POPULARITY
6 episodes with Mother Courage
6 episodes with Mother Courage
3 episodes with Mother Courage
5 episodes with Mother Courage
2 episodes with Mother Courage
3 episodes with Mother Courage
2 episodes with Mother Courage
2 episodes with Mother Courage
2 episodes with Mother Courage
Suzanne Vega has just released her first album of all-new material for nearly a decade. "Flying With Angels" continues her folk-influenced sound and introduces influences of soul as well as a song in tribute to Bob Dylan's "I Want You". She performs in the studio with guitarist Gerry Leonard.Sean Combs aka P Diddy is on trial in New York, charged with sex trafficking, racketeering conspiracy and transportation to engage in prostitution. We look at the first day's proceedingsAnd there's a unique community-led production of Bertolt Brecht's play Mother Courage and her Children, taking place in Horden, County Durham. The cast combines a unique combination of newly trained-up actors drawn from the surrounding area and established South African actors. We speak to drector Mark Dornford-May and first time professional actor, Julie Ainsell.Presenter Samira Ahmed
Happy Monday & welcome back to another episode ofNot for the Faint!This week, Alyssa covers Christine Slaughter, a woman who committed horrific crimes against the most vulnerable. Over the span of several years, Slaughter's disturbing pattern of killing newborns in her care finally led to an investigation.On the other side of the episode, Summer tells the inspiring and tragic story of Mother Courage, a woman whose strength and determination were put to the ultimate test when she had to fight for the safety of her child. After her 13 daughter is brutally raped, Mother Courage became a symbol of defiance and resilience, taking justice into her own hands.Rate, review & subscribe!
Send your questions or provocations to Adam or Budi here!In this episode, Budi sits down with Richard Schechner to talk about his extradoinary career in theatre.Richard Schechner, one of the founders of Performance Studies, is a performance theorist, theater director, author, editor of TDR and the Enactments book series, University Professor, and Professor of Performance Studies. Schechner combines his work in performance theory with innovative approaches to the broad spectrum of performance including theatre, play, ritual, dance, music, popular entertainments, sports, politics, performance in everyday life, etc. in order to understand performative behavior not just as an object of study, but also as an active artistic-intellectual practice. He founded The Performance Group and East Coast Artists. His theatre productions include Dionysus in 69, Commune, The Tooth of Crime, Mother Courage and Her Children, Seneca's Oedipus, Faust/gastronome, Three Sisters, Hamlet, The Oresteia, YokastaS, Swimming to Spalding, and Imagining O. His books include Public Domain, Environmental Theater, Performance Theory, The Future of Ritual, Between Theater and Anthropology, Performance Studies: An Introduction, and Performed Imaginaries. As of 2018, his books have been translated into 18 languages. His theatre work has been seen in Asia, Africa, Europe, and North America. He has directed performance workshops and lectured on every continent except Antarctica. He has been awarded numerous fellowships including Guggenheim, NEH, ACLS, and fellowships at Dartmouth, Cornell, Yale, Princeton, and the Central School of Speech and Drama, London.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: https://www.purple-planet.comAdditional compositions by @jack_burmeister
Send your questions or provocations to Adam or Budi here!In this episode, Adam and Budi sit down with Brian Kulick, the current chair for the theatre programme at Columbia University. Author of Staging the End of the World: Theatre in a Time of Climate Crisis, Brian talks us through his extensive career as a director, author and educator. Kulick is a director, writer, educator, producer, and current Chair of the Theatre Program. He's been the Artistic Director of Classic Stage Company (CSC) where he directed Galileo with F. Murray Abraham, The Tempest with Mandy Patinkin, and The Forest with Dianne Weist. He commissioned and co-directed poet Anne Carson's award-winning An Oresteia, collaborated with composer Duncan Sheik on productions of Brecht's Caucasian Chalk Circle, Man's A Man, and Mother Courage, and produced CSC's much lauded Chekhov Cycle (Ivanov, The Seagull, Uncle Vanya, The Three Sisters, and The Cherry Orchard) with Alan Cumming, Maggie Gyllenhaal, Ethan Hawke, Joley Richardson, Peter Sarsgaard, John Turturro and Dianne Weist. 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: https://www.purple-planet.comAdditional compositions by @jack_burmeister
Our ninth Great Political Fiction is Bertolt Brecht's classic anti-war play, written in 1939 at the start of one terrible European war but set in the time of another: the Thirty Years' War of the 17th century. How did Brecht think a three-hundred-year gap could help us to understand our own capacity for violence and cruelty? Why did he make Mother Courage such an unlovable character? Why do we feel for her plight anyway? And what can we do about it?Tomorrow: Ayn Rand's Atlas ShruggedFind out more about Past Present Future on our new website www.ppfideas.com where you can also join PPF+ to get bonus episodes and ad-free listening. Hosted on Acast. See acast.com/privacy for more information.
