Podcast appearances and mentions of Jon Robin Baitz

Luxor Pour Femme by Luxor (1993) + Luxor Las Vegas (1993- ) + Southern Living 2024 Christmas Cookbook + Ryan Murphy, Jon Robin Baitz, and Joe Baken's Grotesquerie (2024- ) 11/18/24 S6E85 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

On this episode of The Movie Podcast, Daniel and Shahbaz are joined by Nicholas Alexander Chavez & Micaela Diamond of GROTESQUERIE, a new horror series from Ryan Murphy. In FX's Grotesquerie, a series of heinous crimes have unsettled a small community. “Detective Lois Tryon” feels these crimes are eerily personal, as if someone—or something—is taunting her. It stars Niecy Nash-Betts, Courtney B. Vance, Lesley Manville, Micaela Diamond, Nicholas Alexander Chavez, Raven Goodwin and Travis Kelce. Grotesquerie is Written and Created by Ryan Murphy, Jon Robin Baitz and Joe Baken and premieres Wednesday, September 25, at 10 p.m. on FX with the first two episodes, and will stream the following day, Thursday, September 26, on Disney+ in Canada and Hulu in the U.S. Watch and listen to The Movie Podcast now on all podcast platforms, YouTube, and TheMoviePodcast.ca Contact: hello@themoviepodcast.ca FOLLOW US Daniel on X, Instagram, Letterboxd Shahbaz on X, Instagram, and Letterboxd Anthony on X, Instagram, and Letterboxd The Movie Podcast on X, Instagram, TikTok, Discord, and Rotten Tomatoes Learn more about your ad choices. Visit megaphone.fm/adchoices

Richard, Chris, and Hillary didn't get a chance to analyze the sumptuous latest edition of FX's Feud episode by episode—so we're covering the whole series now, complete with an in-depth interview with showrunner and writer Jon Robin Baitz.

Who owns the stories of our lives? If every memory is necessarily a flawed, singular perspective, how can we trust the reliability of memoirs and autobiographies? Jackson and Jacob discuss these issues, which are explored in Pulitzer Prize nominated play Other Desert Cities by Jon Robin Baitz. Listen in!   ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We'll see you next week. ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Thanks so much for listening! We'll see you next week.

Jenny Frankfurt is the founder of The Finish Line Script Competition, currently in its 7th year. Prior to Finish Line and her work as a script consultant, Jenny was a film and television literary manager/producer at ICM, Handprint Entertainment and her own company, Highstreet Management. She has represented writers and filmmakers around the globe, specializing but not limited to breaking UK, European & amp; Australian writers and directors into the US market. She sold television shows (both reality and fiction), features and staffed television shows for over 20 years. Jenny began her career in representation after graduating from NYU's Tisch School of the Arts by working at the William Morris Agency in New York where she worked for a legendary film, tv and playwright's agent, who represented such writers as Eric Bogosian, William Mastrosimone, Warren Leight, Eric Overmyer and Jon Robin Baitz. Jenny worked at ICM with clients such as Susan Sarandon, Louis Malle, Johnny Depp, Lasse Hallstrom and Will Smith. After deciding management would give her more freedom to produce and influence her client's careers she started working with manager Rick Yorn and clients such as Leonardo DiCaprio, Cameron Diaz, Claire Danes and Benicio Del Toro among others. Finish Line is based on the idea that rewriting is essential to being a successful writer and we provide development notes when requested in order for writers to rewrite and resubmit new drafts (for free) throughout the competition. This mimics a studio, network or production company process and helps the writer prepare for a serious career in the entertainment industry. https://finishlinescriptcomp.com/ Connect with your host Kaia Alexander: https://entertainmentbusinessleague.com/ https://twitter.com/thisiskaia  Produced by Stuart W. Volkow P.G.A. Get career training and a free ebook “How to Pitch Anything in 1 Min.” at www.EntertainmentBusinessLeague.com Learn more about your ad choices. Visit megaphone.fm/adchoices

La deuxième saison de l'anthologie Feud de Ryan Murphy est enfin arrivée sept ans après la première saison, et elle ne déçoit pas. Sous-titrée Les trahisons de Truman Capote, cette nouvelle saison offre une plongée captivante dans le monde tumultueux de l'auteur Truman Capote, mettant en lumière sa relation complexe avec les femmes de la haute société new-yorkaise dans les années 1960 et 1970. L'histoire se déroule dans le sillage de Truman Capote, l'auteur célèbre pour son chef-d'œuvre "De Sang-Froid", qui devient le centre d'un scandale retentissant après la publication d'un extrait de son roman inachevé "Answered Prayers". Cet extrait révèle les secrets les plus sombres de ses amies de la haute société new-yorkaise, surnommées "les Swans" pour leur beauté et leur élégance intemporelles. La saison est diffusée en US+24 sur Canal+ dès ce 2 février. Pour rappel, Murphy est le créateur de la série mais ne participe ni à la réalisation ni à l'écriture de cette saison. https://youtu.be/YabKNs66eeg?si=nc8jcPeE2sdXzaXk Si on doit donner une unique raison de regarder la nouvelle saison, c'est évidemment son casting étoilé, mené par un duo d'acteurs exceptionnels : Tom Hollander dans le rôle de Truman Capote et Naomi Watts dans le rôle de Babe Paley. Ils parviennent à capturer avec finesse les nuances de leur relation, allant de l'amitié et de la complicité à la trahison et à la douleur. Le récit explore les tensions croissantes entre Capote et les Swans alors qu'ils naviguent dans les eaux troubles de la trahison, de la jalousie et du ressentiment, la guerre est déclaré entre l'auteur et ces socialites. Les actrices Diane Lane, Calista Flockhart et Chloë Sevigny incarnent respectivement Slim Keith, Lee Radziwill et C.Z. Guest, les autres Swans de l'entourage de Babe, et apportent chacune leur propre dynamique et complexité à l'ensemble de l'intrigue. La série alterne entre les flashbacks des années fastes de Capote, où il est acclamé pour son succès littéraire et son charisme éblouissant, et les moments sombres de sa descente aux enfers alors qu'il lutte contre ses démons intérieurs et les conséquences de ses actions impétueuses. Ensuite, l'écriture de Jon Robin Baitz est à la fois tranchante et poignante. Les dialogues sont vifs et percutants, et les rebondissements de l'intrigue vous garderont en haleine jusqu'à la fin. Attendez-vous à être surpris et ému par les dilemmes moraux auxquels sont confrontés les personnages, ainsi que par les thèmes universels de l'amour, de l'amitié et de la trahison explorés tout au long de la série. Certains épisodes sont réalisés par Gus Van Sant, les décors somptueux et les costumes élégants capturent parfaitement l'atmosphère glamour de l'époque. [bs_show url="feud"] Feud : les trahisons de Truman Capote commence le 2 février sur Canal+.

