Podcasts about mccarter theatre

Their play Here There Are Blueberries is built around an actual photo album assembled at Auschwitz of the ordinary daily life of the perpetrators. Following a run at the McCarter Theatre, the play is now touring nationally (if you're reading this early in 2025, not in, oh, 2026 in exile on the Martian penal colony).

Caroline Aaron is known to theatre, film and television audiences, as well as a published author and playwright.She made her Broadway debut in Robert Altman's "Come Back to the Five and Dime, Jimmy Dean,Jimmy Dean" and later appeared in the film. The following Broadway season, she starred in the revival of "The Iceman Cometh". She next starred in Mike Nichols's Broadway smash comedy "Social Security". She returned to Broadway starring in "I Hate Hamlet." She headlined the west coast premiere of Wendy Wasserstein's "The Sisters Rosensweig" and was acknowledged with both a Helen Hayes and Dramalogue Award. Next on Broadway she starred in Woody Allen's comedy "Honeymoon Hotel". She headlined Lincoln Center's award winning play "A Kid Like Jake." She played the title role in "All The Days" at the McCarter Theatre and was named best actress by several newspapers in the New York/New Jersey area. She headlined "Call Waiting" at The. Odyssey theatre which became a hit and was later made into a film available on Amazon Prime.On film Caroline has been in over a hundred films and is frequently in demand from top directors including Woody Allen, the late Mike Nichols, Nora Ephron, Paul Mazursky, and Robert Altman.Favorite film roles include “21 & 22 Jump Street”, “Just Like Heaven", "Nancy Drew", "Surveillance", "Love Comes Lately", "Edward Scissorhands", "Anywhere But Here", The Big Night", and "Bounce" among others. Later this year she will be seen in "Theatre Camp", "Between Two Temples", and "The Fourth Dementia".Television audiences are also familiar with her work as a guest star on hundreds of shows. She has recurred on Curb Your Enthusiasm, Ghosts, Episodes and Transparent. She is best known for her role as Shirley Maisel on the hit Amazon series "The Marvelous Mrs. Maisel." Learn more about your ad choices. Visit podcastchoices.com/adchoices

Send your questions or provocations to Adam or Budi here!In this episode, Adam and Budi continue our Grad School Series with Chair of Graduate Acting at NYU Tisch, Carl Cofield. Carl Cofield is the Chair of Graduate Acting at NYU Tisch and has served as the Associate Artistic Director of the Classical Theatre of Harlem since 2018. CTH directing credits include A Midsummer Night's Dream, Twelfth Night, Seize the King, The Bacchae, Antigone, Macbeth, The Tempest, and Dutchman. He also directed  The XIXth (The Nineteenth) at the Old Globe Theatre as well as the world premiere of Kemp Powers' One Night in Miami for Rogue Machine Theater in Los Angeles, and later iterations at Miami New Drama and Denver Center. Other directing venues include Oregon Shakespeare Festival, McCarter Theatre, and Yale Repertory. He has served on faculty at Yale School of Drama, Columbia School of the Arts, Manhattan School of Music, and the New School. Education: MFA in Directing from Columbia University.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 Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: (Intro) Jack Burmeister, (Outro) https://www.purple-planet.comAdditional compositions by @jack_burmeister

Check out this podcast replay of our SDCF Panel: The Journey from Dancer to Choreographer with Mayte Natalio, Adesola Osakalumi, and Ellenore Scott. This conversation focuses on career transitions or expansions, specifically for dancers who have shifted or added choreography to their artistic practice. We hosted this panel at Sunlight Studios in February 2024. This video and audio was recorded by Michael Weir supported by the Maria Torres Emerging Artists Foundation. Transcript available upon request. Ellenore Scott (she/her) is a BIPOC, New York based choreographer and director. Through her work, Scott values lifting diverse voices in her community while creating a joyous space where the creative process can bring as many people in as possible. Her Broadway credits include Grey House, Funny Girl, Mr. Saturday Night. Her Off-Broadway credits include Little Shop of Horrors, Titanique (Lucille Loretel Nomination), I Can Get It For You Wholesale. Other choreography credits include: So You Think You Can Dance?, Single All the Way (Netflix). In 2023, Scott co-directed The Lonely Few, a world premiere rock musical at the Geffen Playhouse in Los Angeles, CA that will transfer to Off-Broadway's MCC Theatre in Spring of 2024. Scott's work has also been seen at The Bushwick Starr, The Old Globe, Hudson Valley Shakespeare Festival, McCarter Theatre, Cherry Lane Theatre, Asolo Repertory Theatre, Cape Fear Regional Theatre and Seattle Repertory Theatre. In 2020, Scott was a finalist for the SDC Breakout Award for the first ever TikTok Music Ratatouille: The TikTok Musical which raised over $2 million for The Entertainment Fund. As a performer, Scott appeared in numerous television shows (Marvelous Mrs. Maisel, Smash, The Blacklist, Glee! to name a few) and was a finalist and All-Star on So You Think You Can Dance? Scott is the Artistic Director of ELSCO Dance, a contemporary-fusion dance company. Mayte Natalio: Broadway: Suffs (spring 2024), For Colored Girls… (Associate Choreographer). Off-Broadway: Measure for Measure (The Public Theater, Mobile Unit). Regional: The Winter's Tale (DTC, Public Works), Into the Woods (Barrington Stage Company), Love in Hate Nation (Two River Theater), Hair (The Old Globe), Kiss My Aztec (Hartford Stage), How to Dance in Ohio (Syracuse Stage). Adesola Osakalumi: is a Bronx native, Bessie Award-winning, Drama Desk-nominated Choreographer and Actor. Inspired by his family's dance company Africa 1 Dance Theater, he began performing at an early age and was immediately captivated by popping, locking, and all diasporic hip-hop dance styles. He began training seriously at every opportunity possible while maintaining a strong presence in the New York club scene where these styles flourished. Selected Choreographic credits include: Fall For Dance/Jam On The Groove 3 For 30 (City Center),Skeleton Crew (Broadway MTC), Cullud Wattah, Coal Country, Othello (Public Theater), runboyrun, Eyewitness Blues (NYTW), Good Grief (Vineyard), Jam on the Groove (Minetta Lane) and the film School Of Rock. Upcoming: The Hippest Trip (Soul Train Musical) Associate Choreographer & Dance Consultant and Syncing Ink (Victoria Theater) Spring 2025.  As an Actor: Skeleton Crew, Fela!, Equus (Broadway), runboyrun (NYTW), Syncing Ink (Flea/Alley Theater) and the films Red Pill, IBRAHIM, Enchanted, Across the Universe, and Sex and the City 2. TV: "Endgame", “Ice”, Blue Bloods. Awards: Bessie Award Recipient, Drama Desk Recipient. I give thanks to my Ori, Ancestors, and Family for their constant support and love. adesola.com IG @adesolaosakalumi.

Fifty years ago, in July, 1974, The New Yorker began publishing a lengthy excerpt of Robert Caro's “The Power Broker.” When the book appeared, it ran more than twelve hundred pages and won a Pulitzer Prize. In vivid, astonishing detail, it shows how a city planner named Robert Moses gained power over New York City that dwarfed that of any mayor or governor, and radically changed the city. “The Power Broker” became a landmark of political reporting and biography, and made Caro one of the most celebrated writers in America. David Remnick sat down with Caro at the McCarter Theatre, in Princeton, New Jersey, in 2019, when “Working”—a collection of short pieces about Caro's methods—had been published. Their discussion encompassed Caro's early years as a newspaper reporter, his interviewing techniques, and his determination to tackle huge projects, including his chronicle of the life of Lyndon B. Johnson, four volumes of which have been published to date.This segment originally aired on June 18, 2019. 

Winnie Holzman's so-called writing career began innocently enough, writing and performing sketch material with the comedy group “Serious Bizness.” Next came an MFA from NYU in musical theatre, as well as a musical: “Birds of Paradise,” which was produced Off-Broadway and directed by her teacher, Arthur Laurents.  She soon shifted gears, (and coasts) joining the writing staff of the ground-breaking television series “thirtysomething” and then creating theseries, “My So-Called Life,” which starred Claire Danes and which, thanks to MTV (and now HULU) has been seen all over the world.  She collaborated “once and again” with her mentors Ed Zwick and Marshall Herskovitz on their critically acclaimed series “Once and Again;” and later collaborated with her daughter Savannah Dooley on their one hour drama series “Huge;” as well as with Cameron Crowe on the Showtime series “Roadies.”   She is the book writer of the international hit musical Wicked, which has a score by the acclaimed composer/lyricist Stephen Schwartz. Wicked celebrated 20 years on Broadway this past fall.  She recently completed both screenplays for the film adaptation of Wicked. Her play Choice, an early version of which had its world premiere at the Huntington Theatre in Boston, in 2016, will be produced this spring at the McCarter Theatre in Princeton, New Jersey.  She is a proud member of the Writers Guild of America West, and the Dramatists Guild, and has been married to the wonderful character actor Paul Dooley for only 39 years. Paul Dooley is an actor, writer, and comedian, and has appeared in hundreds of movies, TV shows, and plays. His films include Breaking Away, Sixteen Candles, Runaway Bride, Popeye, Insom-nia, Waiting for Guffman, and the Cars franchise. His television appearances include roles in Curb Your Enthusiasm, My So-Called Life, Star Trek, Dream On (Emmy-nominated), and The Practice (Emmy-nominated). He lives in Burbank, California, with his wife Winnie Holzman Learn more about your ad choices. Visit podcastchoices.com/adchoices

Do you ever look back at the movies of your childhood and see similarities with how you saw relationships? Movies have always being an expression of society's beliefs and influenced the creation of the future. It's clear more than ever how our misconceptions today have roots in the TV and FILM of the past as research shows.  We welcome actor and comedian Malcolm Barrett to discuss the film SPLASH and how it's tropes mirror a lot of the relational issues we see today. IT is is anything INCENDIARY ! Malcolm Barrett, a native of New York City, studied at NYU's Tisch School of the Arts. He recently worked on several NY based television series including "Law & Order" and "The Sopranos", "As the World Turns" and "The Beat". His feature film credits include "King of the Jungle," "Swimfan," and most recently, "The Rhythm of the Saints," shown at the 2003 Sundance Film Festival. Barrett received his Equity membership at the age of 16 when he appeared in the McCarter Theatre production of "The Stonemason." He later appeared in the national tour of "Wit" with Judith Light, while simultaneously continuing his education at NYU.Make sure to follow him on  instagram !

