Podcast appearances and mentions of jane greenwood

Cherry, baby! We are here with two-time Tony-winner and three-time Emmy-winner Cherry Jones. You Might Know Her From The Handmaid's Tale, 24, Transparent, Succession, The West Wing, The Village, The Eyes of Tammy Faye, and her numerous theatre credits including The Heiress, Doubt, Mrs. Warren's Profession, and The Glass Menagerie. Cherry talked to us about playing the real life Eileen Myles on Transparent, grounding the violence on 24, whether or not she'll appear in the final season of The Handmaid's Tale, and she shares with us an actor's secret: her “moment before” from the Broadway production of Doubt. Plus, we got the scoop on going toe to toe with Brian Cox on Succession, whether or not she'd ever play Madame/Mama Rose in Gypsy, and trailblazing as a queer person in entertainment when she won her Tonys. This one was just a total treat!  Patreon: www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this episode: Was Sarah Schulman's novel People in Trouble ripped off for Rent? Michael Greif directed Jonathan Larson's original production of Rent Gypsy Rose Lee's autobiography, Gypsy: A Memoir:  June Havoc's 2 memoirs: Early Havoc and More Havoc Arthur Laurents' memoir: Original Story By: Gypsy movie with Rosalind Russell (1962) + Bette Midler tv Gypsy (1993) Our Sunset Boulevard review on Patreon Book about original production of Sunset Boulevard We are digging into the source material for our: YEAR OF Rent | Gypsy | Sunset Boulevard | Chicago The play is called Chicago Bette's Emmy performance of “Rose's Turn” in stirrup pants Spongebob creator Hillenburg sold rights to Nickelodeon and when he died they made a musical and lots of spin-offs Tick Tick Boom introduced Anne to Raul Esparza “Boho Days” 5 Days at Memorial (Apple TV) Nan Pierce on Succession was the bus and truck Katherine Graham After doing Doubt on Broadway, she went on national tour with the show Dennis Haysbert was first President on 24 and then it was Cherry as Allison Taylor Had been doing rep at ART for 10 years when she opened as Catherine in the 1995 revival of The Heiress directed by Gerry Guitierrez Cherry saw Tyne Daly and Angela Lansbury's Gypsy Angela was a tall woman Jane Greenwood was costume designer for The Heiress and the Colleen Dewhurst's A Moon for the Misbegotten Has Colleen's student id card from the American Academy of Dramatic Arts hanging on her wall Played Ma Joad at the National Theatre in London last summer (will not transfer) Jessica Chastain A Doll's House got the phone stuff out of the way at pre-show Testament of Mary with Fiona Shaw Jessica Hecht was so good in Summer of 1976 and Eureka Day Cherry loves J. Smith Cameron in anything M Night Shyamalan's Signs and The Village Former guest of the show Celia Weston told us M Night's camp was fun but didn't inform the work Starred opposite Mel Gibson in the Jodie Foster's film, The Beaver Twelfth Night with Diane Lane (directed by Andrei Serban) Lifetime lesbian movie with Brooke Shields, What Makes a Family (2001) We interviewed Veronica Cartwright who was in The Children's Hour Played Eleanor Roosevelt opposite Hilary Swank's Amelia Eearhart in Amelia  Tina Howe and Jack O'Brien's Pride's Crossing is the thing Cherry wants us to see Played Matt Damon's mom in Ocean's 12 even though she is 14 years younger than him MOVIES CHERRY IS NOT IN: Cold Mountain and A League of Their Own (aka Avita Vayonne)  Does the audiobooks for Little House on the Prairie books Claire Danes reads audiobook of The Handmaid's Tale Essentially played Eileen Myles in Transparent Was NOT in the O'Malley with Mickey Rooney  Was never ASKED to be on The L Word We talked to Barrie Kreinik about Eva La Gallienne and Laurette Taylor but said it was RUMORED, no receipts Character in Noel Coward's Hay Fever based on  Laurette Taylor  Timothee Chalamet's speech at the 2025 SAG Awards “They Like Me” is actually “YOU LIKE ME” “It Came True”

"What class are you?" It's a question that Vermont Public reporter Erica Heilman recently asked people she encountered in the Northeast Kingdom. In the fourth of a five-part series, we hear 73-year-old Brownington logger and builder Jane Greenwood describe what it's like to straddle two classes: the "working class" and the "NPR class."

On March 24, Build Out Alliance hosted "An Evening with Jane Greenwood;" Jane is the managing principal at Kostow Greenwood Architects. Rajas Karnik, president of Build Out Alliance, interviewed Jane and the following podcast is a snapshot of their conversation.