Our eighth Great Political Fiction is H. G. Wells' The Time Machine (1895) which isn't just a book about time travel. It's also full of late-19th century fear and paranoia about what evolution and progress might do to human beings in the long run. Why will the class struggle turn into savagery and human sacrifice? Who will end up on top? And how will the world ultimately end?Tomorrow: Bertolt Brecht's Mother Courage & Her ChildrenFind out more about Past Present Future on our new website www.ppfideas.com where you can also join PPF+ to get bonus episodes and ad-free listening. Hosted on Acast. See acast.com/privacy for more information.
Today we have a very special guest, one that lives in the hearts of all Bonnetheads: Karen Grassle, otherwise known as Caroline Ingalls--or "Ma"! Beginning with the Little House pilot, her performance on Little House captured the hearts of millions, embodying strength, warmth, and resilience. Beyond her work on Little House, she has enjoyed a varied career in theater, film, and television, earning a reputation as a versatile and dedicated performer. Her contributions to Little House continue to be celebrated world wide and she is beloved as one of the most iconic TV moms in television history. Her belief of Ma being a strong woman and not an archetypal ingenue was a big deal in 1974.We reminisce about the enthusiastic reception for her during the Simi Valley 50th Anniversary Festival, and how Karen didn't know how beloved she was until she was 80 years old--the year she published her memoir, "Bright Lights, Prairie Dust". She talks about accepting her destiny as Ma and how it influenced the trajectory of her career, how recovery from alcohol addition was a huge milestone in her life, and shares memories of some favorite moments on set, including Victor French, Melissa Sue Anderson and the iconic “A Matter of Faith” episode. #chickenwireKaren shares how acting was her calling from a young age and how writing her personal and vulnerable memoir was healing for her. Karen answers some of your listener questions, and then joins us on Patreon for a very personal conversation about difficulties on the Little House set behind the scenes and with Michael Landon during her time on Little House. Not on Patreon yet? Join us for bonus content that you won't find anywhere else!For more info go to:PATREON: https://www.patreon.com/LittleHousePodcastwww.LittleHouse50Podcast.com to connect with our hosts and link to their websites.*The merch shop is under renovation - we will keep you posted on the status!*www.LivinOnaPrairieTV.com Check out this Award Winning Series created by Pamela Bob, with special guest stars Alison Arngrim and Charlotte Stewart.Little House 50th Anniversary Bus Tours - www.SimiValleyChamber.org select Little House 50th Anniversary and then Bus TicketsFacebook/Instagram/TikTok:Dean Butler @officialdeanbutlerAlison Arngrim @alisonarngrimPamela Bob @thepamelabob, @prairietvLITTLE HOUSE EVENTSAugust 16th-17th Tombstone, AZBook SigningAddress: 530 East Allen St. Tombstone AZ 85638RSVP at Eventbrite: Tombstone Book Signing Event - Dean Butler & Special GuestsAugust 30th-Sept. 1st Watertown, CThttps://www.eventbrite.com/e/little-house-50th-cast-reunion-ct-tickets-753166881417Address: Connecticut Convention Center100 Columbus Boulevard Hartford, CT 06103September 3rd-4th 2024, Lancaster, PA https://www.eventbrite.com/e/792807006097?aff=oddtdtcreatorFarm & Home CenterAddress: 1383 Arcadia Road Lancaster, PA 17601September 14th-15th Lyles, TNJohnny Cash's Hideaway FarmAddress: 9347 Old Highway 46 Lyle, TN 37025Sept 27-29, 2024 SDCarrie DaysKeystone Community CenterSeptember 27th-29th Mansfield, MOWilder DaysAddress: 100 E ParksquareMansfield, MO 65704United StatesOctober 4th & 5th - Tulsa, OKOctober 18th & 19th - Almanzo Wilder HomesteadNovember 16th & 17th - Branson, MOBranson Convention Center200 South Sycamore Street Branson, MO 65616December 6th-8th : Corsicana, TXhttps://www.eventbrite.com/e/923124278567?aff=oddtdtcreatorCONFESSIONS OF A PRAIRIE BITCH-ALISON'S ONE-WOMAN SHOWAugust 1 at 7pm Oasis (298 11th St, San Francisco, CA 94103)Tickets at www.sfoasis.com**WITH A SURPRISE SPECIAL GUEST**ADDITIONAL SIGNINGSAlison and Melissa Gilbert will be appearing at:FAN X in Salt Lake City, Sept 26 - 28https://fanxsaltlake.com/FACEBOOK LIVE with PAMELA and DEANhttps://fb.watch/sXZvDxawWr/
