Podcasts about Lloyd Richards

In this week's episode of On Broadway, I speak with James Magruder, author of the new book, The Play's the Thing : Fifty Years of Yale Repertory Theatre (1966-2016). The book's four chapters are dedicated to one of the Yale Rep's artistic directors to date: Robert Brustein, Lloyd Richards,Stan Wojewodski Jr., and James Bundy. Numerous sidebars—dedicated to the spaces used by the theater, the playwrights produced most often, casting, the prop shop, the costume shop, artist housing, and other topics—enliven the lavishly illustrated four-color text. The work is enlivened by interviews with some of America's most respected actors about their experiences at the Rep, including Paul Giamatti, James Earl Jones, Frances McDormand, Meryl Streep, Courtney B. Vance, Dianne Wiest, and Henry Winkler.

In this episode, Budi sits down with Bob Krakow to talk about his career in teaching acting for screen. A graduate of Tufts University, Bob Krakower started his teaching career at the American Conservatory Theatre in San Francisco. Mentored by Conservatory Director Allen Fletcher, he was teaching first year graduate acting, directing projects, and given the job of Associate Director of Conservatory at the age of twenty-four.  He then went on to work in the same capacity with Mr. Fletcher at the National Theatre Conservatory.Soon after that, he took over the acting program at another landmark institution, the Tony Award winning Actors Theatre of Louisville, where he was a resident director for the company as well. He was one of the main creative forces behind ATL's Shorts Festivals, producing and/or directing over 100 projects, including world-premieres by Howard Korder, Lanford Wilson, Jane Anderson, Jane Martin, and many more.He served as Director of the Atlantic Theatre Company Acting School, running both the Professional and NYU Undergraduate Divisions. And along with Earle Gister, Lloyd Richards, J. Michael Miller, and others, is a founding faculty member of The Actor's Center in New York. He has been a guest teacher at Yale, Harvard, & NYU and created Screen Acting Programs at UNCSA and Juilliard, where he is currently teaching.In addition to his rich theatrical background, he spent a year learning the business side of acting from Susan Smith at her highly respected agency in New York and worked in film & television casting on several projects for ABC, MTV, Paramount, HBO, Nickelodeon, and others.As an on-camera director he has helmed multiple television episodes, and his documentary film “John Pinette: You Go Now” was selected as the opening night feature at the Cinequest Film Festival.For over thirty years, he has coached on countless film & television productions; hired by studios, networks, producers, writers, directors, and actors alike. Started in 1992, he teaches one of the longest ongoing acting classes in NYC. And whether he's working with students, celebrities, stand-ups, or actors, he does so with what Emmy Award Winning Director Michael Lembeck has called “the most passionate, kindest, and brightest approach I've ever seen.”Support the show2024 Audio Play Festival submissions "Sounds of Home"If you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

Lloyd Richards' novel flopped 11 years ago. A single TikTok video sent it to the top of the US Amazon charts.

