Podcasts about methuen drama

in this episode, i read from Fehinti Balogun's CAN I LIVE? which was originally presented by Complicite theatre as a digitally touring film. the text is published by TRANSMEDIA THEATRE PLAYS which I edited for Methuen Drama (2025).

Melvyn Bragg and guests discuss the renowned and versatile Irish writer Oliver Goldsmith (1728 - 1774). There is a memorial to him in Westminster Abbey's Poet's Corner written by Dr Johnson, celebrating Goldsmith's life as a poet, natural philosopher and historian. To this could be added ‘playwright' and ‘novelist' and ‘science writer' and ‘pamphleteer' and much besides, as Goldsmith explored so many different outlets for his talents. While he began on Grub Street in London, the centre for jobbing writers scrambling for paid work, he became a great populariser and compiler of new ideas and knowledge and achieved notable successes with poems such as The Deserted Village, his play She Stoops to Conquer and his short novel The Vicar of Wakefield. WithDavid O'Shaughnessy Professor of Eighteenth-Century Studies at the University of GalwayJudith Hawley Professor of Eighteenth-Century Literature at Royal Holloway, University of LondonAnd Michael Griffin Professor of English at the University of LimerickProducer: Simon TillotsonReading list:Norma Clarke, Brothers of the Quill: Oliver Goldsmith in Grub Street (Harvard University Press, 2016)Leo Damrosch, The Club: Johnson, Boswell, and the Friends Who Shaped an Age (Yale University Press, 2019)Oliver Goldsmith (ed. Aileen Douglas and Ian Campbell Ross), The Vicar of Wakefield: A Tale, Supposed to Be Written by Himself (first published 1766; Cambridge University Press, 2024)Oliver Goldsmith (ed. Arthur Friedman), The Vicar of Wakefield (first published 1766; Oxford University Press, 2008)Oliver Goldsmith (ed. Arthur Friedman), The Collected Works of Oliver Goldsmith, 5 vols (Clarendon Press, 1966) Oliver Goldsmith (ed. Robert L. Mack), Oliver Goldsmith: Everyman's Poetry, No. 30 (Phoenix, 1997)Oliver Goldsmith (ed. James Ogden), She Stoops to Conquer (first performed 1773; Methuen Drama, 2003)Oliver Goldsmith (ed. James Watt), The Citizen of the World (first published 1762; Cambridge University Press, 2024)Oliver Goldsmith (ed. Nigel Wood), She Stoops to Conquer and Other Comedies (first performed 1773; Oxford University Press, 2007)Michael Griffin and David O'Shaughnessy (eds.), Oliver Goldsmith in Context (Cambridge University Press, 2024)Michael Griffin and David O'Shaughnessy (eds.), The Letters of Oliver Goldsmith (Cambridge University Press, 2018)Roger Lonsdale (ed.), The Poems of Gray, Collins and Goldsmith (Longmans, 1969)In Our Time is a BBC Studios Audio production

On the day of the announcement of his passing, I read Edward Bond's introduction to the book FIFTY PLAYWRIGHTS ON THEIR CRAFT, which Caroline Jester and I wrote. Published by Methuen Drama in 2018. --- Support this podcast: https://podcasters.spotify.com/pod/show/caridad-svich/support

To The Good People of Gaza: Theatre for Young People by Jackie Lubeck and Theatre Day Productions (Methuen Drama, 2022) ties together nineteen plays produced by Theatre Day Productions, one of the foremost community theatres in the Middle East. Written by playwright Jackie Lubeck, this collection responds to the siege on Gaza and the Israeli military operations from 2009 to 2014, reflecting how Gazan youth deal with trauma, loss and urban destruction. But these plays are also surprisingly funny, reflecting the fundamental absurdities life under occupation and life in wartime. In this conversation, we discuss the book, the history of Theatre Day Productions, and the current state of the company, which is still in Gaza undergoing Israeli bombardment. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

To The Good People of Gaza: Theatre for Young People by Jackie Lubeck and Theatre Day Productions (Methuen Drama, 2022) ties together nineteen plays produced by Theatre Day Productions, one of the foremost community theatres in the Middle East. Written by playwright Jackie Lubeck, this collection responds to the siege on Gaza and the Israeli military operations from 2009 to 2014, reflecting how Gazan youth deal with trauma, loss and urban destruction. But these plays are also surprisingly funny, reflecting the fundamental absurdities life under occupation and life in wartime. In this conversation, we discuss the book, the history of Theatre Day Productions, and the current state of the company, which is still in Gaza undergoing Israeli bombardment. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

