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This week's in-between may be titled advice to my younger self, but everything I say relates to any walk of life. So whether you're a twenty something navigating what I call "second puberty", or a thirty-something pivoting in their career, or a forty-something looking to love themself, this episode offers something to everyone. In a nutshell, Elizabeth's advice to her younger self includes:Overall, stop comparing yourself to others. Relationships – You cannot change someone. Repeat - you cannot change someoneYou're not responsible for anyone else's feelings Don't waste your time on people who don't treat you how you deserveCommunication most often leads to discourseYou're going to meet so many people in your life; some will come in and some will leaveEmpathy and understanding will get you far but don't be a people pleaserWork – If you're first job ends up being your dream job, good for you. For others, we might end up all over the place before we find what drives us. No one's path is wrong or right more than someone else's, as long as you keep putting one foot in front of the otherIf you're not learning or getting some sort of fullfilment from it, release itWrite thank you emailsNETWORK Self – Remember how important it is to keep your identity separate – you can be a mother, employee, manager, sibling, daughter, podcaster, soccer player, but these things make up YOU; one role doesn't' solely define you nor limit you Don't apologize for being you or speaking up for yourselfEnjoy life – appreciate the small moments, the silly the sad, the high and low, don't fall into the rat race trap of where you need to be, where you should be, and instead realize you're where you need to beYou are going to make mistakes, heck you might even fail, but there is value in those lessons. It's not that failing is SUPER COOL, but we need to view failing less as the worst case scenario because it does happen, it happens often, and there is learning and self development that comes from itFind hobbies and interests and EXPLORE them Prioritize your mental health, especially if you have past traumaDon't forget how much power you have. You have the strength to overcome any obstacle and drive to make your dreams come true. No one said it would be easyFall in love with yourself.I'll see you fabulous, beautiful people next week for an all new in-between!Connect with me:@in.betweenpod on Instagram@elizabethcheney_ on Instagram@theinbetweenpodcast on TikTokThe In-Between Podcast on YouTube

Are You Sharing Your Authentic Self With Your Audience?Followers online are fickle creatures, and they can sense when they are being sold inauthenticity. To maintain trust with your audience, you must learn to bring your most authentic self to everything you post on social media. People don't like being kept at arm's length and do not like being lied to. So is it possible to cultivate authenticity for your audience when sharing yourself so openly online might not be second nature to you? Absolutely!Today we're going to cultivate authenticity online and show you how to show your best self online and build connections with your audience!How to Authentically Connect With Your AudienceTo connect authentically with your audience, it helps to understand why they're following (or would follow) you in the first place. Do they share common ground with your struggles, passions, or desires? Have you done the market research to determine which demographics gravitate to you, and what kinds of trials and tribulations are they going through that would make them find comfort, help, or entertainment in the services you provide?Your Struggles Are Pure GoldPeople crave being understood. It's a natural part of being human. When someone discovers another person who relates to their struggles, worries, or problems, they feel less alone and forge connections. Connecting to your audience authentically requires you to be willing to share parts of yourself that are vulnerable. If you only convey your wins and never your mistakes or failures, that feels less authentic because audiences know that nobody is perfect, and no venture goes precisely according to plan. Sharing those bumps and swerves in your journey with your audience is intrinsically relatable because we've all been there! We've all struggled to move forward and experienced the grind of failure after failure toward a solution that works. Sharing those stories with your audience creates opportunities for them to understand more about your story and empathize with your journey, conveying a stronger sense of authenticity and integrity.Sharing is Caring and It Equals Big MoneyUnderstanding your own story and sharing it with others is essential to connecting with your audience. Take the time to sit down and map out what got you into your business in the first place and why you decided to pursue it. Get personal: have you always wanted to pursue your current business, or did you have other aspirations? What skills and experiences have you gone through to grow your existing business, and where do you hope to see it grow in five years? Were there people in your life who encouraged or challenged you in a way that steered you onto your current career path? These stories fascinate your audience, and sharing them will help build a greater understanding of who you are and why people should root for you!How to Get Past the Discomfort of AuthenticityNot everyone is naturally comfortable sharing with strangers. Not everyone is comfortable speaking in public! That's okay because you can learn how to improve your confidence in time and practice. Still, it does take serious practice, and you may need to work at it until you get to a place where you feel great about being open and vulnerable in front of your audience. Actors and public speakers, for example, take classes and spend a lot of time practicing and preparing to be confident speaking in front of crowds or a camera, so don't feel overwhelmed if you're not there yet! It takes time, and that's okay. Preparedness is the Key to Skipping DiscomfortA lot of the discomfort from speaking on camera comes from lack of preparation, so the easiest way to curb that feeling is to take some time to ruin a few takes on purpose and let yourself practice talking about yourself. You'd be surprised how many seemingly improvised short videos where people are just riffing to the camera are the third, fifth, or twelfth take! As you practice, you'll naturally edit yourself, and your thoughts will become more concise and stay ready at the forefront of your mind when you need them. Using Video to Build Close Connections With Your AudienceSpeaking directly to your audience with a video is the quickest way to share the real you online. The less scripted or rehearsed, the more honest you sound, which makes you appear more trustworthy. If you're not used to public speaking or recording and posting videos of yourself, now's the time to start! The beauty of modern technology means that you can set up a mock video post whenever you want! Set up your phone and record a few minutes of yourself talking about who you are and what your company does, then watch it back and look at how you come across on camera and where your mind goes when you're speaking off the cuff. Video Practice is Nice, But Getting it Done is More Important It takes practice to get good at treating a camera lens like the person listening to you on the other end of the internet, but you can erase those practice videos, and no one has to see them, so don't worry about messing up! You'll naturally find yourself refining how you speak about yourself and your company naturally the more you practice, which will make conversations and video posts easier the more you work at it. Eventually, you'll be such a strong presence that you'll be ready to try Instagram Live and talk in real-time to your audience in the chat! So much of the way we connect gets lost in translation when we text or email. Building your confidence enough to post videos of yourself sharing your message on social media is the best way to convey who you are, what you're about, and why people should listen to what you have to say!The Benefits of Authenticity (Your Business will Grow)There are so many natural upsides to being your authentic self online. Most importantly, it's easier to keep a consistent brand if your brand is YOU! If you're trying to be someone else or an inauthentic version of you that you think your audience wants, that's not sustainable. When your audience feels like they understand you and where you're coming from, they are much more willing to go to bat for you and root for your success than if they were communicating with your brand. On social media, effective small business owners build the core integrity of their brand around their authentic drive, character, and passion for what they do, and audiences can feel that and relate to those highs and lows. Your Vunerablity is the Key to Your Success People want to support the underdog, the tenacious inventor, the passionate hobbyist, the risk-takers, the entertainers, the movers, and shakers! They don't care about brands on their own; there will always be another brand to come along and do what you do in a slightly different way, but there will forever and always only be ONE of you. That makes you unique and someone worth rooting for!Free Getting the Most of Social Media Download By the way, I've got a great free download you can use to make the most of social media you can grab here! And I have a ton of other social media workbooks, checklists, templates and freebies that will help you grow your social media by leaps and bounds. My Challenge For You Part 1: Record Your First Authetic VideoSchedule 30 minutes to record your first authentic videoSet up your phone and record yourself speaking to the camera as if you were communicating with a new clientTell them about yourself and your business. Watch the video playback and try not to pay too much attention to how you look on camera. Note which parts of your story came to mind quickly and where you had to collect your thoughts. Step 2: Record the Real One This time, your story should be more concise.This time, make sure to weave in more vulnerability into your video. Focus on the REAL reason why you do what you do. Focus on how to got to where you are today! More importantly, focus on your audience - talk directly to them. Tell them you understand where they are coming from, that you've been there, and that you would love to guide them to where they want to be (that's where you are right now!)Step 3: Post it Choose your favorite social media platform and post itWrite content for your post that will hook your audience immediatelyMake sure to use hashtags!Spend some time drumming up awareness by liking/commenting on other people (your ICAs) postsStep 4: Take a Break & Check InOnce you've done steps 1-3, take a break and come back later to check out your analytics and insights. Take note, and adjust your video strategy for the next video.Were you vulnerable enough? Too vulnerable? Did the topic speak to your ideal client? Make adjustments to each new video you post until you find your sweet spot.  Rinse & RepeatSo What Did We Learn? Your audience will know when you're not being authentic (and when you aren't - they're smart like that!) Being vulnerable with your audience builds connection which in turn will equal a larger following, more engaged audience and more customers! Video is the best way to convey who you are and what you're about. Video is the king of content delivery right now!  Practice builds confidence, and confidence builds connection! But don't overthink it. A finished video is better than spending ½ a day re-recording the same video (and again, we're trying to be authethenic, not perfect!) Authenticity builds audiences and grows businesses. It works, give it a go.  How We Can Help! My team at Jennie Lyon Digital Marketing Services Inc. and I are passionate about maximizing your online presence and building your brand. Social media is our jam and it's something that we help almost all of our clients with. Whether you're just starting out or are ready to run ads on Facebook, Instagram, or TikTok, we've got you covered. We're happy to help you take your business to the next level. Set up a free 15-minute call with me anytime. I'd love to see how we can help you connect with your audience and grow your business through authenticity! Links for this episode:  Social Media Bundle  Schedule a free call with Jennie today!  Get in touch with Jennie: JennieLyon.com jennie@jennielyon.com Book a Free Consultation Facebook Instagram Twitter LinkedIn Pinterest