You've probably heard that, in a blind taste test, even experts can't tell between white and red wine. Even if this were true – and it's not – it wouldn't matter. I was in Rome last month, visiting some Raphael paintings to research my next book, and stopped by the Sistine Chapel. I've spent a good amount of time studying what Michelangelo painted on that ceiling. There are lots of high-resolution images on Wikipedia. But seeing a picture is nothing like the experience of seeing the Sistine Chapel. You've invested thousands of dollars and spent fifteen hours on planes. You're jet-lagged and your feet ache from walking 20,000 steps. You're hot. When you enter, guards order you to keep moving, so you won't block the door. They corral you to the center, and you can finally look up. When you hear wine experts can't tell between white and red wine, you imagine the following: Professional sommeliers are blindfolded, and directed to taste two wines. They then make an informed guess which is white, and which is red. In this imaginary scenario, they get it right half the time – as well as if they had flipped a coin. If it were true wine experts couldn't tell between white and red wine, the implication would be that the experience of tasting wine is separate from other aspects of the wine. That the color, the shape of the glass, the bottle, the label, and even the price of the wine are all insignificant. That they all distract from the only thing that matters: the taste of the wine. There's some psychophysiological trigger that gets pulled when you tilt your head back. Maybe it stimulates your pituitary gland. When you have your head back and are taking in the images on the Sistine Chapel ceiling, you feel vulnerable. (You literally are vulnerable. You can't see what's going on around you. You'd be easy to physically attack.) What you see is overwhelming. As you try to focus your attention on some detail, some other portion of the imagery calls out and redirects your attention. This happens again and again. After a while, your neck needs a rest, and you return your gaze to eye-level. And this is almost as cool as the ceiling: You see other people with their heads back, their eyes wide, mouths agape, hands on hearts, tears in eyes. You hear languages and see faces from all over the world. You realize they all, too, have invested thousands of dollars and spent fifteen hours on planes. They, too, are jet-lagged and hot and have walked 20,000 steps. You can look at pictures of the Sistine Chapel ceiling on the internet. You can experience it in VR. In many ways, this is better than going to the Sistine Chapel. You can take as much time as you want, and look as close as you want. You don't have to spend thousands of dollars and fifteen hours on a plane, take time off work, or even crane back your neck. But seeing the Sistine Chapel ceiling on the internet or even VR is only better than seeing it in person, in the way that a spoonful of granulated sugar when you're starving is better than a hypothetical burger in another iteration of the multiverse. We've seen an explosion of AI capabilities in recent months. That has a lot of people worried about what it means to be a creator. Why do we need humans to write, for example, if ChatGPT can write? The reason ChatGPT's writing is impressive is the same reason there's still a place for things created by humans. Anyone old enough to have been on the internet in the heyday of America Online in the 1990s will remember this: When you were in a chat room, most the conversations were about being in a chat room: How long have you been on the internet? Isn't the internet cool? What other chat rooms do you like? Part of the appeal of the question “ASL?” – Age, Sex, Location? – was marveling over the fact you were chatting in real-time with a stranger several states away. Or maybe you remember when Uber or Lyft first came to your town. For the first year or two, likely every conversation you had with a driver was about how long they had been driving, about how quickly the service had grown in your town, which is better – Uber or Lyft?, or which nearby cities got which services first. The first few months ChatGPT was out, it was seemingly the only thing anyone on the internet talked about. But it wasn't because ChatGPT's writing was amazing. ChatGPT is a bad writer's idea of a good writer. It was because of the story: Wow, my computer is writing! Now that much of the novelty of ChatGPT has worn off, many of us are falling into the Trough of Disillusionment on the Gartner Hype Cycle. We're realizing ChatGPT is like a talking dog: It's impressive the dog can appear to talk, but it's not talking – it's just saying the words it's been taught. ChatGPT is very useful in some situations, but not as many as we had originally hoped. What made us talk about the internet while on the internet, talk about Uber while in Ubers, and talk about ChatGPT while chatting with ChatGPT was the story. Once the story behind the internet or Uber wore off, we started to appreciate them for their own utility. Part of what's cool about seeing the Sistine Chapel ceiling in VR is that – we're seeing it in VR. But even if that weren't impressive, what would still be impressive about the paintings would be more than just that they're amazing paintings. It's incredible to us a human could paint such a massive expanse. We think about the stories and myths of Michelangelo, up on that scaffolding, painting in isolation. Part of our appreciation of the Sistine Chapel ceiling lies outside the ceiling itself. While marveling at it, we can't help but think of Michelangelo's other masterpieces, such as the David or the Pietà. Lloyd Richards spent fourteen years writing Stone Maidens, and had almost no sales for decades. Suddenly, he sold 65,000 copies in a month. He was interviewed on the TODAY show, and got a book deal with a major publisher. How did he do it? His daughter made a TikTok account. The first video showed Lloyd at his desk, and explained what a good dad he was, how hard he had worked on Stone Maidens, and how great it would be if he made some sales. Then the #BookTok community did the rest. Stone Maidens is apparently a good book. But it's no better today than it was all those years it didn't sell. Most the comments on Lloyd's TikTok account – which now has over 400,000 followers – aren't about what a great book Stone Maidens is. They're about how Lloyd seems like such a nice guy, or how excited each commenter is to have contributed to his success. The study that started the myth that wine experts can't taste the difference between white and red wine didn't show that. The participants in the study literally weren't allowed to describe the two wines the same way – they couldn't use the same word for one as the other. It wasn't blindfolded – it was a white wine versus the same wine, dyed red. The study wasn't about taste at all: Participants weren't allowed to taste the wine – they were only allowed to smell. And wine experts? That depends on your definition of “expert”. They were undergraduate students, studying wine. They knew more than most of us, but were far from the top echelon of wine professionals. Most damning for this myth was that the same study casually mentions doing an informal blind test: The success rate of their participants in distinguishing the taste of white versus red wine: 70%. That this myth is false shouldn't detract from the point that even if it were true, it wouldn't matter. What the authors of this study found was not that wine enthusiasts couldn't tell between white and red wine, but that the appearance of a wine as white or red shaped their perceptions of the smell of the wine. Once you bake a cake, you can't turn it back into flour, sugar, butter, and eggs. You can't extract the taste of a wine from the color, the bottle, your mental image of where the grapes were grown and how the wine was made, or even the occasion for which you bought the wine. Something made by an AI can be awesome, either because it's really good at doing what it's supposed to, or because you appreciate it was made by an AI. Something made by a human is often awesome because of the story of the human who made it, and the story you as a human live as you interact with it. If you want to be relevant in the age of AI, learn how to bake your story into the product. Because AI can't bake. Image: Figures on a Beach by Louis Marcoussis About Your Host, David Kadavy David Kadavy is author of Mind Management, Not Time Management, The Heart to Start and Design for Hackers. Through the Love Your Work podcast, his Love Mondays newsletter, and self-publishing coaching David helps you make it as a creative. Follow David on: Twitter Instagram Facebook YouTube Subscribe to Love Your Work Apple Podcasts Overcast Spotify Stitcher YouTube RSS Email New bonus content on Patreon! I've been adding lots of new content to Patreon. Join the Patreon »       Show notes: https://kadavy.net/blog/posts/ai-cant-bake/

Today Ledslie talks to Dianah Wynter. Wynter was born and raised in New York. She directed Intimate Betrayal (1999), HappySAD (2009), and Daddy's Girl (1996), for which she received an Emmy nomination. Her stage directing credits include the world premiere of The Interrogation of Nathan Hale at South Coast Rep, Mules at San Francisco's Magic Theatre and American Conservatory Theatre (ACT), the latter starring Anika Noni Rose. She was a regular director for the Mark Taper's New Work Fest, and NEA Director Fellow for The Goodman Theatre. At Princeton, she composed music for Triangle club comedy revues, collaborating with classmates such as Douglas McGrath, David E. Kelley, Eric Schlosser and John Seabrook.A graduate of the Yale school of drama. She was asst director for Lloyd Richards on the world premieres of Ma Rainey's Black Bottom and Fences. She mounted the second company of Fences at Seattle Rep starring Frances Foster and Samuel L. Jackson. Dianah is an author and co-editor of Referentiality and the Films of Woody Allen (Palgrave Macmillan). Her most recent book is The Post Soul Cinema of Kasi Lemmons.In 2019, she was elected Chair of the Cinema & Television Arts department at Cal State Northridge (CSUN), which consistently ranks in the Hollywood Reporters Top 25 film schools. She is the first black woman to head a Top film school. During her term as Chair, she initiated the virtual production initiative, with the support of strategic partner, Halon Entertainment; by 2021, CSUN made it into the top 20 of The Wraps Top 50 Film Schools, breaking in at #17.

Denis Meadows has been plying the craft of playwriting for a long time, encouraged along the way by the likes of Lloyd Richards, Austin Pendleton, Zoe Caldwell, Audrey Wood, Bill Irwin and Robert Ganz. His play A BRUSH AGAINST THE INDIFFERENCE OF THE UNIVERSE placed second (out of over 200 submissions) in VetRep's latest 10-minute playwriting competition.

