." - NY Times. Celebrating the ten year anniversary of their ground-breaking and thought-provoking docu-play, its writers, Jessica Blank and Erik Jensen, talk about its creation, style, relevance, cast, and the latest production at NYC's Culture Project.

Currently in residence at the Signature Theatre, playwright (and Wing board member) David Henry Hwang is a recent winner of the Steinberg Distinguished Playwright Award. This edition of Downstage Center was originally recorded in 2007. Playwright David Henry Hwang talks about putting a version of himself -- and his father -- onstage in his new play "Yellowface" and why he doesn't want to reveal what in the play is fact and what is fiction; recalls his extraordinary leap from having his first play produced in his college dorm to having a series of plays done at The Public Theatre only a short time later; explains the origins of his award-winning Broadway hit "M. Butterfly"; reflects on his role in the controversy over the hiring of Jonathan Pryce to appear in "Miss Saigon"; shares his thoughts on the failure of his farce "Face Value"; describes his work on the musicals "Aida", "Flower Drum Song" and "Tarzan", and contemplates what he hopes to explore next on stage.

Currently in residence at the Signature Theatre, playwright (and Wing board member) David Henry Hwang is a recent winner of the Steinberg Distinguished Playwright Award. This edition of Downstage Center was originally recorded in 2007. Playwright David Henry Hwang talks about putting a version of himself -- and his father -- onstage in his new play "Yellowface" and why he doesn't want to reveal what in the play is fact and what is fiction; recalls his extraordinary leap from having his first play produced in his college dorm to having a series of plays done at The Public Theatre only a short time later; explains the origins of his award-winning Broadway hit "M. Butterfly"; reflects on his role in the controversy over the hiring of Jonathan Pryce to appear in "Miss Saigon"; shares his thoughts on the failure of his farce "Face Value"; describes his work on the musicals "Aida", "Flower Drum Song" and "Tarzan", and contemplates what he hopes to explore next on stage.

Steve Kazee and Cristin Milioti from "Once" talk about their Tony Award-winning musical and the successful run its enjoyed since its beginnings at the New York Theatre Workshop, their favorite songs, staying focused, and, what other Broadway shows they want to see.

Steve Kazee and Cristin Milioti from "Once" talk about their Tony Award-winning musical and the successful run its enjoyed since its beginnings at the New York Theatre Workshop, their favorite songs, staying focused, and, what other Broadway shows they want to see.

In the latest Downstage Center, actors Rob McClure and Christiane Noll discuss "Chaplin", from the research they put into their roles (Mr. McClure as the legendary silent film actor and Ms. Noll as his mother) to the audience and Chaplin family reaction to the production. They also discuss past roles: Mr. McClure in "Avenue Q" and Ms. Noll in "Ragtime" and "Jekyll and Hyde," and the special moment when Mr. McClure met his hero, Anthony Warlow, backstage.

In the latest Downstage Center, actors Rob McClure and Christiane Noll discuss "Chaplin", from the research they put into their roles (Mr. McClure as the legendary silent film actor and Ms. Noll as his mother) to the audience and Chaplin family reaction to the production. They also discuss past roles: Mr. McClure in "Avenue Q" and Ms. Noll in "Ragtime" and "Jekyll and Hyde," and the special moment when Mr. McClure met his hero, Anthony Warlow, backstage.

The latest edition of Downstage Center goes backstage with "Tribes", the provocative new play written by Nina Raine. Director David Cromer and actor Jeff Still discuss the play and the challenges they faced with the subject matter, deaf theatre, their friendship, and the Chicago theatre scene, among other topics.

The latest edition of Downstage Center goes backstage with "Tribes", the provocative new play written by Nina Raine. Director David Cromer and actor Jeff Still discuss the play and the challenges they faced with the subject matter, deaf theatre, their friendship, and the Chicago theatre scene, among other topics.

In the latest Downstage Center, "Silence! The Musical" writer Hunter Bell and actress Jenn Harris discuss the show The NY Post called "Gleefully submissive" and The NY Times "a hilarious take down." From its premiere at the 2005 New York International Fringe Festival to its current home off-Broadway, the uproarious show continues to keep its audience in stitches!