In this episode, Jennifer talks to casting director Erica Jensen who shares her personal journey of getting her MFA in Acting to finding her true calling in casting. They discuss the evolving landscape of auditions in this “post-pandemic” world, the technical aspects of self-tapes, and navigating one's social media presence. They also speak about the significance of cultivating relationships, the joy of discovering and launching careers, and also unpack deeper intricacies of casting.  About Erica: Erica Jensen is a casting director at and co-owner of Calleri Jensen Davis. Her 20-year-plus career with partners James Calleri and Paul Davis spans film, television, regional, off-Broadway and Broadway theater. Casting credits include shows for Actors Theater of Louisville, Classic Stage Company, Rattlestick Theater, City Theater, McCarter Theatre, People's Light and Theatre, Hartford Stage, LaJolla Playhouse, Hudson Valley Shakespeare Festival, and The Flea Theater. B'way credits include Thoughts of A Colored Man, For Colored Girls (2022), Topdog/Underdog and The Piano Lesson, Past B'way credits: Fool For Love, Hughie, A Raisin In The Sun, Of Mice and Men, and Hedwig and the Angry Inch. TV credits include Queens, Love Life, Dickinson, Lipstick Jungle, and The Path. In addition to casting, Erica is the Program Director of and Professor of Practice at the Tepper Semester, a study abroad professional theater program in New York City. She's the co-founder of She-Collective with partner and talent manager, Dani Super. And she's a proud and anxious mom to an awesome 11-year-old. Erica's IG: @ericamjensen Erica's Email: erica@callerijensendavis.com Erica's Websites: www.she-collective.com, www.callerijensendavis.com Want to coach with Jennifer? Schedule a session here! https://appt.link/jenniferapple Monologue Sourcing Promo Link! https://empoweredartistcollective.com/podcastpromo Learn more: https://www.empoweredartistcollective.com/podcast EAC IG: @EmpoweredArtistCollective  EAC TikTok: @EmpowerArtistCollective EAC Facebook: https://www.facebook.com/empoweredartistcollective/ Nominate a Podcast Guest! https://form.jotform.com/220608577638162 Sign up for our newsletter! https://mailchi.mp/8e72e8dcb662/stay-in-touch Check Out Our Merch! https://www.empoweredartistcollective.threadless.com/ Any thoughts you'd like to share? Email us at EmpoweredArtistCollective@gmail.com

Mahira Kakkar: Off-Broadway: 7 Minutes, Waterwell; Here We Are, Theater for One; Addressless, Rattlestick; Opus, Primary Stages; Harper Regan, Atlantic; Romeo and Juliet, Public Theater; The Winter's Tale, TFANA; When January Feels Like Summer, EST; Henry VI, NAATCO; Arturo Ui, Classic Stage Company; Ms. Witherspoon, Playwrights Horizons; Clive, The New Group. Regional: Life of Pi, A.R.T.; Skylight, McCarter Theatre; Rafta Rafta, Old Globe; Our Town, OSF; Monsoon Wedding, Berkeley Rep; Bedroom Farce, Huntington Theater Company; Inana, Denver Center; The Crucible, Cleveland Playhouse; Five Mile Lake, McCarter Theatre; Comedy of Errors, Hartford Stage, Jesus in India, Magic Theater. Film/TV: “A Suitable Boy” (series lead), “Manifest” (recurring), “New Amsterdam,” “Blue Bloods,” “The Blacklist,” “Louie,” “Odd Mom Out,” “Sweet Refuge,” “Bite Me,” Hank and Asha (Napa Valley Film Festival Best Actress, Wild Rose Festival Best Actress, Slamdance Audience winner, Bronze Lens winner), “Law & Order,” “Orange Is the New Black.” Training: Juilliard, SITI, Harold Guskin; B.A. Jadavpur University. mahirakakkar.com Salma Qarnain is a versatile Pakistani American actor, thrilled to be making her Broadway debut in the adaptation of one of her favorite books. She is a two-time Helen Hayes Award recipient, an AUDELCO nominee, and an award-winning theater and film producer. She has performed across major networks (ABC, NBC, CBS, HBO, HBO Max, Hulu, Showtime), regionally, Off-Broadway, and Off-West End. Most recently, she produced the 2023 Oscar-qualified short film, Silent Partner (19 festivals / 4 Oscar qualifiers; 8 awards / nominations) and Speak Up Brotha!, which is premiering at the Oscar-qualifying Cleveland International Film Festival. Selected credits: Bars and Measures (Off-Broadway); Acquittal (Off-Broadway); Rain + Zoe Save the World (Off-West End); “That Damn Michael Che” (RECUR, HBO Max); “FBI” (CBS); “The Blacklist” (NBC); “Law & Order: SVU” (NBC); “For Life” (ABC). Graduate of Stanford, MIT, Harvard Business School. Proud member of SAG•AFTRA, AEA, Equity. Thank you to Roderick, Gary, Lolita, Max, Finn, Duncan, Benton, Patrick, A.R.T, and Annette for getting me here. Love you, X! For my sisters Ayesha, Sonia, and Zehra and my parents Qarnain and Rashida in the stars. IG: @salma.qarnain; salmaqarnain.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

In Episode 36 of the Princeton Podcast, our host, Mayor Mark Freda, welcomed Sarah Rasmussen, the new Artistic Director of the McCarter Theatre Center.In addition to discussing her role as the Artistic Director of McCarter Theatre, Sarah described McCarter's Theatre Series of original productions, including 'Blues For An Alabama Sky', McCarter's current production written by Pearl Cleage and directed by McCarter's Associate Artistic Director, Nicole A. Watson.Sarah also detailed McCarter's Presented Series, a innovative mix of performances and cultural attractions including the upcoming performance of Eddie Palmieri and his Salsa Orchestra, McCarter's Jazz in June series presenting 6 events over 3 weekends including Samara Joy, the 2023 Grammy award winning Best New Artist, as well as the return of the McCarter Theatre Dance Series and Classical Music performances.Mark and Sarah also touched on McCarter Theatre Center's Educational and Community Engagement programs including camps and classes for both children and adults.

Adit joins the show to talk about his career, love for cryptocurrency and more! ***********Unconventional in reel & real life, Adit Dileep is an actor, writer, producer and former investment banker.Born in Bangalore, India, his parents named him Aditya, which means The Sun, a name he aspires and grows towards. His family is made up of his mother and father and his older sister, Divya.At age two, his family moved to Singapore for his father's IT profession, and his mother gave up her position as a Journalist interviewing Indian Celebrities for India Today. His family moved throughout their eight years in Singapore, and moved again to the United States before Y2K.After settling in Bridgewater, New Jersey, Aditya, now 10 years old and fresh off the boat, had to start over. Upon learning that nobody on the school bus could pronounce this new boy's name, some student called him "Adit," and it stuck.Adit wanted to be an actor, but nobody really knew what he meant or why he had such crazy ideas. When it came time for him to go to college, his parents banned him from applying to art school and gave him three options: medicine, law or engineering. Never one to give in to authority, Adit chose business school, thinking he could learn how to be self-sufficient and run his own brand and company.Adit went on to be accepted in the Scholar's Program at NYU Stern Business School. Fun fact, Aziz Ansari followed the exact same path. While Aziz went straight into comedy after graduating, Adit took jobs in various different sectors within Marketing, Startups, Publishing and of course, Accounting and Finance. He graduated with a B.S. in Finance & Marketing and, still at a loss for how to make his dreams come true, took the highest paying job he could find in investment banking.Two years later, he saved up enough to quit and educate himself on the industry. Bright-eyed and idealistic, Adit printed out Yale Drama School's syllabus and crafted his own curriculum with reputable studios and teachers in New York City. Adit got his first big break with a role in Mystic India: The World Tour in 2015, voicing and narrating a script he wrote himself and performing around the U.S. and Europe.The show got Adit his first Manager, and a few Managers later he booked his first Equity show at Hudson Stage Company in NY, NY followed by long-term theatre contracts at the renown Guthrie Theater in Minneapolis, MN and McCarter Theatre in Princeton, NJ. These projects earned Adit his first round of Agency meetings, and he couldn't be happier to sign with Artists & Representatives FKA Stone Manners Salners in NY and LA.He continues to work with Artists & Representatives to this day, along with MKSD Management and Innovative Artists NY for Commercial and VoiceOver.Theatre "Disgraced" (Guthrie Theatre, McCarter Theatre Center), "Animals Out of Paper"(Hudson Stage Company)TV Appearances on "Billions" (Showtime), "Succession" (HBO), "Law & Order: SVU" (NBC), "Brown Nation" (Netflix), "Shades of Blue" (NBC), "Deadbeat" (Hulu), "Breakfast in Bangalore" (Amazon Prime)Film "The Sound of Silence" (Sundance 2019) "Magic Hour" starring Miriam Shor (2020)Commercial Work: Coinmaster - with Emily Ratajkowski, American Express , Brooks Brothers, WeWork, Geico, Grammarly, Jersey Mike's, Denny's, Wealthsimple, JC Penney, Pandora, Google, Trojan, PWC, Optimum, Carl's Jr.

We are excited to bring you this podcast series, Choreographers in Conversation. This series allows choreographers to interview other choreographers whose work excites them as a way to learn more about their craft and preserve the stories of these exciting artists in our industry. In this episode Choreographer and Creative Director Ellenore Scott interviews Choreographer Camille A. Brown to hear more about her career and where her love of dance and choreography comes from, what inspires her, working with collaborators, and how Camille approaches her work with ranges in size and types of stages. They also discuss Broadway debuts, the preproduction process, and staying true to yourself in your work. Bios: Camille A. Brown: Broadway: for colored girls… (7 Tony award nominations including Best Direction of a Play and Choreography), Choir Boy (Tony & Drama Desk Nominee), Once on This Island (Drama Desk, Outer Critics Circle, Chita Rivera Nominee), A Streetcar Named Desire. Off Broadway and regional: Much Ado About Nothing (Audelco Award), Toni Stone (Audelco, Lortel Nominee), Bella (Playwrights Horizons, Lucille Lortel Nominee, Audelco Award), Fortress of Solitude (Lucille Lortel Nominee); tick, tick...BOOM! (Encores!). The Wiz (MUNY), Stagger Lee (DTC); Once (Pittsburgh CLO). Opera: Fire Shut Up in My Bones (co-directed with James Robinson- Bessie nomination), Porgy & Bess, Champion.  Television: Harlem (Amazon Prime), Nike/Jordan commercial. Jesus Christ Superstar Live” (NBC). Film:  Ma Rainey's Black Bottom (Netflix). Company: Bessie winning Camille A. Brown & Dancers. Awards: Obie Award for Sustained Excellence in Choreography, ISPA's Distinguished Artist, Dance Magazine Award, Guggenheim, Doris Duke Artist, Princess Grace Statue Award, Jacob's Pillow Award, and New York City Center, USA Jay Franke & David Herro Fellow, TED fellow, Kennedy Center's Next 50, Ford Foundation Art of Change Fellowship www.camilleabrown.org  Ellenore Scott (she/her) is a New York based choreographer and creative director. Broadway: Funny Girl, Mr. Saturday Night. Off-Broadway: Little Shop of Horrors, Titanique. Other choreography credits include: So You Think You Can Dance?, Single All the Way (Netflix), Ratatouille: The TikTok Musical. Scott's work has been seen at The Bushwick Starr, The Old Globe, Hudson Valley Shakespeare Festival, McCarter Theatre, Cherry Lane Theatre, Asolo Repertory Theatre, Cape Fear Regional Theatre and Seattle Repertory Theatre. As a performer, Scott appeared in numerous television shows (Marvelous Mrs. Maisel, Smash, The Blacklist, Glee!) and was a finalist and All-Star on So You Think You Can Dance? Scott is the Artistic Director of ELSCO Dance, a contemporary-fusion dance company. As a content creator, Scott makes lifestyle, dance and comedy videos for over 1 million followers on TikTok. @helloellenore https://www.ellenorescott.co/ Stage Directors and Choreographers Foundation: Founded in 1965, Stage Directors and Choreographers Foundation (SDCF) exists to foster, promote, and develop the creativity and craft of stage directors and choreographers. SDCF's mission is to create access to the field, to connect artists to each other and to the public, and to honor these artists' theatrical legacies. The centrality of directors and choreographers in theatre and the impact they have on other artists' careers—from playwrights to designers to actors—makes SDCF's services essential to the wider theatre industry's continued health and vitality. Through its dynamic educational programming, including Observerships, Fellowships, public panels, and day-long symposia, SDCF serves the needs of directors and choreographers at every stage of career. www.sdcfoundation.org