In this episode, Adam and Budi speak with the Head of the Drama Division at Juilliard, Evan Yionoulis.Evan Yionoulis, an Obie award-winning director and nationally-recognized teacher of acting, is  Richard Rodgers dean and director of Juilliard's Drama Division.  Before that, she served twenty years on the faculty of Yale School of Drama, where she was a professor in the practice of acting and directing and a resident director at Yale Repertory Theatre, as well as Lloyd Richards chair of the department of acting from 1998 to 2003. She has directed new plays and classics in New York and across the U.S., enjoying collaborations with major American playwrights, including Adrienne Kennedy and Richard Greenberg. She directed the critically acclaimed world premiere of Kennedy's He Brought Her Heart Back in a Box for Theatre for a New Audience, where she previously directed her Ohio State Murders (Lortel Award for Best Revival) and the Off-Broadway premiere of Howard Brenton's Sore Throats.  She opened Manhattan Theatre Club's Biltmore Theatre (Broadway) with Greenberg's The Violet Hour, directed his Everett Beekin at Lincoln Center Theater, and received an Obie Award for her direction of his Three Days of Rain at Manhattan Theatre Club, having directed the premieres of all three at South Coast Repertory.   At Yale Repertory Theatre, she directed Cymbeline, Richard II, The Master Builder, George F. Walker's Heaven, Brecht's Galileo, Gozzi's The King Stag (which she adapted with her brother, composer Mike Yionoulis and Catherine Sheehy), Caryl Churchill's Owners, the world premiere of Kirsten Greenidge's Bossa Nova, and numerous other productions including Kiss, by Guillermo Calderón. Other credits include productions at the Mark Taper Forum, the Huntington, NY Shakespeare Festival, the Vineyard, Second Stage, Primary Stages, Dallas Theatre Center, Actors Theatre of Louisville, Denver Center, Williamstown Theatre Festival, and many others.  She directed Seven, a documentary theatre piece about extraordinary women from across the globe who work for human rights, in New York, Boston, Washington, Aspen, London, Deauville, and New Delhi. Her short film, Lost and Found, made with Mike Yionoulis, premiered at Cleveland International Film Festival.  Their most recent collaborations are the multi-platform project Redhand Guitar, about five generations of musicians across an American century, and The Dread Pirate Project, about the malleability of identity between the digital and natural worlds.She has received a Princess Grace Foundation Fellowship, Works-in-Progress Grant, and the foundation's prestigious Statuette. She serves as president of the executive board of SDC, the labor union representing stage directors and choreographers. Support the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Support the Theatre of Others - Check out our Merch!Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

Our guest this week is the wonderful Shoshana Gottlieb. She is a writer, thinker, educator and the brains behind the instagram page: Jewish Memes Only. If you have instagram and you're not following her, do yourself a favour. You'll get the white-hot memes you never knew you needed. Jewish memes only - Instagram Midrash reference Pardes Institute - where Shoshana studied What's a Dybbuk? On needing to be reminded of the right course of action again and again, found in the Introduction to Mesilat Yesharim On the Inner Spark found in all living beings referred to in the Tanya, a foundational text from Hasidic philosophy: “Hashem gives it the physical world existence and animates it by the vitality and light which He causes to flow and shine forth unto it— a light that is clothed, hidden and concealed within the numerous and powerful garments, which hide and screen the light and vitality, so that no light or vitality whatever is visibly revealed, but only corporeal and physical things that appear lifeless. Yet they contain light and vitality which constantly give them existence ex nihilo, that they shall not revert and become nothing and nought as they had been.” Credits: Made possible by the Erdi Foundation Hosted by Joel Lazar Produced by Elinor Hassenfratz Music by Lloyd Richards

Our guest this week is Yael Stone, she's one of Australia's most beloved actors. Best known for her long-running role Lorna Morello on Orange Is The New Black. She's recently turned her considerable talents to climate solutions. Specifically she speaks about her inspiring work at Hi Neighbour, a wonderful project you can learn more about in the links below. Yael also shares a tender moment with her dad in this episode, reflecting on her childhood and a decision not to go through with a bat mitzvah. We had a great time making this episode, and we know you'll enjoy it! Sign up to Jewish Climate Network updates. The climate organisation Yael founded, Hi Neighbour. More on Judaism's tradition of debating God, 'chutzpah towards Heaven'. Credits: Made possible by the Erdi Foundation Hosted by Joel Lazar Produced by Elinor Hassenfratz Music by Lloyd Richards

Osher Günsberg is many things: he is a dad, a step-dad, a TV host and prolific podcast producer. He is also a straight-talker when it comes to all things climate, mental health, and a future of abundance for Australia and the world. And a pretty good harmonica player to boot. Moving your super: www.jcn.org.au/money_web Heat pumps: Sustainability Victoria Scroll through JCN's Zero Emissions page to obtain quotes from trusted solar and other electrification suppliers. Greenhouse gas emissions by food type (Our World in Data) Draught-proofing your home: Sustainability Victoria An Australian guide to cargo bikes (CHOICE) Credits: Made possible by the Erdi Foundation Hosted by Joel Lazar Produced by Elinor Hassenfratz Music by Lloyd Richards

In the season 3 finale, The Supporting Cast welcomes Tony and Emmy Award winning actor Courtney B. Vance. In this episode, Courtney speaks about growing up in Detroit during the 1960s and 1970s and attending an independent school, Detroit Country Day, before heading to Harvard and then Yale School of Drama. In addition to discussing his career as an actor, Courtney describes many of the broader themes that have impacted both his family and his creativity, such as race, mental health, education, and criminal justice. Among the most noteworthy of Courtney's roles was playing O.J. Simpson defense attorney Johnny Cochran on FX's "The People v. O.J. Simpson," for which Courtney won an Emmy in 2016. Courtney describes finding his connection to Cochran through their shared experience of being “the only Black kid at an all-White School” and therefore also sharing, in his mind, both the experiences and skill sets that helped Johnny to understand O.J., and Courtney to understand Johnny. Courtney references George Brown, Kay Slaughter, and Beverly Hannett-Price of Detroit Country Day and Earle Gister and Lloyd Richards of Yale School of Drama as profound educational influences.