Ryan Murphy's renowned anthology series, Feud, is set to captivate audiences once again with its second instalment, Capote Vs. The Swans, premiering on January 31. The trailer teases a star-studded cast, featuring Naomi Watts and Tom Hollander, as it unravels the bitter clash between acclaimed writer Truman Capote and the elite women of high society who once considered him their confidante. Drawing inspiration from Laurence Leamer's book, Capote's Women, the series promises to expose the scandalous lives of these socialites and their subsequent retaliation against Capote's betrayal, revealing their darkest secrets to the world. With acclaimed directors and a script by Jon Robin Baitz, the show explores the repercussions of Capote's descent into self-destruction, sparked by the publication of his exposé. As the trailer hints at fire and fury, Feud: Capote Vs. The Swans is poised to deliver a gripping narrative of deception, revenge, and the unravelling of high society's façade.

Jenny Frankfurt joined us to discuss the Finish Line Script Competition, being a manager, and all sort of fun creative talk. https://finishlinescriptcomp.com ABOUT JENNY Jenny Frankfurt is the founder of the Finish Line Script Competition. Finish Line is based on the idea that rewriting is essential to being a successful writer and we provide development notes when requested in order for writers to rewrite and resubmit new drafts (for free) throughout the competition. This mimics a studio, network or production company process and helps the writer prepare for a serious career in the entertainment industry. Prior to Finish Line and her work as a script consultant, Jenny was a film and television literary manager/producer with her own company, Highstreet Management based in Los Angeles. Highstreet represented writers around the globe, specializing but not limited to breaking UK, European & Australian writers and directors into the US market. She sold television shows (both reality and fiction), features and staffed television shows for almost 20 years. Jenny began her career in representation after graduating from NYU's Tisch School of the Arts by working at the William Morris Agency in New York where she worked for a legendary film, tv and playwright's agent, who represented such writers as Eric Bogosian, William Mastrosimone, Warren Leight, Eric Overmyer and Jon Robin Baitz. From NYC Jenny moved to Los Angeles where she worked at ICM with clients such as Susan Sarandon, Louis Malle, Johnny Depp, Lasse Hallstrom and Will Smith. After deciding management would give her more freedom to produce and influence her client's careers she started working with manager Rick Yorn and clients such as Leonardo DiCaprio, Cameron Diaz, Claire Danes and Benicio Del Toro among others. Jenny tried her own hand at producing the independent feature JOHNNY HIT AND RUN PAULINE, to which Emma Thompson was attached as Executive Producer. Jenny then started working with manager Benny Medina at Handprint Entertainment, representing talent, literary and production clients. She soon became Head of Handprint's Literary Department. --- Learn more from Paul's and Justin's books, both on Amazon! Go Ahead and Ask Creative Writing Life

In this episode READ MORE PLAYS hosts Ricardo Frederick Evans and Jennifer Sassaman discuss Other Desert Cities by Jon Robin Baitz!  Theme music by Kalyn Harewood, with additional music by Bob Sassaman.Follow us on Twitter, Facebook, and Instagram for updates and discussions you can participate in.  Support us on Patreon to get bloopers, dramaturgy, and other bonus content. Please like and subscribe wherever you get your podcasts.

Career Conversations with Julianna Margulies. Moderated by Jenelle Riley, Variety. As an Emmy, Golden Globe and Screen Actors Guild Award winner, Julianna Margulies has achieved success in television, theater and film. Margulies won the 2011 Emmy Award for Outstanding Lead Actress in a Drama Series and was nominated for a 2012 Emmy Award in the same category for her work on THE GOOD WIFE. Most recently, Margulies was nominated for a 2014 Golden Globe Award for Best Actress in a Television Series, Drama for her work on the show. Margulies' television credits include "The Sopranos," "The Grid," for which she received a Golden Globe Award nomination, and the mini-series "The Mists of Avalon." She also starred as one of the original members of "ER," for which she received both an Emmy Award and SAG Award as nurse Carole Hathaway. Margulies was most recently seen in the feature film "Stand Up Guys," with Al Pacino, Christopher Walken and Alan Arkin. Her other film credits include "City Island," "Snakes on a Plane," "The Darwin Awards," "Slingshot," "Ghost Ship," "Evelyn," "What's Cooking," "The Newton Boys," "A Price Above Rubies," "Traveller," "Paradise Road," and "The Man From Elysian Fields." On stage, Margulies made her Broadway debut in 2006 starring in "Festen." Margulies completed a successful run in Jon Robin Baitz's "The Ten Unknowns" at Lincoln Center opposite Donald Sutherland for which she won the Lucille Lortel Award. Other theater credits include "The Vagina Monologues" both Off-Broadway and in the Los Angeles premiere, "Fefu and Her Friends" for the Yale Repertory Theatre, "The Substance of Fire" at the Asolo Theatre, "Living Expenses, Dan Drift, and Book of Names" at the Ensemble Studio Theatre in New York, and "Intrigue with Faye" at the NY Stage and Film Festival. She also appeared on stage in "The Lover," "In the Boom Boom Room" and "Balm and Gilead."