In this episode of our podcast, DLS co-founder Katy Derbyshire brings us the story of Therese Giehse, a German actor, pacifist and exile known for founding an anti-Nazi cabaret (which, really, we could all get behind these days). Therese had artistic and other adventures with her lover Erika Mann (daughter of Thomas Mann), was photographed by Annemarie Schwarzenbach, and embodied several of Bertolt Brecht's best-known characters on stage. She also acted in movies with Vivien Leigh and previous DLS star Romy Schneider. Born in Munich in 1898, she went against her liberal Jewish family's expectations to train as an actor, cast as older characters even as a young woman. The Pfeffermühle cabaret started up in 1933, swiftly moving to Zürich to escape the Nazis. With Erika and Klaus Mann, Giehse toured the political show around Europe, never mentioning any names but using parables and storytelling to rip the piss out of Hitler and his henchmen. Therese returned to Zürich in 1937, where she joined the outstanding cast at the Schauspielhaus theatre, many of them also emigrants like her. During the war, she performed in the premiere staging of Brecht's anti-war play Mother Courage, defining the title role in what some directors have called the greatest play of the 20th century. She went on working with Brecht and other key playwrights and directors after 1945, in Munich, Zürich and East Berlin. Therese Giehse maintained her pacifist stance throughout her life, criticizing the Vietnam War at public events. She died in 1975 and is buried with her sister in Zürich. For more on Therese Giehse, please visit our episode notes at https://deadladiesshow.com/2024/07/19/podcast-73-therese-giehse Our theme music is “Little Lily Swing” by Tri-Tachyon https://freemusicarchive.org/music/Tri-Tachyon/the-kleptotonic-ep/little-lily-swing Check out our Patreon here: www.patreon.com/deadladiesshowpodcast Thanks for listening! We'll be back with a new episode next month. **** The Dead Ladies Show is a series of entertaining and inspiring talks about women who achieved amazing things against all odds, presented live in Berlin and beyond. This podcast is based on that series. Because women's history is everyone's history. The Dead Ladies Show was founded by Florian Duijsens and Katy Derbyshire. The podcast is created, produced, edited, and presented by Susan Stone.
Finding Mother Courage is a "you have to laugh otherwise you'd cry" glimpse into some of the ridiculous things actors are put through by those they audition for...Written by: Pamela KingsleyDirected by: Monica VillalbaStarring: Samantha Garcia and Julian Serna*Sound by: Andrew Pond**Denotes EFCT Company MemberClick HERE for transcriptSupport this podcast at — https://redcircle.com/half-hour-audio-hour/exclusive-content
Bertolt Brecht's classic anti-war play was written in 1939 at the start of one terrible European war but set in the time of another: the Thirty Years' War of the 17th century. How did Brecht think a three-hundred-year gap could help us to understand our own capacity for violence and cruelty? Why did he make Mother Courage such an unlovable character? Why do we feel for her plight anyway? And what can we do about it?Next time: Ayn Rand's Atlas ShruggedComing next week on PPF: The Ideas Behind UK General ElectionsSign up now to PPF+ to get 2 bonus episodes every month and ad-free listening www.ppfideas.com Hosted on Acast. See acast.com/privacy for more information.
