Podcast appearances and mentions of laurie woolery

Follow The Present Stage on Instagram at @thepresentstageThe Present Stage: Conversations with Theater Writers is hosted by Dan Rubins, a theater critic for Slant Magazine. You can also find Dan's reviews on Cast Album Reviews  and in The New Yorker's Briefly Noted column.The Tempest is running off-Broadway at the Delacorte Theatre through September 3rd. Find out more at www.publictheater.org.If you'd like to learn more about Hear Your Song and how to support empowering youth with serious illnesses to make their voices heard though songwriting, please visit www.hearyoursong.org  Follow The Present Stage on Instagram at @thepresentstageThe Present Stage: Conversations with Theater Writers is hosted by Dan Rubins, a theater critic for Slant Magazine. You can also find Dan's reviews on Cast Album Reviews and in The New Yorker's Briefly Noted column.The Present Stage supports the national nonprofit Hear Your Song. If you'd like to learn more about Hear Your Song and how to support empowering youth with serious illnesses to make their voices heard though songwriting, please visit www.hearyoursong.org

Hosts Meghan and Harrow discuss all the queer shows they've seen recently (and not so recently)! Hear shout outs to Songs From Bark of Millions by Taylor Mac and Matt Ray, Gumiho by Nina Ki, The Nosebleed written and directed by Aya Ogawa, As You Like It adapted by Shaina Taub & Laurie Woolery, and Lavender Men by Roger Q. Mason. They go into deeper dives on Once Upon a (Korean) Time by Daniel K. Isaac and american (tele)visions by Victor I. Cazares! Plus, get behind-the-scenes thoughts on the making of this podcast, a discussion of the current “drag moment” trend in theatre, and what playwright Harrow and Meghan moved aside in order to take a photo with their show poster. A full transcription of this episode is available here Content Warning: Discussion of sexual assault between 27:16-29:13 Show Discussions: Songs From Bark of Millions by Taylor Mac and Matt Ray    Gumiho by Nina Ki, directed by Kai Kim The Nosebleed written and directed by Aya Ogawa As You Like It adapted by Shaina Taub & Laurie Woolery, directed by Laurie Woolery Lavender Men by Roger Q. Mason, directed by Lovell Holder Once Upon a (Korean) Time by Daniel K. Isaac, directed by Ralph B. Peña american (tele)visions by Victor I. Cazares, directed by Rubén Polendo Upcoming Shows: 1776 - September 16, 2022-January 8, 2023, American Airlines Theatre & Juliet - previews begin October 28th, Stephen Sondheim Theatre I Wanna F*ck Like Romeo and Juliet - October 20-November 5, 2022, 59E59 Theaters Turning Krasniqi - November 3- 6, 2022, AMT Theater The Patient Gloria - November 16-December 4, 2022, St. Ann's Warehouse Episode References: Some Like It Not: Are Men in Dresses Still Funny? Action of the Ep:  Fair Chance for Housing Campaign Take action Queer Culture Recs: A League of Their Own Episode Credits: Edited by Harrow Sansom Thesis on Joan: Follow Thesis on Joan on Instagram & Twitter  Leave us a voicemail at (845) 445-9251‬ Email us at thesisonjoan at gmail dot com Learn more about your ad choices. Visit megaphone.fm/adchoices

Closing out the 60th anniversary of Free Shakespeare in the Park this summer, The Delacorte Theater is staging Public Works' musical adaptation of Shakespeare's "As You Like It," adapted by Shaina Taub and Laurie Woolery, with original music and lyrics also written by Taub. Woolery, as well as the production's lead Rebecca Naomi Jones (Rosalind), join us to discuss the show. "As You Like It" runs until September 11. This segment is guest-hosted by David Furst.  

It's time for another visit with Midday theater critic J. Wynn Rousuck, who joins Tom each week with her reviews of the regional stage. In keeping with today's housing theme, she spotlights Dream Hou$e, playwright Eliana Pipes' energetic satire about how two LatinX sisters deal with cultural assimilation, capitalism, and the American home-ownership dream, now running at Baltimore Center Stage. The world-premiere production, staged in partnership with Atlanta's Alliance Theatre and New Haven's Long Wharf Theatre, is directed at Center Stage by Laurie Woolery. Dream Hou$e continues at Baltimore Center Stage through this Sunday, May 15. Follow the theater link for showtimes and ticketing information. See omnystudio.com/listener for privacy information.