On this week's episode of Playdate, Julia and Kait discuss the play Other Desert Cities by Jon Robin Baitz. They discuss the dynamics of family, the power of language, and the importance of discovering your own self-worth. Enjoy!**Advertisement music: The Right Direction by Shane Ivers**

Important Links:Louisville Bail FundPlays Discussed:Other Desert Cities by Jon Robin BaitzTribes by Nina RaineThe Humans by Stephen KaramThings I Know to be True by Andrew BovellFairview by Jackie Sibblies Drury Bonus:DCSG TheatreDCSG Theatre Mailing ListDCSG Production: Scenes from Things I Know to be True 

Here’s The Thing is moving from WNYC to iHeartRadio. Over the past several years, Alec has talked with some of the greatest artists, musicians, actors, writers, thinkers, public policy makers, and sports figures of our time. The final two programs on WNYC highlight a compilation of some of Alec’s favorite interviews from the past several years. This penultimate WNYC episode features clips from interviews with David Letterman, Audra McDonald, Carly Simon, Robert Osborne, and Jon Robin Baitz. Join Alec as he celebrates his accomplished guests and the Here’s The Thing catalog.

The Ojai Playwrights Conference, which takes over two weeks in August, is one the foremost cultural occasions in the country. Typically, the OPC selects eight plays for intensive workshops with experienced dramaturges, theater directors and producers, culminating in stage reads for the public in highly anticipated shows. Sadly, this year the in-person OPC was another victim of the pandemic. But Robert Egan, for 20 years the OPC's artistic director - along with the rest of the staff and board - was not deterred. Instead of moving past this fraught era, they went straight at it, with a lineup of 15 plays from a mix of first-time selections and established playwrights like Luis Alfaro, Jon Robin Baitz and Aziza Barnes. The new OPC Foundry Project will collaborate with eight playwrights developing seven new works, which will form the core of next year's conference. We talk with Egan about the central role the OPC has developed in the creation of new works for the theater, including a number of works that went straight from Ojai to Broadway, including "The Motherf**cker with the Hat," by Stephen Aidly Guirgus and "Other Desert Cities," by Robby Baitz, which was the longest running non-musical in Broadway history. Egan also talks about growing up tough in the Washington, D.C. area, where he made the school's Hall of Fame for two areas - football and theater - and where a brutal beatdown led to a memorable encounter with a police officer that changed the trajectory of his life. We did not talk about the infield fly rule, whether Thomas "Stonewall" Jackson was an overrated general, or Boccacio's "Decameron." You can, however, learn more about the OPC's bold new initiatives at ojaiplays.org.

Italian shoes, a house in the hills, a gift for stretching the truth, and a petulant assistant to pick the scallions out of his Szechuan noodles―Hollywood producer Davis Mizlansky has it all. But he’s about to lose it to the IRS unless he can pull off one more deal. A stellar cast performs Jon Robin Baitz’s hilarious send-up of 1980s Hollywood.Directed by Ron West. Producing Director Susan Albert Loewenberg. Starring Samantha Bennett as Wendi Fink, Julie Kavner as Esther Arthur, Nathan Lane as Davis Mizlansky, Richard Masur as Alan Tolkin, Rob Morrow as Paul Trecker, Paul Sand as Sam Zilinsky, Grant Shaud as Miles Brook, Harry Shearer as Arthur Firnbach/Mr. Braithwait, Kurtwood Smith as Horton De Vries, Robert Walden as Lionel Hart.

Italian shoes, a house in the hills, a gift for stretching the truth, and a petulant assistant to pick the scallions out of his Szechuan noodles―Hollywood producer Davis Mizlansky has it all. But he’s about to lose it to the IRS unless he can pull off one more deal. A stellar cast performs Jon Robin Baitz’s hilarious send-up of 1980s Hollywood.Directed by Ron West. Producing Director Susan Albert Loewenberg. Starring Samantha Bennett as Wendi Fink, Julie Kavner as Esther Arthur, Nathan Lane as Davis Mizlansky, Richard Masur as Alan Tolkin, Rob Morrow as Paul Trecker, Paul Sand as Sam Zilinsky, Grant Shaud as Miles Brook, Harry Shearer as Arthur Firnbach/Mr. Braithwait, Kurtwood Smith as Horton De Vries, Robert Walden as Lionel Hart

This week Gray talks all about management, with special guest Jenny Frankfurt. Jenny Frankfurt is a film and television literary manager/producer who owns the company Highstreet Management in Los Angeles. She currently represents such writing talent as Sterling Anderson, David Madsen, Norma Vela, Joel Thomas, Malcolm Kohll, Jill Campbell, Crystal Hubbard, Phil O'Shea and others – most based in Los Angeles and the UK, but others throughout the US. She has sold television shows (both reality and fiction), features, and staffed television shows for almost 20 years. After graduating from NYU's Tisch School of the Arts, Jenny began her career in representation by working at the William Morris Agency in New York, where she worked for a legendary film, tv and playwrights agent, who represented such writers as Eric Bogosian, William Mastrosimone, Warren Leight, Eric Overmyer and Jon Robin Baitz. From NYC Jenny moved to Los Angeles where she worked at ICM with clients such as Susan Sarandon, Louis Malle, Johnny Depp, Lasse Hallstrom and Will Smith. After deciding management would give her more freedom to produce and influence her client's careers, she started working with manager Rick Yorn and clients such as Leonardo DiCaprio, Cameron Diaz, Claire Danes and Benicio Del Toro. Jenny tried her own hand at producing the independent feature Johnny Hit and Run Pauline, to which Emma Thompson was attached as Executive Producer. Jenny then started working with the infamous manager Benny Medina at Handprint Entertainment, and incorporating all the time she had recently spent in London, started specializing in working with British and European clients including Spice Girl Geri Halliwell and writers, directors and production companies such as James MacInnes, Saul Metzstein, Daniel Bronzite and the production company F&ME. She soon became Head of Handprint's Literary Department. Follow her on Twitter: @TryingTrue Buy Gray's book for only $4.99! Look for it on Amazon – How To Break In To TV Writing: Insider Interviews. Didn't get your questions asked? Make sure you follow Gray on Twitter (@GrayJones) so you can get the scoop on who is being interviewed and how to get your questions in. Also check out our TV Writer Twitter Database to find Twitter addresses for over 1,200 TV writers. Find our previous episodes and other resources at www.tvwriterpodcast.com or on Gray's YouTube channel. First published November 18, 2012.