What an honor to spend some time in conversation with legendary costume designer, Jane Greenwood! Jane and Hal spoke about how she approaches the same show twice, the ethos for design she imparts on her students, and how American theatre has changed over her nearly sixty years in the industry. Jane Greenwood has been designing on Broadway for more than fifty years. Originally from Liverpool, England, Ms. Greenwood was educated at the Central School of Arts and Crafts in London. She began her career at the Oxford Playhouse. She has designed for theater, opera, dance, film and television, including 130 productions for Broadway since The Ballad of The Sad Café in 1963. Recent Broadway credits include Long Day’s Journey into Night, Bright Star, Act One, You Can’t Take It With You, and A View From The Bridge. Her Off-Broadway credits include Belle Epoque, A Man of No Importance, Burn This, House/Garden, Vita and Virginia andThe Lisbon Traviata. Films include Arthur, Glengarry Glen Ross, Oleanna and the cult classic Can’t Stop the Music. She has designed over a dozen productions at the American Shakespeare Festival Theater in Stratford, CT, The Public Theater, and Shakespeare in the Park. Ms. Greenwood has also done extensive work at the Metropolitan Opera, Center Theatre Group, The Guthrie Theater, the Shakespeare Theatre Company, Playwrights Horizons, The Dallas Opera, the Lyric Opera of Chicago and the Opera Theatre of St. Louis. Her awards include 21 Tony nominations (winning for Little Foxes), a Special Tony Award for Lifetime Achievement in the Theatre, the Irene Sharaff Lifetime Achievement Award, the Maharam/Henry Hewes Design Award for Tartuffe and Sylvia, the Lucille Lortel Award for Sylvia and Old Money, and the Helen Hayes Lifetime Achievement Award. Ms. Greenwood was inducted into the American Theater Hall of Fame in 2003. She has also served as a Professor of Design at Yale School of Drama since 1976. Jane’s next design for Broadway, a revival of Neil Simon’s Plaza Suite, is due to open early 2022. Learn more about your ad choices. Visit megaphone.fm/adchoices

Set designer John Lee Beatty discusses the business of design, intricacies of retirement planning, and the importance of talking about finances. A titan of American theatre, John Lee Beatty designed his first Broadway show in 1976. It was the play Knock, Knock. 44 years later, his most recent design is Plaza Suite, which hasn’t officially opened because of the COVID 19 shutdown.The total count of his Broadway designs is 115. He has won two Tony Awards, one for Tally’s Folly in 1980 and the second for The Nance in 2013. He has received an additional 13 Tony nominations, has won 5 Drama Desk awards, and has been nominated for 10 more. Some of those Broadway credits are Ain’t Misbehavin’, The Odd Couple, Other Desert Cities, The Color Purple, and the 1996 revival of Chicago, which is the second longest running Broadway musical of all time, only behind The Phantom of the Opera. John Lee has also designed more than 70 shows at Manhattan Theatre Club and more than 66 productions of Encores! at City Center. Additionally he has designed for tours, West End, and regional productions. He has also made a reputation of working on new plays, which constitutes the bulk of his portfolio and given way to what he is known for: house interiors and exteriors and their attached gardens. John Lee Beatty - IBDB Profilehttps://www.ibdb.com/broadway-cast-staff/john-lee-beatty-26041#Credits Artistic Finance Show Page::https://www.artisticfinance.com/episode/OpgExflo4ya6zwKeU8k1 Youtube Link:https://youtu.be/QqZzORzV1j8 USA 829 - Design Union:https://www.usa829.org/ USA 829 Pension Plan & 401k Plan - some light reading!http://usa829funds.benserconj.com/ Elite Tax Service - Company that files JLB's taxes:https://www.manta.com/c/mm57rf5/elite-tax-service-inc AARP Magazine:https://www.aarp.org/magazine/ What is a mutual fund?https://www.investopedia.com/terms/m/mutualfund.asp Santo Loquasto - JLB is the "poor man's Santo Loquasto":https://en.wikipedia.org/wiki/Santo_Loquasto Ken Billington - lighting designer of Chicago:https://en.wikipedia.org/wiki/Ken_Billington Jane Greenwood - Costume Designer (was married to Ben Edwards):https://en.wikipedia.org/wiki/Jane_Greenwood Ben Edwards - Set Designer (was married to Jane Greenwood):https://www.ibdb.com/broadway-cast-staff/ben-edwards-21271 John Singer Sargent - Painter:https://en.wikipedia.org/wiki/John_Singer_Sargent Eduard Vuillard - Painter:https://en.wikipedia.org/wiki/%C3%89douard_Vuillard Franz Kline - Painter:https://en.wikipedia.org/wiki/Franz_Kline Links from the Patron only episode: Broadway Design Exchange - signed John Lee Beatty renderings for sale:https://www.broadwaydesignexchange.com/collections/john-lee-beatty Ming Cho Lee - Stage designer - JLB's professor at Yale:https://en.wikipedia.org/wiki/Ming_Cho_Lee Jo Mielziner - Stage designer:https://en.wikipedia.org/wiki/Jo_Mielziner Robert Edmond Jones - Stage designer - Author of The Dramatic Imagination:https://en.wikipedia.org/wiki/Robert_Edmond_Jones Max Reinhardt - Theatre and Film Director:https://en.wikipedia.org/wiki/Max_Reinhardt Peter Kaczorowski's interview from Episode 1:https://www.youtube.com/watch?v=h0-hPMIYRAY&ab_channel=ArtisticFinance?sub_confirmation=1 Interview by Ethan Steimel Become a patron at:www.patreon.com/artisticfinance www.artisticfinance.comwww.patreon.com/artisticfinanceinstagram.com/artisticfinancetwitter.com/ethansteimelfacebook.com/artisticfinanceyoutube.com/artisticfinance