In the latest Downstage Center, "Silence! The Musical" writer Hunter Bell and actress Jenn Harris discuss the show The NY Post called "Gleefully submissive" and The NY Times "a hilarious take down." From its premiere at the 2005 New York International Fringe Festival to its current home off-Broadway, the uproarious show continues to keep its audience in stitches!

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

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

Five time Tony-winner and new ATW Chairman William Ivey Long talks about his extensive career as one of Broadway's top costume designers, from his earliest days on stage -- living in a dressing room at the Raleigh Little Theatre in North Carolina -- to his upcoming projects "9 To 5" and "Dreamgirls". Along the way, he describes how shocked he was by the first thing he saw on stage at the Yale School of Drama; how his career developed largely thanks to the support of his drama school friends; how he came up with Anita Morris' iconic body suit for "Nine" -- and how it resulted in his never working with Tommy Tune again; whether there's a difference between designing musicals and plays; how the paintings of Gauguin influenced his designs for "Guys And Dolls"; what its like to revisit the "Chicago" costumes for a variety of different actresses; and why he chooses to wear a largely unvaried "uniform" every single day. Original air date - August 22, 2008.

Five time Tony-winner and new ATW Chairman William Ivey Long talks about his extensive career as one of Broadway's top costume designers, from his earliest days on stage -- living in a dressing room at the Raleigh Little Theatre in North Carolina -- to his upcoming projects "9 To 5" and "Dreamgirls". Along the way, he describes how shocked he was by the first thing he saw on stage at the Yale School of Drama; how his career developed largely thanks to the support of his drama school friends; how he came up with Anita Morris' iconic body suit for "Nine" -- and how it resulted in his never working with Tommy Tune again; whether there's a difference between designing musicals and plays; how the paintings of Gauguin influenced his designs for "Guys And Dolls"; what its like to revisit the "Chicago" costumes for a variety of different actresses; and why he chooses to wear a largely unvaried "uniform" every single day. Original air date - August 22, 2008.

"Spider Man: Turn Off The Dark's" Patrick Page and Isabel Keating go one-on-one about Broadway's favorite super hero and his nemesis, Page's Green Goblin. The actors talk dialects, quick changes, character development, improvising and background stories they create for their roles in the play. It's not ALL Spidey; the duo discuss acting techniques, other favorite roles, and Judy Garland, among other topics.

"Spider Man: Turn Off The Dark's" Patrick Page and Isabel Keating go one-on-one about Broadway's favorite super hero and his nemesis, Page's Green Goblin. The actors talk dialects, quick changes, character development, improvising and background stories they create for their roles in the play. It's not ALL Spidey; the duo discuss acting techniques, other favorite roles, and Judy Garland, among other topics.

Martin Pakledinaz passed away on July 8th, 2012. This edition of Downstage Center was recorded in 2010. Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Martin Pakledinaz passed away on July 8th, 2012. This edition of Downstage Center was recorded in 2010. Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Eugene Lee, resident designer for Rhode Island's Trinity Rep since 1967, set designer for "Saturday Night Live (SNL)" since its inception, and three-time TONY Award winner, talks about the realistic set of "Sweeney Todd"; growing up in Wisconsin and his early theatre memories and experiences; why he dislikes proscenium stages; what led "SNL"'s Lorne Michaels to hire him; working with Hal Prince on "Sweeney Todd", "Candide", "Merrily We Roll Along", and "Showboat"; how he got involved in "Wicked"; working with Gordon Edelstein at Long Wharf Theatre; working with playwright Athol Fugard; and his love of teaching. Original air date - July 27, 2011.

Eugene Lee, resident designer for Rhode Island's Trinity Rep since 1967, set designer for "Saturday Night Live (SNL)" since its inception, and three-time TONY Award winner, talks about the realistic set of "Sweeney Todd"; growing up in Wisconsin and his early theatre memories and experiences; why he dislikes proscenium stages; what led "SNL"'s Lorne Michaels to hire him; working with Hal Prince on "Sweeney Todd", "Candide", "Merrily We Roll Along", and "Showboat"; how he got involved in "Wicked"; working with Gordon Edelstein at Long Wharf Theatre; working with playwright Athol Fugard; and his love of teaching. Original air date - July 27, 2011.

