Podcast appearances and mentions of Mark Lamos

 MARK LAMOS legendary theater and opera director, actor and artistic director joins us today to discuss the Craig Lucas, Norman Renee 1990 film LONG TIME COMPANION in which he co-starred, the first wide-release theatrical film to deal with the subject of AIDS. Mark's performance in Long Time Companion has been hailed as emotionally riveting. Mark Lamos served as artistic director of Connecticut's, Hartford Stage for 17 seasons from 1981 to 1998. He shook up the theatre's traditional repertoire with bolder contemporary dramas and spectacular productions of Shakespeare and the classic cannon. Under his direction Hartford Stage won the 1989 Tony Award for Outstanding Regional Theater. He has been nominated for Tony Awards for his Broadway productions of OUR COUNTRY'S GOOD and Edward Albee's, SEASCAPE. He was appointed the artistic director of Westport Country Playhouse in 2009 and stepped down after 15 years. He has directed On and Off Broadway, The Metropolitan Opera of New York, City Opera, the San Francisco Opera, and at Lincoln Center Theater. Please welcome to I AM THE SPACE WHERE I AM my good friend and collaborator Mark Lamos.  

 Mark Lamos legendary director, actor and artistic director joins us today to discuss the life and work of his good friend and collaborator playwright A.R. “Pete” Gurney whose plays  include The Dining Room, Sylvia, The Cocktail Hour, The Grand Manner, Indian Blood, Black Tie, and Mrs. Farnsworth.  

What a special treat it was to sit down with Dr. Arthur Feinsod, Guest Director of Our Town at the Nebraska Repertory Theatre that opens April 13th!  Dr. Feinsod has served as Artistic Director for Crossroads Repertory Theatre in Terre Haute, Indiana. He also co-founded and served as Artistic Director for Theatre 7 where he staged plays that included Death of a Salesman in the historic Indiana Theatre.  As a Playwright he has written Malcolm's Call, Table 17, Between the Dams and Coming to See Aunt Sophie.  He taught theatre at Trinity College in Hartford, and he served as Resident Dramaturg with the Hartford Stage Company for Mark Lamos and Bartlett Sher.  Between 2001 and 2021, he was Professor of Theater at the Honors College at Indiana State University (ISU), where he received the Caleb Mills Award for Excellence in Teaching, and the Theodore Dreiser Award for Research and Creativity. His immense talent and experience has brought us to the re-imagination and inclusion of the story of Our Town.  And due to his great working relationship with composer, Craig Woerz, we will see this play with Cragi's newly redeveloped score! We are so privileged to speak with him about this production you won't want to miss that opens April 13th and runs until April 24th.  Learn about the amazing history and work to bring this play to our great State, and get your tickets today!   NEBRASKA REPERTORY THEATRE CONTACT INFO: Website: https://nebraskarep.org/  Facebook: https://www.facebook.com/nebraskarep Instagram: https://www.instagram.com/nebraskarep/ Box Office phone number 402-472-2567. 301 N 12th St, Lincoln, NE 68508 *****   HOW TO LISTEN TO THE PLATTE RIVER BARD PODCAST  Listen at https://platteriverbard.podbean.com or anywhere you get your podcasts.  We are on Apple, Google, Pandora, Spotify, iHeart Radio, Podbean, Overcast, Listen Now, Castbox and anywhere you get your podcasts. You may also find us by just asking Alexa.  Listen on your computer or any device on our website: https://www.platteriverbard.com. Find us on You Tube: https://youtube.com/channel/UCPDzMz8kHvsLcJRV-myurvA. Please find us and Subscribe!

Join guests Michael Gotch and Mark Lamos as they talk about Michael’s ANPF 2019 winning play STARTER PISTOL, which Mark is directing for its world premiere at Resident Ensemble Players at the University of Delaware. Their conversation delves into topics of character development, Greek tragedies, overcoming anxieties as a writer and favorite theater moments, including… The post Play4Keeps Podcast | Nature and Fate: A conversation with Michael Gotch and Mark Lamos appeared first on Play4Keeps.