We are proud to bring you the classic American drama, All About Eve! Our version was adapted from the Academy Award winning movie of 1950 by Ben Dooley. Broadcast live on national radio in 1954, it featured unforgettable performances by Bette Davis, Anne Baxter, George Sanders and Gary Merrill. Hudson Valley Radio Theater is grateful to have a superb cast of Hudson Valley, New York based actors who will give the iconic roles found in All About Eve their own interpretations and they include: Sue Regan as Margo Channing, Geneva Turner as Eve Harrington, Marshall Sheldon as Lloyd Richards, Paula Lucas as Karen Richards, Dan Anderson as Addison deWitt, Frank Marquette as Bill Sampson and Kristen Marquette as Birdie. You are now invited to drop in on a tribute to the New York theater – the Sarah Siddons Award dinner, an event that glorifies the achievements of those who excel on the stages of the Great White Way. A few moments ago, a cherished honor came to a young actress named Eve Harrington. Among the many imminent personalities present is the noted theater critic, Addison deWitt. --- Support this podcast: https://anchor.fm/frank-marquette/support

Subscribe to the PCAN Podcast from https://www.climactic.fm/show/pcan-podcast In episode six, two special guest hosts report back from COP26 in Glasgow. Jamie Brogan, from Edinburgh Climate Change Institute and Simon Moore, from the University of Leeds, talk to a variety of delegates about the relationship between global negotiations and local level climate action. Gill Rodriguez from the International SeaKeepers Society explains how global pledges help encourage individuals to take action in their own lives. Glasgow resident Alex Horsburgh gives a local's perspective, arguing that Glaswegian residents are more open to change than most politicians. Activists Annwen Thurlow and Daisy Earl discuss the power of local communities to create change, and the importance of centring people in global climate talks. Actor and musician Keith Bartlett tells his story of co-writing the Mothership Earth Song – a plea from Mother Earth for governments to combat climate change. We hear six different versions of the song, which has now been translated and performed in 25 different languages by female vocalists from around the world. Bobby Holdbrook from Advanced Bacterial Sciences gives his perspective on the role small businesses can play in the transition to a green economy. Tracy Irvine from Oasis Hub describes how communities working to protect themselves from flooding can set an example that can be scaled up nationally and across continents. David Richardson discusses a film he's working on about what he sees as a key issue in the climate crisis, overpopulation. And finally, Simon wraps up the episode alongside PCAN Associate Rosanna Harvey-Crawford, discussing the ups and downs of their experiences at COP26. Find out more about the work of the Place-based Climate Action Network (PCAN) by following us on Twitter @PCANcities or visiting our website: https://www.pcancities.org.uk/ You can follow @JamieBrogan, @Simon_C_Moore and @RoseHCrawford on Twitter. Credits Recorded, produced and edited by Simon Moore from the University of Leeds. Intro and outro music by Lloyd Richards. The Mothership Earth Song was co-written by Keith Bartlett and Paddy Cunneen and the versions included in this episode were performed in English, Greek, Urdu, Indonesian and Turkish. See /privacy for privacy and opt-out information.

Subscribe to the PCAN Podcast fromhttps://www.climactic.fm/show/pcan-podcast In episode six, two special guest hosts report back from COP26 in Glasgow. Jamie Brogan, from Edinburgh Climate Change Institute and Simon Moore, from the University of Leeds, talk to a variety of delegates about the relationship between global negotiations and local level climate action. Gill Rodriguez from the International SeaKeepers Society explains how global pledges help encourage individuals to take action in their own lives. Glasgow resident Alex Horsburgh gives a local's perspective, arguing that Glaswegian residents are more open to change than most politicians. Activists Annwen Thurlow and Daisy Earl discuss the power of local communities to create change, and the importance of centring people in global climate talks. Actor and musician Keith Bartlett tells his story of co-writing the Mothership Earth Song – a plea from Mother Earth for governments to combat climate change. We hear six different versions of the song, which has now been translated and performed in 25 different languages by female vocalists from around the world. Bobby Holdbrook from Advanced Bacterial Sciences gives his perspective on the role small businesses can play in the transition to a green economy. Tracy Irvine from Oasis Hub describes how communities working to protect themselves from flooding can set an example that can be scaled up nationally and across continents. David Richardson discusses a film he's working on about what he sees as a key issue in the climate crisis, overpopulation. And finally, Simon wraps up the episode alongside PCAN Associate Rosanna Harvey-Crawford, discussing the ups and downs of their experiences at COP26. Find out more about the work of the Place-based Climate Action Network (PCAN) by following us on Twitter @PCANcities or visiting our website: https://www.pcancities.org.uk/ You can follow @JamieBrogan, @Simon_C_Moore and @RoseHCrawford on Twitter. Credits Recorded, produced and edited by Simon Moore from the University of Leeds. Intro and outro music by Lloyd Richards. The Mothership Earth Song was co-written by Keith Bartlett and Paddy Cunneen and the versions included in this episode were performed in English, Greek, Urdu, Indonesian and Turkish. Support the show: https://www.climactic.fm/p/support-the-collective/

Subscribe to the PCAN Podcast from https://www.climactic.fm/show/pcan-podcastIn episode six, two special guest hosts report back from COP26 in Glasgow. Jamie Brogan, from Edinburgh Climate Change Institute and Simon Moore, from the University of Leeds, talk to a variety of delegates about the relationship between global negotiations and local level climate action.Gill Rodriguez from the International SeaKeepers Society explains how global pledges help encourage individuals to take action in their own lives. Glasgow resident Alex Horsburgh gives a local's perspective, arguing that Glaswegian residents are more open to change than most politicians.Activists Annwen Thurlow and Daisy Earl discuss the power of local communities to create change, and the importance of centring people in global climate talks.Actor and musician Keith Bartlett tells his story of co-writing the Mothership Earth Song – a plea from Mother Earth for governments to combat climate change. We hear six different versions of the song, which has now been translated and performed in 25 different languages by female vocalists from around the world.Bobby Holdbrook from Advanced Bacterial Sciences gives his perspective on the role small businesses can play in the transition to a green economy.Tracy Irvine from Oasis Hub describes how communities working to protect themselves from flooding can set an example that can be scaled up nationally and across continents. David Richardson discusses a film he's working on about what he sees as a key issue in the climate crisis, overpopulation.And finally, Simon wraps up the episode alongside PCAN Associate Rosanna Harvey-Crawford, discussing the ups and downs of their experiences at COP26.Find out more about the work of the Place-based Climate Action Network (PCAN) by following us on Twitter @PCANcities or visiting our website: https://www.pcancities.org.uk/You can follow @JamieBrogan, @Simon_C_Moore and @RoseHCrawford on Twitter.CreditsRecorded, produced and edited by Simon Moore from the University of Leeds.Intro and outro music by Lloyd Richards. The Mothership Earth Song was co-written by Keith Bartlett and Paddy Cunneen and the versions included in this episode were performed in English, Greek, Urdu, Indonesian and Turkish. See /privacy for privacy and opt-out information.