We've all heard the phrase, ‘fake it till you make it,' but this is no recipe for long term success. Here to talk about a better way is Sabrina Horn. Sabrina is an award-winning CEO, C-suite advisor, communications expert, and author.With only $500 and five years of work experience, she founded Horn Group, a public relations firm that for a quarter century, advised thousands of executives and their companies—from the hottest startups to the Fortune 500. What attributed to her success is that she learned to exemplify authenticity for her teams and clients. Jump right into this episode and learn from Sabrina's proven ‘Horn Strategy' how you can make it and not have to fake it.Things you will learn in this episode: [00:01 - 05:52] Opening Segment  I introduce today's guest, Sabrina HornBioSabrina gives a bit of his background Shy and struggling in communication German as a first languageA daughter to two chemistsGrowing resilience College life into adulthood[05:53 - 16:25] Make it, Don't Fake itThe value of internships and mentorship for SabrinaA vital part of honing in on how to apply skills to a careerInstrumental in moving away from the corporate worldMaking the jump to set out on your ownLearn to become a business personWhen to learn a new skill vs. hiring out the weaknessRemember your functions and passionsThe importance of building a private networkBalancing authenticity with giving stability to your teamYour employees expect you to leadHave the conversations with the right peopleShow humility and approachability A good CEOAsking all the right questionsCreating a culture of collaborationA word from our Sponsor[16:26 - 34:53] How to Make itThe only female CEO in Silicon Valley in the 90'sA head full of steam Never compensate for your genderGender bias will still come into playStraightforward in authenticityWho you know or what you know?It depends on your phase of life A connection that led to success for SabrinaHer first client Navigating that first meetingDisarm fear and organize riskFinding the right customers Narrow down what you do wellHow to make itWrite a well-focused business planKnow yourselfCommit to being honest with yourself and othersHow to build relationships with higher people How to reach out Encouraging your team to have mentorsBuild off of chemistry[34:54 - 44:29] Closing SegmentThe best way to reach out to someone Just askBe specific with what you want help withThE RaNdOm RoUnDHow to engage with SabrinaLinks below Final words Tweetable Quotes: “I built up a network of people who really help me go through some tough spots… it can be lonely being a CEO.. it's really vital to develop that private, personal network of mentors or advisors.” - Sabrina Horn“The key is to show humility and approachability… A good CEO is not necessarily a person who has all the answers, but who asks all the right questions, and entertains the ideas and solutions.” - Sabrina HornResources Mentioned: Make it, Don't Fake ItGood to GreatThe Hard Thing About Hard ThingsConnect and engage with Sabrina on Twitter, Instagram, and LinkedIn. Check out https://sabrinahorn.com/ and learn the Horn Strategy to authentic leadership.Did you love the value that we are putting out in the show? LEAVE A REVIEW and tell us what you think about the episode so we can continue putting out great content just for you! Share this episode and help someone who wants to connect with world-class people. Jump on over to travischappell.com/makemypodcast and let my team make you your very own show!If you want to learn how to build YOUR network, check out my website travischappell.com. You can connect with me on Facebook, Instagram, and Twitter. Be sure to join The Lounge to become part of the community that's setting up REAL relationships that add value and create investments.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, Rachel is joined by Dr Jamie Wyllie, GP and Red Whale Lead. Manage. Thrive! Course presenter. We chat about lockdown, what’s we’ve hated about it, how it’s affected us but also the things that we’ve learned about ourselves, our families and our work.Many of us have found we’ve had more time and space as activities have been cancelled, many of us have found that we have no time and space at all (depending on our home circumstances) but it’s fair to say that most of us have struggled with the lack of contact with people. We discuss how this lack of informal interaction can erode relationships with work colleagues as we’ve lost the small check ins which mean we can trust each other more and sort out small issues with minimal fuss. We talk through the Stop Start Continue model where we learn lessons from what’s gone on and plan how we’re going to do things differently.Jamie’s top 3 tips areTake stop start continue seriously and invest time in thinking about itWrite it downCollaborate – talk it through with friends and colleagues. You can download our Stop Start Continue Checklist tool here We are sending out a regular email with new resources, tips and useful content especially for doctors and healthcare professionals throughout the COVID-19 crisis. If you’d like to receive this and other resources about thriving at work then please sign up hereYou can watch this podcast episode on YouTube hereSign up for the Preparing for Life After VTS for GP Mums: Getting the Balance Webinar here https://event.webinarjam.com/register/31/k3r5li2q Podcast linksYou can download our Stop Start Continue Checklist tool here You can download our Thrive Week Planner hereThe Ruthless Elimination of Hurry John Mark Comer Book Get the COVID Team Wellbeing Toolkit which includes instructions on how to run a team check in chat hereView our recent Shapes Webinars on how to support your teams through the COVID crisis and sign up for the forthcoming webinar here https://www.shapestoolkit.com/support-your-team-webinar24 hour support for NHS staff: Call 0300 131 7000 between 7am and 11pm or text FRONTLINE to 85258 24/7.BMA Wellbeing Service The NHS Practitioner Health ProgrammeSign up for downloadable CPD reflection forms plus more tools and resources For more episodes of You are not a frog, check out our website https://youarenotafrog.com/Sign up to our mailing list here for loads of useful resources about thriving at work You can also join the Shapes CollectiveSupport the show (https://youarenotafrog.com)