This week Gray talks all about management, with special guest Jenny Frankfurt.Jenny Frankfurt is a film and television literary manager/producer who owns the company Highstreet Management in Los Angeles. She currently represents such writing talent as Sterling Anderson, David Madsen, Norma Vela, Joel Thomas, Malcolm Kohll, Jill Campbell, Crystal Hubbard, Phil O’Shea and others – most based in Los Angeles and the UK, but others throughout the US. She has sold television shows (both reality and fiction), features, and staffed television shows for almost 20 years.After graduating from NYU’s Tisch School of the Arts, Jenny began her career in representation by working at the William Morris Agency in New York, where she worked for a legendary film, tv and playwrights agent, who represented such writers as Eric Bogosian, William Mastrosimone, Warren Leight, Eric Overmyer and Jon Robin Baitz.From NYC Jenny moved to Los Angeles where she worked at ICM with clients such as Susan Sarandon, Louis Malle, Johnny Depp, Lasse Hallstrom and Will Smith. After deciding management would give her more freedom to produce and influence her client’s careers, she started working with manager Rick Yorn and clients such as Leonardo DiCaprio, Cameron Diaz, Claire Danes and Benicio Del Toro.Jenny tried her own hand at producing the independent feature Johnny Hit and Run Pauline, to which Emma Thompson was attached as Executive Producer. Jenny then started working with the infamous manager Benny Medina at Handprint Entertainment, and incorporating all the time she had recently spent in London, started specializing in working with British and European clients including Spice Girl Geri Halliwell and writers, directors and production companies such as James MacInnes, Saul Metzstein, Daniel Bronzite and the production company F&ME. She soon became Head of Handprint’s Literary Department.Follow her on Twitter: @TryingTrueBuy Gray’s book for only $4.99! Look for it on Amazon – How To Break In To TV Writing: Insider Interviews.Didn’t get your questions asked? Make sure you follow Gray on Twitter (@GrayJones) so you can get the scoop on who is being interviewed and how to get your questions in. Also check out our TV Writer Twitter Database to find Twitter addresses for over 1,200 TV writers. Find our previous episodes and other resources at www.tvwriterpodcast.com or on Gray’s YouTube channel.First published November 18, 2012.

As the West Wing takes a trip to Dayton, OH, for The Long Goodbye, Josh and Hrishi talk to playwright Jon Robin Baitz, who playwrought the episode. He talks about how his own father's illness informed the script in ways he didn't realize at the time, and gets props from our hosts for finally letting C.J. get some. For more, visit thewestwingweekly.com/413

The Total Tutor Neil Haley will interview Justin Kirk of Fox TV's APB. Actor Justin Kirk is best known for his role on cable's “Weeds,” for which he earned a Golden Globe Award nomination for Best Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television. He also received SAG and Emmy Award nominations for his performance in the cable production of “Angels In America,” in which he starred alongside Al Pacino, Meryl Streep and future “Weeds” co-star, Mary-Louise Parker. Kirk recently finished production on the film “The Tribes of Palos Verdes,” starring opposite Jennifer Garner, Maika Monroe and Elisabeth Rohm. He was most recently seen in the independent film “Walter,” opposite Virginia Madsen and William H. Macy. Other film credits include “Last Love,” “30 Beats,” “Goats” and “Vamps.” On television, Kirk appears in a recurring role on “Modern Family.” Other television credits and notable guest roles include “Tyrant,” “The Blacklist,” “Without a Trace,” “Everwood,” “CSI: Crime Scene Investigation” and “Law & Order: Special Victims Unit.” An accomplished stage actor, Kirk won the Obie Award for Distinguished Performance in the Ensemble for “Love! Valour! Compassion!” and went on to star in the feature film adaptation of the play. In 2001, he co-starred with Julianna Margulies and Donald Sutherland in Jon Robin Baitz's “Ten Unknowns” at Lincoln Center. The role won him a Lucille Lortel Award, as well as Drama Desk and Outer Critics Circle nominations. Kirk also starred in The Roundabout Theatre Company's “The Understudy,” opposite Mark-Paul Gosselaar and Tony Award winner Julie White.  

Pino Rosa dell'Associazione Quarto Paesaggio introduce l'avanzamento lavori del bando per il Parco delle Lettere, progetto di riqualificazione diffusa nelle Biblioteche Milanesi: una mostra e una serie di eventi all'Urban Center con i 12 progetti finalisti e il 14 febbraio la scelta del vincitore.- Tiziana Ricci sulla mostra in 3 sedi milanesi sulla fotografa Fausta Squatriti.- Francesco Migliaccio è coprotagonista di “Tre alberghi”, testo del drammaturgo americano Jon Robin Baitz in scena al Teatro ATIR Ringhiera per la regia di Serena Sinigagli.- La rubrica di fumetti del venerdì a cura di Antonio Serra.

Pino Rosa dell’Associazione Quarto Paesaggio introduce l’avanzamento lavori del bando per il Parco delle Lettere, progetto di riqualificazione diffusa nelle Biblioteche Milanesi: una mostra e una serie di eventi all’Urban Center con i 12 progetti finalisti e il 14 febbraio la scelta del vincitore.- Tiziana Ricci sulla mostra in 3 sedi milanesi sulla fotografa Fausta Squatriti.- Francesco Migliaccio è coprotagonista di “Tre alberghi”, testo del drammaturgo americano Jon Robin Baitz in scena al Teatro ATIR Ringhiera per la regia di Serena Sinigagli.- La rubrica di fumetti del venerdì a cura di Antonio Serra.