At its 2003 Directing Symposium, SDCF hosted a panel featuring the design team from Theater Mitu: Artistic Director Ruben Polendo, composer and shadow mask designer Jef Evans, costume, mask and puppet designer Miranda Hoffman, lighting designer Ryan Mueller and set designer, puppet designer and choreographer Scott Spahr. The discussion centers around Theater Mitu's methodology, in which they investigate a theatrical vocabulary through myth and tradition using a company of artists who participate in many different aspects of the process. A few of the many topics include the blurry lines between design worlds, the vocabulary of design and sharing of ideas, and the relationships between designers and actors, and designers and the audience. This conversation provides a unique perspective on theatre-making that will inspire any artist or audience member!

Special Effects Designer Gregory Meeh uses a vast array of technologies to build illusions for live stage productions. He has created pyrotechnic explosions and atmospheric effects such as rain, fire, and fog for "Spamalot", "Women on the Verge", and "110 in the Shade" on Broadway. A special effect event like "The Phantom of the Opera" chandelier is comprised of many elements. Seen here are "Treasure Island"'s simple yet creative effects, as well as Meeh's expertise with firearms ("Les Miserables", "Miss Saigon").

Special Effects Designer Gregory Meeh uses a vast array of technologies to build illusions for live stage productions. He has created pyrotechnic explosions and atmospheric effects such as rain, fire, and fog for "Spamalot", "Women on the Verge", and "110 in the Shade" on Broadway. A special effect event like "The Phantom of the Opera" chandelier is comprised of many elements. Seen here are "Treasure Island"'s simple yet creative effects, as well as Meeh's expertise with firearms ("Les Miserables", "Miss Saigon").

Theatrical Milliner Lynne Mackey makes customized hats for stage productions. Theatrical hats are created for a specific show, character, and costume design, fitted for each individual actor including their wig and microphone pack. Mackey must make adjustments for the needs of the sound designer, lighting designer, and choreographer to not impede their work. Seen here are dozens of hats, including large handmade ones from Mackey's favorite show "The Color Purple".

Theatrical Milliner Lynne Mackey makes customized hats for stage productions. Theatrical hats are created for a specific show, character, and costume design, fitted for each individual actor including their wig and microphone pack. Mackey must make adjustments for the needs of the sound designer, lighting designer, and choreographer to not impede their work. Seen here are dozens of hats, including large handmade ones from Mackey's favorite show "The Color Purple".

Theatrical Shoe Designer Phil LaDuca worked as a Broadway dancer, choreographer and dance teacher before creating LaDuca dance shoes. He has created character shoes with the needed flexibility to be danceable, as well as the support and security for singers and actors. He works with costume designers, and handles the process from sketches through manufacturing in Italy to the finished products that end up on Broadway, national tours, and films. LaDuca shows how customized shoes are created for actresses such as Kristin Chenoweth in "Promises, Promises" and Bebe Neuwirth in "The Addams Family".

Make Up Designer Angelina Avallone outlines her design process; the research that goes into a design; how desinging the "no-make up" look can be much more of a challenge than chaacter make up - we see some of her designs from "Rock of Ages", "Little Mermaid" and "How the Grinch Stole Christmas", as well as her work with actors Constantine Maroulis and James Carpinello from "Rock of Ages" and Rogelio Douglas, Jr. from "Little Mermaid".

Theatrical Shoe Designer Phil LaDuca worked as a Broadway dancer, choreographer and dance teacher before creating LaDuca dance shoes. He has created character shoes with the needed flexibility to be danceable, as well as the support and security for singers and actors. He works with costume designers, and handles the process from sketches through manufacturing in Italy to the finished products that end up on Broadway, national tours, and films. LaDuca shows how customized shoes are created for actresses such as Kristin Chenoweth in "Promises, Promises" and Bebe Neuwirth in "The Addams Family".