To The Good People of Gaza: Theatre for Young People by Jackie Lubeck and Theatre Day Productions (Methuen Drama, 2022) ties together nineteen plays produced by Theatre Day Productions, one of the foremost community theatres in the Middle East. Written by playwright Jackie Lubeck, this collection responds to the siege on Gaza and the Israeli military operations from 2009 to 2014, reflecting how Gazan youth deal with trauma, loss and urban destruction. But these plays are also surprisingly funny, reflecting the fundamental absurdities life under occupation and life in wartime. In this conversation, we discuss the book, the history of Theatre Day Productions, and the current state of the company, which is still in Gaza undergoing Israeli bombardment. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Kevin Landis's One Public: New York's Public Theater in the Era of Oskar Eustis (Methuen Drama, 2022) tells the story of the remarkable first 17 years (2005-2022) of Oskar Eustis's tenure as the Artistic Director of The Public, the theatre sometimes called America's de facto national theatre. But it is not a book about Eustis. Instead, it is a book about the hundreds of artists and administrators who, guided by Eustis's leadership, create extraordinary theatre at The Public's Astor Place headquarters, at the Delacorte in Central Park, and in touring productions around the city and across the country.  A central organizing principle in the book is the contradiction (and Eustis is not afraid of contradiction) between the theatre's left-wing, Marxian ambitions and the reality that it exists in a hyper-capitalist country with little public support for the arts. Is it possible to keep tickets affordable, salaries liveable, and the work on stage exciting? If The Public hasn't figured out how to do all three, it isn't for lack of trying, and One Public provides detailed case studies of a series of attempts live up to this theatre's inspiring, impossible, necessary ideals. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Kevin Landis's One Public: New York's Public Theater in the Era of Oskar Eustis (Methuen Drama, 2022) tells the story of the remarkable first 17 years (2005-2022) of Oskar Eustis's tenure as the Artistic Director of The Public, the theatre sometimes called America's de facto national theatre. But it is not a book about Eustis. Instead, it is a book about the hundreds of artists and administrators who, guided by Eustis's leadership, create extraordinary theatre at The Public's Astor Place headquarters, at the Delacorte in Central Park, and in touring productions around the city and across the country.  A central organizing principle in the book is the contradiction (and Eustis is not afraid of contradiction) between the theatre's left-wing, Marxian ambitions and the reality that it exists in a hyper-capitalist country with little public support for the arts. Is it possible to keep tickets affordable, salaries liveable, and the work on stage exciting? If The Public hasn't figured out how to do all three, it isn't for lack of trying, and One Public provides detailed case studies of a series of attempts live up to this theatre's inspiring, impossible, necessary ideals. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Kevin Landis's One Public: New York's Public Theater in the Era of Oskar Eustis (Methuen Drama, 2022) tells the story of the remarkable first 17 years (2005-2022) of Oskar Eustis's tenure as the Artistic Director of The Public, the theatre sometimes called America's de facto national theatre. But it is not a book about Eustis. Instead, it is a book about the hundreds of artists and administrators who, guided by Eustis's leadership, create extraordinary theatre at The Public's Astor Place headquarters, at the Delacorte in Central Park, and in touring productions around the city and across the country.  A central organizing principle in the book is the contradiction (and Eustis is not afraid of contradiction) between the theatre's left-wing, Marxian ambitions and the reality that it exists in a hyper-capitalist country with little public support for the arts. Is it possible to keep tickets affordable, salaries liveable, and the work on stage exciting? If The Public hasn't figured out how to do all three, it isn't for lack of trying, and One Public provides detailed case studies of a series of attempts live up to this theatre's inspiring, impossible, necessary ideals. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Kevin Landis's One Public: New York's Public Theater in the Era of Oskar Eustis (Methuen Drama, 2022) tells the story of the remarkable first 17 years (2005-2022) of Oskar Eustis's tenure as the Artistic Director of The Public, the theatre sometimes called America's de facto national theatre. But it is not a book about Eustis. Instead, it is a book about the hundreds of artists and administrators who, guided by Eustis's leadership, create extraordinary theatre at The Public's Astor Place headquarters, at the Delacorte in Central Park, and in touring productions around the city and across the country.  A central organizing principle in the book is the contradiction (and Eustis is not afraid of contradiction) between the theatre's left-wing, Marxian ambitions and the reality that it exists in a hyper-capitalist country with little public support for the arts. Is it possible to keep tickets affordable, salaries liveable, and the work on stage exciting? If The Public hasn't figured out how to do all three, it isn't for lack of trying, and One Public provides detailed case studies of a series of attempts live up to this theatre's inspiring, impossible, necessary ideals. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Kevin Landis's One Public: New York's Public Theater in the Era of Oskar Eustis (Methuen Drama, 2022) tells the story of the remarkable first 17 years (2005-2022) of Oskar Eustis's tenure as the Artistic Director of The Public, the theatre sometimes called America's de facto national theatre. But it is not a book about Eustis. Instead, it is a book about the hundreds of artists and administrators who, guided by Eustis's leadership, create extraordinary theatre at The Public's Astor Place headquarters, at the Delacorte in Central Park, and in touring productions around the city and across the country.  A central organizing principle in the book is the contradiction (and Eustis is not afraid of contradiction) between the theatre's left-wing, Marxian ambitions and the reality that it exists in a hyper-capitalist country with little public support for the arts. Is it possible to keep tickets affordable, salaries liveable, and the work on stage exciting? If The Public hasn't figured out how to do all three, it isn't for lack of trying, and One Public provides detailed case studies of a series of attempts live up to this theatre's inspiring, impossible, necessary ideals. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Kevin Landis's One Public: New York's Public Theater in the Era of Oskar Eustis (Methuen Drama, 2022) tells the story of the remarkable first 17 years (2005-2022) of Oskar Eustis's tenure as the Artistic Director of The Public, the theatre sometimes called America's de facto national theatre. But it is not a book about Eustis. Instead, it is a book about the hundreds of artists and administrators who, guided by Eustis's leadership, create extraordinary theatre at The Public's Astor Place headquarters, at the Delacorte in Central Park, and in touring productions around the city and across the country.  A central organizing principle in the book is the contradiction (and Eustis is not afraid of contradiction) between the theatre's left-wing, Marxian ambitions and the reality that it exists in a hyper-capitalist country with little public support for the arts. Is it possible to keep tickets affordable, salaries liveable, and the work on stage exciting? If The Public hasn't figured out how to do all three, it isn't for lack of trying, and One Public provides detailed case studies of a series of attempts live up to this theatre's inspiring, impossible, necessary ideals. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Grace Barnes started her directing career as an assistant director at Sydney Theatre Company on Into the Woods and has since been a staff director at Opera Australia, and an associate or resident director on War Horse, West Side Story, Guys and Dolls, Sunset Boulevard, My Fair Lady, Fiddler on the Roof.  Originally from Scotland, she ran her own theatre company Skeklers Theatre Company for five years and her work as a playwright has been produced throughout Scotland including at the Citz in Glasgow, the Royal Lyceum and the Traverse in Edinburgh, and at Pitlochry Festival Theatre. Grace has written the book for two musicals, Nevermore and Crossing, which premiered at the Tony Award winning Signature Theatre in Arlington.  A third musical The Blue Poppy should have premiered at Signature in 2020 but was cancelled due to the pandemic.  Grace has a PhD from the University of Technology Sydney, and has published academic analysis on musical theatre in the journal Studies in Musical Theatre, and has contributed a chapter to the forthcoming Oxford Handbook of the Global Musical.  Her book on the place of women within musical theatre Her Turn on Stage was published in 2015, and in 2022 her book National Identity and the British Musical: from Blood Brothers to Cinderella was published by Methuen Drama.  Earlier this year, Grace's creative biography of the first women to swim for Australia in an Olympic Games, In Search of Mina Wylie, was published.    The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Wenn wir es uns aussuchen könnten, hätten wir gerne Kens Job: Einfach nur Beach. Nicht Surf. Nur Beach. Ist ja wohl klar, oder? Was Barbie mit dem Patriarchat zu tun hat, warum ein Kinoticket 36 Pfund kosten kann und warum wir deutsche Buchtitel manchmal hassen, erfahrt ihr in dieser brandaktuellen Folge! BUCHEMPFEHLUNGEN: Nina George „Das Lavendelzimmer“ (2014, Knaur Taschenbuch) - https://tidd.ly/3ptPrLh * Joyce Johnson „Minor Characters“ (2012, Methuen Drama) - https://tidd.ly/43Am6gk * ERWÄHNUNGEN: Ryan Gosling "I'm Just Ken" - https://spoti.fi/44WhMcZ Story of Seasons „A Wonderful Life“ - https://nintendo.de/Spiele/Nintendo-Switch-Spiele/STORY-OF-SEASONS-A-Wonderful-Life-2264866.html Harvest Moon: Eine Welt - https://nintendo.de/Spiele/Nintendo-Switch-Spiele/Harvest-Moon-Eine-Welt-1779282.html https://buzzfeed.com/hazelyxlee/barbie-2023-character-quiz Beat Generation Definition - https://de.wikipedia.org/wiki/Beat_Generation HIER FINDET IHR UNS: YouTube Kanal - https://bit.ly/3gZPoQp Buchempfehlungen - https://bit.ly/2Z7wb9r Playlist - https://spoti.fi/3xqGwf1 Kat - https://instagram.com/katcomatose Zora - https://instagram.com/ichbinszora Spotify Bewertung - https://spoti.fi/3CvfClu Apple Bewertung - https://apple.co/2NX1rBW Email-Kontakt: londoncallingpodcast (at) googlemail (dot) com *Affiliate Link (Thalia)