Playwrights Lydia R. Diamond, David Henry Hwang and Suzan-Lori Parks discuss their work and other American playwrights and how they influenced them; the moment each was aware they wanted to be writers; their process; experiencing their work on Broadway for the first time; and the role mentors played in their lives and their role as mentors.

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.

John Guare talks about his two Broadway plays of the past season: considering how the world has caught up with and changed audience responses to "The House of Blue Leaves" and which portion of the play is drawn directly from his own life, as well as the origin of "A Free Man of Color" and whether it's his practice to write plays based on ideas suggested by others. He also discusses his development as a playwright while at Georgetown University and the Yale School of Drama; why being an Aquarius was instrumental in the start of his professional career; his never-completed collaboration with Stephen Sondheim and Leonard Bernstein; how "Two Gentlemen of Verona", a musical with 37 songs, was never meant to be a musical; finding a home at The Public Theatre and his conflicted emotions about being a part of the institution at that time, where such plays as "Landscape of the Body" and "Marco Polo Sings a Solo" premiered; how place affected his writing of the "Lydie Breeze" plays and why he chose to revisit and rework them 20 years later; when he first learned of a con man pretending to be Sidney Poitier's son and when that blossomed into "Six Degrees of Separation"; the impact of his work with Signature Theatre Company in New York, including the premiere of "Lake Hollywood", which incorporated a play he'd written 39 years earlier; and why he agreed to adapt "The Front Page" and its gender-shifted remake "His Girl Friday" for the stage. Original air date - June 22, 2011.

John Guare talks about his two Broadway plays of the past season: considering how the world has caught up with and changed audience responses to "The House of Blue Leaves" and which portion of the play is drawn directly from his own life, as well as the origin of "A Free Man of Color" and whether it's his practice to write plays based on ideas suggested by others. He also discusses his development as a playwright while at Georgetown University and the Yale School of Drama; why being an Aquarius was instrumental in the start of his professional career; his never-completed collaboration with Stephen Sondheim and Leonard Bernstein; how "Two Gentlemen of Verona", a musical with 37 songs, was never meant to be a musical; finding a home at The Public Theatre and his conflicted emotions about being a part of the institution at that time, where such plays as "Landscape of the Body" and "Marco Polo Sings a Solo" premiered; how place affected his writing of the "Lydie Breeze" plays and why he chose to revisit and rework them 20 years later; when he first learned of a con man pretending to be Sidney Poitier's son and when that blossomed into "Six Degrees of Separation"; the impact of his work with Signature Theatre Company in New York, including the premiere of "Lake Hollywood", which incorporated a play he'd written 39 years earlier; and why he agreed to adapt "The Front Page" and its gender-shifted remake "His Girl Friday" for the stage. Original air date - June 22, 2011.

At its 2003 Directing Symposium, SDCF hosted a panel moderated by Mary Catherine Burke and featuring directors Christopher Ashley, Jo Bonney, Susan Einhorn, Leah Gardiner, David Warren and Les Waters and playwrights Jorge Cortiñas and David Henry Hwang to discuss expanding diversity among writers, directors and subject matter of new plays. The discussion encompasses the artist's responsibility to creating diversity in theater, the producer's responsibility to take on diverse projects, and the difficulty of taking pieces out of development and into production in commercial or not-for-profit venues. The panelists aim to answer the question of how we are working to change the demographics of theater, and what still needs to be done. The conversation provides an assortment of important perspectives on one of today's hot-button topics and is a reminder of the need for social, cultural and political diversity in the theatrical craft.