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Welcome to Soccer FC: Fandom & Culture. This is an exploration of soccer fandom and culture for new fans. Because there's more to soccer than what happens on the field. This episode answers the question: if art imitates life, and football is life, then does art imitate football? My review of The Wolves, written by Sarah DeLappe and running until October 16, 2022 at McCarter Theatre in Princeton.Your host is Wright Seneres, soccer aficionado and podcast host (Princeton Spark, Effect Pedal, Hip Hop Movie Club).Credits:Soccer FC: Fandom and Culture is a MeteorWright production. Sources for this episode are in the show notes. Check out the website: soccerfc.co, for all Soccer FC content. Produced and edited by me, Wright Seneres. Theme music is "Lucky Day" by The Meritocracy. Many thanks to Alice Seneres. Sources:The Wolves at McCarter TheatreFinalist: The Wolves, by Sarah DeLappeThe Wolves: A Play: Off-Broadway Edition: DeLappe, Sarah + Free ShippingThe Wolves by Sarah DeLappe | PDF

Anjali Bhimani recently joined host Elias in the cave! You can see Anjali as Auntie Ruby on Disney+ series Ms. Marvel. Anjali is well known to audiences for her roles as Symmetra in Overwatch, Rampart in Apex Legends, Kala in Indivisible, Yasmin Choudhury in Fallout 76, Nisha in Fallout 4, and Mira in Rival Speak. Tabletop gamers will know her as the proud and feisty Miriam on UnDeadwood, a limited series by well-known media company Critical Role, and as the strong-headed sniper Stingray in We're Alive: Frontier on the popular YouTube channel Geek and Sundry. Anjali recently released her first book entitled I Am Fun Size, and So Are YOU: Thoughts from a Tiny Human on Living a Giant Life. The book concept is based off her YouTube series of the same name, where Anjaliinterviews other well-known performers to share experiences and personal lessons from their own journeys. She is also a founding member of What The Vox, a collective of accomplished female voice actors looking to impact change within the voice over industry through meaningful conversations. She also recurs in Season 2 of Netflix's Emmy-nominated comedy series Special. Other notable credits include roles as Nina Patel on Modern Family and Joya in Alex, Inc., as well as roles in The Loud House, Casagrandes, S.W.A.T., Crazy-Ex Girlfriend, Final Fantasy VII Remake, Silicon Valley, NCIS, The Sopranos, Law and Order: SVU, Glitch Techs, Big City Greens, Criminal Minds, Grace and Frankie, Uncharted: The Lost Legacy, It's Pony, and more. Anjali earned her degree in theatre from Northwestern University's highly acclaimed theatre school, with a certificate in musical theatre, and spent years performing across the country in top organizations such as Second Stage, Manhattan Theatre Club, The Goodman Theatre, Berkeley Repertory Theatre, The McCarter Theatre, The Huntington Theatre Company and more. She was an original cast member of the Tony-nominated Metamorphoses on Broadway, which won the Drama Desk Award for Outstanding Play. You can watch this interview on YouTube  https://youtu.be/wKHXNaT4_nY Have a question? Email us  themccpodcast@gmail.com Follow us on Social Media for the latest show updates  www.twitter.com/themccpodcast www.instagram.com/themccpodcast www.facebook.com/themancavechroniclespodcast www.themccpodcast.com  www.youtube.com/c/TheManCaveChronicleswElias    

Les etèries molècules de Txékhov. «La meravellosa família Hardwicke (Vanya and Sonia and Masha and Spike)», de Christopher Durang. Traducció de Cristina Genebat. Intèrprets: Alejandro Bordanove, Paula Jornet, Marta Pérez, Carme Pla, Albert Ribalta i Lide Uranga. Escenografia:. Alejandro Andújar. Vestuari: Alejandro Andújar i Núria Cardoner. Il·luminació: Jaume Ventura. So: Marcel Ferrer. Caracterització: Eva Fernández. Producció executiva: Daniel López-Orós. Cap de producció: Jordi Brunet. Productor delegat: Josep Domènech. Cap tècnic: Jordi Thomàs. Assistent de direcció: Lola Rosales. Regidora: Marta Garolera. Maquinista: Joan Bonany. Transportista: Jaime Abellán. Cap tècnic del teatre: Iker Gabaldón. Construcció de l’escenografia: May, Sol Curiel i Rafa Moro. Realització del vestuari: Maribel Rodríguez. Ajudant de màrqueting i comunicació: Roberta Romero. Premsa: Sandra Costa i Marta Suriol (La Costa Comunicació). Vídeo: Mar Orfila. Fotografies: Kiku Piñol, Mariano Herrera, Marc Sirisi i David Ruano. Disseny gràfic: Enric Jardí. Màrqueting i comunicació: Focus. «Vanya and Sonia and Masha and Spike (La meravellosa família Hardwicke)» va ser produïda originalment per McCarter Theatre, Princeton, N.J. Emily Mann com a directora artística, Timothy J.Shields com a productor executiu i Mara Isaacs com a directora de producció. Produïda l’any 2012 pel Lincoln Center Theater de New York sota la direcció d’André Bishop i Bernard Gersten. Direcció de la versió catalana: David Selvas. Coproducció de Bitò, La Brutal i T de Teatre. La Villarroel, Barcelona, 17 setembre 2022. Veu: Andreu Sotorra Música: These boots are made for Walkin Intèrpretació: La família de Ukeleles Composició: Lee Hazleewood Àlbum: La família de Ukeleles, 2014

Roger Q. Mason (Playwright) (they/them) joins Black Hair in the Big Leagues with host, Salisha Thomas. They were recently touted by The Brooklyn Rail as "quickly becoming one of the most significant playwrights of the decade." Their playwriting has been seen on Broadway at Circle in the Square (Circle Reading Series); Off and Off-Off-Broadway at MCC Theatre with Carnegie Hall, La Mama ETC, New York Theatre Workshop, New Group, The Fire This Time Festival, Dixon Place, American Theatre of Actors, Flea Theatre, and Access Theater; and regionally at McCarter Theatre, Center Theatre Group, Victory Gardens, Chicago Dramatists, Steep Theatre, Serenbe Playhouse, Theatre Rhinoceros, Open Fist Theatre Company, EST/LA, Coeurage Theatre, Rogue Artists Ensemble, Son of Semele, and Skylight Theatre. Roger is an honoree of the Kilroys List; the Chuck Rowland Pioneer Award; the Fire This Time Festival Alumni Spotlight; and the Hollywood Fringe Festival Encore Producers Award. Mason's films have been recognized by the British Film Institute Flare Festival, Lonely Wolf International Film Festival, SCAD Film Festival, AT&T Film Award, Atlanta International Film Festival, Webby Awards, and Telly Awards. They've screened at the British Film Institute Flare Festival, Lonely Wolf International Film Festival, Inside Out Festival (Toronto), SCAD Film Festival, Hollyshorts, Outfest and Outfest Fusion, Rio LGBT Film Festival (Brazil), Bentonville Film Festival, Outshine Film Festival, and the Pan African Film Festival.  Mason serves as an associate producer on Discovery+ docuseries BOOK OF QUEER and researcher for Freeform/Disney's HOW WE GOT HERE. Mason holds degrees from Princeton University, Middlebury College, and Northwestern University. They are a member of Page 73's Interstate 73 Writers Group and Primary Stages Writing Cohort, the co-host of Sister Roger's Gayborhood podcast with Lovell Holder, and the lead mentor of the New Visions Fellowship and Shay Foundation Fellowship. Roger Q. Mason will premiere their much-anticipated play Lavender Men with Skylight Theatre Company and Playwrights' Arena in Los Angeles, August 6-September 4. Directed by Lovell Holder, this genre-pushing play courageously re-imagines one of America's most beloved historical icons, President Abraham Lincoln, through a queer person of color's storytelling lens. The production will also be accessible to a national audience via streaming performances beginning August 20. Visit www.LavenderMenPlayLA.com for more information and to purchase tickets. Follow Roger @rogerq.mason Follow Host, Salisha Thomas @salishathomas Learn more about your ad choices. Visit megaphone.fm/adchoices

www.lauragardner.orgLaura was born on Saint Patrick's Day with her fraternal twin, Lynn. They began their acting career at 5 as “Lullaby Kids” in THE WIZARD OF OZ at Camp Monroe in the Catskills. Laura left her twin behind in her pursuit of acting and found herself working professionally before she hit her teens.Laura trained at Boston University School of the Arts, Rutgers University and Herbert Berghof Studios where she studied with Uta Hagen, Carol Rosenfeld and Ken McMillan.Laura appeared on Broadway in SMILE with Jodi Benson (the little Mermaid). Her off B'way credits include THE COCKTAIL HOUR with Nancy Marchand, Bruce Davison and Keene Curtis, OTHER PEOPLE'S MONEY with Kevin Conway, and WELDED directed by Jose' Quintero. She toured nationally in SHOWBOAT (with Pat Harrington and Anita Gillette), DOONESBURY (with Greg Edelman and Marin Maisie), OLIVER (with Andrea McCardle and Richard Kline) and MY FAIR LADY (with Jodi Benson and Ian Ogilvy). Her extensive regional credits include the Arena Stage(DC), Huntington Theatre (Boston), Cleveland Playhouse, McCarter Theatre, and the NC Shakespeare Festival in roles that ranged from Lady Macbeth to Miss Hannigan. L.A. credits include 6 plays for the Pasadena Playhouse, Will Geer Botanicum, Westwood Playhouse, Tiffany Theatre, Fountain Theatre, Deaf West and the Celtic Arts Centre. She is a member of the ROAD THEATRE and ROGUE MACHINE.Some of her TV and film credits include SEAL TEAM, ANIMAL KINGDOM, OUTCAST, THE ROMANOFFS, CRIMINAL MINDS, THE GILMORE GIRLS, CASTLE, ER, TORCHWOOD, THE WEST WING, JUDGING AMY, BOSTON PUBLIC, PARTY OF FIVE, LAW AND ORDER LA, LA LAW, ER, CHEERS, FRESH OFF THE BOAT and many morel You may have seen Laura and her actor husband, Frank Collison recurring on the NBC hit, MY NAME IS EARL.

Welcome to The Amateur Detective Club, a mystery media review podcast! Where three friends, Melissa Meli, Tyler Riley, and Tristan Miller read the works of Agatha Christie or others, then summarize, discuss, and rate the novels, films, TV episodes, or short stories they've chosen. In this week's meeting, the gang discusses The McCarter Theatre's production of Charles Francis Chan Jr.'s Exotic Oriental Murder Mystery! Available here: https://www.mccarter.org/season/2021-2022/PDP/CharlesFrancisChan/ Our theme song! Follow us on Twitter! Support us on Patreon! Buy our merch!