On today's episode, the Royal Shakespeare Company's former Artistic Director takes a look back at four decades of staging Shakespeare. Greg Doran's career as a Shakespearean director began in the late 1970s, when he was a teenager. By the time he stepped down as the Artistic Director of the Royal Shakespeare Company earlier this year, Doran had directed every play in the First Folio, capping off the feat with an acclaimed production of Cymbeline. In between, Doran helmed era-defining productions of Shakespeare's plays and worked with actors such as Judi Dench, David Tennant, Patrick Stewart, and the late Antony Sher, to whom Doran was married. Doran's new memoir, My Shakespeare, tells the story of his life through the plays he has directed. It's a portrait of an artist at work, shot through with commentary about the plays themselves and insights about working with actors. It's also an intimate account of Doran's deep artistic partnership with Tony Sher. Greg Doran is interviewed by Barbara Bogaev. My Shakespeare: A Director's Journey Through the First Folio, is available from Methuen Drama. From our Shakespeare Unlimited podcast. Published June 20, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Melvin Rickarby in Stratford and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

This summer marks the tenth anniversary of a landmark production for the Royal Shakespeare Company. Their 2012 Julius Caesar was Britain's first ever high-profile production of a Shakespeare play with an all-Black cast—a milestone that came 76 years after it was first done in the US and 15 years after it was first done in Canada. The production featured Paterson Joseph as Brutus, and he was so impressed by the experience that he wrote Julius Caesar and Me: Exploring Shakespeare's African Play. The book takes an unflinching look at Joseph's time at the RSC, both while working on Caesar and in the 1990s, when the son of St. Lucian parents found himself one of only four Black people in the building. He also writes about his early work, performing sharp and boldly reimagined Shakespeare with the Cheek by Jowl company; his thoughts about race in the British theater; the proper way to play Brutus; Received Pronunciation, and much more. In 2018, Joseph was at the National Black Theater in Harlem, performing his one-man show, Sancho: An Act of Remembrance, about the first Black man in England to cast a vote. We invited him into the studio to talk about the book, Brutus, and more, and we bring that conversation to you again now. Paterson Joseph is interviewed by Barbara Bogaev. Paterson Joseph is an acclaimed British actor who has performed major roles with the Royal Shakespeare Company and the National Theatre, including the title role in Othello; and the leads in The Royal Hunt of the Sun and The Emperor Jones. He has also worked extensively in film, and in television, including recently The Leftovers and Timeless. In 2015, he wrote and performed his one-man play Sancho: An Act of Remembrance on tour. Julius Caesar and Me: Exploring Shakespeare's African Play was published in the US by Methuen Drama, a division of Bloomsbury Books, in 2018. From the Shakespeare Unlimited podcast series. Originally published May 29, 2018, and rebroadcast August 16, 2022. ©Folger Shakespeare Library. All rights reserved. This podcast episode, “Bear It, As Our Roman Actors Do,” was produced under the supervision of Garland Scott, and is presented with permission of rlpaulproductions, LLC, which created it for the Folger. It was edited by Gail Kern Paster and Esther Ferington. Esther French and Ben Lauer are the web producers. We had technical help from Andrew Feliciano and Evan Marquardt at Voice Trax West in Studio City, California, and Robert Auld and Deb Stathopulos at the Radio Foundation in New York. Special thanks to ‘Illuminations' for allowing us to use excerpts from their DVD of the Royal Shakespeare Company's 2012 production of Julius Caesar.

Thinking Cap Theatre's Artistic Director Nicole Stodard Ph.D talks with Caridad Svich, playwright, songwriter, editor, translator and mentee of Maria Irene Fornes. CARIDAD SVICH'S BIO As a playwright, songwriter, editor and translator living between many cultures, including inherited ones, the idea of departure has always been not only an actual or metaphorical basis for writing the work, but also an idea made manifest through the enactment of writing, its performance, and my living of it. Born in the US of Cuban-Argentine-Spanish-Croatian parents, I have felt in a strange kind of exile even while growing up as an “American.” This sense of dislocation extends to the fact that as a child and adolescent, I lived in several states: Pennsylvania, New Jersey, Florida, North Carolina, Utah, New York, and California, not to mention many cross-country road trips in between. The nomadic strain was thus instilled in me and has become an inevitable part of my writing vision. Explorations of wanderlust, dispossession, biculturalism, bilingualism, construction of identity, and the many different emotional terrains that can be inhabited onstage form the basis of my plays and other writing projects. Visions of migration (both physical and spiritual) dominate the plays, which have become, in turn, documents of internal diasporas.As a playwright, songwriter, editor and translator living between many cultures, including inherited ones, the idea of departure has always been not only an actual or metaphorical basis for writing the work. ~Caridad Svich in “Visions of Migration” Performance Research Read the July/August 2009 American Theatre cover story “Cartography Lessons with Caridad Svich “ Caridad Svich's recognitions include an OBIE for Lifetime Achievement, Ellen Stewart Career Achievement Award from ATHE, and a Visiting Research Fellowship at Royal Central School of Speech and Drama. She is an Editor at Contemporary Theatre Review. She is published by Intellect, Routledge, Manchester University Press and Methuen Drama, UK. --- Support this podcast: https://podcasters.spotify.com/pod/show/thinking-cap-theatre/support

Shahid Iqbal Khan is an Offies-finalist and Olivier-nominated playwright published by Methuen Drama. He has been part of BBC Writersroom and Write To Play. His recent stage plays are Stardust (Belgrade Theatre) and 10 Nights (Bush Theatre). His radio work includes Bhavika, Night of the Living Flatpacks (both on community channels) and Brandlesholme (Sheltering) (BBC Radio 4). Shahid Iqbal Khan is on attachment and under co-commission to Graeae and Royal Court Theatre for the year of 2022. He has been commissioned to write a play. As part of his attachment, he is running discussions about disability and dramaturgy at the Royal Court, and mentoring writers at Graeae.

THE THREEPENNY OPERA COMPOSER: Kurt Weill LYRICIST: Bertolt Brecht BOOK: Bertolt Brecht (Adaptation by Marc Blitzstein) DIRECTOR: Carmen Capalbo PRINCIPLE CAST: Beatrice Arthur (Lucy), Lotte Lenya (Jenny), Scott Merrill (Macheath) OPENING DATE: March 10th, 1954 CLOSING DATE: May 30th, 1954 PERFORMANCES: 96 SYNOPSIS: Polly Peachum marries the infamous robber Mack the Knife, much to the chagrin of her parents. In order to end the marriage, her parents and various citizens of the morally bankrupt town concoct a plan to have Mack The Knife arrested and executed.  A play with music by dramatist Bertolt Brecht and composer Kurt Weill, The Threepenny Opera is significant as a German political satire which has since become popular in the United States. Brecht's theatrical theories have had huge significance on the way theatre is presented globally and Weill's cabaret score influenced later American composers such as Kander and Ebb. Several songs from the show have become popular standards since its premiere. Today, it is best known for kicking off “the off-Broadway” musical, a musical that performs in more intimate spaces and offers more experimental, as opposed to commercial, work. Lauren Mack traces how the musical made its way to the United States, the political and social climate that welcomed it, and how audiences were trained to expand their definition of what defines a theatrical space. Lauren T. Mack (they/them) is a NYC-based actor & writer. Lauren has appeared onstage in NYC at the York Theatre, NY Fringe Festival, IRT, the PIT, and on stages throughout the US & France. Lauren's voiceover work ranges from Ford Motors to audioplay meditations with Fullmetal Workshop. Lauren also produces award-winning indies such as CAT PLANET (2017 TFF: Best Web Series), and recently appeared in VELOUR (2020 Official Selection, QueerX FF). They teach acting, speech, and voice/movement at New York Film Academy, Trinity College, as well as throughout India and France. Proud member of Actor's Equity and a Key with Ring of Keys. LaurenTMack.com SOURCES The Threepenny Opera, Original Off-Broadway Cast Recording. MGM (1954) The Threepenny Opera, starring Lotte Lenya and Rudolf Forster, directed by G.W. Pabst. Tobis Filmkunst (1931) The Threepenny Opera by Bertolt Brecht, published by Methuen Drama (2015) Love Song: The Lives of Kurt Weill and Lotte Lenya, published by St. Martin's Press (2012) Learn more about your ad choices. Visit megaphone.fm/adchoices