It’s a mysterious disease: tiny collections of inflammatory cells ... that can form in any part of your body. It’s called “sarcoidosis.” Dr. Mark Lamos of GBMC explains the complexity of the disease and the difficulty of diagnosis. Then we meet Toni Robinson, who tells of her experience living with sarcoidosis … . Sean Hull, founder and president of the Life and Breath Foundation,’ a non profit dedicated to raising awareness of the perplexing illness.

Mark Lamos, director of plays, musicals and opera, including LA Opera's current production of “Rigoletto,” has a conversation with Classical KUSC's Brian Lauritzen.

The Greater Baltimore Medical Center (GBMC) is very progressive with its primary care model. This is especially true in some of their efforts to provide greater access to care. Today’s guest is Mark Lamos from GBMC. Listen in as Mark explains how he has demonstrated wellness in his own life, as well as how GBMC has set up systems to address many of the problems that healthcare centers commonly face.

The Greater Baltimore Medical Center (GBMC) is very progressive with its primary care model. This is especially true in some of their efforts to provide greater access to care. Today’s guest is Mark Lamos from GBMC. Listen in as Mark explains how he has demonstrated wellness in his own life, as well as how GBMC has set up systems to address many of the problems that healthcare centers commonly face.

The latest play from the prolific A.R. Gurney comes with a forthright title, "Love & Money." The Signature Theater Company production features Maureen Anderman as the wealthy, elderly Cornelia Cunningham, who has decided to give away her entire fortune to charity, at least until an unexpected visitor arrives. As the work of divesting herself of the money continues —with good intentions — complications arrive in the form of a young man who is — or at least, claims to be — the woman’s grandson. New York Times theater critic Charles Isherwood offers his thoughts on "Love & Money," directed by Mark Lamos. The Signature Theater Company production runs through Oct. 4 at the Pershing Square Signature Center.

Mark Lamos: In June of 2000, Hartford Stage's longtime Artistic Director Mark Lamos sat down with the SDCF for a One-on-One interview. In this conversation Lamos speaks candidly about a recent production of Edward II for A.C.T, his early career and his tenure at Hartford Stage, and the art and craft of directing for opera. Originally recorded - June 14, 2000. Running Time - 1:32:06 ©2000 SDCF

On January 7, 1987, Artistic Directors Nagle Jackson (of Hartford Stage) and Mark Lamos (of McCarter Theatre) sat down with Mary Robinson to speak about leadership in regional theatre.  This focused discussion will enlighten the listener about the art of choosing a season, how your audience can affect play selection, and the work of maintaining a repertory theatre.

On September 25, 1996, James Graves, Associate Director of SDCF, moderated a panel about Directing Opera. Panelists included Lillian Garrett-Groag, Mark Lamos, and Rhoda Levine. With great vibrancy and humor, the panelists consider the challenges of working in foreign countries, methods to navigate working in a foreign language, and the skills and knowledge necessary for theatre artists to work in opera. Most interestingly, their backgrounds are varied: a choreographer (Ms. Levine), a musician and actor (Mr. Lamos), and a multi-lingual director immersed in opera since childhood (Ms. Garrett-Groag). They delve deeply into the Director/Conductor relationship and elucidate the reasons why this is most significant in opera. And they share the thrills of doing new work, including experience developing operas based on the books "Celia", "A Slave," and "Haroun and the Sea of Stories". This honest and open conversation among peers is essential listening for any artist aspiring to direct opera.

On April 28, 2001, Stage Directors and Choreographers Foundation invited NYU voice and dialect coach Deborah Hecht, Juilliard Chairman of Voice and Speech Ralph Zito, director Mark Lamos, actor Oni Faida Lampley, and actor Boris McGiver for a conversation about the importance of text work. Louis Scheeder, Director and Founder of Classical Studio at NYU Tisch moderates. Topics include speech interpretation, the process of making stylistic choices, and the necessities of physical endurance.