Michael Berkeley talks to author Chibundu Onuzo about the challenge of writing novels while studying for her A-levels, and the role of music and faith in her life. At the age of nineteen Chibundu became the youngest female writer ever to be signed by Faber and Faber. She started writing aged ten while growing up in Lagos, Nigeria and was working on her first novel, ‘The Spider King’s Daughter’, while doing her A levels at boarding school in England. It was published while she was still at university and was shortlisted for a host of prizes – winning a 2013 Betty Trask Award. Her second novel, ‘Welcome to Lagos’, was published in 2017 to great acclaim. Chibundu talks to Michael Berkeley about growing up in Lagos, and the challenge of adapting to life at boarding school in Britain. She chooses a carol, ‘I Wonder as I Wander’, that she sang with her school choir in Winchester Cathedral. The soundtrack to a Nigerian television advert from the 1990s speaks to her about the tensions between Western and traditional values in Nigeria. We hear a miniature by Christian Petzold that will be familiar to anyone who has ever learned the piano, alongside music from Handel and from Dvorak’s Symphony No. 9, ‘From the New World’. And, in a special moment for Private Passions, Chibundu is joined in the studio by members of her family to sing a setting of Psalm 23 by her uncle, Bishop Ken Okeke. Produced by Jane Greenwood. A Loftus production for BBC Radio 3.

Michael Berkeley talks to the writer Preti Taneja about her wide-ranging love of music, from Indian gazals and ragas to Vivaldi and Shostakovich. Preti Taneja’s debut novel We That Are Young won last year’s Desmond Elliott prize and huge critical acclaim, after being rejected as ‘commercially unviable’ by multiple publishers in both London and Delhi. It’s a reworking of King Lear, set in contemporary India, and tells the story of a battle for power within a rich and turbulent Delhi family. Before she found success as a novelist Preti worked as a journalist, as a human rights campaigner, and as a teacher of writing in places as diverse as universities, prisons, youth charities and refugee camps - and she chooses a song by Ilham al Madfai that reminds her of working in Jordan with minority communities who had fled the war in Iraq. Preti talks about the music that reminds her of childhood holidays in Delhi, how she uses music in her writing, and why King Lear resonates so clearly in the India of today. A Loftus production for BBC Radio 3, produced by Jane Greenwood.

As part of Radio 3's coverage of the London Jazz Festival, Michael Berkeley talks to the saxophonist and bass clarinettist John Surman, who over a career of dizzying versatility that spans more than fifty years, has shown us just how many different ways jazz can be made. Surman's hundreds of recordings include solos with synthesizers, saxophone trios, trios with voice and drums, with brass bands and big bands. He has made albums with church choirs, duos with church organs and with drums, as well as composing music for saxophone and string quartet. He has worked with most of the jazz greats of the last half century, including Ronnie Scott, Alexis Korner and Gil Evans, and more unusually for a jazz musician he's worked at the Paris Opera, with the Trans4mation Quartet, and on modern reinterpretations of the songs of John Dowland. He's been the recipient of numerous awards including the 2017 Ivor Novello Jazz Award. In Private Passions, John Surman tells Michael how his love for music began in his childhood in Devon, when he was a talented boy treble. He chooses Bach's St Matthew Passion, which he first heard in a Plymouth church, and Beethoven's "Pathétique" sonata (No 8, in C minor), which his father would play on the piano. Surman's love of jazz is entwined with his love of classical music, and among his musical passions Duke Ellington and Miles Davis go hand-in-hand with Bartok's Concerto for Orchestra and the voice of Kathleen Ferrier. Happily based in Norway for the last decade, Surman has chosen a music list to help him through the long dark Scandinavian winters. A Loftus production for BBC Radio 3 Produced by Jane Greenwood.