Greetings, bonjour, what's happening? How we doing?So this week I've started work back on Make Your Own bed and Hope for the Best; which is a solo theatre show about my experiences of employment. I started developing it back in 2019 – To be honest its become a bit of a labour of love, which is ironic, considering the subject matter but I'm determined to get it finished this year.It's been through various iterations, most of which you can see for yourself on my YouTube channel, where I've been documenting the process. The most recent incarnation was back last July, where I did two nights at Camden People's Theatre; as a full work-in-progress show. It went alright, all in all but I still wasn't happy with it. So I'm back playing with it again and have been re-working the stories, which form the core of the material. It's odd, the more I write this sort of stuff, the harder it seems to get.Last year, when I went through this process, I found it quite useful to share what I was doing online, I think it helped build up a little bit of interest, whilst helping me edit the work. I'm going to try and do something similar again but in cooperating the old Substack. Well, it's not old, is it?I gotta' say, I've been enjoying doing this though, putting things up on Lager Time. I think I will continue to put up various bits and bobs: poems, stories and thoughts; as well as the show material as I go back through it, until I find my stride with it.I've also been putting a bit of time in to get better at recording audio. I can be quite lazy with that kind of thing but at some point, I'd like to try my hand at voiceovers and the like, geezers gotta' eat somehow… and that seems another way to earn some much-needed spondoolies; so it's good practise for me. Maybe not recording right next to a window would be a good start in improving things.Large up all of you that have been supportive with it so far, I hope you're enjoying it, like I am. On a quick note, before we get into the material, there's two new books that have bene published this week, which are both very significant for me and my beats & Elements collaborators.Making Hip Hop Theatre Beatbox and Elements – by Conrad Murray and Katie Beswick &Beats and Elements: A Hip Hop Theatre TrilogyThe former is the go-to guide, on making hip hop theatre, alongside interviews and the latter, is three plays, No Milk For The Foxes, Denmarked and High Rise eState of Mind. Two of which I co-wrote. It's nuts to see both the work and process in print. We made most of this stuff from nothing.They're both published by Methuen Drama and are available at all good book stores.PAPER-BOYApart from that job I got licking stamps for a mate of my dad's; some primitive spam-operation for a charter flight company, in the Gatwick metro centre, when I was about nine, the first proper paid gig I got was being a Sunday paper boy, for Smith's Newsagents, Horley, in Surrey where I grew up. 12 years old man and boy (northern accent )My brother Will's mate, Mark, had originally held that paper- round but he'd graduated from Sunday Paper-Boy to that coveted role of Saturday assistant in Smiths. He phoned up Will one day and asked Will if wanted the vacant round. Will asked mum and dad.  Dad said he can only do it, if he split the round with it me. So through a blatant case of nepotism and state intervention, I got my first job, in partnership with my brother Will. I was a working man… boy.Few months into doing it and Will also got a Saturday job and in what I now view in retrospect, as an aggressive cooperate take-over of the partnership, the whole round become solely mine. Yes. The whole £3. 300pence, all for, me.Getting up early is tough, especially when it's dark, cold and wet and the only people about: are dog-walkers, odd balls, airport workers and casualties from the night before. But I get to ride my bike really fast through the subway the empty high-street, pulling little wheelies.Each week I'd sit on the steps of the British Legion, at the start of the round and scan the back of the tabloids for the Millwall match reports form Saturdays games and any other football news as well any pictures I can find of semi-naked women .Increasingly I began to take note of the front pages too. Politicians, commentators, journalists; who are these people and why are they always in scandals?I'd listen to my Walkman, really loud. Missioning it between the streets; compilation tapes, hip hip, grunge, jungle, metal and whatever else my older siblings fed me. I learnt which houses I had to have special requirements for, paper under the mat, top letter-box only. The ones which the crazy dogs, which gaffs took the tabloids and which was took the broadsheets and would curse those ones for the sheer size of the papers in proportion to their tiny letter boxes. Who had time to read all of that?Each week I'd ride past the bike shop and look at all the sick bmx's and mountain bikes and try and work-out how many weeks paper-round wages it would take me to save for one. Adds up with fingers And then I'd quicky abandon that calculation because I hate maths and it would probably take me years, anyway.I got good at this job and I was reliable; that's what Mr Smith said to me one day.  He started giving me extra rounds when the other kids were off sick or on holiday, which meant more dough, which brings me to the best bit in all of this; riding back to the shop, when I finished the round and Mr Smith pressing that magic button to open the till, sliding out the dough, then placing those solid, grubby, heavy, gold nuggets; three of the queens finest English pounds, right into my sweaty-palm.I'd look at it, enjoy the weight of it. Then I'd always have that brief moment, like Gollum in the Lord of the Rings where Gollum's his eyes bulge at the sight at the ring. I'd get this sudden urge to buy things, stickers, sweets, magazines, newspapers, greetings-cards, stationary, paper-plates and party poppers, napkins and ladies tights. I wanted it all! Right there and then!Sometimes I would spank the lot, right then and then, on sweets and stickers and whatever else, then regret it later on. But most of the time I didn't. Having the paper-round, meant I could pay for birthday and Christmas presents, and lynx deodorant and Oxy ten spot cream, that stuffs expensive and mum weren't buying it for me. I liked the feeling that I could pay for stuff, using money that I'd earnt.I'd ride home, say hello to mum and make myself a boiled egg with soldiers, then watch the Holyoaks Omnibus and I remember thinking to myself, if this is what working life is like, I'm alright with that This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit cree.substack.com