Bookwriter John Weidman talks about creating a new book in the 1980s with Timothy Crouse for the 1930s musical "Anything Goes", now playing in revival at Roundabout Theatre Company in New York, and how their version of the oft-revised musical became the now-standard script. He also talks about growing up as the son of novelist and sometime Broadway librettist Jerome Weidman; his academic career at Harvard and then Yale Law School (though he's never practiced law); his part in the creation of the highly influential "National Lampoon" magazine in the 70s; how his law school-era fascination with the opening of Japan to the West ultimately became his first Broadway musical, "Pacific Overtures"; the true origins of his second collaboration with Stephen Sondheim, "Assassins"; why he was dissatisfied with his work on the musical version of "Big"; how one writes a dance musical that is largely told without words, namely "Contact"; and whether the long-aborning "Road Show" (aka "Bounce" aka "Wise Guys") is finished, or if further changes will be seen at the Menier Chocolate Factory in London this summer. Original air date - June 1, 2011.

Bookwriter John Weidman talks about creating a new book in the 1980s with Timothy Crouse for the 1930s musical "Anything Goes", now playing in revival at Roundabout Theatre Company in New York, and how their version of the oft-revised musical became the now-standard script. He also talks about growing up as the son of novelist and sometime Broadway librettist Jerome Weidman; his academic career at Harvard and then Yale Law School (though he's never practiced law); his part in the creation of the highly influential "National Lampoon" magazine in the 70s; how his law school-era fascination with the opening of Japan to the West ultimately became his first Broadway musical, "Pacific Overtures"; the true origins of his second collaboration with Stephen Sondheim, "Assassins"; why he was dissatisfied with his work on the musical version of "Big"; how one writes a dance musical that is largely told without words, namely "Contact"; and whether the long-aborning "Road Show" (aka "Bounce" aka "Wise Guys") is finished, or if further changes will be seen at the Menier Chocolate Factory in London this summer. Original air date - June 1, 2011.

Playwright David Lindsay-Abaire talks about returning to his South Boston roots with the play "Good People", how the characters are amalgams of the people he grew up with in that private neighborhood and why he chose it as the setting for a play about the class system in America. He also talks about moving beyond his "Southie" roots as early as seventh grade, when he received a scholarship to a private school and how he had to learn to fit in there; his earliest plays, written for his classmates at that same private school; his theatrical studies at Sarah Lawrence College and later at The Juilliard School; his professional "Plan B", a career in arts administration, fostered by his work at New York's Dance Theatre Workshop; his excitement at his first New York production, "A Devil Inside", at SoHo Rep, which began his long collaboration with (and perpetual atonement for) actress Marylouise Burke; how Manhattan Theatre Club, now his longtime creative home, showed early interest in, and then almost passed on, his breakthrough play "Fuddy Meers"; the origin of "Kimberly Akimbo" in a chance comment by a friend about his infant daughter; his candid thoughts on "Wonder of the World" and why it shouldn't have too elegant a production; his experience with writing musicals, including "High Fidelity" and "Shrek", and why he'll always write both the book and lyrics for any future musical projects; his shift to naturalism with "Rabbit Hole" and how the film differs from the play; why he's still part of a writer's group and how the group helped him to strengthen one particular character in "Good People"; and how he has always followed Marsha Norman's advice to write about "the thing that frightens you most." Original air date - May 4, 2011.

Playwright David Lindsay-Abaire talks about returning to his South Boston roots with the play "Good People", how the characters are amalgams of the people he grew up with in that private neighborhood and why he chose it as the setting for a play about the class system in America. He also talks about moving beyond his "Southie" roots as early as seventh grade, when he received a scholarship to a private school and how he had to learn to fit in there; his earliest plays, written for his classmates at that same private school; his theatrical studies at Sarah Lawrence College and later at The Juilliard School; his professional "Plan B", a career in arts administration, fostered by his work at New York's Dance Theatre Workshop; his excitement at his first New York production, "A Devil Inside", at SoHo Rep, which began his long collaboration with (and perpetual atonement for) actress Marylouise Burke; how Manhattan Theatre Club, now his longtime creative home, showed early interest in, and then almost passed on, his breakthrough play "Fuddy Meers"; the origin of "Kimberly Akimbo" in a chance comment by a friend about his infant daughter; his candid thoughts on "Wonder of the World" and why it shouldn't have too elegant a production; his experience with writing musicals, including "High Fidelity" and "Shrek", and why he'll always write both the book and lyrics for any future musical projects; his shift to naturalism with "Rabbit Hole" and how the film differs from the play; why he's still part of a writer's group and how the group helped him to strengthen one particular character in "Good People"; and how he has always followed Marsha Norman's advice to write about "the thing that frightens you most." Original air date - May 4, 2011.

The panel of playwrights - Annie Baker, Rinne Groff, Karen Hartman and Alfred Uhry - talk about their writing process; the role of the dramaturg; writing adaptations; collaborating with directors; whether they have a specific actor in mind when they're writing; and how they see the role of the playwright in theatre today.

The panel of playwrights - Kristoffer Diaz, Kate Fodor, Rajiv Joseph, Young Jean Lee and Tarell Alvin McCraney - discuss how and why they became involved in theatre; whether their writing comes from their own life experiences or that of others, or both; how their writing develops and evolves; what challenges their imagination; how their work is viewed by audiences in other countries; and the importance of diversity being reflected in theatre.

From his home base in Scarborough, England, playwright and director Sir Alan Ayckbourn makes a return visit to "Downstage Center" during the run of his 74th play, "Life of Riley". He discusses why he chooses to mention his parents' unhappy marriage in his program biography; why so many of his plays involve infidelity; his feeling about happy endings; the challenge and opportunity of creating characters who never appear on stage, but are often spoken about, as is the title character in "Riley"; whether as a director of his own plays he enjoys the benefit of knowing what every character is thinking; the advice he gives to other directors who are tackling his plays and seek him out; his feeling about star casting and how it influenced his early hit "How The Other Half Loves"; why he imposed a moratorium on his plays being done in the West End for several and why it remains in place for his new plays; the experience of bringing work to New York to critical acclaim ("Private Fears in Public Places", "Intimate Exchanges" and "My Wonderful Day") and why he's content to have it seen for a limited run in a small venue; why he called off plans for "Private Fears" to be remounted with an American cast; whether he can still create "event theatre" along the lines of "The Revenger's Comedies", "The Norman Conquests" and "House and Garden"; and whether he misses being the artistic director of the Stephen Joseph Theatre, his primary occupation for the better part of four decades. Original air date - January 5, 2011.

