Podcast appearances and mentions of mike alfreds

Send us a textPatsy sits down with old friend and colleague; renowned theatre director, author and teacher Mike Alfreds. They discuss craft, discipline and the actor being both the creator and the creation. Enjoy!

Warning: High drama very personal big stakes episode!!Great week for us seeing theater…We both saw PRE-EXISTING CONDITION Now up at The Connelly, directed by Maria Dizzia and written by Marin Ireland.  It's a wild play.  We Discuss.Ryan saw Joey Merlo's MIDNIGHT COLESLAW running at The Tank till June 23rd, and David saw INVASIVE SPECIES at The Vineyard.  We get into it baby.Then…David works through a big insecure, kinda resentful acting related breakdown :(Ryan and David debate what playing a character means and how to do it.And the dynamics of working through acting blocks while teaching classes filled with terrific actors. Ryan discusses his expectations and hopes vs outcomes with The Seagull and what it means for his career and Adult Film going forward. Also.  Do you guys know who Mike Alfreds is?Mark Rylance says “If I was allowed to train again to be an actor, but I was only allowed one teacher, it would have to be Mike Alfreds.”Ps.  He's Michelle William's coach too. Perhaps this is worth investigating hmmm?Enjoy :)

ELLIDA, 85min., Switzerland, Drama/Relationships Directed by Leon Mitchell Producer/Star: Katrina Syran Writer: Birgit Syran Myaard Based upon Henrik Ibsen's famous play, The Lady From The Sea. It's set in a timeless period shot south of Norway where Munch painted his masterpiece The Sun. We follow the journey of Ellida's world of loss, love and passion, heightened with the compositions of Grammy winner Mark Thomas and cinematography of Bafta-nominated Ian James Gray. From Katrina Syran: Being Norwegian I've grown up with Ibsen and I have played many of his roles, Gerd from Brand, Hilde from The Master Builder, Nora from The Dolls House & I have even translated for U.K. big theatre director Mike Alfreds the play, Ghosts. After writing 3 of his plays into monologues, Hedda Gabler,The Dolls House & The Lady From The Sea and producing & directing them I realised The Lady From The Sea is a very visual play and could work beautifully as a movie. Interview conducted by Matthew Toffolo Playing on the Film Festival Streaming service later this month. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Welcome to Cool Hand Crypto, where Cinema, Culture and Crypto collide! In this episode of Cool Hand Crypto, Matt speaks with filmmaker and manager Luke Dale, AKA Hanscap on TikTok, about managing Larwood & Koh, his recent TikTok celebrity, the utility of TikTok, 505 Films, his feature directorial debut, and his insights into DAOs, crypto and NFTs. — After graduating from the Guildhall School of Music & Drama, Luke Dale was the recipient of the Alan Bates Award. He worked with Ron Howard on his series Genius for National Geographic, as well as a number of TV shows such as Doctors, Holby City (BBC) and the Royals (E!). As a motion capture artist, he's played roles in Battlefield V (EA) and Kingdom Come: Deliverance (Warhorse Studios). For his first film, he directed and produced a 50 minute documentary on the history and culture of British repertory theatre called The Actor's Apprenticeship, featuring interviews with Dame Judi Dench, Sir Derek Jacobi, Imelda Staunton, Jim Carter, Steven Berkoff, Patsy Rodenburg and Mike Alfreds, among others. In 2021 505's debut short Jump has won 20 festival awards, including Best British Short at the London Independent Film Awards and Best Actor at the Birmingham Film Festival. It also won Best Actor and Best Editor at the Little Wing Film Festival and Best Social Drama at the New Renaissance Film Festival and has been distributed by Paus.tv His most recent music video AXIS has won numerous awards including Best Director and Honourable Mention at the International Music Video Awards. Luke is thrilled to be directing Bad Ladz for his first feature film in 2022. With a superb cast and a budget of £150,000, it promises to be an exciting venture for 505. — For more on Luke head to: TikTok Larwood & Koh 505 Films — Listen and subscribe to the Cool Hand Crypto Podcast! Watch and subscribe to Cool Hand Crypto on YouTube! For the latest episodes and updates head to: CoolHandCrypto.com #CoolHandCrypto