Maria-Christina Oliveras caught the attention of NYC theater fans with an explosive, show-stopping turn in David Byrne and Fatboy Slim's multiple award-winning musical Here Lies Love. On August 6, she brings her gift of storytelling and unique style to Feinstein's/54 Below in an electrifying night of music and surprises. In this episode, she joins our Director of Marketing, Nella Vera, for a chat about her career, her collaborations with renowned artists, including Tony nominee Alex Timbers, and why she's chosen this particular time to do her first solo cabaret show. Maria-Christina has performed extensively on and off-Broadway, regionally, internationally, and in film and television. Her career is distinguished by her transformational character work in a number of world premieres, including roles in Kiss My Aztec (by John Leguizamo, Tony Taccone, David Kamp, Benjamin Velez, directed by Tony Taccone), Amélie (by Craig Lucas, Daniel Messe and Nathan Tysen, directed by Pam MacKinnon), Soft Power (by David Henry Hwang and Jeanine Tesori, directed by Leigh Silverman), El Huracán (by Charise Castro Smith, directed by Laurie Woolery), and Pretty Filthy (by Bess Wohl and Michael Friedman, directed by Steve Cosson). She has appeared on Broadway in Amélie, Machinal, and Bloody Bloody Andrew Jackson. For information about Maria's show at Feinstein's/54 Below, visit https://54below.com/events/maria-christina-oliveras/ Learn more about Maria on her website: www.mariachristinaoliveras.com Follow Maria on Instagram: @mcoliveras Credits The Feinstein's/54 Below podcast is hosted by Nella Vera, Kevin Ferguson, and Grace Benigni and produced by Bailey Everett and Michael Galvez, with support from the Feinstein's/54 Below marketing staff. Original artwork design by Philip Romano. Follow Nella on Twitter and Instagram at @spinstripes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laurie talks with four young performers from Albuquerque Academy’s virtual performance of Shaina Taub and Laurie Woolery’s musical adaption of Shakespeare’s As You Like It. Our chat includes new performance modes, funny things that happen in the Zoom room, and our love of New Mexico. FUSION Forum Podcast is sponsored by FUSION Theatre Company, New Mexico’s professional producing theatre company since 2001. Located in the Arts and Cultural district of downtown Albuquerque, FUSION makes its creative home within The Forum, a community inspired multi-venue space. The interviews in this podcast are dedicated to capturing the activities, passions, and tangential paths artists utilize to nurture their creative souls. Laurie Thomas is a Co-Founder and Co-Artistic Chair of FUSION. She is a professional actor, director, writer, educator, and host of FUSION Forum Podcast.

In 1954, Joseph Papp founded the New York Shakespeare Festival with touring productions of Shakespeare, presented for free to the people of New York City. 65 years later, The Public Theater is still touring Shakespeare with our Mobile Unit to the five boroughs and beyond. This episode is all about the Mobile Unit (and more), featuring a covnersation with Roxanna Barrios (Associate Director of the Mobile Unit) and Laurie Woolery (director of Mobile Unit's The Tempest), an excerpt of Michael Thurber's music from a past Mobile Unit production, a chance to 'Meet The Public' with Assistant General Manager Alyssa Simmons, and more! Episode music by Michael Freidman Audio engineering by Dani Lencioni Hosted by Drew Broussard and Reynaldi Lindner Lolong Featuring Roxanna Barrios, Kaleda Davis, Lauren Henderson, Alyssa Simmons, Jackie Tralies, Michael Thurber, and Laurie Woolery

Sol Project Artistic Director Jacob G. Padrón interviews playwright Charise Castro Smith and director Laurie Woolery about their Fall 2018 Sol Project production of El Huracán at Yale Repertory Theater, their artistic and professional journeys as Latinx women in the performing arts, and the power of artistry for community. Charise Castro Smith is a playwright, television writer, and actor originally from Miami. She is a recipient of a Van Lier Fellowship at New Dramatists and is an alumna of Ars Nova’s Play Group and The New Georges Jam. She holds an MFA from Yale School of Drama. Laurie Woolery is a director, playwright, educator, facilitator, producer and is currently the Director of Public Works at The Public Theater, an initiative that seeks to engage the people of New York by making them creators and not just spectators. Learn more about Laurie and her work at www.lauriewoolery.com. Jacob G. Padrón is the Founder and Artistic Director of The Sol Project and Artistic Director of Long Wharf Theater in New Haven, Connecticut. He has previously worked on the artistic staff at The Public Theater, Steppenwolf Theatre Company, and Oregon Shakespeare Festival. He is also on faculty at Yale School of Drama where he teaches artistic producing in the graduate theater management program.Originally from Gilroy, California, Padrón is a graduate of Loyola Marymount University (BA) and Yale School of Drama (MFA). Follow us on Facebook at The Sol Project and Instagram and Twitter at @solprojectnyc! // Music by Megumi Katayama, recording by Laura Cornwall, editing by Daniela Hart.  