Pino Rosa dell’Associazione Quarto Paesaggio introduce l’avanzamento lavori del bando per il Parco delle Lettere, progetto di riqualificazione diffusa nelle Biblioteche Milanesi: una mostra e una serie di eventi all’Urban Center con i 12 progetti finalisti e il 14 febbraio la scelta del vincitore.- Tiziana Ricci sulla mostra in 3 sedi milanesi sulla fotografa Fausta Squatriti.- Francesco Migliaccio è coprotagonista di “Tre alberghi”, testo del drammaturgo americano Jon Robin Baitz in scena al Teatro ATIR Ringhiera per la regia di Serena Sinigagli.- La rubrica di fumetti del venerdì a cura di Antonio Serra.

Joe Mantello is an actor and director best known for his work on Broadway productions of Wicked, Take Me Out and Assassins, as well as earlier in his career being one of the original Broadway cast of Angels in America. He began his theatrical career as an actor in Keith Curran's Walking the Dead and Paula Vogel's The Baltimore Waltz. He directed the Jon Robin Baitz play Other Desert Cities at the Booth Theater in 2011. He returned to acting for the first time in over a decade with the role of Ned Weeks in the Broadway limited engagement revival of The Normal Heart in April 2011, for which he was nominated for the Tony Award as Best Performance by an Actor in a Leading Role in a Play. Other shows he has directed include the Off-Broadway world premiere of the musical Dogfight, the Broadway premiere of The Other Place, and Sting's new musical The Last Ship.  What did Joe and I chat about?  Listen in to hear: Why Joe loathes auditioning Actors, but what he looks for. How he forgot who Julia Roberts was weeks after working with her . . . and why that was a good thing. How he dealt with failure by returning to his roots, which bounced him back to better than he was before. What Norbert Leo Butz told ME about the tryout of Wicked and whether or not Joe agreed. How he “pivoted” (oooh, such a buzzy business word) from a Broadway Actor to a Broadway Director and how you can transition from one job to another too. Keep up with me: @KenDavenportBway www.theproducersperspective.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

Ben Rimalower (@benrimalower) stops by to defend Jon Robin Baitz's transition lenses. Louis gets distracted by Rita Moreno's sex life, Matt enjoys multiple Borles, and Eileen visits prison.

Jeremy, Adrian and Drew analyze, discuss and pick apart a different play or musical every week. This week; Ten Unknowns by Jon Robin Baitz.

TNT’s MURDER in the FIRST garnered an Emmy nod, but The New York Times critic Mike Hale wanted to know how Hollywood forgot to nominate LAILA ROBINS for Best Supporting Actress. He is not alone. Laila Robins has steadily worked in film and television for decades since her breakout role in John Hughes’ PLANES, TRAINS and AUTOMBILES with Steve Martin and the beloved John Candy back in 1987. Most recently she did a stint on Showtime’s Homeland. But New York theater directors and producers may not want to share their best kept secret. On Broadway and off, Theater royalty, from the late great Mike Nichols to Pulitzer (and Employee of the Month Award winner) Jon Robin Baitz cast Robins because she consistently delivers her signature subtle, sly, supple, and seductive performances. She’s won the Drama League Award and been nominated for the Helen Hayes and Lucille Lortel Awards, but a consummate worker bee, Robins would rather focus on what’s coming down the pipeline. She just wrapped shooting A WOMAN, A PART and...

Corn Stock Theatre’s production of 2015 is “Other Desert Cities,” a 2011 family drama written by Jon Robin Baitz. Stan Strickler has this review for Peoria Public Radio and the Live Theatre League of Peoria. Opinions expressed are those of the reviewer, not those of Peoria Public Radio or the Live Theatre League. Sometimes, I am astounded by the talent on Peoria area stages, and “Other Desert Cities” -- currently playing at Corn Stock Winter Playhouse -- is an excellent example. The cast is outstanding, and the play moves along to a riveting climax. Paul Gordon is to be commended for assembling an all star cast and directing with such finesse. Psychologists tell us that keeping secrets within a family can result in misunderstanding and faulty family dynamics, and this play illustrates that nicely. The play opens on Christmas Eve, 2004 in Palm Springs, California, with the Wyeth family coming in from a tennis match. All seems happy and light, but as secrets unfold we start to see the

(1) OTHER DESERT CITIES, by Jon Robin Baitz, at the Repertory Theatre of St. Louis, (2) GEE'S BEND, by Elyzabeth Gregory Wilder, at Mustard Seed Theatre, (3) LOVERS, by Brian Friel, at the West End Players Guild, (4) THE LITTLE DOG LAUGHED, by Douglas Carter Beane, at Stray Dog Theatre, (5) FALSTAFF, by Giuseppe Verdi & Arrigo Boito, at Winter Opera St. Louis, (6) TALES OF THE LOST FORMICANS, by Constance Congdon, at Meramec Community College, (7) MAN OF LA MANCHA, by Dale Wasserman, Joe Darion & MitchLeigh, at the Peabody Opera House, and (8) THE ANDREW BROTHERS MUSICAL, by Roger Bean, at Harvest Theatre.

Patti LuPone was only four years old when she realized she belonged on stage, and she started by entertaining family members in her Long Island living room. LuPone won her second Tony Award for Evita, which she initially described as merely “noise from Britain.” Although she has enjoyed tremendous, long-term success, she talks candidly to Alec about blows to her career and ego. Jon Robin Baitz is a playwright who admits that writing plays is tricky. He’s a snob for Broadway, where the cachet and laughs are bigger. But deep down, this award-winning playwright considers it a privilege to be working in American theater at all. Alec speaks to Baitz about his Broadway debut play, Other Desert Cities, that came from a place of despair and loss—and his own personal experience writing for television in Hollywood. Stacy Keach’s dad was an actor, director and a producer. He had hoped his son would be a lawyer. Keach eventually wore down his parents, abandoned his major of political science and economics to pursue acting. Keach started with Shakespeare, which took him from a festival in Oregon to studying classical theater in England. Today, Keach teaches acting via Skype and his only true regret is not experiencing more of the great outdoors. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

This week Alec talks with playwright Jon Robin Baitz, whose Broadway play, Other Desert Cities, is up for a Tony later this month. Baitz grew up in Brazil and South Africa -- transferring to Beverly Hills High School for his final year of school where he says he “became friends ... with fellow freaks.” He's been writing ever since -- even though “writing plays has always been very tricky.” Baitz talks about the origin of the new play, his short-lived adventures writing for television in Hollywood, and the relief of coming back to the American theater. For Baitz, “it's a privilege to be in [the theater]. I'm lucky to have found my way back to it.” Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Elvis Mitchell talks to legend of stage and screen, Stockard Channing, about her Tony-nominated performance in Jon Robin Baitz's play 'Other Desert Cities.'