H. G. Wells' The Time Machine (1895) isn't just a book about time travel. It's also full of late-19th century fear and paranoia about what evolution and progress might do to human beings in the long run. Why will the class struggle turn into savagery and human sacrifice? Who will end up on top? And how will the world ultimately end?Next time: Bertolt Brecht's Mother Courage and Her ChildrenComing soon on PPF: The Ideas Behind UK General ElectionsTo receive our fortnightly newsletter just follow the link here https://linktr.ee/ppfideasSign up now to PPF+ to get 2 bonus episodes every month and ad-free listening www.ppfideas.com Hosted on Acast. See acast.com/privacy for more information.
This second episode about George Eliot's masterpiece explores questions of politics and religion, reputation and deception, truth and public opinion. What is the relationship between personal power and faith in a higher power? Is it ever possible to escape from the gossip of your friends once it turns against you? Who can rescue the ambitious when their ambitions are their undoing?To get two bonus episodes from our recent Bad Ideas series – on Email and VAR – sign up now to PPF+ and enjoy ad-free listening as well www.ppfideas.comNext time: Trollope's Phineas Redux, the great novel of parliamentary ups and downs.Coming soon on the Great Political Fictions: Dr Jekyll and Mr Hyde, The Time Machine, Mother Courage and her Children, Atlas Shrugged, Midnight's Children, The Handmaid's Tale, and much more. Hosted on Acast. See acast.com/privacy for more information.
Melvyn Bragg and guests discuss one of the greatest European playwrights of the twentieth century. The aim of Bertolt Brecht (1898-1956) was to make the familiar ‘strange': with plays such as Mother Courage and The Caucasian Chalk Circle he wanted his audience not to sit back but to engage, observe and discover the contradictions in life, and act on what they learnt. He developed this approach in turbulent times, from Weimar Germany to the rise of the Nazis, to exile in Scandinavia and America and then post-war life in East Berlin, and he has since inspired dramatists around the world.WithLaura Bradley Professor of German and Theatre at the University of EdinburghDavid Barnett Professor of Theatre at the University of YorkAnd Tom Kuhn Professor of Twentieth Century German Literature, Emeritus Fellow of St Hugh's College, University of OxfordProducer: Simon Tillotson In Our Time is a BBC Studios Audio productionReading list: David Barnett, Brecht in Practice: Theatre, Theory and Performance (Bloomsbury, 2014)David Barnett, A History of the Berliner Ensemble (Cambridge University Press, 2015)Laura Bradley and Karen Leeder (eds.), Brecht and the GDR: Politics, Culture, Posterity (Camden House, 2015)Laura Bradley, ‘Training the Audience: Brecht and the Art of Spectatorship' (The Modern Language Review, 111, 2016)Bertolt Brecht (ed. Marc Silberman, Tom Kuhn and Steve Giles), Brecht on Theatre (Bloomsbury, 2014)Bertolt Brecht (ed. Tom Kuhn, Steve Giles and Marc Silberman), Brecht on Performance (Bloomsbury, 2014)Bertolt Brecht (trans. Tom Kuhn and David Constantine), The Collected Poems of Bertolt Brecht (Norton Liveright, 2018) which includes the poem ‘Spring 1938' read by Tom Kuhn in this programmeStephen Brockmann (ed.), Bertolt Brecht in Context (Cambridge University Press, 2021)Meg Mumford, Bertolt Brecht (Routledge, 2009)Stephen Parker, Bertolt Brecht: A Literary Life (Bloomsbury, 2014)Ronald Speirs, Brecht's Poetry of Political Exile (Cambridge University Press, 2000)David Zoob, Brecht: A Practical Handbook (Nick Hern Books, 2018)