The singer, songwriter and performer is joined by director Laurie Woolery to chat about their musical adaptation of Shakespeare's "As You Like It." See acast.com/privacy for privacy and opt-out information.

Many playwrights strive to create poetry on stage, hoping to put such elegant words in the mouths of their characters that audiences will sit stunned and shaken, transported from their seats to some new world. If only all playwrights began as poets—as did San Francisco’s Marisela Treviño Orta—then all of our stages would be singing with poetry as beautiful as that in Orta’s rich fairytale ‘The River Bride,’ which just opened a five-month run at the Oregon Shakespeare Festival in Ashland. The festival, which runs annually from February to November, always begins in the Spring with four shows, gradually adding new ones. The openers this time are Shakespeare’s ‘Twelfth Night,’ Gilbert & Sullivan’s ‘Yeomen of the Guard,’ Charles Dickens’ ‘Great Expectations,’ and ‘The River Bride.’ I’ll discuss the first three in my next broadcast. Easily the best of a strong batch, ‘The River Bride’ was first staged in San Rafael in 2014, part of the AlterLab new play development program sponsored by Marin County’s AlterTheater Ensemble. Originally co-directed by Ann Brebner and Jeanette Harrison, that early production was elegantly simple, using only a few wooden blocks as set pieces. In Ashland, Orta’s slinky, sexy blend of Brazilian river mythology and Grimm’s fairytales has now been given a magical, deceptively high-tech makeover by director Laurie Woolery, working with a stellar cast and a first-rate team of visual artists. Woolery fills her stage with gorgeous images, each scene a poem in its own right, a stunning collage of sight, sound, words and emotion. Fortunately, such bedazzlements never distract from the story, or from the incandescent heart of Orta’s indelible characters. Just three days before the wedding of 16-year-old Belmira and the local fisherman Duarte, the bride’s older sister Helena is doing her best to hide her own broken heart, having loved Duarte since childhood. During a stormy day of fishing, complete with raging thunder and mysterious pink lightning, Duarte and the sisters’ goodhearted father Senhor Costa haul up a well-dressed, unconscious stranger in their fishing nets. Initially suspicious, Senhora Costa soon welcomes the soft-spoken newcomer, who gives his name as Moises, and almost immediately forms a bond with the cautious, but gradually love-struck, Helena. As Helena, Nancy Rodriguez, is spectacular, revealing layer upon layer of hidden emotion. Armando McClain, who as Moises makes an art of enigmatically smoldering, is quite good in a part that less expert actors might have played too extravagantly. Jamie Ann Romero is excellent in the tricky part of Belmira, managing to be both innocent and selfishly devious, and as Duarte, Carlo Alban is all coiled intensity and molten jealousy. Triney Sandoval is delightful as Senhor Costa, and Vilma Silva, as Senhora Costa, is perfect, playing as many shades of motherly love as there are strings on a guitar. What happens next takes place in a world of grounded fantasy and stylized realism. On the Amazon, there are legends of trickster porpoises, which for three days in June take the form of human men, looking for love amongst those who dwell on the land. That myth eventually overlaps the lives of Orta’s characters in powerful ways, as Moises’ courtship of Helena stirs up deep and forbidden passions. As in all fairytales, the ending involves the breaking of curse, but with a poetic and heart-stopping twist, just one of many satisfying pleasures Orta serves up in this transcendent, one-of-a-kind masterpiece. ‘The River Bride’ runs in repertory with ‘Twelfth Night,’ ‘Great Expectations,’ and others, Tuesday through Sunday, in the Angus Bowmer Theater at the Oregon Shakespeare Festival, in Ashland, Oregon. For information on this and ten other shows opening throughout the year, www.osfashland.org has all the details.