'Red Bike' Playwright, Caridad Svich and Director/Writer, Kareem Fahmy talk to TNT about working and developing new works in the theatre industry- what needs to change and where to start. Caridad discusses how to make climate aware art with a transmedia design in mind. Kareem goes on to say that artists are the vanguard to change. – and so much more in this discussion with TNT Artistic Director, Nathaniel Shaw. ARTIST BIOS: Caridad Svich received a 2012 OBIE for Lifetime Achievement. Her work as a playwright, translator, lyricist, and essayist has been seen in print, live and digital stages at diverse venues across the US and abroad. Key plays in her extensive repertoire include 12 Ophelias, Iphigenia Crash Land Falls…, Red Bike and The House of the Spirits (based on Isabel Allende's novel). Theatrical digital world premieres in 2021 have included The Book of Magdalene at Main Street Theater, Houston, and Theatre: a love story at Know Theatre, Cincinnati. Memories of Overdevelopment was developed at The Goodman Theatre's Future Labs Reading Series this summer. As a screenwriter, her first feature film (as co-screenwriter, based on her play) Fugitive Dreams has been seen at the Fantasia, Austin, Tallinn Black Nights, Manchester (UK) and Maryland Film Festivals. Among her recognitions are an American Theatre Critics Association Primus Prize, the Edgerton Foundation New Play Award, and National Latino Playwriting Award (which she has received twice). She has edited several books on theatre. She most recently authored a book about Hedwig and the Angry Inch (Routledge). Her second feature film Abilene (as screenwriter) is currently in post-production. Her new book Toward a Future Theatre was published in December 2021 by Methuen Drama. Follow Caridad on Twitter @Csvich. Make sure not to miss their new play THE HOUSE ON THE LAGOON, based on Rosario Ferre's novel, premieres at GALA Theatre in Washington D.C. February 3-27, 2022. …… Kareem Fahmy is a Canadian-born director and playwright of Egyptian descent. His plays, which include American Fast, A Distinct Society, Dodi & Diana, Pareidolia, The In-Between, and an adaptation of the acclaimed novel The Yacoubian Building, have been developed at Atlantic Theatre Company, The Denver Center, TheatreWorks Silicon Valley, Northlight Theatre, The Magic Theatre, Capital Repertory Theatre, New York Stage & Film, and more. Current commissions: Artist Repertory Theatre, Ensemble Studio Theatre, Colt Coeur. Former Sundance Theatre Lab Fellow, Yaddo Literature Fellow, Phil Killian Directing Fellow (OSF), and TCG Rising Leader of Color. Co-founder/Chair of the Middle Eastern American Writers Lab at The Lark. MFA (Theatre Directing), Columbia. www.kareemfahmy.com …… Thank you for checking out TNT: artFORUM. Subscribe to hear more of what is next for The New Theatre. This podcast is produced, edited, and directed by Hannah Sikora and Kaelen Williams. Theme music by Julian Evans www.julianevans.info

This is the first play anthology to offer eight new plays by trans playwrights featuring trans characters. It establishes a canon of contemporary American trans theatre which represents a variety of performance modes and genres. In part two of this episode, we talked to anthology editors Lindsey Mantoan, Angela Farr Schiller and Leanna Keyes about the importance of studying the work of trans artists, trans theatre is a form of activism, and what the editors hoped to achieve with this collection. 

This is the first play anthology to offer eight new plays by trans playwrights featuring trans characters. It establishes a canon of contemporary American trans theatre which represents a variety of performance modes and genres. We talked to anthology editors Lindsey Mantoan, Angela Farr Schiller and Leanna Keyes, about the plays selected, and how they explicitly call for trans characters as central protagonists in order to promote opportunities for trans performers.

Bryan Halperin is a co-founder and Producer of Powerhouse Theatre Collaborative, a new program of The Belknap Mill in Laconia, NH and the resident theatre company of the Colonial Theatre in Laconia.  Previously he was co-founder of The Winnipesaukee Playhouse.  From 2004 through 2014 Bryan was Executive Director of the Playhouse and besides his managerial duties was involved with the Artistic Director in the selection of all plays performed in the professional summer stock and winter community and youth theatre productions.  Bryan directed productions at all levels, acted in several community theatre productions, and wrote several youth theatre productions.  Bryan has written several plays and musicals, some to be performed for or with children and others for adults.  His play The Hairy Man won the Pestalozzi Prize in 2019 at the Firehouse Center for the Arts, was a semi-finalist for the Premiere Play Festival in 2019, and in 2020 was a finalist and received a reading at the JetFest in 2020.  For three years he was the Executive Director of the New Hampshire Theatre Awards, and for the past eight years he has directed the local Middle/High School drama program.  As a director Bryan has won 6 NH Theatre Awards and been runner up numerous other times.  Howard Sherman is the author of “Another Day's Begun: Thornton Wilder's Our Town in the 21st Century,” published by Methuen Drama. He has been executive director of the American Theatre Wing and the O'Neill Theatre Center, managing director of Geva Theatre, general manager of Goodspeed Musicals, and public relations director of Hartford Stage. He is the US columnist for The Stage newspaper in London and his writing has appeared in The Guardian, American Theatre magazine, Encore Monthly and LitHub, among many others. @hesherman on Twitter, Facebook and Insta. www.hesherman.comElizabeth Howard is the host and the producer of the Short Fuse Podcast. She has never had barriers between her life, work, art and writing. Experience, sense of place and exploration define the choices she makes, seeking collaboration, flexibility, spontaneity and responsiveness in the projects she designs and engages with.  As the host of the Short Fuse she engages individuals in lively and provocative conversations around the arts: dance, theater, literature, music and film. The Arts Fuse was established in June, 2007 as a curated, independent online arts magazine dedicated to publishing in-depth criticism, along with high quality previews, interviews, and commentaries. The publication's over 60 freelance critics (many of them with decades of experience) cover dance, film, food, literature, music, television, theater, video games, and visual arts.Alex Waters is a media producer and editor for the Short Fuse Podcast, a music producer, and Berklee College of Music student. He has written and produced music and edited for podcasts such as The Faith and Chai Podcast and Con Confianza. He produces his own, as well as writes music and records for independent artists such as The Living. Alex lives in Brooklyn.  You can reach him with inquiries by emailing alexwatersmusic12@gmail.com.