Melvyn Bragg and guests discuss one of the greatest European playwrights of the twentieth century. The aim of Bertolt Brecht (1898-1956) was to make the familiar ‘strange': with plays such as Mother Courage and The Caucasian Chalk Circle he wanted his audience not to sit back but to engage, observe and discover the contradictions in life, and act on what they learnt. He developed this approach in turbulent times, from Weimar Germany to the rise of the Nazis, to exile in Scandinavia and America and then post-war life in East Berlin, and he has since inspired dramatists around the world.WithLaura Bradley Professor of German and Theatre at the University of EdinburghDavid Barnett Professor of Theatre at the University of YorkAnd Tom Kuhn Professor of Twentieth Century German Literature, Emeritus Fellow of St Hugh's College, University of OxfordProducer: Simon Tillotson In Our Time is a BBC Studios Audio productionReading list: David Barnett, Brecht in Practice: Theatre, Theory and Performance (Bloomsbury, 2014)David Barnett, A History of the Berliner Ensemble (Cambridge University Press, 2015)Laura Bradley and Karen Leeder (eds.), Brecht and the GDR: Politics, Culture, Posterity (Camden House, 2015)Laura Bradley, ‘Training the Audience: Brecht and the Art of Spectatorship' (The Modern Language Review, 111, 2016)Bertolt Brecht (ed. Marc Silberman, Tom Kuhn and Steve Giles), Brecht on Theatre (Bloomsbury, 2014)Bertolt Brecht (ed. Tom Kuhn, Steve Giles and Marc Silberman), Brecht on Performance (Bloomsbury, 2014)Bertolt Brecht (trans. Tom Kuhn and David Constantine), The Collected Poems of Bertolt Brecht (Norton Liveright, 2018) which includes the poem ‘Spring 1938' read by Tom Kuhn in this programmeStephen Brockmann (ed.), Bertolt Brecht in Context (Cambridge University Press, 2021)Meg Mumford, Bertolt Brecht (Routledge, 2009)Stephen Parker, Bertolt Brecht: A Literary Life (Bloomsbury, 2014)Ronald Speirs, Brecht's Poetry of Political Exile (Cambridge University Press, 2000)David Zoob, Brecht: A Practical Handbook (Nick Hern Books, 2018)
Our series on the great political novels and plays resumes with George Eliot's Middlemarch (1872), which has so much going on that it needs two episodes to unpack it. In this episode David discusses the significance of the book being set in 1829-32 and the reasons why Nietzsche was so wrong to characterise it as a moralistic tale. Plus he explains why a book about personal relationships is also a deeply political novel.To get two bonus episodes from our recent Bad Ideas series – on Email and VAR – sign up now to PPF+ and enjoy ad-free listening as well www.ppfideas.comNext time: Middlemarch (part 2) on marriage, hypocrisy, guilt and redemption.Coming soon on the Great Political Fictions: Phineas Redux, Dr Jekyll and Mr Hyde, The Time Machine, Mother Courage and her Children, and much more. Hosted on Acast. See acast.com/privacy for more information.
Damien Ryan is managing director and artistic director of Sport for Jove Theatre Company, now in its twelfth year, where he has directed more than 30 productions, written and developed three new works and adapted over a dozen plays. The company has a comprehensive education program developed by Damien, and works with tens of thousands of Australian students annually at secondary and tertiary levels. Damien has worked extensively with Shakespeare, performing in or directing over 70 productions in Australia and overseas, and has worked as actor, director and writer across Australia's major companies including STC, MTC, Bell Shakespeare, Belvoir, Sydney Festival, Canberra Theatre Centre, Brisbane Festival and Queensland Theatre, and in the independent sector in Sydney. Recent directing credits include, Venus & Adonis (a feature film), Romeo & Juliet, The Crucible, The Father, Hamlet, Henry V, Henry IV Parts 1&2, Romeo & Juliet, Rose Riot, Merchant of Venice, Antigone, Antony and Cleopatra, The River at the End of the Road, Cyrano de Bergerac, No End of Blame, Othello, The Tempest, Romeo & Juliet, Away, The Taming of the Shrew, Macbeth, Loves Labour's Lost, The Importance of Being Earnest, The Crucible, A Midsummer Night's Dream, All's Well That Ends Well, Twelfth Night, The Libertine, Look Back in Anger. Acting credits include Venus & Adonis, Othello, Romeo & Juliet, Life of Galileo, Twelfth Night, Nora; As You Like It, Antony and Cleopatra, Richard 3, Comedy of Errors, Hamlet; Crime and Punishment, Under Milk Wood; Mother Courage, Isolde and Tristan, Hamlet and King Lear. Damien has two award-winning play adaptations (Antigone and Cyrano de Bergerac) published with Currency Press. From May 1st to June 1st, Sport for Jove's production of ISOLDE and TRISTAN plays the Old Fitz theatre in Sydney - and it is directed by today's featured guest - Damien Ryan. 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).