The second of four panel discussions held in conjunction with the Royal Shakespeare Company (RSC) residency at The Park Avenue Armory focused on “Directing Shakespeare." David Farr, the RSC's associate director and director of "King Lear" and "The Winter’s Tale" in the company's New York repertoire was joined by Arin Arbus, Associate Artistic Director of The Theater for a New Audience; Karin Coonrod, the founding director of the Arden Party Theater Company; and Mark Lamos, Artistic Director of the Westport County Playhouse. The panel, moderated by the artistic director of The Shakespeare Society, Michael Sexton, took on each individual's personal approach to directing, acting and speech, and included the admission that sometimes "stealing" from other directors is part of the process. Arin Arbus also echoed the remarks of the season's first two directors, Peter Brook and the RSC's Michael Boyd, in expressing belief in the power of hunches. Bon Mots David Farr on Shakespeare’s language: “His language gives you the psychology when you speak it. To get an actor to trust that is more and more unusual ... You are the words that you say. How can you be anything else?” Mark Lamos on conveying the verse through your body: “It’s not this uggabugga thing. You’ve got this great instrument: two feet, two legs, knees that bend, a butt. Breathe through it all. Let it happen.” Karin Coonrod on sussing out Shakespeare’s language: “...The visceral, the necessity, of speaking. ‘Why did you say that in that moment? Why are you full of contradictions?’ He gets more of the psychic cartography of our landscape than many.” Arin Arbus on initial hunches and notions: “It’s never happened to me where the things you find are in contradiction to what your initial instinct is. I don’t know what I would do in that situation. That would be... unfortunate.”

Turnabout is fair play, as actor Richard Thomas is the guest host for a conversation with Howard Sherman, Executive Director of the American Theatre Wing. The longtime friends discuss the changes in the Wing since Sherman arrived in 2003, the unifying idea beyond the program expansion that has taken place since that time, and how ATW has evolved repeatedly over its 70 year history to meet the changing needs of the theatre community. Sherman also talks about his high school and college years as a performer; his eight years of "graduate school" at Hartford Stage under the mentorship of artistic director Mark Lamos and managing director David Hawkanson; the celebrity who helped to ease his parents' minds about his choice of a risky career in theatre; how Goodspeed Musicals' executive producer Michael Price gave him the opportunity to move beyond p.r. and into management; his stints at Geva Theatre in Rochester, NY and the Eugene O'Neill Theatre Center in Connecticut; how personal priorities rather than professional ones led him to the Wing; and what has always motivated him throughout his career. Original air date - March 3, 2010.

Turnabout is fair play, as actor Richard Thomas is the guest host for a conversation with Howard Sherman, Executive Director of the American Theatre Wing. The longtime friends discuss the changes in the Wing since Sherman arrived in 2003, the unifying idea beyond the program expansion that has taken place since that time, and how ATW has evolved repeatedly over its 70 year history to meet the changing needs of the theatre community. Sherman also talks about his high school and college years as a performer; his eight years of "graduate school" at Hartford Stage under the mentorship of artistic director Mark Lamos and managing director David Hawkanson; the celebrity who helped to ease his parents' minds about his choice of a risky career in theatre; how Goodspeed Musicals' executive producer Michael Price gave him the opportunity to move beyond p.r. and into management; his stints at Geva Theatre in Rochester, NY and the Eugene O'Neill Theatre Center in Connecticut; how personal priorities rather than professional ones led him to the Wing; and what has always motivated him throughout his career. Original air date - March 3, 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.

As she celebrates her 20th season as artistic director of Princeton's McCarter Theatre, Emily Mann recalls the factors she considered when taking on the job; counsel she received at the time from directors Peter Hall and Mark Lamos; how she has evolved the McCarter audience in the direction of the work that most appeals to her; and her unique role as artistic director, director and playwright - including whether each of those roles ever gets in the way of the others. She also talks about making her way in the theatre as a female director and playwright coming up in the 1970s; her breakthrough as the first woman to direct on the mainstage of the Guthrie Theatre during Alvin Epstein's brief tenure leading the company; the development of her own playwriting style of documentary theatre through such acclaimed plays as "Still Life" and "Execution of Justice"; sharing a toast with Harold Pinter just after President Obama's election; working with Edward Albee on several plays, notably his newest, "Me Myself & I"; and why she chose to revisit "Having Our Say" at McCarter 14 years after its original Broadway success. Original air date - January 18, 2010.