From his home base in Scarborough, England, playwright and director Sir Alan Ayckbourn makes a return visit to "Downstage Center" during the run of his 74th play, "Life of Riley". He discusses why he chooses to mention his parents' unhappy marriage in his program biography; why so many of his plays involve infidelity; his feeling about happy endings; the challenge and opportunity of creating characters who never appear on stage, but are often spoken about, as is the title character in "Riley"; whether as a director of his own plays he enjoys the benefit of knowing what every character is thinking; the advice he gives to other directors who are tackling his plays and seek him out; his feeling about star casting and how it influenced his early hit "How The Other Half Loves"; why he imposed a moratorium on his plays being done in the West End for several and why it remains in place for his new plays; the experience of bringing work to New York to critical acclaim ("Private Fears in Public Places", "Intimate Exchanges" and "My Wonderful Day") and why he's content to have it seen for a limited run in a small venue; why he called off plans for "Private Fears" to be remounted with an American cast; whether he can still create "event theatre" along the lines of "The Revenger's Comedies", "The Norman Conquests" and "House and Garden"; and whether he misses being the artistic director of the Stephen Joseph Theatre, his primary occupation for the better part of four decades. Original air date - January 5, 2011.

On Tuesday, March 29, 1988, Stage Directors and Choreographers Foundation and New Dramatists hosted a seminar on the director-playwright relationship with directors Tony Giordano, Pam Berlin, Paul Benedict, and Woodie King, Jr., and writers Steve Carter, Jack Heifner, John Bishop and Reynaldo Povod. This lively ninety-minute conversation includes discussions of the director's role on a new play, what playwrights look for in a director, and colorful nature of the collaboration described as a marriage, an affair and a divorce. Other topics include the role of the producer as mediator and ownership of the play along with several horror stories of disastrous collaborations. Anyone interested in the current national conversation about new play development and playwrights should listen to this podcast to discover just how much and how little the director-playwright relationship has evolved over the past twenty-two years.

South African playwright Athol Fugard (Recipient of the 2011 Tony Award for Lifetime Achievement) discusses his newest work, “The Train Driver”, during rehearsals at the Long Wharf Theatre, and explains why this play marks the end of a stage in his writing -- but promises that he'll die with a fountain pen in one hand and a blank sheet of paper in the other. He also talks about the artistic collaborators who have been so important to him -- actors Zakes Mokae and Yvonne Bryceland, author/actors John Kani and Winston Ntshona, and designer/co-director Susan Hilferty; explains why guilt has been such a driving force behind his work; considers why he has on occasion been actor and director in his own work; defines the effect of his recent U.S. residency on his playwriting; considers the effect that the official end of apartheid has had on him and his work; and emphatically addresses recent comments both made by and attributed to him regarding the state of political playwriting in the world today.

South African playwright Athol Fugard discusses his newest work, "The Train Driver", during rehearsals at the Long Wharf Theatre, and explains why this play marks the end of a stage in his writing -- but promises that he'll die with a fountain pen in one hand and a blank sheet of paper in the other. He also talks about the artistic collaborators who have been so important to him -- actors Zakes Mokae and Yvonne Bryceland, author/actors John Kani and Winston Ntshona, and designer/co-director Susan Hilferty; explains why guilt has been such a driving force behind his work; considers why he has on occasion been actor and director in his own work; defines the effect of his recent U.S. residency on his playwriting; considers the effect that the official end of apartheid has had on him and his work; and emphatically addresses recent comments both made by and attributed to him regarding the state of political playwriting in the world today. Original air date - October 27, 2010.

South African playwright Athol Fugard discusses his newest work, "The Train Driver", during rehearsals at the Long Wharf Theatre, and explains why this play marks the end of a stage in his writing -- but promises that he'll die with a fountain pen in one hand and a blank sheet of paper in the other. He also talks about the artistic collaborators who have been so important to him -- actors Zakes Mokae and Yvonne Bryceland, author/actors John Kani and Winston Ntshona, and designer/co-director Susan Hilferty; explains why guilt has been such a driving force behind his work; considers why he has on occasion been actor and director in his own work; defines the effect of his recent U.S. residency on his playwriting; considers the effect that the official end of apartheid has had on him and his work; and emphatically addresses recent comments both made by and attributed to him regarding the state of political playwriting in the world today. Original air date - October 27, 2010.

The panel of playwrights - Edward Albee ("The Lady From Dubuque"), Eve Merriam ("The Club"), Samm-Art Williams ("Home"), Lanford Wilson ("Talley's Folly"), and Ruth Wolff ("The Abdication") - discuss producing their current plays, how much playwrights creatively collaborate with directors and producers, the responsibilities of an agent, how playwrights learn to direct, and advice for actors and new playwrights.

The panel of playwrights -- Edward Albee (Tony winner for Who's Afraid of Virginia Woolf? and the 2005 recipient of the Special Tony Award for Lifetime Achievement in the Theatre), Eve Merriam (The Club), Samm-Art Williams (Home), Lanford Wilson (Talley's Folly), and Ruth Wolff (The Abdication) -- discuss producing their current plays, how much playwrights creatively collaborate with directors and producers, the responsibilities of an agent, how playwrights learn to direct, and advice for actors and new playwrights.

Playwright Alfred Uhry recalls the original production of "Driving Miss Daisy" in 1987 at Playwrights Horizons, lists the actresses he's had the opportunity to see play the title role - based directly on his own grandmother - and discusses the cast of the play's Broadway premiere. He also talks about his Atlanta upbringing and being the beneficiary of his mother's love of the stage; moving to New York after graduating from Brown University and his apprenticeship under the great Frank Loesser; the Broadway musical he regularly leaves out of his bio and resume, which featured a book by another novice, Terrence McNally; the good fortune that smiled on "The Robber Bridegroom", which featured Raul Julia, Kevin Kline and Barry Bostwick in successive New York incarnations; how the failure of his Al Capone musical "America's Sweetheart" led him to shift away from musicals towards playwriting with "Daisy"; drawing once again on his own family for "The Last Night of Ballyhoo"; collaborating with director Hal Prince and one living composer (Jason Robert Brown) and one deceased (Kurt Weill) for the musicals "Parade" and "LoveMusik"; and how his fact-based drama "Edgardo Mine" has now become "Divine Intervention". Original air date - October 13, 2010.