Subscribe to the PCAN Podcast fromhttps://www.climactic.fm/show/pcan-podcast In episode six, two special guest hosts report back from COP26 in Glasgow. Jamie Brogan, from Edinburgh Climate Change Institute and Simon Moore, from the University of Leeds, talk to a variety of delegates about the relationship between global negotiations and local level climate action. Gill Rodriguez from the International SeaKeepers Society explains how global pledges help encourage individuals to take action in their own lives. Glasgow resident Alex Horsburgh gives a local's perspective, arguing that Glaswegian residents are more open to change than most politicians. Activists Annwen Thurlow and Daisy Earl discuss the power of local communities to create change, and the importance of centring people in global climate talks. Actor and musician Keith Bartlett tells his story of co-writing the Mothership Earth Song – a plea from Mother Earth for governments to combat climate change. We hear six different versions of the song, which has now been translated and performed in 25 different languages by female vocalists from around the world. Bobby Holdbrook from Advanced Bacterial Sciences gives his perspective on the role small businesses can play in the transition to a green economy. Tracy Irvine from Oasis Hub describes how communities working to protect themselves from flooding can set an example that can be scaled up nationally and across continents. David Richardson discusses a film he's working on about what he sees as a key issue in the climate crisis, overpopulation. And finally, Simon wraps up the episode alongside PCAN Associate Rosanna Harvey-Crawford, discussing the ups and downs of their experiences at COP26. Find out more about the work of the Place-based Climate Action Network (PCAN) by following us on Twitter @PCANcities or visiting our website: https://www.pcancities.org.uk/ You can follow @JamieBrogan, @Simon_C_Moore and @RoseHCrawford on Twitter. Credits Recorded, produced and edited by Simon Moore from the University of Leeds. Intro and outro music by Lloyd Richards. The Mothership Earth Song was co-written by Keith Bartlett and Paddy Cunneen and the versions included in this episode were performed in English, Greek, Urdu, Indonesian and Turkish. Support the show: https://www.climactic.fm/p/support-the-collective/

This is an episode of PCAN, you can find more here (www.climactic.fm/show/pcan-podcast). In episode three we talk to two key players in the PCAN story, Andy Gouldson, Professor of Environmental Policy at the University of Leeds, and Polly Cook, Chief Officer for Sustainable Energy and Air Quality from Leeds City Council. Andy set up the independent Leeds Climate Commission in 2017, which works closely with Leeds City Council. The Leeds Commission has led to the formation of ten other climate commissions around the UK, through PCAN, the Place-based Climate Action Network. Andy and Polly have also been instrumental in setting up one of the newest, and largest yet - Yorkshire and Humber Climate Commission. Co-hosts Professor John Barry, from Queen's University Belfast, and Kate Lock, from the University of Leeds, talk to them about the thinking behind these novel climate partnerships. Andy discusses some of the ongoing challenges around ensuring the voices of all communities are heard in addressing climate action, and his vision for financial tools that let people invest in a green future for their city. Polly explains the importance of a climate emergency declaration for the day-to-day work of a council, and describes their attempts to communicate hyper-locally, so people can inspire each other to become more sustainable. Find out more about the work of the Place-based Climate Action Network by following us on Twitter @PCANcities or visiting our website: https://www.pcancities.org.uk/ You can follow @Andy_Gouldson, @ElsieC51 (Polly Cook), @ProfJohnBarry and @KlockworksKate on Twitter. Credits Produced and edited by Simon Moore from the University of Leeds. Music by Lloyd Richards. See /listener for privacy information. See /privacy for privacy and opt-out information.

This is an episode of PCAN, you can find more here (www.climactic.fm/show/pcan-podcast). In episode three we talk to two key players in the PCAN story, Andy Gouldson, Professor of Environmental Policy at the University of Leeds, and Polly Cook, Chief Officer for Sustainable Energy and Air Quality from Leeds City Council. Andy set up the independent Leeds Climate Commission in 2017, which works closely with Leeds City Council. The Leeds Commission has led to the formation of ten other climate commissions around the UK, through PCAN, the Place-based Climate Action Network. Andy and Polly have also been instrumental in setting up one of the newest, and largest yet - Yorkshire and Humber Climate Commission. Co-hosts Professor John Barry, from Queen's University Belfast, and Kate Lock, from the University of Leeds, talk to them about the thinking behind these novel climate partnerships. Andy discusses some of the ongoing challenges around ensuring the voices of all communities are heard in addressing climate action, and his vision for financial tools that let people invest in a green future for their city. Polly explains the importance of a climate emergency declaration for the day-to-day work of a council, and describes their attempts to communicate hyper-locally, so people can inspire each other to become more sustainable. Find out more about the work of the Place-based Climate Action Network by following us on Twitter @PCANcities or visiting our website: https://www.pcancities.org.uk/ You can follow @Andy_Gouldson, @ElsieC51 (Polly Cook), @ProfJohnBarry and @KlockworksKate on Twitter. Credits Produced and edited by Simon Moore from the University of Leeds. Music by Lloyd Richards. See omnystudio.com/listener for privacy information. Support the show: https://www.climactic.fm/p/support-the-collective/

This is an episode of PCAN, you can find more here (www.climactic.fm/show/pcan-podcast).In episode three we talk to two key players in the PCAN story, Andy Gouldson, Professor of Environmental Policy at the University of Leeds, and Polly Cook, Chief Officer for Sustainable Energy and Air Quality from Leeds City Council.Andy set up the independent Leeds Climate Commission in 2017, which works closely with Leeds City Council. The Leeds Commission has led to the formation of ten other climate commissions around the UK, through PCAN, the Place-based Climate Action Network. Andy and Polly have also been instrumental in setting up one of the newest, and largest yet - Yorkshire and Humber Climate Commission.Co-hosts Professor John Barry, from Queen's University Belfast, and Kate Lock, from the University of Leeds, talk to them about the thinking behind these novel climate partnerships.Andy discusses some of the ongoing challenges around ensuring the voices of all communities are heard in addressing climate action, and his vision for financial tools that let people invest in a green future for their city.Polly explains the importance of a climate emergency declaration for the day-to-day work of a council, and describes their attempts to communicate hyper-locally, so people can inspire each other to become more sustainable.Find out more about the work of the Place-based Climate Action Network by following us on Twitter @PCANcities or visiting our website: https://www.pcancities.org.uk/You can follow @Andy_Gouldson, @ElsieC51 (Polly Cook), @ProfJohnBarry and @KlockworksKate on Twitter.CreditsProduced and edited by Simon Moore from the University of Leeds.Music by Lloyd Richards.See /listener for privacy information. See /privacy for privacy and opt-out information.