Anne Bogart's The Art of Resonance (Methuen Drama, 2021) locates the essence of theatre in the experience of resonant vibration among performers and between performers and audience members. The point of art, Bogart argues, is not to express oneself, but rather to create the conditions for "re-sounding," a process that requires both fully engaged performers and a fully engaged audience. Bogart draws on examples from music to physics to neuroscience in a book of essays that is animated by the same restless curiosity that characterizes her ground-breaking directing. This is a book for anyone interested in the profound question of why we are drawn to the theatre both as artists and as audiences. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Anne Bogart's The Art of Resonance (Methuen Drama, 2021) locates the essence of theatre in the experience of resonant vibration among performers and between performers and audience members. The point of art, Bogart argues, is not to express oneself, but rather to create the conditions for "re-sounding," a process that requires both fully engaged performers and a fully engaged audience. Bogart draws on examples from music to physics to neuroscience in a book of essays that is animated by the same restless curiosity that characterizes her ground-breaking directing. This is a book for anyone interested in the profound question of why we are drawn to the theatre both as artists and as audiences. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Anne Bogart's The Art of Resonance (Methuen Drama, 2021) locates the essence of theatre in the experience of resonant vibration among performers and between performers and audience members. The point of art, Bogart argues, is not to express oneself, but rather to create the conditions for "re-sounding," a process that requires both fully engaged performers and a fully engaged audience. Bogart draws on examples from music to physics to neuroscience in a book of essays that is animated by the same restless curiosity that characterizes her ground-breaking directing. This is a book for anyone interested in the profound question of why we are drawn to the theatre both as artists and as audiences. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Anne Bogart's The Art of Resonance (Methuen Drama, 2021) locates the essence of theatre in the experience of resonant vibration among performers and between performers and audience members. The point of art, Bogart argues, is not to express oneself, but rather to create the conditions for "re-sounding," a process that requires both fully engaged performers and a fully engaged audience. Bogart draws on examples from music to physics to neuroscience in a book of essays that is animated by the same restless curiosity that characterizes her ground-breaking directing. This is a book for anyone interested in the profound question of why we are drawn to the theatre both as artists and as audiences. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Anne Bogart's The Art of Resonance (Methuen Drama, 2021) locates the essence of theatre in the experience of resonant vibration among performers and between performers and audience members. The point of art, Bogart argues, is not to express oneself, but rather to create the conditions for "re-sounding," a process that requires both fully engaged performers and a fully engaged audience. Bogart draws on examples from music to physics to neuroscience in a book of essays that is animated by the same restless curiosity that characterizes her ground-breaking directing. This is a book for anyone interested in the profound question of why we are drawn to the theatre both as artists and as audiences. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The inaugural episode of "Everything Is Trash: A Beckett Discussion" finds hosts Will Bixby and Cody Tinsley at the peak of the first pandemic wave. Recorded in the fall of 2020, "Endgame" seemed oh so appropriate at the time, and even more so looking back! More resources, you ask? Here ya go: The Letters of Samuel Beckett. Edited by Martha Dow Feshenfeld George Craig, Dan Gunn, Lois More Overbeck, Cambridge University Press, Beckett, Samuel, & Paul Auster. Dramatic Works. Grove Press, 2006. Brater, Enoch. 10 Ways of Thinking About Samuel Beckett: The Falsetto of Reason. Methuen Drama, 2011. Calder, John. The Philosophy of Samuel Beckett. Calder Publications, 2001. Driver, Tom F. “Beckett by the Madeleine.” Columbia University Forum, vol. 4, 1961, pp. 21-25. Gontarski, S. E. Beckett Matters: Essays on Late Modernism. Edinburgh University Press, 2017. Knowlson, James. Damned to Fame: The Life of Samuel Beckett. Bloomsbury, 1997. Full Text of Endgame: https://edisciplinas.usp.br/pluginfile.php/3346220/mod_resource/content/1/ENDGAME%20BY%20SAMUEL%20BECKETT.pdf

Welcome to Season 3 of SolTalk! For our season premiere, David and Joey chat with living legend Luis Alfaro about his recent appointment as one of Center Theatre Group's newest Associate Artistic Directors, how The Great Pause has become The Great Possibility, and he shares his wisdom for young writers.     Luis Alfaro was born and raised in downtown Los Angeles and is Center Theatre Group's newest Associate Artistic Director. He is a Chicano writer known for his work in poetry, theatre, short fiction, performance, and journalism. He is the recipient of a MacArthur Foundation Fellowship, popularly known as the ‘genius' grant; the PEN America/Laura Pels International Foundation Theater Award for a Master Dramatist; United States Artist Fellowship and Ford Foundation's Art of Change Fellowship, among others.    Luis spent six seasons as the Mellon Playwright-in-Residence at the Oregon Shakespeare Festival (2013-2019); a member of the Playwright's Ensemble at Chicago's Victory Gardens Theatre (2013-2020); a resident artist at the Mark Taper Forum (1995-2005); and has been associated with the Ojai Playwrights Conference since 2002. His plays and performances include Electricidad, Oedipus El Rey, Mojada, Delano and Body of Faith. Luis spent over two decades in the Los Angeles poetry and performance art communities. He is an Associate Professor with tenure at the University of Southern California (USC). His recent book, The Greek Trilogy of Luis Alfaro, was released by Methuen Drama this past year, and is the winner this year of the prestigious London/Hellenic Prize for 2020.    Connect with Luis (he/him) https://www.instagram.com/theluisalfaro/?hl=en https://twitter.com/LuisAlfaroLA?s=20    Connect with David (he/they) http://www.davidmendizabal.com/ https://www.instagram.com/its_daveed/   Connect with Joey (they/them) https://www.instagram.com/mxjoeyreyes/ https://twitter.com/mxjoeyreyes   Follow The Sol Project http://www.solproject.org/about-us.html  https://www.facebook.com/solprojectnyc/ https://www.instagram.com/solprojectnyc/ https://twitter.com/solprojectnyc   This episode was mixed and edited by Iris Zacarías (she/they) https://www.iriszdesigns.com/ https://www.instagram.com/irismarcelina/

Today's episode features writer and actor Paterson Joseph, author of the play "Sancho, An Act of Remembrance", which he has been performing for some 10 years and brings back to the theatre next year.   He has also recently completed a book about  Sancho, this incredible man who was born on a slave ship in the Atlantic and died a businessman in London. Sancho's life was lived to the full: he composed popular music, corresponded with the great and the good of the day and became the first man of African heritage to vote in a UK general election.    Looking at the world through Sancho's eyes we see a strange place of terrible inequality yet great opportunity, we are forced to address the issues of slavery and racism but also come upon acts of great kindness and discover a true love story.  It is a brief glimpse of London in the 18th Century "in colour".Probably best known as an actor Paterson Joseph has appeared in lead roles with the RSC and National Theatre.  His TV work is extensive and includes Peep Show, Casualty, Green Wing and most recently the BBC's Noughts and Crosses.   Photo:  Robert Day - Paterson Joseph as Ignatius Sancho"Sancho, An Act of Remembrance" , by Paterson Joseph is published by Oberon Modern Plays"Julius Caesar and Me, Exploring Shakespeare's African Play", by Paterson Joseph  is published by Methuen Drama"Britain's Black Past" and "Black London: Life Before Emancipation", by Gretchen Gerzina:https://gretchengerzina.com/about-gretchen-gerzina.htmlGuest's fantasy dinner party guests:Charles Ignatius SanchoAnne IgnatiusJulius YerereEpisode produced and edited by Jacob TaylorMusic by  Charles Ignatius SanchoIf you'd like to help us in our work in keeping the podcast going do please consider becoming a patron.  It's really easy to do, just go to either:https://www.patreon.com/bluefiretheatreorhttps://ko-fi.com/bluefiretheatrewhere you can donate.   Even the smallest donation helps us get our shows on the road and keep the lights on in the studio and we are so grateful And don't forget to follow us on social media.  We'd love to hear from you!  Find us at:https://twitter.com/famous_heardhttps://www.facebook.com/bluefiretheatrehttps://www.instagram.com/bluefire_tchttps://www.bluefiretheatre.co.uk/

Episode 10: excerpt from ANTIGONE ARKHE by Caridad Svich and excerpt from "how you do this is up to you" by Maddy Costa from the book THEATRE BLOGGING by Megan Vaughan. (Methuen Drama, 2020). --- Support this podcast: https://anchor.fm/caridad-svich/support

Season 2, Episode 3: excerpt from UPON THE FRAGILE SHORE by Caridad Svich (Published by Intellect Books) and from Alistair McDowell's POMONA (published by Methuen Drama). Content Warning: Some Cursing. --- Support this podcast: https://anchor.fm/caridad-svich/support