As she celebrates her 20th season as artistic director of Princeton's McCarter Theatre, Emily Mann recalls the factors she considered when taking on the job; counsel she received at the time from directors Peter Hall and Mark Lamos; how she has evolved the McCarter audience in the direction of the work that most appeals to her; and her unique role as artistic director, director and playwright - including whether each of those roles ever gets in the way of the others. She also talks about making her way in the theatre as a female director and playwright coming up in the 1970s; her breakthrough as the first woman to direct on the mainstage of the Guthrie Theatre during Alvin Epstein's brief tenure leading the company; the development of her own playwriting style of documentary theatre through such acclaimed plays as "Still Life" and "Execution of Justice"; sharing a toast with Harold Pinter just after President Obama's election; working with Edward Albee on several plays, notably his newest, "Me Myself & I"; and why she chose to revisit "Having Our Say" at McCarter 14 years after its original Broadway success. Original air date - January 18, 2010.

In January of 1987, noted director, educator and SDC Board Member Mary Robinson met with directors Mark Lamos and Nagle Jackson to discuss running regional theatres. At the time, these two men were the Artistic Directors of Hartford Stage and Princeton's McCarter Theatre respectively. The conversation begins as many of SDCF's one-on-one interviews do, with Lamos and Jackson outlining the origins of their careers as directors, and specifically as Artistic Directors. We find that both men transitioned from performance to direction, and as Lamos puts it "were the kind of actor's you saw and said 'it looks like he should be a director'". These two master artists talk about the lessons they learned in the various posts which they've held at America's leading regional theatres, including: A.C.T; Arizona Theatre Company, Guthrie Theatre, Milwaukee Rep and others. We learn that though there are issues unique to each theatre and community wherein they reside, there are common obstacles and rewards that face all artists and administrators who work in regional theatre. Lamos and Jackson speak about how they've dealt with enhancing subscriber bases, choosing a season, working with Boards of Directors, finding new audiences and engaging their communities, and reaching out to communities that are not regularly exposed to theatre. This is a discussion not to be missed by anyone who's ever had the goal of running or starting a theatre company.

Broadway: Braham in The Philanthropist opposite Matthew Broderick, Iachimo in Cymbeline directed by Mark Lamos, Jason in Deborah Warner’s Tony nominated Medea (also London’s West End and BAM). New York includes: Four Benches by Ethan Coen, Parlour Song by Jez Butterworth. London includes: Silva Vaccaro in the RNT’s Baby Doll (Best Actor at the Barclays Theatre Awards), the title role in Coriolanus at Shakespeare’s Globe, productions at the Royal National Theatre and Royal Shakespeare Co. Regional: Doubt at Pasadena Playhouse. UK TV includes: Ricky Gervais’ Emmy-winning “Extras;” the BAFTA winning programs “A Dance to the Music of Time” and Peter Kosminsky’s “The Government Inspector; the title role in “Mosley;” Dennis Potter’s “Old Lizard;” and Eddie Izzard’s “Cows.” US TV includes: ABC’s “Six Degrees” and “Empire,” NBC’s “Inconceivable,” Showtime’s “Out of the Ashes.” Films include: First Knight, True Blue, Honest, The One and Only, and Miramax’s Brideshead Revisited

In June of 2000, Hartford Stage's longtime Artistic Director Mark Lamos sat down with the SDCF for a One-on-One interview. In this conversation Lamos speaks candidly about a recent production of Edward II for A.C.T, his early career and his tenure at Hartford Stage, and the art and craft of directing for opera.

"South Pacific"'s Tony Award-winning set designer Michael Yeargan discusses the visual approach taken for the first Broadway revival of this classic musical, including the negotiation behind the dramatic reveal of the show's orchestra, as well as the lessons he learned about working in the vast space of Lincoln Center's Vivian Beaumont Theatre on both "South Pacific" and "The Light In The Piazza". Yeargan also recalls his introduction to theatre and opera as a youth in Dallas; his studies -- and later his teachings -- at the Yale School of Drama; his early Broadway experiences with Terrence McNally's "Bad Habits" and "The Ritz"; and his sustained collaborations with directors Andrei Serban, Mark Lamos and Bartlett Sher. Original air date - July 11, 2008.