As BBC Radio 3 celebrates 70 years of pioneering music and culture, Michael Berkeley travels to Sussex to meet Dame Joan Plowright for a special edition of Private Passions. Dame Joan's extraordinary six-decade career has taken her from the Royal Court Theatre to international movie stardom, via the West End, Broadway and the National Theatre. Along the way she has won a panoply of awards, including an Oscar nomination for The Enchanted April. In a moving and wide-ranging interview, Dame Joan shares memories of a life well-lived: from her childhood in Scunthorpe, to her work with figures such as Franco Zeffirelli, and the man who was to change the course of her life: Sir Laurence Olivier, whom she married in 1961. Looking back to the Third Programme, Private Passions has unearthed a clip of one of Dame Joan's signature performances, Margery Pinchwife from Wycherley's The Country Wife, broadcast in 1960. (Laurence Olivier himself was a leading member of the 'Third Programme Defence Society'.) Dame Joan reveals her love of music, with her since childhood, and now especially important since she lost her sight a few years ago. Many of her choices are associated with special friendships in her life. Where better to start than with 'Nimrod' from Elgar's Enigma Variations, a series of musical sketches depicting some of the composer's closest friends? Other music includes Stravinsky's Rite of Spring, and William Walton's Cello Concerto. We also hear Olivier's electric (and highly musical) delivery of the St Crispin's Day speech, before Dame Joan herself recites, from memory, a Shakespeare sonnet: 'Let me not to the marriage of true minds admit impediments...'. A Loftus production for BBC Radio 3 Produced by Jane Greenwood and Oliver Soden.

Michael Berkeley's guest this week is Alan Bennett. We know him as the much-loved playwright and diarist who's been entertaining and moving us as a writer and performer since Beyond the Fringe in 1960. But there's one aspect of Alan Bennett that's less well-known: the central importance of music in his life, including the extraordinary fact that he once wrote a libretto for William Walton. (Sadly, Lady Walton was not impressed, and shoved it firmly to the bottom of her handbag.) In a moving and funny programme, Alan Bennett remembers the music that filled his childhood: his father was a gifted violinist, and his aunts played the piano for silent movies. As a teenager, new worlds were opened up by concerts in Leeds Town Hall, where Bennett sat in the cheapest seats behind the musicians, 'like sitting behind the elephants at the circus'. And then came fame, and Hollywood: 'Elizabeth Taylor actually sat on my knee at one point. It was not a pleasant experience'. In a touching conclusion to the programme, Alan Bennett listens to Elgar's Dream of Gerontius and is stirred to think about the boy he used to be, and what that boy might say to him now. Music choices include a 1939 recording of 'I can give you the starlight' by Ivor Novello; a waltz by Franz Lehar; Brahms's Second Piano Concerto; Bach's St Matthew Passion; Walton's First Symphony; Elgar's Dream of Gerontius; and Ella Fitzgerald singing 'Bewitched, Bothered and Bewildered'. This last song inspired The History Boys when Alan Bennett heard it on Private Passions in 2001. This special programme includes three bonus tracks available online: Alan Bennett chooses two further pieces of music, and talks about the music he hates and never wants to hear again. Produced by the Loftus Media Private Passions team (Elizabeth Burke, Jane Greenwood, Oliver Soden and Jon Calver).