From the gouging out of eyes in Shakespeare's King Lear or Sarah Kane's Cleansed, to the adaptation of Philip Pullman's His Dark Materials trilogy, theatre has long been intrigued by the staging of challenging plays and impossible texts, images or ideas. Performing the Unstageable: Success, Imagination, Failure (Methuen Drama) examines this phenomenon of what the theatre cannot do or has not been able to do at various points in its history. The book explores four principal areas to which unstageability most frequently pertains: stage directions, adaptations, violence and ghosts. Karen Quigley incorporates a wide range of case studies of both historical and contemporary theatrical productions including the Wooster Group's exploration of Hamlet via the structural frame of John Gielgud's 1964 filmed production, Elevator Repair Service's eight-hour staging of Fitzgerald's The Great Gatsby and a selection of impossible stage directions drawn from works by such playwrights as Eugene O'Neill, Philip Glass, Caryl Churchill, Sarah Kane and Alistair McDowall. Placing theatre history and performance analysis in such a context, Performing the Unstageable values what is not possible, and investigates the tricky underside of theatre's most fundamental function to bring things to the place of showing: the stage. Karen Quigley is Lecturer in theatre at the University of York, UK. Her previous publications include contributions to European Drama and Performance Studies, Journal of Contemporary Drama in English, Radical Contemporary Theatre Practices by Women in Ireland and Performance Research. Originally from the North Shore in Massachusetts, Toney Brown is a theater director/performer in New York City. He studied Theater Arts at the University of Massachusetts, Amherst. In NYC, was a Performance Project Fellow at the University Settlement and adapted Harmony Korine’s A Crack Up at the Race Riots at Theater for a New City’s Dream Up Festival. In addition, he was worked extensively with the director Dennis Yueh-yeh Li adapting King Lear, assistant directed Maeterlinck’s The Blind, and performing in his production of Albert Camus’ Caligula (Chaerea) as part of the New Ohio Theater’s Producers Club Festival. When he is not podcasting on NBN, he hosts NYTF Radio, a podcast exploring the history of Yiddish Theatre for the National Yiddish Theatre Folksbiene, available on all platforms. He is an enthusiastic cinephile and avid Red Sox fan. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the gouging out of eyes in Shakespeare's King Lear or Sarah Kane's Cleansed, to the adaptation of Philip Pullman's His Dark Materials trilogy, theatre has long been intrigued by the staging of challenging plays and impossible texts, images or ideas. Performing the Unstageable: Success, Imagination, Failure (Methuen Drama) examines this phenomenon of what the theatre cannot do or has not been able to do at various points in its history. The book explores four principal areas to which unstageability most frequently pertains: stage directions, adaptations, violence and ghosts. Karen Quigley incorporates a wide range of case studies of both historical and contemporary theatrical productions including the Wooster Group's exploration of Hamlet via the structural frame of John Gielgud's 1964 filmed production, Elevator Repair Service's eight-hour staging of Fitzgerald's The Great Gatsby and a selection of impossible stage directions drawn from works by such playwrights as Eugene O'Neill, Philip Glass, Caryl Churchill, Sarah Kane and Alistair McDowall. Placing theatre history and performance analysis in such a context, Performing the Unstageable values what is not possible, and investigates the tricky underside of theatre's most fundamental function to bring things to the place of showing: the stage. Karen Quigley is Lecturer in theatre at the University of York, UK. Her previous publications include contributions to European Drama and Performance Studies, Journal of Contemporary Drama in English, Radical Contemporary Theatre Practices by Women in Ireland and Performance Research. Originally from the North Shore in Massachusetts, Toney Brown is a theater director/performer in New York City. He studied Theater Arts at the University of Massachusetts, Amherst. In NYC, was a Performance Project Fellow at the University Settlement and adapted Harmony Korine’s A Crack Up at the Race Riots at Theater for a New City’s Dream Up Festival. In addition, he was worked extensively with the director Dennis Yueh-yeh Li adapting King Lear, assistant directed Maeterlinck’s The Blind, and performing in his production of Albert Camus’ Caligula (Chaerea) as part of the New Ohio Theater’s Producers Club Festival. When he is not podcasting on NBN, he hosts NYTF Radio, a podcast exploring the history of Yiddish Theatre for the National Yiddish Theatre Folksbiene, available on all platforms. He is an enthusiastic cinephile and avid Red Sox fan. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 38: monologue and two songs from 12 OPHELIAS by Caridad Svich (Published by NoPassport Press), and excerpt from THE STRIP by Phyllis Nagy (published by Methuen Drama). * LIstener Support is appreciated. --- Support this podcast: https://anchor.fm/caridad-svich/support

Day for Night with Caridad Svich, a series at the intersection between theatre and poetry in the edge-lands. Episode 29: excerpt from STEAL BACK LIGHT FROM THE VIRTUAL by Caridad Svich (published by Eyecorner Press in the collection BLASTED HEAVENS), and excerpt from Complicite's MNEMONIC (published by Methuen Drama). * Listener Support is appreciated. --- Support this podcast: https://anchor.fm/caridad-svich/support

Day for Night with Caridad Svich, a series that looks at the intersection of theatre & poetry in the edgelands. Episode 24: excerpt from JARMAN (all this maddening beauty) by Caridad Svich (published by Intellect Books) & excerpt from Sarah Kane's Crave (Published by Methuen Drama). Content warning: some swear words. * Listener Support is appreciated. --- Support this podcast: https://anchor.fm/caridad-svich/support

Day for Night with Caridad Svich, a series that looks at the intersection between theatre & poetry in the edgelands. Episode 23: monologue from The Hour of All Things by Caridad Svich (published by Intellect Books), and monologue from David Harrower's Knives in Hens (Published by Methuen Drama). * Listener Support is appreciated. --- Support this podcast: https://anchor.fm/caridad-svich/support

Who were the actors who first performed Shakespeare’s plays? You might know the names of some of the King’s Men—the company of which Shakespeare was a shareholder—like Richard Burbage, Will Kempe, or Robert Armin. But who were their co-stars? How were they cast? And what was it like to watch their performances? In this episode, we talk to Dr. Lucy Munro, author of the latest book in Bloomsbury’s Shakespeare in the Theatre series, The King’s Men. By exploring theatrical contracts, the handful of existing cast lists, and what there is of 16th- and early 17th-century theater criticism, the book gives us a peek into the inner workings of the company that brought Shakespeare’s plays to life for the first time. Munro is interviewed by Barbara Bogaev. Dr. Lucy Munro is a lecturer in Shakespeare and Early Modern Drama at King's College London. She is the author of Children of the Queen’s Revels: A Jacobean Theatre Repertory, published by Cambridge University Press in 2005, and Archaic Style in English Literature, 1590-1674, published by Cambridge in 2013. She is the editor John Fletcher's Taming of the Shrew-sequel, The Tamer Tamed, for Methuen Drama in 2010. Her latest, Shakespeare in the Theatre: The King’s Men, was published by Bloomsbury in 2020. From the Shakespeare Unlimited podcast. Published June 23, 2020. © Folger Shakespeare Library. All rights reserved. This podcast episode, “What Players Are They?”, was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California.