It was on this day in 1938 that Thornton Wilder's play “Our Town” was premiered at the McCarter Theatre in Princeton, New Jersey.

Join us as we interview Roger Q. Mason. Mason (they/them) is an award-winning writer, performer, and educator known for using history's lens to highlight the biases that separate rather than unite us.  Mason was recently dubbed by The Brooklyn Rail as "quickly becoming one of the most significant playwrights of the decade."  Their playwriting has been seen on Broadway at Circle in the Square (Circle Reading Series); Off and Off-Off-Broadway at New York Theatre Workshop, New Group, The Fire This Time Festival, Dixon Place, American Theatre of Actors, Flea Theatre, and Access Theater; and regionally at McCarter Theatre, Center Theatre Group, Victory Gardens, Chicago Dramatists, Steep Theatre, Serenbe Playhouse, Theatre Rhinoceros, Open Fist Theatre Company, EST/LA, Coeurage Theatre, Rogue Artists Ensemble, Son of Semele, and Skylight Theatre.  They are an honoree of the Kilroys List; the Chuck Rowland Pioneer Award; the Fire This Time Festival Alumni Spotlight, and the Hollywood Fringe Festival Encore Producers Award.  Mason's films have been recognized by the SCAD Film Festival, AT&T Film Award, and Atlanta International Film Festival.  They've screened at Hollyshorts, Outfest, Lonely Wolf Film Festival, Reeling Film Festival, Bentonville Film Festival, Outshine Film Festival, and the Pan African Film Festival.  Mason holds degrees from Princeton University, Middlebury College, and Northwestern University.  They are a member of Page 73's Interstate 73 Writers Group, Primary Stages Writing Cohort, the co-host of Sister Roger's Gayborhood podcast, the co-founder/lead mentor of the New Visions Fellowship for Black Trans and Gender non-conforming playwrights, and the lead mentor of The Shay Fellowship for emerging black solo performers.

Join us as we interview Roger Q. Mason. Mason (they/them) is an award-winning writer, performer, and educator known for using history's lens to highlight the biases that separate rather than unite us. Mason was recently dubbed by The Brooklyn Rail as "quickly becoming one of the most significant playwrights of the decade." Their playwriting has been seen on Broadway at Circle in the Square (Circle Reading Series); Off and Off-Off-Broadway at New York Theatre Workshop, New Group, The Fire This Time Festival, Dixon Place, American Theatre of Actors, Flea Theatre, and Access Theater; and regionally at McCarter Theatre, Center Theatre Group, Victory Gardens, Chicago Dramatists, Steep Theatre, Serenbe Playhouse, Theatre Rhinoceros, Open Fist Theatre Company, EST/LA, Coeurage Theatre, Rogue Artists Ensemble, Son of Semele, and Skylight Theatre. They are an honoree of the Kilroys List; the Chuck Rowland Pioneer Award; the Fire This Time Festival Alumni Spotlight, and the Hollywood Fringe Festival Encore Producers Award. Mason's films have been recognized by the SCAD Film Festival, AT&T Film Award, and Atlanta International Film Festival. They've screened at Hollyshorts, Outfest, Lonely Wolf Film Festival, Reeling Film Festival, Bentonville Film Festival, Outshine Film Festival, and the Pan African Film Festival. Mason holds degrees from Princeton University, Middlebury College, and Northwestern University. They are a member of Page 73's Interstate 73 Writers Group, Primary Stages Writing Cohort, the co-host of Sister Roger's Gayborhood podcast, the co-founder/lead mentor of the New Visions Fellowship for Black Trans and Gender non-conforming playwrights, and the lead mentor of The Shay Fellowship for emerging black solo performers.

Laura was born on Saint Patrick's Day with her fraternal twin, Lynn. They began their acting career at 5 as “Lullaby Kids” in THE WIZARD OF OZ at Camp Monroe in the Catskills. Laura left her twin behind and found herself working professionally before she hit her teens. Laura appeared on Broadway in SMILE with Jodi Benson (the Little Mermaid). Her off B'way credits include THE COCKTAIL HOUR with Nancy Marchand, Bruce Davison, OTHER PEOPLE'S MONEY with Kevin Conway, and WELDED directed by Jose' Quintero. She toured nationally in SHOWBOAT (with Pat Harrington and Anita Gillette), DOONESBURY (with Greg Edelman and Marin Maisie), OLIVER (with Andrea McCardle and Richard Kline), and MY FAIR LADY (with Jodi Benson and Ian Ogilvy). Her extensive regional credits include the Arena Stage(DC), Huntington Theatre (Boston), Cleveland Playhouse, McCarter Theatre, and the NC Shakespeare Festival in roles that ranged from Lady Macbeth to Miss Hannigan. L.A. credits include 6 plays for the Pasadena Playhouse, Will Geer Botanicum, Westwood Playhouse, Tiffany Theatre, Fountain Theatre, Deaf West, and the Celtic Arts Centre. She is a member of the ROAD THEATRE and ROGUE MACHINE. Some of her TV and film credits include LAW AND ORDER, SVU, SEAL TEAM, ANIMAL KINGDOM, OUTCAST, THE ROMANOFFS, CRIMINAL MINDS, and many morel You may have seen Laura and her actor husband, Frank Collison recurring on the NBC hit, MY NAME IS EARL. Laura was on the faculty of the HOWARD FINE ACTING ACTING STUDIO in Hollywood for over 19 years and then at their satellite school in Australia. She has taught actors with disabilities in Los Angeles and Berkeley. Ms. Gardner has taught in NYC at HB Studio, Stella Adler Institute, and the American Academy of Art. She teaches workshops all over the country as well as in Great Britain. She was the drama consultant for the Compton School District. She has been a Featured Artist at the VALDEZ THEATRE CONFERENCE in Valdez, Alaska for the last 15 years where she created the MONOLOGUE WORKSHOP. http://www.theatreconference.org/other-programs/ monologue-workshop/ She lives in Los Angeles with her husband Frank Collison. www.lauragardner.org FOLLOW her on IG: @thereallauragardner FOLLOW Peggy everywhere @HeadshotsByPeggy and @PeggyMcCartha www.HeadshotsByPeggy.com PLEASE Subscribe to this Podcast wherever you listen to your favorite Podcasts! Thank you

Support the Echo Offstage Podcast by making a tax-deductible donation to our PayPal!  Or you can sponsor an episode (or a season) of Echo Offstage.Catch up on Part I of our discussion with Regina Taylor!Find out more about Echo Theatre!FB: https://www.facebook.com/echotheatredallasTwitter: @echodallasInsta: @echotheatredallasKeep up with Regina Taylor on:Facebook Insta: @thereginataylorMentioned in the episode:The Humana FestivalThe Goodman Theatre (Chicago)Emily MannThe McCater Theatre (NJ)CrownsSecond Stage (NYC)Signature Theatre (NYC)Repertory Theatre of St. LouisHana  S. SharifAlliance Theater (Atlanta)Henry GodinezAdrinne KennedyNtozake ShangeTrinity River PlaysThe Old Vic (London)Fisk Jubilee SingersMisha GreenAva DuVernayBlack Album Mixtape-----------------------------------Echo Offstage is a production of Echo Theatre Dallas, a non-profit theatre dedicated to solely producing work by women+ playwrights.Host: Catherine WhitemanExecutive Producer: Kateri Cale, Managing Artistic DirectorProducer & Podcast Manager: Eric BergEditor & Audio Engineer: Jonathan VillalobosTheme Music: Len Barnett with Brent Nance

On this episode of ActorSpeak, Austin Basis continues to speak with actor Polly Lee (The Americans, The Blacklist, Law Order: SVU, Gotham, Nurse Jackie, Chicago Med, The Looming Tower, Younger). In Part 2, we discuss the fundaments, audiobooks, being stranded on stage in her underwear, hating seeing herself, teasing out the humanity of a scene, serving new plays, missing human randomness, character as the actor's domain, perfection vs. progress, faking chemistry, being positively judgmental, the exact right amount of intimacy, and wanting a universal basic income for artists. Polly Lee is an award-winning actress who has dedicated her career to new plays and, as such, has performed in over 20 world premieres, both in New York City and across the country. Her New York theatre credits include Lincoln Center Theatre, Clubbed Thumb, Ensemble Studio Theatre, New Georges and Little Lord Theatre- among many others. Regionally she has worked at A.R.T., Yale Rep, La Jolla Playhouse, Humana Festival @ATL, McCarter Theatre, Wilma Theatre, Repertory Theatre of St. Louis, and many many more. Polly's Film & TV credits include The Blacklist, Law & Order: SVU, Last Week Tonight with John Oliver, Gotham, Butterflies of Bill Baker, Nurse Jackie, Chicago Med, The Looming Tower and recurring roles on Younger and The Americans. Polly has narrated over 200 audiobooks and is a proud member of Ensemble Studio Theatre, Actors Equity and an affiliated artist at Clubbed Thumb. Her upcoming films include Things Heard and Seen and Give and Take. Polly went to school for Theatre Studies at Royal Holloway at the University of London and attended the Actors Studio Drama School at New School University. Her kind eyes, warm smile, big heart, and cheeky sense of humor have endeared audiences all over the country and now I get to talk to her about her process, craft & all things acting related. WE AUDITION is a video-chat community where actors can audition, self-tape, rehearse, and get expert industry advice. USE promo code: ACTORSPEAK to get 25% off when joining at WeAudition.com

On this episode of ActorSpeak, Austin Basis speaks with actor Polly Lee (The Americans, The Blacklist, Law Order: SVU, Gotham, Nurse Jackie, Chicago Med, The Looming Tower, Younger). In Part 1, we talk about The Sound of Music, playing Audrey in Little Shop of Horrors, her novelist mum and vicar dad, being a princess, observing the human condition, studying with Barbara Poitier and Gene Lasko, her one weeping eye, giving fear a name, playing worried moms, having your own personal comic timing, the given circumstances, Fiona Shaw in Medea, and the subjective art of acting. Polly Lee is an award-winning actress who has dedicated her career to new plays and, as such, has performed in over 20 world premieres, both in New York City and across the country. Her New York theatre credits include Lincoln Center Theatre, Clubbed Thumb, Ensemble Studio Theatre, New Georges and Little Lord Theatre- among many others. Regionally she has worked at A.R.T., Yale Rep, La Jolla Playhouse, Humana Festival @ATL, McCarter Theatre, Wilma Theatre, Repertory Theatre of St. Louis, and many many more. Polly's Film & TV credits include The Blacklist, Law & Order: SVU, Last Week Tonight with John Oliver, Gotham, Butterflies of Bill Baker, Nurse Jackie, Chicago Med, The Looming Tower and recurring roles on Younger and The Americans. Polly has narrated over 200 audiobooks and is a proud member of Ensemble Studio Theatre, Actors Equity and an affiliated artist at Clubbed Thumb. Her upcoming films include Things Heard and Seen and Give and Take. Polly went to school for Theatre Studies at Royal Holloway at the University of London and attended the Actors Studio Drama School at New School University. Her kind eyes, warm smile, big heart, and cheeky sense of humor have endeared audiences all over the country and now I get to talk to her about her process, craft & all things acting related. WE AUDITION is a video-chat community where actors can audition, self-tape, rehearse, and get expert industry advice. USE promo code: ACTORSPEAK to get 25% off when joining at WeAudition.com