This is an episode of PCAN, you can find more here (www.climactic.fm/show/pcan-podcast). In episode three we talk to two key players in the PCAN story, Andy Gouldson, Professor of Environmental Policy at the University of Leeds, and Polly Cook, Chief Officer for Sustainable Energy and Air Quality from Leeds City Council. Andy set up the independent Leeds Climate Commission in 2017, which works closely with Leeds City Council. The Leeds Commission has led to the formation of ten other climate commissions around the UK, through PCAN, the Place-based Climate Action Network. Andy and Polly have also been instrumental in setting up one of the newest, and largest yet - Yorkshire and Humber Climate Commission. Co-hosts Professor John Barry, from Queen's University Belfast, and Kate Lock, from the University of Leeds, talk to them about the thinking behind these novel climate partnerships. Andy discusses some of the ongoing challenges around ensuring the voices of all communities are heard in addressing climate action, and his vision for financial tools that let people invest in a green future for their city. Polly explains the importance of a climate emergency declaration for the day-to-day work of a council, and describes their attempts to communicate hyper-locally, so people can inspire each other to become more sustainable. Find out more about the work of the Place-based Climate Action Network by following us on Twitter @PCANcities or visiting our website: https://www.pcancities.org.uk/ You can follow @Andy_Gouldson, @ElsieC51 (Polly Cook), @ProfJohnBarry and @KlockworksKate on Twitter. Credits Produced and edited by Simon Moore from the University of Leeds. Music by Lloyd Richards. See omnystudio.com/listener for privacy information. Support the show: https://www.climactic.fm/p/support-the-collective/

Today, I am thrilled to be joined by Broadway legend Karen Morrow, star of I Had a Ball, The Grass Harp, I’m Solomon, A Joyful Noise, The Selling of the President, Edwin Drood, and more. Tune in to hear her talk about holding hands with Nat King Cole, dating John Davidson, how Buddy Hackett broke her up onstage, having Frank Loesser as her agent, why she blames herself for Lloyd Richards’ firing, replacing Celeste Holm, watching Charles Strouse helicopter out of the MUNY, and her advice to musical theater students today!! Plus, stories about Richard Rodgers, Luba Lisa, Charles Nelson Reilly, Claibe Richardson, Dick Shawn, and more.

Courtney B. Vance got his start in the theater, with a breakout role in the August Wilson play 'Fences' on Broadway. We talk about his origin story and his recent roles as Aretha Franklin's father, Rev. C.L. Franklin, in 'Genius: Aretha,' and as the show-stopping attorney Johnnie Cochran, in 'The People v. O.J. Simpson.' Vance attributes much of his career success to the dean of the Yale Drama School when he was there, Lloyd Richards, who lifted up Black performers.

In the past few weeks, the U.S. Postal Service issued a stamp honoring playwright August Wilson, and Netflix released a film version of Wilson's celebrated play, "Ma Rainey's Black Bottom."  It stars Viola Davis and Chadwick Boseman, in his final role.  That is why we were inspired to revisit this episode, which originally posted in 2017. It tells the story of two giants of American theater: Wilson, and his longtime collaborator, director Lloyd Richards. Together they brought many award-winning plays to Broadway - not only "Ma Rainey," but also "Fences," "The Piano Lesson" and others.  Wilson started out as a poet, but he turned to writing plays to bring stories of African-American life to the stage.  It was Lloyd Richards who recognized his talent and helped him shape it. Richards was already an icon in the theater world, for directing "A Raisin in the Sun." In this episode you'll hear him tell the story behind that ground-breaking production, and  you'll  hear both these theater legends describe how they came to meet and have one of the most successful artistic collaborations in history.

Adrian Lignos sits down with Lloyd Richards, a new york-based skateboarder, and skate film maker. After skating at Straud playground for the day, we headed back to bushwick to have a beer, talk about Lloyd's most recent video and projects. As always, Kevin Fusco was with us, and the three of us watched the new Dime video and gave our commentary. the first 30 minutes are from Drew Dennis and the rest is from Sarah the illstrumentalist. 

This is an audio adaptation of an article written by Laura Phillips, host of Hypecast, published December 7th, 2020 on Resilience.org. It includes a short message from Dale Martin, author of the Local Government Climate Emergency Toolkit (LGCET). It was produced and edited by Lloyd Richards. Music from Tom Day.  If you have a suggestion for a podcast adaption, or any comments/feedback, please reach publisher Mark Spencer at hello@climactic.fm. See /privacy for privacy and opt-out information.

This is an audio adaptation of an article written by Laura Phillips, host of Hypecast, published December 7th, 2020 on Resilience.org.  It includes a short message from Dale Martin, author of the Local Government Climate Emergency Toolkit (LGCET).  It was produced and edited by Lloyd Richards. Music from Tom Day.  If you have a suggestion for a podcast adaption, or any comments/feedback, please reach publisher Mark Spencer at hello@climactic.fm. Support the show: https://www.climactic.fm/p/support-the-collective/

This is an audio adaptation of an article written by Laura Phillips, host of Hypecast, published December 7th, 2020 on Resilience.org.  It includes a short message from Dale Martin, author of the Local Government Climate Emergency Toolkit (LGCET).  It was produced and edited by Lloyd Richards. Music from Tom Day.  If you have a suggestion for a podcast adaption, or any comments/feedback, please reach publisher Mark Spencer at hello@climactic.fm. Support the show: https://www.climactic.fm/p/support-the-collective/

This is an audio adaptation of an article written by Laura Phillips, host of Hypecast, published December 7th, 2020 on Resilience.org. It includes a short message from Dale Martin, author of the Local Government Climate Emergency Toolkit (LGCET). It was produced and edited by Lloyd Richards. Music from Tom Day. If you have a suggestion for a podcast adaption, or any comments/feedback, please reach publisher Mark Spencer at hello@climactic.fm. See /privacy for privacy and opt-out information.