Being in "the moment" is every good actor's mantra. In the latest Downstage Center Stacy Keach and Elizabeth Marvel talk about that moment, professional training, and Shakepeare, among other topics. Of course, the "Other Desert Cities" stars also discuss their Tony nominated play through its development, the characters they portray, and the emotional power behind Jon Robin Baitz's script.

Being in "the moment" is every good actor's mantra. In the latest Downstage Center Stacy Keach and Elizabeth Marvel talk about that moment, professional training, and Shakepeare, among other topics. Of course, the "Other Desert Cities" stars also discuss their Tony nominated play through its development, the characters they portray, and the emotional power behind Jon Robin Baitz's script.

Joe Mantello talks about returning to the Broadway stage as an actor after a 17-year hiatus to play the role of Ned Weeks in Larry Kramer's "The Normal Heart" -- and what it's like to play a role that the play's author has based on himself when the author is at the theatre nightly. He also talks about his acting days in school and community theatre in his hometown of Rockford, Illinois (with classmates that included Marin Mazzie); his training at North Carolina School of the Arts and why he had to relearn his idiosyncrasies when he got to New York; his work with playwright Peter Hedges and actress Mary-Louise Parker in the self-founded Edge Theatre; the opportunities offered to him by the Circle Repertory Company; why he decided to stop acting after making his Broadway debut in "Angels in America"; the development of his directing career, including the highs and lows of his first two Broadway assignments, Terrence McNally's "Love! Valour! Compassion!" and Donald Margulies' "What's Wrong With This Picture?"; his collaborations with playwrights including Jon Robin Baitz, David Mamet, Richard Greenberg, Neil Simon and Craig Lucas, among many others; the challenge of taking on a project on the scale of "Wicked" with only one previous musical directing credit and how much he remains involved with the show's many productions nationally and internationally; why he enjoys working on intimate shows; and the irony behind "Other Desert Cities'" plans for Broadway in the fall. Original air date - May 18, 2011.

Joe Mantello (2011 Tony Award nominee for Best Performance by an Actor in a Leading Role in a Play for his performance in “The Normal Heart”; 2004 Tony Award winner for Best Direction of a Musical for “Assassins” and 2003 Tony Award winner for Best Direction of a Play for “Take Me Out”) talks about returning to the Broadway stage as an actor after a 17-year hiatus to play the role of Ned Weeks in Larry Kramer's “The Normal Heart” -- and what it's like to play a role that the play's author has based on himself when the author is at the theatre nightly. He also talks about his acting days in school and community theatre in his hometown of Rockford, Illinois (with classmates that included Marin Mazzie); his training at North Carolina School of the Arts and why he had to relearn his idiosyncrasies when he got to New York; his work with playwright Peter Hedges and actress Mary-Louise Parker in the self-founded Edge Theatre; the opportunities offered to him by the Circle Repertory Company; why he decided to stop acting after making his Broadway debut in “Angels in America”; the development of his directing career, including the highs and lows of his first two Broadway assignments, Terrence McNally's “Love! Valour! Compassion!” and Donald Margulies' “What's Wrong With This Picture?”; his collaborations with playwrights including Jon Robin Baitz, David Mamet, Richard Greenberg, Neil Simon and Craig Lucas, among many others; the challenge of taking on a project on the scale of “Wicked” with only one previous musical directing credit and how much he remains involved with the show's many productions nationally and internationally; why he enjoys working on intimate shows; and the irony behind “Other Desert Cities'” plans for Broadway in the fall.

Joe Mantello talks about returning to the Broadway stage as an actor after a 17-year hiatus to play the role of Ned Weeks in Larry Kramer's "The Normal Heart" -- and what it's like to play a role that the play's author has based on himself when the author is at the theatre nightly. He also talks about his acting days in school and community theatre in his hometown of Rockford, Illinois (with classmates that included Marin Mazzie); his training at North Carolina School of the Arts and why he had to relearn his idiosyncrasies when he got to New York; his work with playwright Peter Hedges and actress Mary-Louise Parker in the self-founded Edge Theatre; the opportunities offered to him by the Circle Repertory Company; why he decided to stop acting after making his Broadway debut in "Angels in America"; the development of his directing career, including the highs and lows of his first two Broadway assignments, Terrence McNally's "Love! Valour! Compassion!" and Donald Margulies' "What's Wrong With This Picture?"; his collaborations with playwrights including Jon Robin Baitz, David Mamet, Richard Greenberg, Neil Simon and Craig Lucas, among many others; the challenge of taking on a project on the scale of "Wicked" with only one previous musical directing credit and how much he remains involved with the show's many productions nationally and internationally; why he enjoys working on intimate shows; and the irony behind "Other Desert Cities'" plans for Broadway in the fall. Original air date - May 18, 2011.

Stockard Channing discusses her work in Jon Robin Baitz's new play "Other Desert Cities", acknowledging the ambiguity of the character for the audience and explaining whether she has defined her character's secret motivations with certainty. She also talks about her years breaking into theatre at Harvard, alongside other students like John Lithgow and Tommy Lee Jones, and her subsequent work around Boston before coming to New York and getting her increasingly bigger break in the Broadway musical "Two Gentlemen of Verona", which also began her association with John Guare; her years in Los Angeles, including a film gig she did simply because she needed money, namely "Grease"; her return to the stage in successive productions of "A Day in the Death of Joe Egg" at Williamstown, Long Wharf, Roundabout and finally Broadway; being given the opportunity to choose between playing Bunny and Bananas in the Lincoln Center Theatre revival of "The House of Blue Leaves"; how it felt, as a native Upper East Side New Yorker, playing an Upper East Side New Yorker in "Six Degrees of Separation", and how her performance had to change when she acted in the film version; whether she knew how divided response would be to Guare's "Four Baboons Adoring the Sun"; why she wasn't daunted about stepping into the shoes of Rosemary Harris or Katharine Hepburn for "The Lion in Winter" in 1999 -- and what about doing the show did give her pause; what it was like to do "Pal Joey", her first musical in over two decades (having previously followed Liza Minnelli into "The Rink"); and how she approached the role of Lady Bracknell in "The Importance of Being Earnest" for a production at the Gaiety Theatre in Dublin, Ireland last year. Original air date - February 2, 2011.