“Child, I said dust mites of opportunity -- Lord help us, Jesus.” Roger Q. Mason (they/them) is an energy like no other. When they were twelve years old, Mason felt the most free when standing on stage -- which was taken away by queer shaming and gener policing. After spending years, reclaiming what they lost, Mason became versed in writing, though they kept performing and writing separate. “At that time, I was interested still in being a man of letters -- so I still had a very two dimensional literary relationship to writing. I hadn't quite understood that writing was a blueprint, at least for theatre, I hadn't understood writing as a blueprint for performance.” Mason always identified as a multi-hyphenate, yet was socialized into ignoring that aspect of their artistry. Eventually, they found the freedom of expression to become the multi-faceted they are today. Today, Mason continues to promote freedom of expression by helming the New Visions Fellowship, an innovative and rigorous year-long professional development program created to support emerging Black trans and gender nonconforming (TGNC) playwrights. The 2021 New Visions Fellowship playwrights will each be awarded $5,000, fully funded by National Queer Theater, to develop a play, musical, or performance experience of their design and choosing. National Queer Theater will host a professionally cast and directed reading of their play at the end of the program. They will also have the opportunity to participate in professional development sessions covering a wide range of artistic topics. In addition, they will receive a five-year complimentary membership to The Dramatists Guild including access to contracts, business advice, and career services, to help protect the artistic and economic integrity of their work. Take some Meyer Lemons and turn it into Meyer Marmelade and listen to this episode where Michael and Mason speak on the Auteur, Queer relationship to dramturgy, and how multi-hyphenating is much like gender, blurring the lines of the binary -- and so much more.  Roger Q. Mason (they/them) is an award-winning writer, performer and educator known for using history's lens to highlight the biases that separate rather than unite us. Mason's playwriting has been seen on Broadway at Circle in the Square (Circle Reading Series); Off and Off-Off-Broadway at New York Theatre Workshop, New Group, The Fire This Time Festival, Dixon Place, American Theatre of Actors, Flea Theatre, and Access Theater; and regionally at McCarter Theatre, Center Theatre Group, Victory Gardens, Chicago Dramatists, Steep Theatre, Serenbe Playhouse, Theatre Rhinoceros, Open Fist Theatre Company, EST/LA, Coeurage Theatre, Rogue Artists Ensemble, Son of Semele, and Skylight Theatre. They are an honoree of the Kilroys List; the recipient of the Chuck Rowland Pioneer Award; the Fire This Time Festival Alumni Spotlight, and the Hollywood Fringe Festival Encore Producers Award; and a finalist for the Geffen Writers' Room, Lark Playwright's Week and the Screencraft Play Award. Mason's films have screened at the Outshine Film Festival, Rochester International LGBTQ Film Festival, and the Pan African Film Festival. They've been recognized by the AT&T Film Award and Atlanta International Film Festival. Mason holds degrees from Princeton University, Middlebury College, and Northwestern University. They are a member of Page 73's Interstate 73 Writers Group, the co-host of Sister Roger's Gayborhood podcast, and the co-founder/lead mentor of the New Visions Fellowship for Black Trans and Gender non-conforming playwrights. Learn more about your ad choices. Visit megaphone.fm/adchoices

Conversations with David Hyde Pierce on April 12, 2013. Moderated by Richard Ridge, Broadway World. Emmy and Tony Award winner David Hyde Pierce can be seen on Broadway starring opposite Sigourney Weaver and Kristine Nielsen in Christopher Durang's new comedy, "Vanya and Sonia and Masha and Spike." The show opened in March following sold out runs at Princeton's McCarter Theatre and at Lincoln Center. Pierce made his professional and Broadway debut in 1982 in Durang's "Beyond Therapy" and went on to create roles in Off-Broadway productions of Mark O'Donnell's "That's it Folks!," Richard Greenberg's "The Author's Voice" and Jules Feiffer's "Elliot Loves" before returning to Broadway in "The Heidi Chronicles." In 2005, Pierce originated the role of 'Sir Robin' in the Broadway production of "Monty Python's Spamalot," and was nominated for a Drama Desk Award. In 2007, he won the Tony Award and earned another Drama Desk Award nomination for his role in the musical comedy "Curtains." Perhaps best known for his role on TV's iconic comedy, "Frasier," Pierce earned four Emmy Awards among many other accolades. His film credits include "Little Man Tate," "Sleepless in Seattle," "Nixon," "Down With Love," and the Sundance Film Festival Selection, "The Perfect Host." Follow the SAG-AFTRA Foundation on social media: Instagram: https://www.instagram.com/sagaftraFOUND/ Facebook: https://www.facebook.com/sagaftraFOUNDATION Twitter: https://twitter.com/sagaftraFOUND The SAG-AFTRA Foundation is a 501(c)(3) nonprofit organization dedicated to providing the most comprehensive, educational and state-of-the-art resources to SAG-AFTRA members. The Foundation believes that the contributions made to our culture by performing artists are not only valuable, but essential. The SAG-AFTRA Foundation relies entirely on donations to provide emergency assistance and free educational programs to SAG-AFTRA artists. This conversation is made possible thanks to the generosity of our supporters. Over the past year, the Foundation has given over $6.5 million in disaster relief to more than 7,000 performers. If you are a SAG-AFTRA artist and need help, please ask. And, if you can help, please give at: https://sagaftra.foundation/donate All donations are tax-deductible.

With a resume that spans teaching at the McCarter Theatre to Program Director for the International House of Blues Foundation to Executive Director of the Algonquin Arts Theatre, it's no wonder Pam Ward is able to say "the buck stops here." We talk about Pam's varied - but always theatre-related positions, the skills she developed and how she compares community theatre directors to some of the most experienced professionals in the business. 

"Put your attention on what you're doing, and the rest will follow!"... "Try, Try, Try; Exercise the word 'can't' out of your vocabulary" & "Don't should on yourself!!" Ryan Steer is one of those humans you'll get out all of the essentials because you know when you begin chatting the entire can of worms is about to open, and you're in for a philosophical deep conversation. Ryan Steer is a New York and Oklahoma-based artist, performer, and educator. Ryan has performed in the Broadway 1st National Tour of Anything Goes, nationally/internationally with A Chorus Line and 42nd St, Off-Broadway and at the Paris in Las Vegas in Sex Tips For A Straight Woman From a Gay Man and at numerous regional theatre's, including Paper Mill Playhouse (Damn Yankees and South Pacific), Ogunquit Playhouse (White Christmas), Westchester Broadway, McCarter Theatre, Arizona Broadway, and more. As a teacher he has taught master classes in character work, tap, and music theatre dance styles for universities, educational programs, and studios. He currently teaches acting and dance at the University of Central Oklahoma. Follow Ryan: Instagram: https://www.instagram.com/ryanmsteer/ Follow your Host: Instagram: https://www.instagram.com/rumor_in_stpetersburg Join the Newsletter: https://conta.cc/3gXCMrB Facebook Page: https://www.facebook.com/theluxuryofselfcare Watch on Youtube: https://www.youtube.com/user/Ahnastasia --- Send in a voice message: https://anchor.fm/theluxuryofselfcare/message Support this podcast: https://anchor.fm/theluxuryofselfcare/support

Gregory DeCandia has engaged the industry as an educator, performer, director, podcaster, and cultivator of new works in five different states and abroad. He is the Founder and current Executive Director of Ignition Arts. For the last four years he was the Head of the BA Theatre and Performance devising program at Oklahoma City University. Most recently Gregory was on stage as James Reston Jr in Frost/Nixon at Lyric Theatre of Oklahoma. Last May marked his digital directorial debut with elevated, a devised film adaptation of the poetry graphic novel elevated thoughts: 100 shadormas from 9,000 ft. from Literati Press. His new play Animals received a reading at the National Winter Playwrights Retreat 2019 and a 2020 workshop with Ignition Arts. Gregory also tours his solo docudrama Silhouettes Of Service and has created four podcasts:Thank You 10, Fair Play, Devising, and The Brennan Book Blog Podcast. He is a proud graduate of UNC-Chapel Hill (MFA) and Emerson College (BFA) and a member of Actors’ Equity Association and the National Alliance of Acting Teachers.Kate Brennan is an artist, creator and educator. Her teaching roster has included University of Virginia, Temple University, St. Joseph's University, Rosemont College, Montgomery County Community College, and Merion Mercy among others. Kate has also taught with Theatre Direct International's Broadway Classroom program, McCarter Theatre, HB Studio and out of her private studio. Kate performed and taught for nearly a decade in Philadelphia before relocating to NYC a few years ago where Brennan Check-In was conceived. In Philadelphia she worked with companies including New Paradise Laboratories, Walnut Street Theatre, Luna Theatre Co., EgoPo Classic Theatre Co., Mauckingbird, Simpatico Theatre Project and Passage Theatre Co. A member of AEA, some of Kate's credits include: Angels in America, Parts I & II (Harper, BCKSEET Productions), Fatebook (Zo Ex, New Paradise Laboratories), [title of show] (Susan, Mauckingbird Theatre Co., Philly Premiere), Bachelorette (Katie, Luna Theatre Co.), Tooth & Claw (Ana u/s, Arden Theatre Co., World Premiere), Roundelay (Sonya/Pilar, Passage Theatre Co.), Live Stream (Marcy, Bristol Riverside Theatre), Dead Man's Cell Phone (Jean, Simpatico Theatre Project), Hedda Gabler (Hedda, UVA MFA), & The Assassination of Jesse James (Charles Ford, EgoPo Classic Theatre).Kate is the creator of Brennan Check-In. Drawing from a unique combination of Vinyasa yoga, Linklater Voicework, Thai Massage and Artistic Exercises, Check-In develops a creative habit that not only caters to the artist's performance skills, but serves the artist outside of the rehearsal hall. Check-In reinforces the resilience, stamina, resourcefulness, connection, initiative, positivity and health required to maintain a life in the arts. Gregory DeCandia gregorygdecandia@gmail.comIgnition Arts Founder/ Executive Director Artist: gregorydecandia.com Company: ignitionarts.org Project: silhouettesofservice.com Podcasts: ignitionarts.org/podcastsKate BrennanThe Person: www.katebrennan.orgThe Method: www.brennancheckin.comThe Company: www.ignitionarts.orgThe Podcast: brennan book blog podcastThe Blog: www.brennanbookblog.tumblr.com

We talk with talent manager and entrepreneur ChiChi Anyanwu about her game-changing experience at the McCarter Theatre, the origin story of creating her own management company, and the important three C-words that inform her work with her clients.