Playwright Alfred Uhry (1997 Tony Award winner for Best Play for “The Last Night of Ballyhoo”; 1999 Tony Award winner for Best Book of a Musical for “Parade”) recalls the original production of “Driving Miss Daisy” in 1987 at Playwrights Horizons, lists the actresses he's had the opportunity to see play the title role - based directly on his own grandmother - and discusses the cast of the play's Broadway premiere. He also talks about his Atlanta upbringing and being the beneficiary of his mother's love of the stage; moving to New York after graduating from Brown University and his apprenticeship under the great Frank Loesser; the Broadway musical he regularly leaves out of his bio and resume, which featured a book by another novice, Terrence McNally; the good fortune that smiled on “The Robber Bridegroom”, which featured Raul Julia, Kevin Kline and Barry Bostwick in successive New York incarnations; how the failure of his Al Capone musical “America's Sweetheart” led him to shift away from musicals towards playwriting with “Daisy”; drawing once again on his own family for “The Last Night of Ballyhoo”; collaborating with director Hal Prince and one living composer (Jason Robert Brown) and one deceased (Kurt Weill) for the musicals “Parade” and “LoveMusik”; and how his fact-based drama “Edgardo Mine” has now become “Divine Intervention”.

Playwright Alfred Uhry recalls the original production of "Driving Miss Daisy" in 1987 at Playwrights Horizons, lists the actresses he's had the opportunity to see play the title role - based directly on his own grandmother - and discusses the cast of the play's Broadway premiere. He also talks about his Atlanta upbringing and being the beneficiary of his mother's love of the stage; moving to New York after graduating from Brown University and his apprenticeship under the great Frank Loesser; the Broadway musical he regularly leaves out of his bio and resume, which featured a book by another novice, Terrence McNally; the good fortune that smiled on "The Robber Bridegroom", which featured Raul Julia, Kevin Kline and Barry Bostwick in successive New York incarnations; how the failure of his Al Capone musical "America's Sweetheart" led him to shift away from musicals towards playwriting with "Daisy"; drawing once again on his own family for "The Last Night of Ballyhoo"; collaborating with director Hal Prince and one living composer (Jason Robert Brown) and one deceased (Kurt Weill) for the musicals "Parade" and "LoveMusik"; and how his fact-based drama "Edgardo Mine" has now become "Divine Intervention". Original air date - October 13, 2010.

Playwright Jules Feiffer, perhaps best known as a Pulitzer Prize-winning cartoonist, explains why he sees little difference between his comic work, screen work and stage work, as well as why he has no issue with his 42-year-legacy of provocative work in the "Village Voice" being called, simply, a comic strip. He also talks about his early involvement in moving from the comics to the stage, including Paul Sills' adaptation called "The Explainers" and his own "The World of Jules Feiffer", which featured the first "Passionella" musical, with a score by Stephen Sondheim; how he feels about the "Passionella" segment in "The Apple Tree" and whether he prefers the original production or the recent revival; the journey of "Little Murders" from Broadway flop to London award-winner to Off-Broadway success -- all in a two-year span; how "The White House Murder Case" started off a hit and why the audiences suddenly stopped laughing; how he came to contribute to the infamous revue "Oh! Calcutta"; what shifted his play "Carnal Knowledge" from the stage to the screen before it was ever produced, and what prompted him years later to resurrect the stage script; how his troubled personal life yielded the comedy "Knock Knock"; why "Elliot Loves" drove him from the theatre for over a decade, and why he came back with perhaps his most personal play, "A Bad Friend"; and what's happening with his long-aborning collaboration with Andrew Lippa on a stage musical of his children's book, "The Man in the Ceiling". Original air date - October 6, 2010.

Playwright Jules Feiffer, perhaps best known as a Pulitzer Prize-winning cartoonist, explains why he sees little difference between his comic work, screen work and stage work, as well as why he has no issue with his 42-year-legacy of provocative work in the "Village Voice" being called, simply, a comic strip. He also talks about his early involvement in moving from the comics to the stage, including Paul Sills' adaptation called "The Explainers" and his own "The World of Jules Feiffer", which featured the first "Passionella" musical, with a score by Stephen Sondheim; how he feels about the "Passionella" segment in "The Apple Tree" and whether he prefers the original production or the recent revival; the journey of "Little Murders" from Broadway flop to London award-winner to Off-Broadway success -- all in a two-year span; how "The White House Murder Case" started off a hit and why the audiences suddenly stopped laughing; how he came to contribute to the infamous revue "Oh! Calcutta"; what shifted his play "Carnal Knowledge" from the stage to the screen before it was ever produced, and what prompted him years later to resurrect the stage script; how his troubled personal life yielded the comedy "Knock Knock"; why "Elliot Loves" drove him from the theatre for over a decade, and why he came back with perhaps his most personal play, "A Bad Friend"; and what's happening with his long-aborning collaboration with Andrew Lippa on a stage musical of his children's book, "The Man in the Ceiling". Original air date - October 6, 2010.

The panelists - playwright P.J. Barry ("The Octette Bridge Club"), lyricist Ellen Fitzhugh ("Grind"), director John Going ("Inherit The Wind"), playwright Fay Kanin ("Grind"), playwright Jerome Lawrence ("Inherit The Wind"), agent Bruce Savin, and director Clifford Williams ("Pack of Lies") - talk about their formal training; the relationship between directors, playwrights and casting directors; the key to successful collaboration; comparing the author's rights for stage versus film; the boundaries of a director's vision; and rising production costs and ticket prices.

The panelists -- director Clinton Turner Davis (Two Can Play), playwright Herb Gardner (1986 Tony Award for I'm Not Rappaport), playwright/lyricist Tom Jones (The Fantasticks), playwright Shirley Lauro (Open Admissions), lyricist/director Richard Maltby Jr. (Tony Award winner in 1978 for Ain’t Misbehavin’), playwright Marsha Norman (Night Mother and a Tony Award for The Secret Garden) and composer Harvey Schmidt (The Fantasticks) -- discuss how a playwright chooses a director, the role of a playwright, how much structure is provided by the text, and the varying degrees of collaboration between director, playwright, and actor.