Stockard Channing discusses her work in Jon Robin Baitz's new play "Other Desert Cities", acknowledging the ambiguity of the character for the audience and explaining whether she has defined her character's secret motivations with certainty. She also talks about her years breaking into theatre at Harvard, alongside other students like John Lithgow and Tommy Lee Jones, and her subsequent work around Boston before coming to New York and getting her increasingly bigger break in the Broadway musical "Two Gentlemen of Verona", which also began her association with John Guare; her years in Los Angeles, including a film gig she did simply because she needed money, namely "Grease"; her return to the stage in successive productions of "A Day in the Death of Joe Egg" at Williamstown, Long Wharf, Roundabout and finally Broadway; being given the opportunity to choose between playing Bunny and Bananas in the Lincoln Center Theatre revival of "The House of Blue Leaves"; how it felt, as a native Upper East Side New Yorker, playing an Upper East Side New Yorker in "Six Degrees of Separation", and how her performance had to change when she acted in the film version; whether she knew how divided response would be to Guare's "Four Baboons Adoring the Sun"; why she wasn't daunted about stepping into the shoes of Rosemary Harris or Katharine Hepburn for "The Lion in Winter" in 1999 -- and what about doing the show did give her pause; what it was like to do "Pal Joey", her first musical in over two decades (having previously followed Liza Minnelli into "The Rink"); and how she approached the role of Lady Bracknell in "The Importance of Being Earnest" for a production at the Gaiety Theatre in Dublin, Ireland last year. Original air date - February 2, 2011.

Stockard Channing (1985 Tony Award winner for Best Performance by an Actress in a Leading Role in a Play for “Joe Egg”) discusses her work in Jon Robin Baitz's new play “Other Desert Cities”, acknowledging the ambiguity of the character for the audience and explaining whether she has defined her character's secret motivations with certainty. She also talks about her years breaking into theatre at Harvard, alongside other students like John Lithgow and Tommy Lee Jones, and her subsequent work around Boston before coming to New York and getting her increasingly bigger break in the Broadway musical “Two Gentlemen of Verona”, which also began her association with John Guare; her years in Los Angeles, including a film gig she did simply because she needed money, namely “Grease”; her return to the stage in successive productions of “A Day in the Death of Joe Egg” at Williamstown, Long Wharf, Roundabout and finally Broadway; being given the opportunity to choose between playing Bunny and Bananas in the Lincoln Center Theatre revival of “The House of Blue Leaves”; how it felt, as a native Upper East Side New Yorker, playing an Upper East Side New Yorker in “Six Degrees of Separation”, and how her performance had to change when she acted in the film version; whether she knew how divided response would be to Guare's “Four Baboons Adoring the Sun”; why she wasn't daunted about stepping into the shoes of Rosemary Harris or Katharine Hepburn for “The Lion in Winter” in 1999 -- and what about doing the show did give her pause; what it was like to do “Pal Joey”, her first musical in over two decades (having previously followed Liza Minnelli into “The Rink”); and how she approached the role of Lady Bracknell in “The Importance of Being Earnest” for a production at the Gaiety Theatre in Dublin, Ireland last year.

Veteran director Daniel Sullivan talks about his suddenly busy 2010-11 Broadway season, which will see transfers of his productions of "Time Stands Still" from Manhattan Theatre Club, "The Merchant of Venice" with Al Pacino from The Public's Delacorte Theater, as well as the premiere of David Lindsay Abaire's "Good People" for MTC. He also talks about getting his start as an actor and his early experiences with the San Francisco Actors Workshop, run by Herbert Blau and Jules Irving; moving to New York with the Workshop when it became the Repertory Theater of Lincoln Center; working as Stage Manager and Assistant Director on the original production of "Hair", and why he had to restage the show almost every night; getting his first directing opportunity with the debut of A.R. Gurney's first play, "Scenes From American Life"; how quitting his first directing job at Seattle Rep (a production of "The Royal Family") didn't impede his becoming Resident Director there, and two years later, Artistic Director, a post he held for 16 years; why his greatest disappointment at Seattle Rep was ultimately the inability to create a full resident company of artists; how it felt to embark on a freelance career again in 1997; and his thoughts on the playwrights with whom he's most associated: Herb Gardner, Wendy Wasserstein, Donald Margulies, Charlayne Woodard, Jon Robin Baitz and David Lindsay Abaire. Original air date - September 29, 2010.

Veteran director Daniel Sullivan talks about his suddenly busy 2010-11 Broadway season, which will see transfers of his productions of "Time Stands Still" from Manhattan Theatre Club, "The Merchant of Venice" with Al Pacino from The Public's Delacorte Theater, as well as the premiere of David Lindsay Abaire's "Good People" for MTC. He also talks about getting his start as an actor and his early experiences with the San Francisco Actors Workshop, run by Herbert Blau and Jules Irving; moving to New York with the Workshop when it became the Repertory Theater of Lincoln Center; working as Stage Manager and Assistant Director on the original production of "Hair", and why he had to restage the show almost every night; getting his first directing opportunity with the debut of A.R. Gurney's first play, "Scenes From American Life"; how quitting his first directing job at Seattle Rep (a production of "The Royal Family") didn't impede his becoming Resident Director there, and two years later, Artistic Director, a post he held for 16 years; why his greatest disappointment at Seattle Rep was ultimately the inability to create a full resident company of artists; how it felt to embark on a freelance career again in 1997; and his thoughts on the playwrights with whom he's most associated: Herb Gardner, Wendy Wasserstein, Donald Margulies, Charlayne Woodard, Jon Robin Baitz and David Lindsay Abaire. Original air date - September 29, 2010.