Jeffrey Lo is a Filipino-American playwright and director based in the Bay Area. He is the recipient of the Leigh Weimers Emerging Artist Award, the Emerging Artist Laureate by Arts Council Silicon Valley and Theatre Bay Area Director's TITAN Award. Selected directing credits include The Language Archive and The Santaland Diaries at TheatreWorks Silicon Valley, Vietgone at Capital Stage, A Doll’s House, Part 2 and Eurydice at Palo Alto Players (TBA Awards finalist for Best Direction), Peter and the Starcatcher and Noises Off at Hillbarn Theatre, The Grapes of Wrath, The Crucible and Yellow Face at Los Altos Stage Company and Uncle Vanya at the Pear Theatre (BATCC award for Best Production). As a playwright, his plays have been produced and workshopped at TheatreWorks Silicon Valley, The BindleStiff Studio, City Lights Theatre Company and Custom Made Theatre Company. Jeffrey has also worked with the Oregon Shakespeare Festival and The Asian American International Film Festival. In addition to his work in theatre he works as an educator and advocate for issues of Equity, Diversity and Inclusion and has served as a grant panelist for the Zellerbach Family Foundation, Silicon Valley Creates and Theatre Bay Area. He is the Director Community Partnerships and Casting Director at the Tony Award Winning TheatreWorks Silicon Valley.Jeanne Sakata’s solo play HOLD THESE TRUTHS has won accolades in over twenty productions across the country, most recently at the Cultch Theatre in Vancouver, Barrington Stage Company, Arena Stage, San Diego Repertory, the Guthrie Theatre, Pasadena Playhouse, Portland Center Stage, and ACT Seattle (Drama Desk nomination, Outstanding Solo Performance; Theatre Bay Awards for Outstanding Lead Performance, Direction and Production). Jeanne just finished a new radio play, FOR US ALL, commissioned by LA TheatreWorks, which will premiere in winter 2021. She has also enjoyed recent recurring/guest star TV and film roles in the internationally acclaimed indie film ADVANTAGEOUS, STATION 19, HIGH SCHOOL MUSICAL: THE MUSICAL: THE SERIES, NCIS LOS ANGELES, BIG HERO 6, and DR. KEN, and has performed onstage at such theaters as  the Vineyard Theatre, McCarter Theatre, Kennedy Center, Public Theatre, Mark Taper Forum, La Jolla Playhouse, Berkeley Rep and East West Players (Theatre LA Ovation Award, Outstanding Lead Actress, RED by Chay Yew), and many more. Mikiko Suzuki MacAdams is a freelancing set designer based in NYC. Her design work has been seen Off Broadway at the Primary Stages, Working Theater, Epic Theater Ensemble, INTAR, EST, and National Asian American Theatre Company. Regional theatres at Guthrie Theatre, Arena Stage, Barkley Repertory Theatre, the Old Globe, Oregon Shakespeare festival, Long Wharf Theatre, Seattle Repertory Theatre, Actors Theatre of Louisville, Honolulu Theatre for Youth, Playmakers Repertory Company, ACT Theatre, Yale Repertory Theatre, Boston Lyric Opera, the Shed among others. In Japan her work has been seen at the Umeda Arts Theatre, Nissay Theatre, Nissay Opera, Nikikai Opera, Suntory Hall, Aichi Triennale in Nagoya, Kanagawa Prefectural Hall and Biwako Hall. As an associate scenic designer, Broadway credits include My Fair Lady, Fiddler on the Roof and The King and I.  Currently, she is a teaching at  Yale School of Drama.is a freelancing set designer based in NYC. Her design work has been seen Off Broadway at the Primary Stages, Working Theater, Epic Theater Ensemble, INTAR, EST, and National Asian American Theatre Company. Regional theatres at Guthrie Theatre, Arena Stage, Barkley Repertory Theatre, the Old Globe, Oregon Shakespeare festival, Long Wharf Theatre, Seattle Repertory Theatre, Actors Theatre of Louisville, Honolulu Theatre for Youth, Playmakers Repertory Company, ACT Theatre, Yale Repertory Theatre, Boston Lyric Opera, the Shed among others. In Japan her work has been seen at the Umeda Arts Theatre, Nissay Theatre, Nissay Opera, Nikikai Opera, Suntory Hall, Aichi Triennale in Nagoya, Kanagawa Prefectural Hall and Biwako Hall. As an associate scenic designer, Broadway credits include My Fair Lady, Fiddler on the Roof and The King and I.  Currently, she is a teaching at  Yale School of Drama.Learn more about the TheatreWorks Silicon Valley at theatreworks.org.Chapters is a multi-part series concerning the history and the lessons of civil rights violations or civil liberties injustices carried out against communities or populations—including civil rights violations or civil liberties injustices that are perpetrated on the basis of an individual’s race, national origin, immigration status, religion, gender, or sexual orientation.This project was made possible with support from Chapman University and The California Civil Liberties Public Education Program, a state-funded grant project of the California State Library.Guests: Jeffrey Lo, Jeanne Sakata, and Mikiko Suzuki MacAdamsHosts: Jon-Barrett Ingels and Jonelle StricklandProduced by: Public Podcasting

In this episode, I discuss topics ranging from the Hardy Boys to beatboxing to "Kindness is my Superpower" workshops with the Artist, Educator, Activist and Superhero, Chesney Snow. Drama Desk winner and 3x Artist in Residence at Harvard University as well as a 2020 guest artist of theatre at Princeton University. Most recently appeared in Two River Theater’s production of Oo Bla Dee written by Regina Taylor and directed by Ruben Santiago Hudson. Composer/lyricist for the McCarter Theatre and Long Wharf Theater's 2018  Crowns.  A pioneering figure in American beatbox culture he originated the role of Boxman off-Broadway at Primary Stages and on Broadway in In Transit at Circle In The Square. Snow headlined Carnegie Hall twice. He created, produced, and starred in the feature music documentary American Beatboxer which was placed in the Rock and Roll Hall of Fame and numerous other archives throughout the United States. His upcoming original work Soil Beneath: An Empirical Decay will premiere for the 2020 fall season for Primary Stages. Snow is also a teaching artist with New Victory Theater and an activist who frequently teaches in schools, hospitals, prisons, and universities.  He also toured with the US State Department as a performer and teaching artist in southeast Asia. More about this artist on his website: http://www.chesneysnow.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/antoinette-lavecchia/support

The health and mental benefits of laughter and humor are irrefutable. Even medical professionals acknowledge that laughing can have an amazing impact of people dealing with stress and difficult times. Divorce is no different and the positive effect that humor can have on someone dealing with divorce can be astonishing.Join us for a conversation with comedian, performer and educator, Michele Traina, who brings humor to divorce through he show, The Divorce Diaries.Also joining the discussion are Hirsch Serman, MBA, CPA from Lifecycle Financial and Sandra Crawford JD from Law Crawforn PC.About Michele TrainaMichele is a performer and educator with over 15 years of onstage and offstage experience in using performance to help people, heal, grow, and learn. She earned a Theatre Degree from Adelphi University in 2003 and toured throughout the country for 5 years performing in various musicals and children's theatre productions and training at Upright Citizens Brigade. Michele earned a Master's in Educational Theatre from NYU in 2009, she was a teacher in Trenton for 3 years where she developed a performing arts program for urban youth in an alternative charter school. The school was shut down by NJ in 2012 and Michele took some time off to enjoy my newborn daughter Grace. Shortly after she started my own company Propbox Players designed to engage, excite, and educate using theatre for the youngest thespians. Geared towards infant to early childhood, Michele reshaped Propbox Players to be one of the only theatre companies that specializes in inclusion performances. This was inspired by my daughter's developmental delays and how cognitive development is enhanced through role play and movement. Propbox Players performances are interactive comedic retellings of fairy tales and original concepts. In going through a divorce, she took a theatre teacher position in Hoboken Public School district and earned a supervisor and principal certification in the state of New Jersey. As an educator, Michele has built relationships and collaborations with Broadway Licensing, McCarter Theatre, The State Theater, and multiple colleges that connected my students to artistic and academic opportunities. Recently Michele transitioned back to performing full time because of the success Divorce Diaries has had and opportunities to travel with the show throughout the country. Divorce Diaries is performed monthly in NYC and NJ and has been performed in Las Vegas, Chicago, Nashville, Huntsville, Birmingham, Naples, and Albany to name a few. It follows my post-divorce journey as a single mom teaching kids with special needs and dating men with special needs. The success of Divorce Diaries and Propbox Players offers with school districts and libraries showed me that it was time to leave a fulltime position as an educator for a school district and focus on my brands under my name. Michele is a performer and educator that uses humor to heal, grow, learn, and inspire one to live its best life.Also let us know if there are questions on divorce, separation and starting over that you want our need answered at info@splitready.com.Are you considering divorce? Get split ready at www.splitready.com

Annie has been seen on Broadway in Top
 Girls, Parade, Blood Brothers and Miss Saigon as well as in the National Tour of Les Misérables as Fantine. Off-Broadway and regionally she's performed at Manhattan Theatre Club, Second Stage, Playwrights Horizons, Ensemble Studio Theatre, NY Stage and Film, Williamstown Theatre Festival, McCarter Theatre, Baltimore Center Stage, The Huntington, The Eugene O’Neill Theatre Festival, Sundance Theatre Lab, Great Lakes Theatre Festival, Cleveland Playhouse, Northern Stage and others. She is the recipient of Back Stage West/Drama Logue and Garland Awards for her performance as Catherine Sloper in The Heiress (Berkeley Rep) and the New Hampshire Theatre Award for Best Actress in a Musical for her performance as the titular role in The Drowsy Chaperone. TV and film include “Seagull”, “Law & Order”, “Kidnapped”, “Gossip Girl” and the award winning “Albert Schweitzer: Called to Africa.” Recent performances include Shakespeare's Falstaff in The Death of Kings, Rose in Gypsy, Donna in Mamma Mia, and Emma in Stupid F*ing Bird (Santa Barbara Independent Award for "Outstanding Actor".)  Her autobiographical play "A" TRAIN was awarded "Best Production" at the United Solo Festival in 2017, “Best Encore” there in 2018 and a Santa Barbara Independent Award in 2019. It has also been performed at The Los Angeles Skirball Center and at Playmakers Rep in NC. Annie is a Professor in the Dept. of Theater and Dance at UCSB. She is a graduate of Princeton University and The Juilliard School.

Dana Delany tells News 12 New Jersey's John Bathke about her role in the world-premiere play “Goodnight Nobody” at Princeton’s McCarter Theatre. They also discuss her roles on television including “China Beach” and "Desperate Housewives” and her family's history with the famed “Delany flush.”

Happy New Year! The Lady Bam Podcast is back with the first of two brand new podcasts for a brand new decade! This past fall, Mary starred as Gloria Steinem in Gloria: A Life, at the McCarter Theatre in Princeton, NJ. The show featured a dynamic, all-female cast telling Gloria’s story in the first act, and inviting the audience to join them in a talking circle to share their personal experiences in the second act.  While the actors brought Gloria and her contemporaries to life each night, they found many of the messages and history being told on stage impacting and informing their lives. In this episode, Mary is joined by two of her co-stars in Gloria, Gabrielle Beckford and Patrena Murray, to discuss their experiences on and off the stage, in the first of our own Lady Bam talking circles with the cast and creative team of Gloria: A Life.