The panelists - director Clinton Turner Davis ("Two Can Play"), playwright Herb Gardner ("I'm Not Rappaport"), playwright/lyricist Tom Jones ("The Fantasticks"), playwright Shirley Lauro ("Open Admissions"), lyricist/director Richard Maltby Jr. ("Song and Dance"), playwright Marsha Norman ("Night Mother") and composer Harvey Schmidt ("The Fantasticks") - discuss how a playwright chooses a director, the role of a playwright, how much structure is provided by the text, and the varying degrees of collaboration between director, playwright, and actor.

As his play "Vampire Lesbians of Sodom" marks the 25th anniversary of its opening at the Provincetown Playhouse, playwright and actor Charles Busch recalls the circumstances surrounding the play's production and the evolution of his career as a writer and performer, including his years as a solo artist and his transition to writing for other actors -- and himself, as his own leading lady. He also talks about his theatregoing experiences growing up in New York and his study at Northwestern University; explains that despite frequent declarations that his work is rooted in classic films, he believes them to be based more in his knowledge of theatrical history and style; wonders whether he could achieve success today, now that Off-Broadway has become relatively inhospitable to commercial productions of plays; ponders why his forays into musical theatre, including "Taboo", haven't been entirely successful; describes the ups and downs of his relationship with his "co-muse" Julie Halston, including its inauspicious beginning; makes clear why he never had any intention of playing the title role in "The Tale of the Allergist's Wife"; describes the challenges he faced getting the rights to perform a role he's now done several times, "Auntie Mame"; and reflects on why he's inexorably drawn back to Theatre for the New City, most recently with "The Divine Sister", even after success in larger, more upscale environs. Original air date - July 14, 2010.

As his play "Vampire Lesbians of Sodom" marks the 25th anniversary of its opening at the Provincetown Playhouse, playwright and actor Charles Busch recalls the circumstances surrounding the play's production and the evolution of his career as a writer and performer, including his years as a solo artist and his transition to writing for other actors -- and himself, as his own leading lady. He also talks about his theatregoing experiences growing up in New York and his study at Northwestern University; explains that despite frequent declarations that his work is rooted in classic films, he believes them to be based more in his knowledge of theatrical history and style; wonders whether he could achieve success today, now that Off-Broadway has become relatively inhospitable to commercial productions of plays; ponders why his forays into musical theatre, including "Taboo", haven't been entirely successful; describes the ups and downs of his relationship with his "co-muse" Julie Halston, including its inauspicious beginning; makes clear why he never had any intention of playing the title role in "The Tale of the Allergist's Wife"; describes the challenges he faced getting the rights to perform a role he's now done several times, "Auntie Mame"; and reflects on why he's inexorably drawn back to Theatre for the New City, most recently with "The Divine Sister", even after success in larger, more upscale environs. Original air date - July 14, 2010.

Robert Wright and George Forrest, the songwriting team behind "Song of Norway" talk about adapting their 1953 Broadway musical "Kismet" into "Timbuktu!", a new musical set in West Africa instead of Baghdad, with African folk themes, an African-American cast, and by "The Wiz" director/choreographer/costume designer Geoffrey Holder.

Robert Wright and George Forrest, the songwriting team behind "Song of Norway" talk about adapting their 1953 Broadway musical "Kismet" into "Timbuktu!", a new musical set in West Africa instead of Baghdad, with African folk themes, an African-American cast, and by "The Wiz" director/choreographer/costume designer Geoffrey Holder.

Playwright Brian Clark ("The Petition"), playwright/director Emily Mann ("The Execution of Justice"), playwright Arthur Miller ("Death of a Salesman"), literary agent Gilbert Parker, director Norman René ("Precious Sons"), and director John Tillinger ("Loot" and "The Perfect Party") discuss the division of responsibilities between playwright and director, how casting effects the original script, the significance of play titles, playing regional theatres versus New York versus London, escalating ticket prices, and whether working in theatre is preferred to film and television.

Playwright Brian Clark (The Petition), playwright/director Emily Mann (The Execution of Justice), five-time Tony Award-winning playwright Arthur Miller (for All My Sons, Death of a Salesman, The Crucible and a Lifetime Achievement Award in 1999), literary agent Gilbert Parker, director Norman René (Precious Sons), and director John Tillinger (Loot and The Perfect Party) discuss the division of responsibilities between playwright and director, how casting effects the original script, the significance of play titles, playing regional theatres versus New York versus London, escalating ticket prices, and whether working in theatre is preferred to film and television.

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

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

Our distinguished panel of playwrights -- Charles Busch, David Ives, Donald Margulies and Suzan-Lori Parks -- discuss the moment when they realized they wanted to be writers; who influenced them in their early careers; whether or not they have a specific actor in mind when they write; their collaboration with directors; and the theaters they consider to be their homes.

Lyricist/writer Adolph Green, one half of the musical-comedy team Comden and Green, talks about their current revue "A Party with Betty Comden and Adolph Green" at the Morosco Theatre which includes songs from "Bells Are Ringing", "On The Town", "Applause", and more; working with Cy Coleman on an upcoming musical based on the play "Twentieth Century", about glamour and romance on the Twentieth Century Limited train from Chicago to New York, and the possibility of Madeline Kahn starring with Hal Prince directing.

Lyricist/writer Adolph Green, one half of the musical-comedy team Comden and Green, talks about their current revue "A Party with Betty Comden and Adolph Green" at the Morosco Theatre which includes songs from "Bells Are Ringing", "On The Town", "Applause", and more; working with Cy Coleman on an upcoming musical based on the play "Twentieth Century", about glamour and romance on the Twentieth Century Limited train from Chicago to New York, and the possibility of Madeline Kahn starring with Hal Prince directing.

The panel - director Melvin Bernhardt ("The Beach House"), playwright Alice Childress ("Moms"), director Walter Dallas ("Moms"), playwright Nancy Donohue ("The Beach House"), playwright Patrick Meyers ("K2"), and director Terry Schreiber ("K2") - talk about where they started, how many acted before writing and directing, the relationship between directors and playwrights, developing a show particularly out-of-town, the challenges of casting a play, and the collaboration amongst actors, directors, and authors.

What was "The Play That Changed Your Life"? Not only the title of a new American Theatre Wing book, which posed that question to 19 of America's most distinguished playwrights, but the start of a discussion by two of those playwrights, Tina Howe and Diana Son. They also talk about which of their own plays changed their lives; what role theatre played while growing up; if there were teachers who inspired them to get involved in theatre writing; what drew them to playwriting; how much of themselves are in their characters; and their role as mentors for young writers.