Mike Alfreds is a theatre director, adapter, translator and teacher. He talks about the role of the subconscious, the essence of good storytelling, what it means to be really ‘alive’ in a performance, what we can learn from film/ theatre ‘stars’, the danger of overconfidence, the importance of always being 100% ‘ready’ to work , the significance of curiosity and playfulness, the power of looking at a scene/ situation through someone else’s eyes, the difference between ‘making’ things happen and ‘allowing’ things to happen and so much more.Mike founded and was artistic director of ‘Shared Experience’, directed for the Royal National Theatre, Shakespeare’s Globe and the Royal Shakespeare Company. He worked on over 200 productions all over the world. Mike is also known for his special method of instructing actors, inspired by the principles of Konstantin Stanislavski and Rudolf Laban, with emphasis on physical activities, spontaneity and interaction with others. He has written two books ‘Different Every Night’ which describes his approach to theatre and his rehearsal process when working on plays and ‘Then What Happens?’ which describes his techniques when working on adaptations and storytelling. His system of working and his thoughts on the making of theatre have been said to be as crucial and illuminating as Stanislavsky’s and Peter Brook’s.Mark Rylance said about Mike: 'If I was allowed to train again to be an actor, but I was only allowed one teacher, it would have to be Mike Alfreds. To me he is a genius when it comes to acting and storytelling.' Instagram: @michaeldgolabTwitter: @michaeldgolabFacebook: @michaelgolabactor

Having helped the actor with basic vocal technique in her enormously successful book, Finding Your Voice, Barbara Houseman here shows the actor how to cope with the demands posed by the text [and the subtext] of the play itself. Full of practical exercises developed over many years of working with actors of all ages and experiences, Tackling Text [and subtext] is an indispensable handbook for any actor working with text - from acting students and young professionals, to experienced actors wanting to tackle specific problems and acting coaches wanting to discover new ways of enabling their students. Barbara Houseman's career as a voice and acting coach and theatre director spans nearly forty years. She trained as a voice teacher at The Royal Central School of Speech and Drama and as a theatre director at The Bristol Old Vic Theatre School.  She won an Arts Council director's bursary and assisted Mike Alfreds before working professionally as a director and voice coach.  ​Having worked alongside Cicely Berry in the Voice Department at the Royal Shakespeare Company, Tim Supple invited her to become Associate Director at The Young Vic. On leaving she wrote 'Finding Your Voice' and 'Tackling Text'.   ​Since then she has worked extensively as a voice and text coach in the West End including shows including The Ferryman, Curious Incident of the Dog in the Night Time and Equus (The Gielgud); Kenneth Branagh Season (The Garrick); the All Female Trilogy, Trelawney of the Wells, Coriolanus, Les Liaisons Dangereuses, St Joan (The Donmar); Dr Faustus (Duke of Yorks); Macbeth and Richard III (Trafalgar Studios); Rosencrantz and Guildenstern are Dead, Sweet Bird of Youth, Duchess of Malfi, Playboy of the Western World (The Old Vic). She's been resident voice and text coach at the Open Air Theatre in Regent's Park since 2009 and was Season Associate Director since 2012.​ Individual clients include Jane Asher, Kenneth Branagh, Jessie Buckley, Omid Djalili, Dynamo, Richard Fairbrass, Jerry Hall, Lenny Henry, Nicholas Hoult, Karl Hyde, Patrick Kielty, Jude Law, Clive Owen, Daniel Radcliffe, Scarlett Strallen, Will Young. Barbara is visiting professor at the University of Tennessee and the University of Connecticut. She works as a voice over artist and coaches journalists who narrate their own documentaries, as well as coaching non-actors and individuals wishing to improve their communication skills. Barbara is a fully qualified Healing-Shiatsu Practitioner, an NLP Master Practitioner and a certified Clean Language Coach.

Episode 2.This episode follows on from the first as that recording was interrupted by the rehearsal of the rehearsal of the Canterbury Shakespeare Festival production of Othello. At the time the actors were chanting the lord’s prayer which inspired me to ask their director for an interview.Tom Houlton agreed to the interview and went on to speak about his beginning’s as a young actor and then his new found passion as a director at Kent University. He spoke of being inspired by Thomas Ostermeier and Mike Alfreds with the later having particular influence with his philosophy on the importance of the actor. Tom believes that each actor must bring his own character to the performance and employees different techniques to make each performance a performance in its own right.I really enjoyed this interview, because other than being an audience member of a few theatre performances I had no previous knowledge of acting or directing. It gave me a chance to explore something that would not normally be a point of interest for me.I hope it does for you too.This podcast is accompanied by my blog Canterbury Shakespeare FestivalPlease like, comment, subscribe and share on: twitteryoutube instagram WordPress Facebook Podbean