After over thirty years as the artistic director of Washington, DC’s Tony-winning Shakespeare Theatre Company, Michael Kahn is retiring. Kahn has directed Off-Off-Broadway, Off-Broadway, and on Broadway. He directed Measure for Measure for Joe Papp’s Shakespeare in the Park. He ran, at various points, the American Shakespeare Theatre in Stratford, Connecticut, the McCarter Theatre, and the Acting Company. From 1992 – 2006, he was the Richard Rodgers Director of the Drama Division of the Juilliard School. As a director and as a teacher, Kahn has helped to usher in a new style of Shakespearean acting, one that combines the psychologically-grounded American “Method” with a British emphasis on text, tone, and technique. As Kahn opens The Orestia, the last production of his final season at Shakespeare Theatre Company, we brought him into the studio to talk about Shakespearean performance throughout the 20th century, Shakespeare’s continued relevance, and reading Shakespeare with his mother. Michael Kahn is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published April 30, 2019. © Folger Shakespeare Library. All rights reserved. This podcast episode, ““I Am Able to Instruct or Teach,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. With technical help from Andrew Feliciano and Andrew Bates at Voice Trax West in Studio City, California, and Meg McCluskey and Archie Moore at Clean Cuts studios in Washington, DC. Audio clips from Shakespeare Theatre Company productions are from the James A. Taylor Collection of WAPAVA at the University of Maryland.

Show-Score is branching out of NYC. I got a discounted ticket to see The Gods of Comedy at McCarter Theatre in Princeton for tomorrow and I can't wait. In today's news: Season Announcements: 2 summer theatres announced Adirondack Theatre Festival & Berkshire Theatre Group. Who's In & Who's Out: there's a lot happening in Chicago at Remy Bumppo, Chicago Dramatists & Steppenwolf Theatre Company. Articles & Interviews: an interview with Oregon Shakespeare Festival's incoming artistic director and There's Something I Had to Share With You. TO JOIN THE MAILING LIST, TEXT TREADINGTHEBOARD TO 22828 SEASON ANNOUNCEMENTS Adirondack Theatre Festival (NY) Berkshire Theatre Group (MA) WHO'S IN & WHO'S OUT Remy Bumpoo welcomes Ian Frank as the new Associate Artistic Director Chicago Dramatists names Carson Grace Becker as the new Artistic Director Steppenwolf Theatre Company has a new Associate Artistic Director, Leelai Demoz ARTICLES & INTERVIEWS American Theatre Magazine interviews Nataki Garrett about her new position as Artistic Director of Oregon Shakespeare Festival SOMETHING I HAD TO SHARE WITH YOU... THEATER: All the Moving Parts   To buy your own copy of Treading the Boards, click here THANKS FOR LISTENING & HAVE A CREATIVE DAY

A long-time AD is leaving the helm of a major regional theatre, two theater have season announcements, there's a new Broadway radio station in town and I found a new podcast that all actors should be listening to. Treading the Boards will be available for purchase at the upcoming UPTA's and ACL Theatre Resources will be a vendor at the SETC's.  Hope to see you there. JOIN THE MAILING LIST SEASON ANNOUNCEMENTS Pillsbury House + Theatre (MN) Greenbrier Valley Theatr (WV) WHO'S IN & WHO'S OUT BIG NEWS! Emily Mann, the artistic director at McCarter Theatre in NJ will leave at the end of the 2019-2020 season. SOMETHING I HAD TO SHARE WITH YOU... IHeartRadioBroadway You May Have Seen podcast by Brian Lafontaine Get the latest issue of Treading the Boards via the website at ACLTheatreResources.com. THANKS FOR STOPPING BY AND HAVE A CREATIVE DAY!

Rebecca Taichman is a theatre director. In 2017 she received the Tony Award for Best Direction of a Play for Indecent. She is an affiliated artist at the Shakespeare Theatre Company in D.C, where she has directed Taming of the Shrew, Twelfth Night (2008), The Winter's Tale and Cymbeline (2011). She has directed several Shakespeare plays at the McCarter Theatre in Princeton, New Jersey. Other plays she has directed include Dead Man's Cell Phone, The Scene, Milk Like Sugar, The Oldest Boy, Familiar, and How to Transcend a Happy Marriage. Through years of determination, steadfastness, ego-checking, and intense collaboration, she took her wisp of an idea . . . and forged it into a Broadway play called Indecent. And then the universe thanked her with a Tony. Tune in to hear what kept her going through those years, as well as: How being objective about her performing and writing is one of the reasons she’s a success. What question she asks herself about a play before she signs on to direct it. Straddling the line between wanting to direct great plays while trying to make a living. What it’s like on her first day of rehearsal. The difference between being a woman director yesterday . . . and today.  Has it changed? Keep up with me: @KenDavenportBway www.theproducersperspective.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Jeff took the NJ Transit out to visit Jenn at The McCarter Theatre in Princeton because FRIENDSHIP. --- Support this podcast: https://anchor.fm/touch-podcast/support

Jenn has just started tech for "Turning Off The Morning News" by Christopher Durang at The McCarter Theatre in Princeton, NJ and grabs some of the cast backstage to check pulses, tap into some of their thoughts about the biz, and find snacks. The wonderful Nicholas Podany shares about agency in the rehearsal room, and Broadway veteran/new skin care addict Robert Sella drops some GEMS while tossing us a new term - "Chief Thunderclouds" --- Support this podcast: https://anchor.fm/touch-podcast/support

We recently visited the rehearsal studios of American Repertory Ballet, where Artistic Director Douglas Martin was doing a complete run-through of his new ballet. Based on Jane Austen's classic 1813 novel “Pride & Prejudice,” this full-length production will be performed at McCarter Theatre in Princeton and will feature live orchestral accompaniment by the Princeton Symphony Orchestra. A complex love story set in the world of the landed gentry of the British Regency, “Pride & Prejudice” has been widely popular for centuries. There have been many adaptions on stage and in film, but no one has ever told the story through dance—until now. With the opening night of this highly anticipated world premiere approaching, Martin broke away from rehearsal to talk about his interpretation of the book, and taking creative risks.

(http://www.advanceyourart.com/wp-content/uploads/2016/06/imgres.jpg) Kevin Depinet (http://www.kevindepinetstudio.com/) is a Chicago based Set designer. He has designed shows for Steppenwolf, The Goodman Theatre, Chicago Shakespeare, The National Theatre of Great Britain, The Royal George Theatre, Brooklyn Academy of Music, The McCarter Theatre, The Court Theatre, The Arden Theatre, Milwaukee Repertory, Denver Theatre Center, Writers Theatre, Drury Lane, Yale Repertory, Indiana Repertory, American Players Theatre, Chicago Children’s Theatre, The Mark Taper Forum, Glimmer Glass Opera, Cincinnati Playhouse in the Park, The Paramount Theatre, Victory Gardens, Chicago Dramatists, and Saint Louis Repertory Theatre. He also designed scenery for Michael Mann’s Film Public Enemies (Universal Studios). He was the Associate designer for the original tony award winning August: Osage County and recently Mother Fucker with a Hat, and Of Mice and Men on Broadway. Kevin Will be designing Bob Falls Iceman Cometh at the Brooklyn Academy of Music this winter and Recently designed Detroit at London's National Theatre. He is also an adjunct professor of design at DePaul University. He studied at Ball State University and the Yale School of Drama. Kevin Depinet has numerous upcoming productions lined up this year including La Boheme at Glimmerglass Opera Co. in June, Ragtime National tour in October, and many more. To learn more, visit his personal website at www.kevindepinetstudio.com (http://www.kevindepinetstudio.com/) . http://xlscenic.com (http://xlscenic.com/) / XL Scenic is a Chicago based stage design production company founded by two award winning theatrical scenic designers, Kevin Depinet and Todd Rosenthal, to create unique, immersive theatrical environments that enthrall and teach. Kevin Depinet's successful examples Les Miserables at Paramount Theatre directed by Jim Corti "This is mostly due to a truly breathtaking setting from Kevin Depinet — who treats the ever-willing Paramount like it's Peter Gelb's Metropolitan Opera" - Chris Jones, Chicago Tribune "The production’s staggeringly grand and complex set, the work of Kevin Depinet and Jeffrey D. Kmiec (wonderfully lit by Jesse Klug), sets the tone. With a turntable sage, a sweeping staircase that at moments rotates into a massive city wall, and a giant “halo” suspended from the rafters that serves as a revolving catwalk, it suggests the nine circles of Hell as described by Dante." - Hedy Weiss, Chicago Sun-Times http://www.kevindepinetstudio.com/#/les-miserables/ (http://www.kevindepinetstudio.com/#/les-miserables/) MythBusters Exhibition Behind the Scenes: Design and Graphics Accustomed to working with theater sets, Todd Rosenthal, John Dalton and Kevin Depinet describe the particular challenges -- and advantages -- of designing MythBusters: The Explosive Exhibition. https://youtu.be/2Yri5TkYbpo (https://youtu.be/2Yri5TkYbpo) MARY POPPINS | KEVIN DEPINET INTERVIEW Kevin Depinet talks about the creative process and how he managed many renowned shows at the Paramount Theatre in Chicago, including Marry Poppins, Cats, . https://www.youtube.com/watch?v=8m-Bo58H9A0 (https://www.youtube.com/watch?v=8m-Bo58H9A0) Podcast file Show Notes How Kevin Depinet would introduce himself in a party [00:00] Kevin Depinet's advice on how to pull a successful networking [00:55] The story behind how Kevin Depinet became a set designer [01:57] Inspirations from education guidance [03:18] Interest in business aside from theatre training [04:50] Influences to get in to business [05:13] Entrepreneurial skills he learned [05:59] The power of people management [06:13] Experiential Learning after finishing school [07:20] How Kevin Depinet established his personal and professional growth with great opportunities [08:00] Suggested practices for overcoming fears [09:46] Kevin...