Robert Cohan is the founding father of contemporary dance in Britain. Born in Brooklyn in 1925, he was first struck by the power of dance whilst on leave from serving in France during the Second World War, when he was taken to see a ballet at Sadler's Wells. Back in New York in 1946, a single modern dance class at the Martha Graham studio convinced him of his vocation. He worked with Graham for almost two decades before moving to London in the late sixties, to found what became the London Contemporary Dance Theatre. Cohan defined the style of British contemporary dance with his breadth of vision, challenging physical style and inspirational teaching. And virtually all the major figures in 20th-century choreography have been influenced by Cohan - Siobhan Davies and Richard Alston to name just two. Ahead of his 90th birthday celebrations at The Place, Robert Cohan talks to Michael Berkeley about the music that's inspired him during his extraordinary career. He movingly recalls his time on active duty in France, including the time when a can of ham and eggs saved his life by deflecting shrapnel. He reveals the sometimes tempestuous reality of working with Martha Graham, and shares his plans for his tenth decade in dance. He shares his love for Elgar, Vivaldi and Prokofiev, but also celebrates the music of less well known composers Barry Guy, Alan Hovhaness, Jon Keliehor, and Eleanor Alberga. Produced by Jane Greenwood. A Loftus Production for BBC Radio 3.

Miles Jupp burst onto the comedy scene when he won the 'So You Think You're Funny' contest at the Edinburgh Festival at the age of just twenty-one. He'd already, as an undergraduate, won the part of Archie the Inventor in the hugely popular children's television show Balamory, but he eventually tired of wearing a pink kilt. Since then he has established himself on the comedy circuit, and on radio and television in panel shows including Have I Got News for You, and comedies such as The Thick of It and Rev, where he plays Nigel, the disapproving lay reader, who thinks he should be running the church. He is usually to be found sending himself up as a tweedy, middle class young fogey. As he joked on a chatshow: "I'm privileged. Not just to be here but in general." Miles talks to Michael Berkeley about the joys of cricket, the pleasures of belting out a good tune and the legacy of an intensely musical childhood, reflected in his choices of music by Geoffrey Burgon, Chopin and Verdi. Produced by Jane Greenwood. A Loftus production for BBC Radio 3. To hear previous episodes of Private Passions, please visit http://www.bbc.co.uk/podcasts/series/r3pp/all.

Holocaust survivor Eva Schloss shares her extraordinary life story with Michael Berkeley and reveals the music that has brought her comfort, that conjures memories, and that brings her joy. Eva Schloss was born into a happy middle-class Jewish family in Vienna in 1929, but her childhood came to an abrupt end when she was nine and had to flee with her parents and older brother to escape the Nazis. Before going into hiding in Amsterdam Eva's family befriended Anne Frank's family, and after the war, the Frank legacy was to play a large part in her life - Eva's mother married Otto Frank and Eva and her mother worked tirelessly to promote Anne Frank's legacy through her diary. Like the Franks, Eva's family was betrayed, and she and her mother were captured by the Gestapo on her 15th birthday and transported to the Birkenau concentration camp. They were two of only a few prisoners still alive when the camp was liberated in January 1945. Her beloved brother and father did not survive the neighbouring camp of Auschwitz. Somehow Eva learned to live alongside the memories of those terrible years and after the war rebuilt her life in England. Now in her 80s she tours the world spreading her message of reconciliation and hope, and in 2012 she received an MBE for her work with the Anne Frank Trust and other Holocaust charities. Eva's choices of music include Beethoven, Mendelssohn and Strauss, who take her back to her happy Viennese childhood, as well as music by Mahler through which she recalls the pain of her teenage years. Produced by Jane Greenwood. A Loftus production for BBC Radio 3.

The Costume Designer - with Jane Greenwood

Veteran scenic designer John Lee Beatty, currently represented in New York by "Time Stands Still", "A View from the Bridge" and "Venus in Fur", talks about why he thinks all American drama is about real estate, making set design particularly integral to every work. He also discusses how he was instantly drawn to set design (as well as flying) when he first saw "Peter Pan" as a child; his self-education in set design through his college years -- and what he discovered when he entered the graduate design program at the Yale School of Drama; his extensive work with not-for-profit companies including the Manhattan Theatre Club, Mark Taper Forum, Goodspeed Musicals, Circle Repertory Company and Lincoln Center Theater -- plus 50 shows for City Center's Encores! series; his affinity for the Victorian era; why he hasn't done many designs for musicals -- and the musical he'd most like to tackle; how he feels about being "typecast" for his interiors and exteriors of homes through the years -- and costume designer Jane Greenwood's sage advice on Beatty's particular specialty; how he chooses his projects -- and the kinds of shows he doesn't like to do; what it was like to imagine different parts of the Talley family property in different eras in Lanford Wilson's famed trilogy; and how the design of "Proof" was actually based on an old sweater. Original air date - February 17, 2010.