Make Up Designer Angelina Avallone outlines her design process; the research that goes into a design; how desinging the "no-make up" look can be much more of a challenge than chaacter make up - we see some of her designs from "Rock of Ages", "Little Mermaid" and "How the Grinch Stole Christmas", as well as her work with actors Constantine Maroulis and James Carpinello from "Rock of Ages" and Rogelio Douglas, Jr. from "Little Mermaid".

“The Addams Family” and “Elf's” lighting designer Natasha Katz (2000 Tony Award winner for Best Lighting Design of a Musical for “Aida”; 2007 Tony Award winner for Best Lighting Design of a Play for “The Coast of Utopia”) talks about the path of her career, beginning with a high school community service requirement that saw her volunteering at a (now-defunct) Off-Broadway theatre and her semester away from Oberlin College as an intern/observer of designer Roger Morgan on the musical “I Remember Mama” which brought her into immediate contact with such notables as Liv Ullmann and Richard Rodgers. She discusses her on the job training (sans graduate school) with such figures as special effects whiz Bran Ferren and lighting designers Marcia Madeira and Ken Billington; explains why she thinks it takes longer now to mount a musical than it did when she began; how a tumultuous relationship with director Clifford Williams led to her Broadway debut at a very young age; what she learned from her work Off-Broadway and in regional theatre, including some 30 productions at the Dallas Theatre Center; why her task is to focus on two key elements -- people and sets -- and to both separate and unite them; how she comes to love a show that she didn't necessarily enjoy reading simply by virtue of working on it; when she joins the creative process with the director and other designers -- and whether that's always at the right time; how she constantly references and stays familiar with lighting in other shows and even other mediums; what it was like to be part of a triumvirate of designers for “The Coast of Utopia”; and why she thinks lighting design was initially very open to female designers and why she believes it's headed in the wrong direction today.

"The Addams Family" and "Elf"'s lighting designer Natasha Katz talks about the path of her career, beginning with a high school community service requirement that saw her volunteering at a (now-defunct) Off-Broadway theatre and her semester away from Oberlin College as an intern/observer of designer Roger Morgan on the musical "I Remember Mama" which brought her into immediate contact with such notables as Liv Ullmann and Richard Rodgers. She discusses her on the job training (sans graduate school) with such figures as special effects whiz Bran Ferren and lighting designers Marcia Madeira and Ken Billington; explains why she thinks it takes longer now to mount a musical than it did when she began; how a tumultuous relationship with director Clifford Williams led to her Broadway debut at a very young age; what she learned from her work Off-Broadway and in regional theatre, including some 30 productions at the Dallas Theatre Center; why her task is to focus on two key elements -- people and sets -- and to both separate and unite them; how she comes to love a show that she didn't necessarily enjoy reading simply by virtue of working on it; when she joins the creative process with the director and other designers -- and whether that's always at the right time; how she constantly references and stays familiar with lighting in other shows and even other mediums; what it was like to be part of a triumvirate of designers for "The Coast of Utopia"; and why she thinks lighting design was initially very open to female designers and why she believes it's headed in the wrong direction today. Original air date - January 12, 2011.

"The Addams Family" and "Elf"'s lighting designer Natasha Katz talks about the path of her career, beginning with a high school community service requirement that saw her volunteering at a (now-defunct) Off-Broadway theatre and her semester away from Oberlin College as an intern/observer of designer Roger Morgan on the musical "I Remember Mama" which brought her into immediate contact with such notables as Liv Ullmann and Richard Rodgers. She discusses her on the job training (sans graduate school) with such figures as special effects whiz Bran Ferren and lighting designers Marcia Madeira and Ken Billington; explains why she thinks it takes longer now to mount a musical than it did when she began; how a tumultuous relationship with director Clifford Williams led to her Broadway debut at a very young age; what she learned from her work Off-Broadway and in regional theatre, including some 30 productions at the Dallas Theatre Center; why her task is to focus on two key elements -- people and sets -- and to both separate and unite them; how she comes to love a show that she didn't necessarily enjoy reading simply by virtue of working on it; when she joins the creative process with the director and other designers -- and whether that's always at the right time; how she constantly references and stays familiar with lighting in other shows and even other mediums; what it was like to be part of a triumvirate of designers for "The Coast of Utopia"; and why she thinks lighting design was initially very open to female designers and why she believes it's headed in the wrong direction today. Original air date - January 12, 2011.