Listen in as Paul talks about the complexities of war, how the world is “not settling down” and about his encounter with absolutes.Film SynopsisTrailer here.IMDB here. Paul Gross (Passchendaele) directs and co-stars in this taut war drama about Canadian troops in Afghanistan weathering Taliban attacks while struggling to complete construction on a crucial highway link.Writer-director-star Paul Gross’ new film portrays the heroic duties undertaken by Canadian armed forces in Afghanistan with the same gut-wrenching immediacy that Gross brought to the blood-soaked Belgian battlefields of World War I in his epic Passchendaele. Hyena Road is a masterful examination of modern warfare that drops viewers straight into the belly of the beast.Depicting an embattled Canadian- American initiative to increase safe transport across Afghanistan, Hyena Road is a group portrait of men and women at work in a dangerous and often confounding conflict zone.We meet a sniper (Rossif Sutherland who becomes precariously implicated in the life of one of his targets — as well as the life of an alluring colleague (Christine Horne). There’s an intelligence officer whose customary world-weary wisecracks — “Even the dirt is hostile” — veil a fundamental belief in the ethics of war.And the film introduces us to a legendary former mujahid known as The Ghost (Neamat Arghandabi) who, for mysterious reasons, is lured back into the battle zone to assist the Canadian forces.All these characters’ trajectories collide in ways that illustrate the triumphs and frustrations that occur amid the moral uncertainty of war. Alternating between relatively tranquil scenes of life at the base and adrenalized sequences that thrust us into the heat of battle, Gross orchestrates a cinematic symphony of soldiering: the highs and lows, the brotherhood and barbarity.Hyena Road does what great war movies can do: it carefully examines the plight of a few so as to speak to the experience of many.BiographyPaul Gross is internationally known for his role as Constable Benton Fraser on themultiaward-winning drama series “Due South.” He was honoured with two GeminiAwards for Best Actor, and one Gemini Award for his writing on the series.  Gross also received two Gemini Awards for best performance by an actor in the critically acclaimed series “Slings & Arrows”. In 2000, Gross wrote, directed and starred in the feature film Men with Brooms, which was the highest-grossing English-language Canadian film of the previous 20 years.  He also starred in, co-wrote and produced the miniseries “H2O” as well as its sequel “The Trojan Horse”.In 2008 Gross released his feature film Passchendaele, a movie based on the famous First World War battle heroically fought by 50,000 Canadians in the bloodied fields of Ypres, Belgium. Passchendaele, which Gross wrote, directed and starred in, was the highest grossing Canadian film of 2008 with the box office reaching over $4.5 million, and won five Genie Awards, including Best Picture. He starred in the ABC series Eastwick based on the movie The Witches of Eastwick, opposite Rebecca Romijn, Jamie Ray Newman and Lindsay Price and the movie Gunless and also Executive Produced the series Cra$h & Burn and The Yard. Gross earned a degree in drama at the University of Alberta, and went on to perform extensively in Canadian regional theatres in addition to forging a writing career. His first play, The Deer and the Antelope Play, performed in Edmonton, won the Clifford E. Lee National Playwriting Award and the Alberta Cultural Playwriting Award (1982).His numerous acting credits also include starring roles in the television movies “Murder Most Likely”, “Getting Married in Buffalo Jump,” and “Buried on Sunday” and the miniseries “Prairie Giant: The Tommy Douglas Story” and “20,000 Leagues Under the Sea,” Armistead Maupin’s “Tales of the City,” and “Chasing Rainbows.” Gross also performed in the feature films Barney’s Version, Wilby Wonderful, Aspen Extreme, Cold Comfort, Paint Cans, Whale Music and Married To It.On stage, Gross performed the title role in the Stratford Festival’s 2000 production of Hamlet to record-setting audiences. He received a 1985 Dora Award nomination for his performance as Romeo in Romeo and Juliet and a Dora Award for Best Performance for his role in the critically acclaimed North American premiere of Observe the Sons of Ulster Marching Toward the Somme (1988) which played at Toronto’s CanStage. In the Fall of 2011 he appeared in Noel Coward’s Private Lives opposite Kim Cattrall (Sex and the City) on Broadway and at the Royal Alex in Toronto and in 2012 he starred in John Guare’s Are You There, McPhee? at the McCarter Theatre at Princeton. Gross has received the Governor General’s Performing Arts Award and the Pierre BurtonAward. He was recently appointed to the Order of Canada and also received the Earle Grey Award, a Lifetime Achievement Award, from the Academy of Canadian Cinema and Television. See acast.com/privacy for privacy and opt-out information.

The conversation ranges from an introduction to Annabel, her work and influences; the responsibilities related to involving real-life individuals as sources, subjects or performers within theatrical productions. Links to some of the things we talk about: [Magnetic North](http://www.magneticnorthfestival.ca/) [Annabel Soutar](http://porteparole.org/en/about-us/sub-page-2/) [Documentary Theatre](http://en.wikipedia.org/wiki/Documentary_theatre) [Emily Mann's](http://www.mccarter.org/AboutUs/AboutDefault.aspx?page_id=39) play [Execution of Justice](http://books.google.ca/books/about/Execution_of_Justice.html?id=RDUBjESMxqYC) about [Harvey Milk](http://en.wikipedia.org/wiki/Harvey_Milk). The movie "[Milk](http://www.focusfeatures.com/milk)" about the same subject [The McCarter Theatre](http://www.mccarter.org/home.aspx?page_id=1) [Anna Devere-Smith](http://annadeaveresmithprojects.net/about-the-faculty/anna-deavere-smith/) [Porte Parole](http://porteparole.org/), Annabel's company in Montreal [Seeds](http://porteparole.org/en/our-plays/in-development/seeds-coming-back/) [Small Wooden Shoe's](small wooden shoe) [Summer Spectacular](http://smallwoodenshoe.org/summer/) [Daedalus and Icarus](http://www.island-ikaria.com/culture/myth.asp) myth [Robert Oppenheimer](http://en.wikipedia.org/wiki/J._Robert_Oppenheimer) [Aaron Swartz](http://en.wikipedia.org/wiki/Aaron_Swartz) [The Internet's Own Boy](http://www.imdb.com/title/tt3268458/) Tim Alley The controversy Adrienne referred to was in relation to the play *nOOb* by Christopher Duthie. See the Toronto Star article [HERE](http://www.thestar.com/news/gta/2014/02/14/dead_teens_mom_outraged_over_play.html). [James Long's](http://theatrereplacement.org/people/) "[Clark and I Somewhere in Connecticut](http://theatrereplacement.org/portfolio-item/clark-and-i-somewhere-in-connecticut/)" "[The Watershed](http://porteparole.org/en/our-plays/in-development/the-watershed/)" is Annabel's current work in development Philip Larkin's poem "[This Be The Verse](http://www.poetryfoundation.org/poem/178055)"

Running Regional Theatres: On January 7, 1987, Artistic Directors Nagle Jackson (of Hartford Stage) and Mark Lamos (of McCarter Theatre) sat down with director Mary Robinson to speak about leadership in regional theatre. Jackson and Lamos discuss the challenges they face throughout their day-to-day routines and the struggle to balance the administrative and artistic aspects of the job. These artistic directors offer insight into the politics of and logistics behind choosing a season and the effective means to attract new audiences while continuing to appeal to current subscribers. For both Jackson and Lamos, risk and experimentation are paramount to feeling artistically fulfilled. They find that the younger generation does not respond to the tradition of season subscriptions, and both strive to alter the expectations of their audiences and spontaneous single-ticket buyers. At the end of the night it is about that communal catharsis -- and that is why audiences go to the theatre. This practical conversation is an intimate peak at the life of the artistic leaders behind Hartford Stage and McCarter Theatre's success and growth over the years. The listener will gain a richer understanding of what it is like to maintain and nourish experimentation within the administrative and artistic departments of regional theatres. Originally recorded - January 7, 1987. Running Time - 1:22:36 © 1987 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.

Martin Pakledinaz passed away on July 8th, 2012. This edition of Downstage Center was recorded in 2010. Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Martin Pakledinaz passed away on July 8th, 2012. This edition of Downstage Center was recorded in 2010. Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Costume designer Martin Pakledinaz (Tony Award winner for Best Costume Design of a Musical in 2000 for “Kiss Me Kate” and 2002 for “Thoroughly Modern Millie”) talks about creating the clothes for the recent Broadway revival of “Lend Me A Tenor”, the commencement of planning for the spring 2011 production of “Anything Goes” and the revival of “Oklahoma!” that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with “Inacent Black” and “I Won't Dance”; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 “Grease” without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role.

Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Theatrical Photographer T. Charles Erickson captures two-dimensional representations that become the historical record of live stage productions. Erickson grew up with a camera always by his side, from childhood through "Woodstock" to his first photography job at Yale University. At a Yale Repertory Theatre rehearsal for "Master Harold...and the Boys" he encountered playwright Athol Fugard who encouraged him. Erickson went on to photograph shows at the Long Wharf Theatre, Hartford Stage, Lincoln Center Theater, and many more; and is shown here at a dress rehearsal of "American Buffalo" at Princeton's McCarter Theatre.

Theatrical Photographer T. Charles Erickson captures two-dimensional representations that become the historical record of live stage productions. Erickson grew up with a camera always by his side, from childhood through "Woodstock" to his first photography job at Yale University. At a Yale Repertory Theatre rehearsal for "Master Harold...and the Boys" he encountered playwright Athol Fugard who encouraged him. Erickson went on to photograph shows at the Long Wharf Theatre, Hartford Stage, Lincoln Center Theater, and many more; and is shown here at a dress rehearsal of "American Buffalo" at Princeton's McCarter Theatre.

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.

We stagger into Act 2 scene one, as Romeo tries to avoid his mischievous friends, setting Mercutio in rare form. And I review McCarter Theatre’s production of Twelfth Night.

Pulitzer Prize-winning playwright Lanford Wilson discusses the creation of his famed "Talley trilogy," including "Fifth of July", which stemmed in part from his equating an Eskimo folk tale with the war in Vietnam, and "Talley's Folly", now in revival at the McCarter Theatre, and how it grew out of an acting suggestion made to one of the original cast members of "Fifth of July". He also talks about his original aspirations of being an artist, with writing being simply something to fall back on; his move from Chicago to New York and his introduction to Off-Broadway's famed Cafe Cino in the mid-60s; the genesis of his landmark plays "Balm in Gilead" and "The Hot l Baltimore"; how he came to write "Burn This" to break away from his growing reputation as a "suburban" playwright and as the antithesis of "Talley's Folly"; and whether we'll be seeing new plays from him any time soon. Original air date - October 17, 2008.

Pulitzer Prize-winning playwright Lanford Wilson discusses the creation of his famed "Talley trilogy," including "Fifth of July", which stemmed in part from his equating an Eskimo folk tale with the war in Vietnam, and "Talley's Folly", now in revival at the McCarter Theatre, and how it grew out of an acting suggestion made to one of the original cast members of "Fifth of July". He also talks about his original aspirations of being an artist, with writing being simply something to fall back on; his move from Chicago to New York and his introduction to Off-Broadway's famed Cafe Cino in the mid-60s; the genesis of his landmark plays "Balm in Gilead" and "The Hot l Baltimore"; how he came to write "Burn This" to break away from his growing reputation as a "suburban" playwright and as the antithesis of "Talley's Folly"; and whether we'll be seeing new plays from him any time soon. Original air date - October 17, 2008.

Kevin Chamberlin talks about his role in the Roundabout Theatre revival of Terrence McNally's "The Ritz", including whether his "midwestern" looks match up to his character of Gaetano Proclo; how his seasons in the acting company at the McCarter Theatre led to his first New York gig Off-Broadway in "Smoke on the Mountain"; why the Drama Department's "As Thousands Cheer" was his happiest time in the theatre ; what his experience was creating the role of Horton in "Seussical"; how Claudia Shear created a role for him in "Dirty Blonde"; and why he's skeptical of the workshop process, following stints in William Finn's "Muscle" and Stephen Sondheim's "Wise Guys". Original air date - November 2, 2007.

Kevin Chamberlin talks about his role in the Roundabout Theatre revival of Terrence McNally's "The Ritz", including whether his "midwestern" looks match up to his character of Gaetano Proclo; how his seasons in the acting company at the McCarter Theatre led to his first New York gig Off-Broadway in "Smoke on the Mountain"; why the Drama Department's "As Thousands Cheer" was his happiest time in the theatre ; what his experience was creating the role of Horton in "Seussical"; how Claudia Shear created a role for him in "Dirty Blonde"; and why he's skeptical of the workshop process, following stints in William Finn's "Muscle" and Stephen Sondheim's "Wise Guys". Original air date - November 2, 2007.