Podcast appearances and mentions of Lydia R Diamond

On this week's episode of Out and About, Nikki Romain and Vivian Standifird join host Jenn Gordon to talk about “Smart People”. The play, written by Lydia R. Diamond, follows four Harvard University graduates each interested in different aspects of the brain, particularly how it responds to race. This marks ART Inc.'s first theatrical production, and executive director Nikki Romain promises it won't be their last. Performances take place June 24 through the 26 in the CEFCU Theatre at the Romain Arts and Cultural Center. For more information or to purchase tickets visit artincpeoria.org.

In this week's episode of Let Perfect Burn, I sit down with Cloteal L. Horne— an actor, a director and an educator who currently resides in Brooklyn, New York. Cloteal's most recent work was in Toni Morrison's The Bluest Eye at The Huntington Theatre. This production was adapted for stage by Lydia R. Diamond and directed by Awoye Timpo.Cloteal speaks to her deep-rooted belief that every time she walks into a room, whether it be as an artist or educator, that she has her ancestors, both known and unknown, at her back. She talks about the weight and the wonder of being able to be in a room creating art because of the blood, sweat, tears, joy and liberation strategies of Africans and African Americans. She tells me, “My life is a luxury. It isn't perfect, but I certainly recognize I would not be where I am without that level of struggle and love. That there were so many acts of love that made me.”Born the 7th out of 10 children, Cloteal was raised by her grandmother, whom she shares a name. From her grandmother, Cloteal learned there is a power in femininity, that there is sway by standing in her womanliness, that there is power in yielding and strength in a tender ferocity.Cloteal asks us if her story matters. Cloteal asks us if she can find the spaces where she can sing the song of her mother or the secrets that were whispered in her ears as child. She tells us, “It's not neutral, my lived experience, and how it shows up in a room.”Cloteal paints multiple pictures of being a black woman in white spaces, including in the idea of "perfect". “As a black woman, perfect has been a white standard in some ways, as opposed to being who I really am— who I am with my grandmother, my cousins, my siblings, my friends. Feeling like I have to be this performative version of myself to be validated. So, for me, that is the perfect I want to burn.”Some highlights in this Episode from Cloteal:" It did make it harder in those rehearsal rooms with predominantly white casts. I had to keep saying, 'Can we examine this production of A Midsummer Night's Dream that is set in the 20's? I am a black woman and what does it mean to uproot this production and put it elsewhere?' So, you know, I fight those battles in a room. It's like, you can't just erase my black body. It's a black body."" Power is not always maleness. It's, I am going to listen, I am going to attune, I am going to pause, I am going to pray, I am going to wait, I am going to gather."" Where I'm at is where the party is at. And if it's not where THE party's at, it's where I'm at, and that's gotta be enough."Don't Miss a Beat. Follow my Instagram for news from me, Tara Beckett: https://www.instagram.com/letperfectburn/Website for Cloteal L. Horne:https://www.cloteallhorne.com/Original Music for Let Perfect Burn by Eleri Wardhttps://www.instagram.com/eleriward/

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay!  Join us at 9 AM this morning for a wonderful conversation with Ameha Molla and Rajal Pitroda, San Francisco filmmakers who won BLACK PUBLIC MEDIA’S PITCHBLACK for their documentary feature "Higher 15", which tells the story of Molla’s uncle, Kiflu Ketema, a former Ethiopian revolutionary turned lead witness in an FBI investigation against his murderous prison guard in war-torn Addis Ababa. Our next guest is Cherilyn Parsons, Executive Director and Founder of the Bay Area Book Festival starting May 1. There is a free special tribute to Lawrence Ferlinghetti this evening 5:30-6:30 PM PT We close with a rebroadcast of an interview with Dawn Monique Williams Associate Director, Aurora Theatre's production of Toni Morrison's "The Bluest Eye" (adapted by Lydia R. Diamond). Michael J. Asberry (actor) joins Dawn Monique.   