Dr Naomi Paxton is a performer and feminist theatre historian who wrote her PhD on the work of the Actresses' Franchise League. She has published two books of Suffrage plays with Methuen Drama, and is currently Knowledge Exchange Fellow at the Royal Central School of Speech and Drama.    Naomi is the curator of Dramatic Progress, an exhibition at the National Theatre, which runs until January 26.   Naomi also performs at comedy, cabaret and variety nights as her character Ada Campe.    Naomi's #feministfaves were Vik Groskop's How to Own the Room, Cicely Hamilton's Marriage as a Trade Elizabeth Robin's Way Stations   Pippa's was Claude Cahun   Beth's was the She's All Fat podcast.    Shows to see at VAULT Festival... Inside Voices (Jan 23 – 27) Juniper and Jules (Jan 23 – 27) Dangerous Lenses (Jan 23 – 27) Lola (Jan 23 – 27)  17 (Jan 23 – 27)  Salaam (Jan 30 – Feb 3) Fatty Fat Fat (Jan 30 – Feb 3) Hear Me Howl (Jan 30 – Feb 3) Succubus (Feb 1)  The LOL Word (Jan 25, Feb 15, Mar 15)  Pecs: King for a Night (Feb 2) Elf Lyons: Love Songs To Guinea Pigs (Feb 13 -15)  Shotgun Carousel: Eat Your Heart Out (Feb 16) Smoke Weed Eat Pussy Every Day (Feb 22-23)  i will still be whole (when you rip me in half) (Feb 27 – 28) Woman! Pilot! Pirate? (Feb 27 - Mar 3) Galvanise (Feb 27 - Mar 3) Brazilian Wax XXL Mar 2 The Family Jewels (Mar 8). Can I Touch Your Hair? (Mar 8 – 9) 10 (Mar 13 – 17). Aaand we have even MORE recommendations for 2019, including touring shows, and productions running throughout the year, which can all be found on our New Year Blog!

How has the council estate been represented on stage? In Social Housing In Performance: The English Council Estate On and Off Stage (Methuen Drama, 2018),  Dr. Katie Beswick, a lecturer in drama at the University of Exeter, explores this question using a mixture of dramatic and social theory, along with examples from a variety of theatre performances and forms. The book sets out the history of social housing and the council estate, along with a reading of the (mis)representations of the estate across contemporary media. The book shows the longstanding and complex relationship between theatre, class, and the estate, using examples including high profile state pieces, as well as site specific theatre. The book will be essential reading for theatre and performance scholars, along with anyone interested in issues of class and culture, as well as housing, space and place. Learn more about your ad choices. Visit megaphone.fm/adchoices

How has the council estate been represented on stage? In Social Housing In Performance: The English Council Estate On and Off Stage (Methuen Drama, 2018),  Dr. Katie Beswick, a lecturer in drama at the University of Exeter, explores this question using a mixture of dramatic and social theory, along with examples from a variety of theatre performances and forms. The book sets out the history of social housing and the council estate, along with a reading of the (mis)representations of the estate across contemporary media. The book shows the longstanding and complex relationship between theatre, class, and the estate, using examples including high profile state pieces, as well as site specific theatre. The book will be essential reading for theatre and performance scholars, along with anyone interested in issues of class and culture, as well as housing, space and place. Learn more about your ad choices. Visit megaphone.fm/adchoices

How has the council estate been represented on stage? In Social Housing In Performance: The English Council Estate On and Off Stage (Methuen Drama, 2018),  Dr. Katie Beswick, a lecturer in drama at the University of Exeter, explores this question using a mixture of dramatic and social theory, along with examples from a variety of theatre performances and forms. The book sets out the history of social housing and the council estate, along with a reading of the (mis)representations of the estate across contemporary media. The book shows the longstanding and complex relationship between theatre, class, and the estate, using examples including high profile state pieces, as well as site specific theatre. The book will be essential reading for theatre and performance scholars, along with anyone interested in issues of class and culture, as well as housing, space and place. Learn more about your ad choices. Visit megaphone.fm/adchoices

How has the council estate been represented on stage? In Social Housing In Performance: The English Council Estate On and Off Stage (Methuen Drama, 2018),  Dr. Katie Beswick, a lecturer in drama at the University of Exeter, explores this question using a mixture of dramatic and social theory, along with examples from a variety of theatre performances and forms. The book sets out the history of social housing and the council estate, along with a reading of the (mis)representations of the estate across contemporary media. The book shows the longstanding and complex relationship between theatre, class, and the estate, using examples including high profile state pieces, as well as site specific theatre. The book will be essential reading for theatre and performance scholars, along with anyone interested in issues of class and culture, as well as housing, space and place. Learn more about your ad choices. Visit megaphone.fm/adchoices

How has the council estate been represented on stage? In Social Housing In Performance: The English Council Estate On and Off Stage (Methuen Drama, 2018),  Dr. Katie Beswick, a lecturer in drama at the University of Exeter, explores this question using a mixture of dramatic and social theory, along with examples from a variety of theatre performances and forms. The book sets out the history of social housing and the council estate, along with a reading of the (mis)representations of the estate across contemporary media. The book shows the longstanding and complex relationship between theatre, class, and the estate, using examples including high profile state pieces, as well as site specific theatre. The book will be essential reading for theatre and performance scholars, along with anyone interested in issues of class and culture, as well as housing, space and place. Learn more about your ad choices. Visit megaphone.fm/adchoices

How has the council estate been represented on stage? In Social Housing In Performance: The English Council Estate On and Off Stage (Methuen Drama, 2018),  Dr. Katie Beswick, a lecturer in drama at the University of Exeter, explores this question using a mixture of dramatic and social theory, along with examples from a variety of theatre performances and forms. The book sets out the history of social housing and the council estate, along with a reading of the (mis)representations of the estate across contemporary media. The book shows the longstanding and complex relationship between theatre, class, and the estate, using examples including high profile state pieces, as well as site specific theatre. The book will be essential reading for theatre and performance scholars, along with anyone interested in issues of class and culture, as well as housing, space and place. Learn more about your ad choices. Visit megaphone.fm/adchoices

Here we catch up with actress Julie Hesmondalgh to chat candidly about her life as an actress including 15 years as Soap Opera’s first transgender character Hayley Cropper. Hayley tackled everything from gender recognition and picking knickers to pancreatic cancer and assisted suicide in Coronation Street. Julie also shares her memories of amazing teachers and drama schools, building a theatre in a basement, being a street cleaner and receiving the freedom of Accrington & Hyndburn. Julie is about to perform Mother Courage at Manchester’s Royal Exchange Theatre and has a new book ‘Julie Hesmondhalgh – A Working Diary’ just published by Methuen Drama. Listen and subscribe on iTunes or Spotify for a full list of all episodes of Forever Manchester Meets.

This weeks play – Lonesome West by Martin McDonagh. Lonesome West is part of Connemara triology, along with Beauty Queen of Leenane and A Skull in Connemara. Published 1997, Methuen Drama. First performed Jun 11th, 1997 at Druid Theatre in Galway, in a coproduction with London’s Royal Court Theatre. Went on to Broadway in 1999, … Continue reading The Lonesome West – Episode 2 – Reading Plays →