"South Pacific"'s Tony Award-winning set designer Michael Yeargan discusses the visual approach taken for the first Broadway revival of this classic musical, including the negotiation behind the dramatic reveal of the show's orchestra, as well as the lessons he learned about working in the vast space of Lincoln Center's Vivian Beaumont Theatre on both "South Pacific" and "The Light In The Piazza". Yeargan also recalls his introduction to theatre and opera as a youth in Dallas; his studies -- and later his teachings -- at the Yale School of Drama; his early Broadway experiences with Terrence McNally's "Bad Habits" and "The Ritz"; and his sustained collaborations with directors Andrei Serban, Mark Lamos and Bartlett Sher. Original air date - July 11, 2008.

Actor John Cullum, currently appearing in the title role of Shakespeare's "Cymbeline" at Lincoln Center Theater, but better known for his musical performances, talks about his experiences in classical theatre -- from his current work with director Mark Lamos to his earliest New York auditions to being directed by John Gielgud in the Richard Burton "Hamlet"; recalls how he landed roles in such classic Broadway musicals as "Camelot", "On A Clear Day You Can See Forever", and "Shenandoah"; reflects on the much discussed quick departure of actress Madeline Kahn from the original production of "On The Twentieth Century"; and tells how he didn't understand "Urinetown" when it first came his way. Original air date - December 28, 2007.

Actor John Cullum, Tony winner as Best Actor for his roles in Shenandoah and On the Twentieth Century and currently appearing in the title role of Shakespeare's Cymbeline at Lincoln Center Theater, but better known for his musical performances, talks about his experiences in classical theatre -- from his current work with director Mark Lamos to his earliest New York auditions to being directed by John Gielgud in the Richard Burton Hamlet; recalls how he landed roles in such classic Broadway musicals as Camelot, On A Clear Day You Can See Forever, and Shenandoah; reflects on the much discussed quick departure of actress Madeline Kahn from the original production of On The Twentieth Century; and tells how he didn't understand Urinetown when it first came his way.

Actor John Cullum, currently appearing in the title role of Shakespeare's "Cymbeline" at Lincoln Center Theater, but better known for his musical performances, talks about his experiences in classical theatre -- from his current work with director Mark Lamos to his earliest New York auditions to being directed by John Gielgud in the Richard Burton "Hamlet"; recalls how he landed roles in such classic Broadway musicals as "Camelot", "On A Clear Day You Can See Forever", and "Shenandoah"; reflects on the much discussed quick departure of actress Madeline Kahn from the original production of "On The Twentieth Century"; and tells how he didn't understand "Urinetown" when it first came his way. Original air date - December 28, 2007.

Director Mark Lamos explores his affinity for the W.A.S.P. world portrayed by playwright A.R. Gurney as he directs the world premiere of "Indian Blood" at New York's Primary Stages, and talks about his long tenure as artistic director of the Hartford Stage Company, the experience of free-lancing after nearly two decades at the helm of that company, and the differing challenges of directing theatre and opera. Original air date - August 11, 2006.

Director Mark Lamos explores his affinity for the W.A.S.P. world portrayed by playwright A.R. Gurney as he directs the world premiere of "Indian Blood" at New York's Primary Stages, and talks about his long tenure as artistic director of the Hartford Stage Company, the experience of free-lancing after nearly two decades at the helm of that company, and the differing challenges of directing theatre and opera. Original air date - August 11, 2006.

Making classic work come alive for today's audiences is the topic for this panel of directors - Anne Bogart, Barbara Gaines, Mark Lamos and Bartlett Sher, who won a Tony for his work on the 2008 revival of South Pacific.

Making classic work come alive for today's audiences is the topic for directors Anne Bogart, Barbara Gaines, Mark Lamos and Bartlett Sher.