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay!  1. Br'er Peach by Andrew Saito, a radio play in three podcast episodes, April 17 is the digital launch party (free event) and fundraiser. Episodes play April 18-May 10. Visit altertheater.org/peach or call (415) 454-2787.  2. Kelley Kali's, Oscar & DGA winner & Deon Cole's (Black-ish) critiaclly lauded indie feature, "I'm Fine (Thanks for asking)" set for SFIFF opening today, Fri., Apr. 9.  3. Dawn Monique Williams, Aurora Theatre Associate Artistic Director, and director of The Bluest Eye, adapted from Toni Morrison's novel by playwright Lydia R. Diamond for stage and (audio drama) joins actor Michael Asberry to talk about the new production opening April 9-May 21. Visit auroratheatre.org or call (510) 843-4822. Discount code: BluestCNC50  

Get your sugar, lemon, and honey ready cause this tea is piping hot! Chiiileeee pull up a seat as we discuss "Stick Fly" by Lydia R. Diamond!! ***TRIGGER WARNING*** This episode contains a short discussion about domestic violence.

Shaun Leisher (he/him/his) is a Philadelphia-based dramaturg and producer. As a dramaturg, Shaun has worked on productions of CLYBOURNE PARK by Bruce Norris and SMART PEOPLE by Lydia R. Diamond under the direction of nationally-recognized theatre artist and educator, Kashi Johnson at Lehigh University. As a producer, Shaun has organized play readings and new work festivals throughout Eastern Pennsylvania. Shaun is also a passionate advocate for arts education and is thrilled to have recently joined the team of the theatre and education consulting company, Re:Theatre.In this episode, we talk about that theater has shifted and adapted during the pandemic, what we miss about live theater, the challenges and issues that theater faces today, the role of the dramaturg in the creative process, and Shaun gives us a taste of how he works with actors to select new audition material. Creative Resources Mentioned:New Play ExchangeDelejos by Julie PiñeroCobra KaiMoment Work by Moises Kaufman & Barbara Pitts McAdamsConnect with Shaun:@shaunaturgyshaunleisher.com

A weekend at the family vacation home in Martha's Vineyard... Sounds relaxing, right? But Lydia R. Diamond's play "Stick Fly" imagines the LeVay family (and a few guests) trying to enjoy their weekend at the Vineyard, but finding out that secrets, lies, and high expectations can tend to ruin the relaxation. Listen in this week as Jackson and Jacob discuss Diamond's "well-made play."  ------------------------------ 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.

A.C.T. Artistic Director and Tony Award winner Pam MacKinnon sat down with two long-term friends and artistic collaborators, playwrights Lydia R. Diamond and Craig Lucas. They discuss the underbelly of critical acclaim, how to combat anti-Blackness in the theater, and where theater needs to go next in the era of COVID-19.

As the Obama era is about to begin, four brilliant, accomplished people — Harvard types, all of them — consider racism in America in “Smart People” by playwright Lydia R. Diamond. While the hot-button issue is difficult for these intellectuals to articulate, it manifests concretely through the characters' relationships with each other. Kenny Leon directs the production by Second Stage Theatre, featuring a strong cast comprised of Mahershala Ali, Joshua Jackson, Anne Son and Tessa Thompson.  New York Times theater critic Charles Isherwood checks it out to see if the play is as smart as the characters in it.

Bob Wilcox and Gerry Kowarsky review (1) Who's Afraid of Virginia Woolf?, by Edward Albee, at St. Louis Actors' Studio, (2) The Winslow Boy, by Terence Rattigan, at the Repertory Theatre of St. Louis, (3) White to Gray, by Rob Maesaka, at Mustard Seed Theatre, (4) Stick Fly, by Lydia R. Diamond, at The Black Rep, (5) Mr. Marmalade, by Noah Haidle, at West End Players Guil, (6) God of Carnage, by Yasmina Reza, at Stray Dog Theatre, and (7) Old Wounds, by Mollie Jeanette Amburgey, at GoodPeople Theatre.

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