Author Katerina Cosgrove reads aloud a recent piece of writing, published by SBS Voices.  This feature vignette was produced and sound designed by Lloyd Richards featuring music by Omer Haber.  The coverart is by @leio on Unsplash.  To get in touch with us, to contribute your own creativity to engaging with the climate crisis, drop us a line at hello@climactic.fm. Or a voicemail from climactic.com.au.     See /privacy for privacy and opt-out information.

Author Katerina Cosgrove reads aloud a recent piece of writing, published by SBS Voices.  This feature vignette was produced and sound designed by Lloyd Richards featuring music by Omer Haber.  The coverart is by @leio on Unsplash.  To get in touch with us, to contribute your own creativity to engaging with the climate crisis, drop us a line at hello@climactic.fm. Or a voicemail from climactic.com.au.     Support the show: https://www.climactic.fm/p/support-the-collective/

Author Katerina Cosgrove reads aloud a recent piece of writing, published by SBS Voices.  This feature vignette was produced and sound designed by Lloyd Richards featuring music by Omer Haber.  The coverart is by @leio on Unsplash.  To get in touch with us, to contribute your own creativity to engaging with the climate crisis, drop us a line at hello@climactic.fm. Or a voicemail from climactic.com.au.     Support the show: https://www.climactic.fm/p/support-the-collective/

Author Katerina Cosgrove reads aloud a recent piece of writing, published by SBS Voices. This feature vignette was produced and sound designed by Lloyd Richards featuring music by Omer Haber. The coverart is by @leio on Unsplash. To get in touch with us, to contribute your own creativity to engaging with the climate crisis, drop us a line at hello@climactic.fm. Or a voicemail from climactic.com.au.   See /privacy for privacy and opt-out information.

Adrian Lignos sits down with Lloyd Richards, a new york-based skateboarder, and skate filmmaker. After skating at Straud playground for the day, we headed back to bushwick to have a beer, talk about Lloyd's most recent video and projects. As always, Kevin Fusco was with us, and the three of us watched the new Dime video and gave our commentary. the first 30 minutes are from Drew Denis and the rest is from Sarah the illstrumentalist. 

On this episode, we discuss the twenty-third Best Picture Winner: “All About Eve.”"All About Eve" follows the backstage story revolving around aspiring actress Eve Harrington. Tattered and forlorn, Eve shows up in the dressing room of Broadway mega-star Margo Channing, telling a melancholy life story to Margo and her friends. Margo takes Eve under her wing, but it appears that Eve is a conniver that only uses Margo for her own gain.  Directed by Joseph L. Mankiewicz, the film stars Bette Davis as Margo Channing, Anne Baxter as Eve Harrington, George Sanders as Addison DeWitt, Celeste Holm as Karen Richards, Gary Merrill as Bill Simpson, Hugh Marlowe as Lloyd Richards, and Marilyn Monroe as Miss Casswell.Here on The Envelope, we discuss & review every Best Picture Winner in the Academy Awards History.We are a Cinema Squad Production, presented on the Cinema Squad Podcast Channel. You can reach anyone here at TheCinemaSquad.com – Just go there to email us, check our bios, and keep up with the latest episode.

Meet two giants of the American theater: playwright August Wilson and director Lloyd Richards. Together they brought many award-winning plays to Broadway, including "Fences," "Ma Rainey's Black Bottom," and "The Piano Lesson." August Wilson, who wrote ten plays (together known as the Century Cycle), started out as a poet. When he turned to writing plays, intent on telling the stories of African-Americans on stage, it was Lloyd Richards who recognized his talent and helped him shape it. Richards was already an icon in the theater world. He had begun his career a generation before, aspiring to be an actor at a time when there were almost no roles for African-Americans. His big break came when Sidney Poitier asked him to direct a new play called "A Raisin in the Sun" by Lorraine Hansberry. In this episode you'll hear Lloyd Richards tell the story behind that ground-breaking production. You'll also hear both August Wilson and Lloyd Richards describe how they came to meet and have one of the most successful artistic collaborations in history. Music in this episode by Charlie Haden & Hank Jones, Sergei Stern, and BenSound.com. Theme music by Kara Square.

The Director - with Lloyd Richards

Jim Simpson, artistic director of New York's Off-Off-Broadway The Flea Theater, charts the company's 15 year journey from a collective meant to last for only five years to an ongoing institution on the verge of moving to a home that they own. Along the way, he tells about his years as a child actor in Honolulu appearing in touring musicals with stars such as John Raitt; his teenage summer spent studying with landmark Polish director and theorist Jerzy Grotowski; the highly politicized spirit of the Boston University theatre program during his time there; bridging the Robert Brustein and Lloyd Richards eras while in graduate school at Yale, including Richards' quashing of Simpson's all-male "Hamlet"; his ongoing development of the play "Benten Kozo" across multiple productions; his years as a freelancer at theatres including Williamstown and Hartford Stage; his forays into commercial runs both successful ("Nixon's Nixon") and incomplete ("Citizen Tom Paine"); why The Flea's central tenets included clean dressing rooms for the actors and bathrooms for the patrons; the company's ongoing relationship with playwrights, notably A.R. Gurney; and how the 9/11 tragedy nearly closed the theatre and then, largely thanks to "The Guys", spurred it into a new era; whether the presence of stars at The Flea, including Simpson's wife Sigourney Weaver, as well as John Lithgow and Marisa Tomei, has given them a profile beyond that of the customary downtown house; and why The Flea's resident young company, The Bats, forces the theatre to keep moving on to new challenges. Original air date - November 3, 2010.