Veteran director Daniel Sullivan (2001 Tony Award Winner for Best Direction of a Play for “Proof”) talks about his suddenly busy 2010-11 Broadway season, which will see transfers of his productions of “Time Stands Still” from Manhattan Theatre Club, “The Merchant of Venice” with Al Pacino from The Public's Delacorte Theater, as well as the premiere of David Lindsay Abaire's “Good People” for MTC. He also talks about getting his start as an actor and his early experiences with the San Francisco Actors Workshop, run by Herbert Blau and Jules Irving; moving to New York with the Workshop when it became the Repertory Theater of Lincoln Center; working as Stage Manager and Assistant Director on the original production of “Hair”, and why he had to restage the show almost every night; getting his first directing opportunity with the debut of A.R. Gurney's first play, “Scenes From American Life”; how quitting his first directing job at Seattle Rep (a production of “The Royal Family”) didn't impede his becoming Resident Director there, and two years later, Artistic Director, a post he held for 16 years; why his greatest disappointment at Seattle Rep was ultimately the inability to create a full resident company of artists; how it felt to embark on a freelance career again in 1997; and his thoughts on the playwrights with whom he's most associated: Herb Gardner, Wendy Wasserstein, Donald Margulies, Charlayne Woodard, Jon Robin Baitz and David Lindsay Abaire.

One of "God of Carnage"'s current combatants on Broadway, Christine Lahti, talks about playing the range of emotions that consume her character over the course of the play's mere 80 minutes, and how the new ensemble developed the rapport for such a physical and intimate work. She also discusses her college years, including the dual lures of social activism and theatre performance; her experience understudying Madeline Kahn and Sigourney Weaver in the premiere of John Guare's "Marco Polo Sings a Solo"; her early Broadway work in plays by Michael Weller and Steve Tesich; being directed by and co-starring with the legendary George C. Scott in "Present Laughter", along with Broadway newbies Nathan Lane and Kate Burton; how studying with another iconic figure, Uta Hagen, taught her how to be "director-proof"; her multiple appearances in Jon Robin Baitz's monologue-driven "Three Hotels"; and her great affinity for the work of Wendy Wasserstein, evidenced by her performances in "The Heidi Chronicles" (on Broadway), "Third" (at the Geffen Playhouse) and "An American Daughter" (for television). Original air date - February 10, 2010.

One of "God of Carnage"'s current combatants on Broadway, Christine Lahti, talks about playing the range of emotions that consume her character over the course of the play's mere 80 minutes, and how the new ensemble developed the rapport for such a physical and intimate work. She also discusses her college years, including the dual lures of social activism and theatre performance; her experience understudying Madeline Kahn and Sigourney Weaver in the premiere of John Guare's "Marco Polo Sings a Solo"; her early Broadway work in plays by Michael Weller and Steve Tesich; being directed by and co-starring with the legendary George C. Scott in "Present Laughter", along with Broadway newbies Nathan Lane and Kate Burton; how studying with another iconic figure, Uta Hagen, taught her how to be "director-proof"; her multiple appearances in Jon Robin Baitz's monologue-driven "Three Hotels"; and her great affinity for the work of Wendy Wasserstein, evidenced by her performances in "The Heidi Chronicles" (on Broadway), "Third" (at the Geffen Playhouse) and "An American Daughter" (for television). Original air date - February 10, 2010.

The panelists - playwright Jon Robin Baitz ("The End of the Day"), playwright Charles Grodin ("One of the All-Time Greats"), director Mark Lamos ("The End of the Day"), playwright Ken Ludwig ("Crazy For You", "Lend Me A Tenor"), director Tony Roberts ("One of the All-Time Greats"), choreographer Susan Stroman ("Crazy For You"), and International Creative Management Vice-President Victoria Traube - discuss how they got started and their common backgrounds as actors and lawyers, directing the work of living and dead playwrights, the development and journey for each of their shows, and the seamless collaboration the "Crazy For You" creative team achieved.

The panelists -- playwright Jon Robin Baitz (The End of the Day), playwright Charles Grodin (One of the All-Time Greats), director Mark Lamos (The End of the Day), playwright Ken Ludwig (Crazy For You, Lend Me A Tenor), director Tony Roberts (One of the All-Time Greats), five-time Tony Award-winning director and choreographer Susan Stroman (for Crazy for You, Showboat, Contact, and 2 awards for The Producers), and International Creative Management Vice-President Victoria Traube -- discuss how they got started and their common backgrounds as actors and lawyers, directing the work of living and dead playwrights, the development and journey for each of their shows, and the seamless collaboration the Crazy For You creative team achieved.

Family, secrets, money and guilt. Watchwords found in the plays of Jon Robin Baitz -- and also seen in his show, Brothers and Sisters, the first show he created for network TV. He talks about moving from the stage to the small screen.

Playwrights Jon Robin Baitz (Hedda Gabler), John Guare (Sweet Smell of Success and Tony Winner for the 1972 musical version of Two Gentlemen of Verona), Peter Parnell (Q.E.D.), and directors Gene Saks (Tony Award winner for Best Direction for I Love My Wife, Brighton Beach Memoirs and Biloxi Blues), Tony winning-director Daniel Sullivan (2001 for Best Direction of a Play for Proof), and Mary Zimmerman (Tony Award for Metamorphoses) discuss their approaches to writing, directing, and adaptations; the collaboration process with directors, writers, producers, sets, and actors; reactions to a production's first preview; and the source of ideas for playwrights.

Playwrights Jon Robin Baitz ("Hedda Gabbler"), John Guare ("Sweet Smell of Success"), Peter Parnell ("Q.E.D."), and directors Gene Saks ("Mr. Goldwyn"), Daniel Sullivan ("Proof"), and Mary Zimmerman ("Metamorphoses") discuss their approaches to writing, directing, and adaptations; the collaboration process with directors, writers, producers, sets, and actors; reactions to a production's first preview; and the source of ideas for playwrights.