Veteran scenic designer John Lee Beatty (1980 Tony Award winner for Best Scenic Design for “Talley’s Folley”; 12 other Tony nominations for Scenic Design, including for “Doubt” in 2005 and “The Royal Family” in 2010), currently represented in New York by “Time Stands Still”, “A View from the Bridge” and “Venus in Fur”, talks about why he thinks all American drama is about real estate, making set design particularly integral to every work. He also discusses how he was instantly drawn to set design (as well as flying) when he first saw “Peter Pan” as a child; his self-education in set design through his college years -- and what he discovered when he entered the graduate design program at the Yale School of Drama; his extensive work with not-for-profit companies including the Manhattan Theatre Club, Mark Taper Forum, Goodspeed Musicals, Circle Repertory Company and Lincoln Center Theater -- plus 50 shows for City Center's Encores! series; his affinity for the Victorian era; why he hasn't done many designs for musicals -- and the musical he'd most like to tackle; how he feels about being "typecast" for his interiors and exteriors of homes through the years -- and costume designer Jane Greenwood's sage advice on Beatty's particular specialty; how he chooses his projects -- and the kinds of shows he doesn't like to do; what it was like to imagine different parts of the Talley family property in different eras in Lanford Wilson's famed trilogy; and how the design of “Proof” was actually based on an old sweater.

Veteran scenic designer John Lee Beatty, currently represented in New York by "Time Stands Still", "A View from the Bridge" and "Venus in Fur", talks about why he thinks all American drama is about real estate, making set design particularly integral to every work. He also discusses how he was instantly drawn to set design (as well as flying) when he first saw "Peter Pan" as a child; his self-education in set design through his college years -- and what he discovered when he entered the graduate design program at the Yale School of Drama; his extensive work with not-for-profit companies including the Manhattan Theatre Club, Mark Taper Forum, Goodspeed Musicals, Circle Repertory Company and Lincoln Center Theater -- plus 50 shows for City Center's Encores! series; his affinity for the Victorian era; why he hasn't done many designs for musicals -- and the musical he'd most like to tackle; how he feels about being "typecast" for his interiors and exteriors of homes through the years -- and costume designer Jane Greenwood's sage advice on Beatty's particular specialty; how he chooses his projects -- and the kinds of shows he doesn't like to do; what it was like to imagine different parts of the Talley family property in different eras in Lanford Wilson's famed trilogy; and how the design of "Proof" was actually based on an old sweater. Original air date - February 17, 2010.

The design team of The Heiress -- scenic designer John Lee Beatty (1980 Tony Award winner for Best Scenic Design for Talley’s Folley), lightning designer Beverly Emmons, costume designer Jane Greenwood, two-time Tony-winning director Gerald Gutierrez (in 1995 for The Heiress and in 1996 for A Delicate Balance) and actor Cherry Jones (Tony Award winner for her performances in Doubt and The Heiress) -- discuss the interwoven details of their production, from natural period lighting for the enclosed sets, to background colors complementing the costumes, and the advantages of collaborating on previous works. Mask/puppet designer Ralph Lee demonstrates the large puppets worn by actors in Heart Of The Earth: A Popul Vuh Story.

The design team of "The Heiress" -- scenic designer John Lee Beatty, lightning designer Beverly Emmons, costume designer Jane Greenwood, director Gerald Gutierrez and actor Cherry Jones -- discuss the interwoven details of their production, from natural period lighting for the enclosed sets, to background colors complementing the costumes, and the advantages of collaborating on previous works. Mask/puppet designer Ralph Lee demonstrates the large puppets worn by actors in "Heart Of The Earth: A Popul Vuh Story".

Set designer John Arnone ("The Goat, or Who Is Sylvia?"), costume designers Jane Greenwood ("Morning's at Seven") and Martin Pakledinaz ("Thoroughly Modern Millie"), set designer Scott Pask ("Amour") and lighting designer Richard Pilbrow ("Our Town") talk about what it means for a designer to collaborate on a show; how that collaboration works with other designers, and the cast and director; and how they keep up with their hectic schedules.

Set designer John Arnone (The Goat, or Who Is Sylvia? and Tony Award winner for The Who’s Tommy), costume designers Jane Greenwood (Morning's at Seven) and Martin Pakledinaz (Tony Awards for Thoroughly Modern Millie and Kiss Me, Kate), set designer Scott Pask (Tony Awards for the Pillowman and The Coast of Utopia) and lighting designer Richard Pilbrow (Our Town) talk about what it means for a designer to collaborate on a show; how that collaboration works with other designers, and the cast and director; and how they keep up with their hectic schedules.