Jim Simpson, artistic director of New York's Off-Off-Broadway The Flea Theater, charts the company's 15 year journey from a collective meant to last for only five years to an ongoing institution on the verge of moving to a home that they own. Along the way, he tells about his years as a child actor in Honolulu appearing in touring musicals with stars such as John Raitt; his teenage summer spent studying with landmark Polish director and theorist Jerzy Grotowski; the highly politicized spirit of the Boston University theatre program during his time there; bridging the Robert Brustein and Lloyd Richards eras while in graduate school at Yale, including Richards' quashing of Simpson's all-male "Hamlet"; his ongoing development of the play "Benten Kozo" across multiple productions; his years as a freelancer at theatres including Williamstown and Hartford Stage; his forays into commercial runs both successful ("Nixon's Nixon") and incomplete ("Citizen Tom Paine"); why The Flea's central tenets included clean dressing rooms for the actors and bathrooms for the patrons; the company's ongoing relationship with playwrights, notably A.R. Gurney; and how the 9/11 tragedy nearly closed the theatre and then, largely thanks to "The Guys", spurred it into a new era; whether the presence of stars at The Flea, including Simpson's wife Sigourney Weaver, as well as John Lithgow and Marisa Tomei, has given them a profile beyond that of the customary downtown house; and why The Flea's resident young company, The Bats, forces the theatre to keep moving on to new challenges. Original air date - November 3, 2010.

The resident theatre panelists - Randall Arney, Artistic Director of Steppenwolf Theatre; Zelda Fichandler, Artistic Director of the Acting Company; Emily Mann, Artistic Director of McCarter Theater; Mac Pirkle, Artistic Director of Tennessee Repertory Theatre; Michael P. Price, Executive Director of Goodspeed Opera House; and Lloyd Richards, Artistic Director of Eugene O'Neill Theatre Center - discuss the beginnings of regional theatre as a place to develop new plays and playwrights, relationships with commercial theatre, marketing and building a subscriber base, and diversity in playwrights and audiences.

The resident theatre panelists -- Randall Arney, Artistic Director of Steppenwolf Theatre; Zelda Fichandler, Artistic Director of the Acting Company; Emily Mann, Artistic Director of McCarter Theater; Mac Pirkle, Artistic Director of Tennessee Repertory Theatre; Michael P. Price, Executive Director of Goodspeed Opera House; and Tony Award winner Lloyd Richards (for Fences), Artistic Director of Eugene O'Neill Theatre Center -- discuss the beginnings of regional theatre as a place to develop new plays and playwrights, relationships with commercial theatre, marketing and building a subscriber base, and diversity in playwrights and audiences.

The multi-disciplined panelists -- director/choreographer Jeff Calhoun ("Busker Alley"), director/playwright Michael Leeds ("Swinging on a Star"), actor/playwright Anne Meara ("After-Play"), director Mike Ockrent ("Big, Crazy For You, Me and My Girl"), director/choreographer Lee Roy Reams ("Hello, Dolly!" revival), director Lloyd Richards ("Fences"), and director John Tillinger ("Deathtrap") -- discuss the director's role in relationship to the playwright, the differences in developing of musicals and plays, directing revivals, the challenges of auditions, and the pros and cons of workshops.

The multi-disciplined panelists -- director/choreographer Jeff Calhoun (Busker Alley), director/playwright Michael Leeds (Swinging on a Star), actor/playwright Anne Meara (After-Play), director Mike Ockrent (Big, Crazy For You, Me and My Girl), director/choreographer Lee Roy Reams (Hello, Dolly! revival), Tony Award winning-director Lloyd Richards (for Fences), and director John Tillinger (Deathtrap) -- discuss the director's role in relationship to the playwright, the differences in developing of musicals and plays, directing revivals, the challenges of auditions, and the pros and cons of workshops.

The panel - playwright Allan Knee ("Late Night Comic"), director Ron Lagomarsino ("Driving Miss Daisy"), director Lloyd Richards ("Fences"), casting director Meg Simon ("Fences"), playwright Alfred Uhry ("Driving Miss Daisy"), and playwright August Wilson ("Fences") - discuss directing styles, collaboration between playwright and director, developing and casting their current productions, and the emergence of casting directors for the stage.

The panel -- playwright Allan Knee (Late Night Comic), director Ron Lagomarsino (Driving Miss Daisy), Tony Award winning-director Lloyd Richards (for Fences), casting director Meg Simon (Fences), Tony Award winning-playwright Alfred Uhry (1999 for Parade and 1997 for his play The Last Night of Ballyhoo), and playwright August Wilson (Tony winner for Fences) -- discuss directing styles, collaboration between playwright and director, developing and casting their current productions, and the emergence of casting directors for the stage.

In a startlingly candid interview, actor James Earl Jones (Tony winner a Best Actor in a Play for 1969’s The Great White Hope and 1987’s Fences) talks about what drew him to playing the role of Big Daddy in the current revival of Cat on a Hot Tin Roof and his views on the play being performed by African-American actors. He also charts his journey from stuttering youth to acclaimed actor, including his early training (in part at the American Theatre Wing School), his appearance in the acclaimed 1960 production of Genet's Les Blancs with co-stars including Cicely Tyson and Maya Angelou, his years with the fledgling New York Shakespeare Festival, his landmark performances in The Great White Hope and Fences, his experiences working with playwright Athol Fugard and director Lloyd Richards, and why he never wants to be anyone's mentor.

In a startlingly candid interview, actor James Earl Jones talks about what drew him to playing the role of Big Daddy in the current revival of "Cat on a Hot Tin Roof" and his views on the play being performed by African-American actors. He also charts his journey from stuttering youth to acclaimed actor, including his early training (in part at the American Theatre Wing School), his appearance in the acclaimed 1960 production of Genet's "Les Blancs" with co-stars including Cicely Tyson and Maya Angelou, his years with the fledgling New York Shakespeare Festival, his landmark performances in "The Great White Hope" and "Fences", his experiences working with playwright Athol Fugard and director Lloyd Richards, and why he never wants to be anyone's mentor. Original air date - April 11, 2008.

In a startlingly candid interview, actor James Earl Jones talks about what drew him to playing the role of Big Daddy in the current revival of "Cat on a Hot Tin Roof" and his views on the play being performed by African-American actors. He also charts his journey from stuttering youth to acclaimed actor, including his early training (in part at the American Theatre Wing School), his appearance in the acclaimed 1960 production of Genet's "Les Blancs" with co-stars including Cicely Tyson and Maya Angelou, his years with the fledgling New York Shakespeare Festival, his landmark performances in "The Great White Hope" and "Fences", his experiences working with playwright Athol Fugard and director Lloyd Richards, and why he never wants to be anyone's mentor. Original air date - April 11, 2008.