The multi-talented Andre De Shields describes the development of his new one-man show, "Mine Eyes Have Seen The Glory: From Douglass to Deliverance", and why it may be a work-in-progress for several years to come. He also talks about growing up in a family of 11 children in Baltimore and why he was unexpectedly the one to make a career in entertainment; his undergraduate years at the University of Wisconsin, including an infamous production he described as "the nude Peter Pan," directed by Stuart Gordon (who would later create the Organic Theatre in Chicago and direct the film "Re-Animator"); why he had to sleep in a public park in order to secure his first professional role in a show he'd never seen -- "Hair"; why he can lay claim to being the man who made Bette Midler's back-up singers, The Harlettes, dance; how the process of elimination ended up yielding him the title role in "The Wiz"; why it was Jackie Onassis who revealed to him and his castmates in "Ain't Misbehavin'" that they were in a hit; whether he'd tackle the multiple roles of director, choreographer, bookwriter, songwriter and star of "Harlem Nocturne" if he had to do it all over again; his thoughts on African-American actors taking on traditionally Caucasian roles, having had the opportunity to play Willy Loman in "Death of a Salesman" and "Our Town"'s Stage Manager; why he feels that the musical "Play On!" was misunderstood; and the incredible liberation of his big number in "The Full Monty". Original air date - February 1, 2010.

The multi-talented Andre De Shields describes the development of his new one-man show, "Mine Eyes Have Seen The Glory: From Douglass to Deliverance", and why it may be a work-in-progress for several years to come. He also talks about growing up in a family of 11 children in Baltimore and why he was unexpectedly the one to make a career in entertainment; his undergraduate years at the University of Wisconsin, including an infamous production he described as "the nude Peter Pan," directed by Stuart Gordon (who would later create the Organic Theatre in Chicago and direct the film "Re-Animator"); why he had to sleep in a public park in order to secure his first professional role in a show he'd never seen -- "Hair"; why he can lay claim to being the man who made Bette Midler's back-up singers, The Harlettes, dance; how the process of elimination ended up yielding him the title role in "The Wiz"; why it was Jackie Onassis who revealed to him and his castmates in "Ain't Misbehavin'" that they were in a hit; whether he'd tackle the multiple roles of director, choreographer, bookwriter, songwriter and star of "Harlem Nocturne" if he had to do it all over again; his thoughts on African-American actors taking on traditionally Caucasian roles, having had the opportunity to play Willy Loman in "Death of a Salesman" and "Our Town"'s Stage Manager; why he feels that the musical "Play On!" was misunderstood; and the incredible liberation of his big number in "The Full Monty". Original air date - February 1, 2010.

Pulitzer Prize and Tony Award honored playwright Doug Wright (2004 Tony Award winner for Best Play for “I Am My Own Wife”) discusses his virtually genetic passion for theatre and how that matched up with his conservative Texas childhood; his escape to New Haven and later New York for college and grad school; his early work at the O'Neill Theatre Center and the Yale Repertory Theatre; why he describes his early plays, including “Interrogating the Nude” and “Watbanaland”, as having been fueled by rage; how “Quills” was inspired in part by the political culture wars of the mid-90s; where he found inspiration for the macabre and comic one-acts collected as “Unwrap Your Candy”; how he feels about having personally revealed himself in his writing, both as a character in “I Am My Own Wife” and in his essay for the book “The Play That Changed My Life”; why he signed on to collaborate with Scott Frankel and Michael Korie on the musical of “Grey Gardens” after the failure of his only prior musical, “Buzzsaw Berkeley” with Michael John LaChiusa; what drove him to actively lobby for the position of bookwriter on Disney's “The Little Mermaid”; and whether he plans to do more directing after adapting and staging Strindberg's “Creditors” at the La Jolla Playhouse in the summer of 2009.

Pulitzer Prize and Tony Award honored playwright Doug Wright discusses his virtually genetic passion for theatre and how that matched up with his conservative Texas childhood; his escape to New Haven and later New York for college and grad school; his early work at the O'Neill Theatre Center and the Yale Repertory Theatre; why he describes his early plays, including "Interrogating the Nude" and "Watbanaland", as having been fueled by rage; how "Quills" was inspired in part by the political culture wars of the mid-90s; where he found inspiration for the macabre and comic one-acts collected as "Unwrap Your Candy"; how he feels about having personally revealed himself in his writing, both as a character in "I Am My Own Wife" and in his essay for the book "The Play That Changed My Life"; why he signed on to collaborate with Scott Frankel and Michael Korie on the musical of "Grey Gardens" after the failure of his only prior musical, "Buzzsaw Berkeley" with Michael John LaChiusa; what drove him to actively lobby for the position of bookwriter on Disney's "The Little Mermaid"; and whether he plans to do more directing after adapting and staging Strindberg's "Creditors" at the La Jolla Playhouse in the summer of 2009. Original air date - January 25, 2010.

Pulitzer Prize and Tony Award honored playwright Doug Wright discusses his virtually genetic passion for theatre and how that matched up with his conservative Texas childhood; his escape to New Haven and later New York for college and grad school; his early work at the O'Neill Theatre Center and the Yale Repertory Theatre; why he describes his early plays, including "Interrogating the Nude" and "Watbanaland", as having been fueled by rage; how "Quills" was inspired in part by the political culture wars of the mid-90s; where he found inspiration for the macabre and comic one-acts collected as "Unwrap Your Candy"; how he feels about having personally revealed himself in his writing, both as a character in "I Am My Own Wife" and in his essay for the book "The Play That Changed My Life"; why he signed on to collaborate with Scott Frankel and Michael Korie on the musical of "Grey Gardens" after the failure of his only prior musical, "Buzzsaw Berkeley" with Michael John LaChiusa; what drove him to actively lobby for the position of bookwriter on Disney's "The Little Mermaid"; and whether he plans to do more directing after adapting and staging Strindberg's "Creditors" at the La Jolla Playhouse in the summer of 2009. Original air date - January 25, 2010.

Cartoonist and playwright Jules Feiffer talks about his revue "Hold Me", based on his cartoon work; the selection process; how each skit, while different, is connected thematically; and the response to the show nationally.