Puppet Designer Emily DeCola of The Puppet Kitchen has been designing and building puppets in New York for 7 years. She explains the wide scope of creating characters, sculpting puppets from a variety of materials, and both the possibilities and limitations in performing using puppets. She shares how her puppeteering career began and has led to partnering with Michael Schupbach and Eric Wright at their own puppetry studio. DeCola shows how the puppets were developed and designed for "John Tartaglia's ImaginOcean".

Puppet Designer Emily DeCola of The Puppet Kitchen has been designing and building puppets in New York for 7 years. She explains the wide scope of creating characters, sculpting puppets from a variety of materials, and both the possibilities and limitations in performing using puppets. She shares how her puppeteering career began and has led to partnering with Michael Schupbach and Eric Wright at their own puppetry studio. DeCola shows how the puppets were developed and designed for "John Tartaglia's ImaginOcean".

Costume designer Martin Pakledinaz (Tony Award winner for Best Costume Design of a Musical in 2000 for “Kiss Me Kate” and 2002 for “Thoroughly Modern Millie”) talks about creating the clothes for the recent Broadway revival of “Lend Me A Tenor”, the commencement of planning for the spring 2011 production of “Anything Goes” and the revival of “Oklahoma!” that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with “Inacent Black” and “I Won't Dance”; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 “Grease” without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role.

Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Three-time Tony Award winning costume designer Florence Klotz for "Follies", "A Little Night Music", and "Pacific Overtures" talks about costuming the musical comedy "On The 20th Century" set in the 1930s on a train.

Three-time Tony Award winning costume designer Florence Klotz for "Follies", "A Little Night Music", and "Pacific Overtures" talks about costuming the musical comedy "On The 20th Century" set in the 1930s on a train.

The 1985 Joseph Maharam Foundation Awards for Scenic, Costume, and Lighting Design are awarded to Lawrence Eichler, Charles Ludlam, and Everett Quinton for The Ridiculous Theatrical Company's "The Mystery of Irma Vep"; Mel Carpenter, Angus Moss, and Blu for Ping Chong's Fiji Theatre Company's "NOSFERATU: A Symphony of Darkness"; and Heidi Landesman, Patricia McGourty, and Richard Riddell for Broadway's "Big River". The designers discuss their respective productions in-depth. In addition, Henry Hewes receives an award for Outstanding Service For His Recognition Of Theatre Design.

The 1985 Joseph Maharam Foundation Awards for Scenic, Costume, and Lighting Design are awarded to Lawrence Eichler, Charles Ludlam, and Everett Quinton for The Ridiculous Theatrical Company's The Mystery of Irma Vep; Mel Carpenter, Angus Moss, and Blu for Ping Chong's Fiji Theatre Company's NOSFERATU: A Symphony of Darkness; and Heidi Landesman (Tony winner for her scenic designs of Big River and The Secret Garden), Patricia McGourty, and Richard Riddell (Tony winner) for Broadway's Big River. The designers discuss their respective productions in-depth. In addition, Henry Hewes receives an award for Outstanding Service For His Recognition Of Theatre Design.

Tony Award winning Sound Designer Robert Kaplowitz is responsible for the sound system and sound content of a production. In a play, that content includes both music and sound effects. His primary skills are listening and the ability to understand a play and help an audience connect to the text. Kaplowitz demonstrates creating sound effects and score. In a musical such as "Fela!", he brings the existing music to the audience to create an immersive aural environment. Kaplowitz shares how he began his career and why he loves being a sound designer.

Tony Award winning Sound Designer Robert Kaplowitz is responsible for the sound system and sound content of a production. In a play, that content includes both music and sound effects. His primary skills are listening and the ability to understand a play and help an audience connect to the text. Kaplowitz demonstrates creating sound effects and score. In a musical such as "Fela!", he brings the existing music to the audience to create an immersive aural environment. Kaplowitz shares how he began his career and why he loves being a sound designer.