Writer Colum McCann with the story of Diane Foley, whose son James was murdered by the Islamic State (CW: this episode contains descriptions of violent acts and terrorism)
We are excited to bring you this new podcast series, The Art of Collaboration. This series will focus on directors and choreographers in conversation with some of their collaborators on a specific production. This series will explore the ins and outs of these processes, both the finer details as well as overarching ideas about what goes into a productive collaboration on a show. In this inaugural episode, Director Alex Timbers, Costume Designer Catherine Zuber, and Lighting Designer Justin Townsend are interviewed by Foundation Director Dani Barlow to discuss their experience working together on Moulin Rouge! The Musical. Learn more about this episode's guests below. Bios: Alex Timbers (Director) is the recipient of Tony, Drama Desk, Outer Critics Circle, and London Evening Standard Awards, as well as two Obie and Lortel Awards. Broadway credits include Gutenberg the Musical; Here Lies Love; Moulin Rouge!; Just For Us; Beetlejuice; David Byrne's American Utopia; Oh Hello with Nick Kroll and John Mulaney; The Pee-wee Herman Show; Peter and the Starcatcher; and Bloody Bloody Andrew Jackson (also bookwriter). For television, he co-created Amazon's “Mozart in the Jungle” (Golden Globe Award) and has helmed the Netflix specials “John Mulaney: Kid Gorgeous,” “Ben Platt: Live at Radio City,” and most recently “John Mulaney: Baby J” (2023 Emmy Award nomination). His debut picture book, Broadway Bird, set in an all-animal version of Broadway, is published by Macmillan. @alextimbers Justin Townsend (Lighting Designer): His professional lighting design work includes such productions as: Moulin Rouge! The Musical (Tony Award, Drama Desk Award, Outer Critics Circle Award); Jagged Little Pill (Tony Nomination); American Psycho (Tony nomination, Drama Desk Award, Outer Critics Circle Award, Henry Hewes Award); The Humans (Tony nomination, Drama Desk Award); Here Lies Love, (Drama Desk Award, Public Theater); Vietgone, (MTC); Pretty Filthy, (Civilians); Mr. Burns, a Post Electric Play, Milk Like Sugar, (Playwrights Horizons); Odyssey, A Winter's Tale, (Public Works at the Delacorte Theater); Venus, (Signature Theater); Unnatural Acts, Mother Courage, and Galileo (Classic Stage Company) Catherine Zuber (Costume Designer) Broadway: Moulin Rouge, (Tony Award, Olivier Award, Drama Desk Award, Outer Critics Circle Award), Mrs. Doubtfire, My Fair Lady, (Tony Award, Drama Desk Award, Outer Critics Circle Award), Oslo, War Paint (Drama Desk Award, Outer Critics Circle Award), King & I, (Olivier Award, Tony Award), Fiddler on the Roof, Golden Boy. South Pacific (Tony Award); The Coast of Utopia (Tony Award); The Light in the Piazza (Tony Award); Awake and Sing! (Tony Award); The Royal Family (Tony Award); Gigi (Drama Desk Award). Metropolitan Opera: Rigoletto, Porgy & Bess, Il Barbieri di Siviglia, Les Contes d'Hoffman, Comte Ory, L'elisir d'Amore, Otello, Dr. Atomic, Roméo et Juliette. 2016 Induction: Theater Hall of Fame. 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
Just when Hannah was settled into her new sober life, her biggest transition was yet to come. Becoming a mother felt like everything she had ever known was in question, yet again, but this time she had some tools up her sleeve to help as she birthed herself as a newborn mother, without a wine in sight. Host application form:https://forms.gle/eGNUbdpR72EnrtkX6 Speaker application form:https://forms.gle/9fpJTcsf1Fz9cFC29 Social media handles:@storiesthatstir Event links:https://events.humanitix.com/stories-that-stir-freedom Patreon:https://www.patreon.com/StoriesthatStir --- Send in a voice message: https://podcasters.spotify.com/pod/show/stories-that-stir/message