The Guildhall School events podcast returns as we talk to the cast and crew of The Crucible, one of our drama productions this autumn term. In this episode, we talk to lighting designer Chris Needle and cast members Caleb Roberts and Mary Galloway about this production of Arthur Miller's disturbing yet thrilling take on the Salem Witch-hunts of 1692 which still resonates today with the threat we face from irrational ideologies and mass hysteria. The creative team is made up of director Mike Alfreds, designer Amelia Jane Hankin, lighting designer Chris Needle* and sound designer Sean Mortimer* (*students on the BA (Hons) Technical Theatre Arts programme). The Crucible runs in the Milton Court Studio Theatre from 17-22 October 2016. Tickets available from the Barbican Box Office: https://www.barbican.org.uk/theatre/event-detail.asp?ID=20056 Intro and outro music is Little Lily Swing by Tri-Tachyon, licenced under Creative Commons CC BY 4.0 (http://freemusicarchive.org/music/Tri-Tachyon/Little_Lily_Swing/Tri-Tachyon_-_01_-_Little_Lily_Swing)

“It’s incredibly complicated and very difficult for the actors…it delves into very difficult relationships - the more we dig, the more we find which is exciting about it. If it’s funny, it’s funny, that’s great - I’m not setting out to do a comedy, I’m just setting out to do this play.” – director Mike Alfreds joins us to talk about Twelfth Night in the Theatre at Milton Court (16-21 Feb), along with actor Charlie Bate, actor/composer Tom Chapman, production manager Elliott Cahill, and stage manager Rose Bedwell-Clayton.

This week Daniel and Monty sit down with director, writer, and acting teacher Anya Saffir. Anya taught Daniel and Monty during their undergraduate time in the Atlantic Conservatory program at NYU’s Tisch School of the Arts. Since then, she has directed around the world from Mexico City to the Moscow Art Theatre. To learn more, check out her website anyasaffir.com.Topics include:Anya’s unexpected and life-changing experience teaching and now directing in Mexico CityWhat it is about directing the classics that appeals to Anya more than directing new workThe unique school of philosophy at the University of Wittenberg during Shakespeare’s timeThe power of writing that brings artists and audience members into contact with core human questions (or “the vein of humanity” or “the great mysteries”) without seeking to answer them Freud’s concept of “Religiosity”Looking at plays that confront you with the big existential questions as their own form of religious textsHow working on plays that explore the big questions can help artists when they reach those moments in their own lives and leave them a little wiser and a little bit more peacefulThe debate between Tuzenbach and Vershinin in The Three Sisters on whether humanity moves forward or essentially stays the same as it advances, and what that implies for people who seek happiness in the present moment or sacrifice for future generations.Daniel Kemper as the next Teri GrossChekhov’s principle value of Freedom and how that demands a spontaneity and freedom where every moment changes from one performance to anotherHow to direct “that which only wants to be free,” or how Anya translated the above struggle into a new type of rehearsal process to rigorously learn the world and then establish an environment for playThe glory of the traverse (or “tennis court”) audience arrangementThe power of isolating the human voice and the fear of having to be spontaneous in an age where so much communication can be written and rewrittenMirror Neurons and their implications in an age where many people spend more time with technology than other human beingsThe term “Master Teacher” The power of putting in the hoursConfidence as a biproduct of preparing, showing up, and doing the workThe power of coming into the first rehearsal with the lines already learned deep in your bonesFlow State, or Optimal Performance StateThe tremendous pressure on directors to “make their mark” and how it often leads to productions that smell of the director’s own ego needs rather than the “necessary question of the play” or the playwright’s intent.Music is by Kara Arena, Master of Music for Rude Grooms. Follow us @thiswoodeno on Twitter and Instagram, visit us on the web at thiswoodeno.com, like us at facebook.com/thiswoodenopod/, or support us on Patreon (patreon.com/rudegrooms) to join the conversation during livestream broadcasts of every episode.This week’s shoutouts & further reading include:Atlantic Acting School: atlanticactingschool.orgTeatro Helinico: helenico.gob.mx/Hamlet by William Shakespeare: amzn.to/39dRIMWThe Three Sisters by Anton Chekhov: amzn.to/3bjXkqSAnna Karenena by Leo Tolstoy: amzn.to/2ve3ZSWUncle Vanya by Anton Chekhov: amzn.to/38bRCW7Different Every Night by Mike Alfreds: amzn.to/2vkDpY8Casa Mañana: casamanana.org/Sherry Turkle - TED Talk: ted.com/talks/sherry_turkle_connected_but_alone; Reclaiming Conversation (book): amzn.to/2w24wb3Oprah Winfrey’s SuperSoul Conversations with Maya Angelou: supersoul.tv/tag/dr-maya-angelouAshley White: ashleyhwhite.com/Neutral Chaos Combat: Intimacy in Performance Intensive: neutralchaoscombat.com/visiting-artists-2/This Wooden O is a production of Rude Grooms. Learn more at rudegrooms.com or follow us @rudegrooms on Twitter, Instagram, and Facebook.Support this podcast at — https://redcircle.com/this-wooden-o/donations