Duke Special (Peter Wilson) is a singer, songwriter and composer based in Belfast, NorthernIreland. His romantic style, distinctive accent and vocals have earned him a loyal fanbaseand a string of successful albums, including Adventures in Gramophone & Songs From theDeep which went platinum.He is curious about music, theatre, books, poetry, art, love, life, redemption, death and 78s.He has released 16 albums and EPs, toured all over the world, and has been involved in adiverse array of projects, including writing the music for Deborah Warner's criticallyacclaimed 2009 production of Mother Courage and Her Children at London's NationalTheatre and being commissioned by the Metropolitan Museum of Art in New York to write aseries of original songs based on photographs for an exhibition.His live performances have a theatrical style inspired by Vaudeville and music hall, and oftenincorporate 78s played on an old-fashioned gramophone, or sound effects from a transistorradio. His new album 'Blood for Ghosts' is available now.Special thanks to Julie & John for arranging this interview.Website: https://www.dukespecial.com/Facebook: https://www.facebook.com/DukeSpecial/ Hosted on Acast. See acast.com/privacy for more information.
London-born Tony Llewellyn-Jones graduated from the National Institute of Dramatic Art in 1971 and was invited to join the Melbourne Theatre Company. Over the next two years Tony appeared in productions including Tonight at 8.30, Mother Courage, The Cherry Orchard, How Does Your Garden Grow?, The Time is Not Yet Ripe, Danton's Death, Paying the Piper, An Ideal Husband, You Want It Don't You Billy?, Macquarie, The Plough and The Stars, Forget-Me-Not-Lane, The Tavern, Sticks and Bones and Batman's Beachhead. Tony has returned to Melbourne Theatre Company for The Visit, Life x 3, Realism and North By Northwest. He also has appeared for the Old Tote Theatre Company, Marian Street, Nimrod Theatre, Griffin, Belvoir and Bell Shakespeare. For the Sydney Theatre Company his credits include The Crucible, Saint Joan, Life After George, Corporate Vibes, Amigos, Metamorphosis, The Tempest, Hay Fever and King Lear. He served on the panel that engaged Richard Wherret as the inaugural Artistic Director of the Sydney Theatre Company. He received an AFI Best Supporting Actor nomination for his role in the celebrated cinema capture of Picnic at Hanging Rock. In 2012 Tony performed in the Australian tour of Yes, Prime Minister for Guild, Woods & Bryce Productions. And in 2016 he was cast in the 60th anniversary production of My Fair Lady, as Colonel Hugh Pickering - a role it seems he was destined to play. Tony has appeared in numerous television series, including Rake, I Spry, The Prime Minister Is Missing, Underbelly, G.P., All Saints, Hell Has Harbour Views, BackBerner, Grass Roots, 13 Gantry Row, The Paper Boy, One Day Miller and Who Do You Think You Are?. His film appearances include Illuminations, Inside Looking Out, Picnic at Hanging Rock, The Girl who Met Simone de Beauvoir in Paris, Fatty Finn, Seeing Red, Man of Flowers, Cosi and Human Touch. Tony also has worked as a producer on Paul Cox feature films, including Man of Flowers, My First Wife, Cactus, Vincent: The Life and Death of Vincent van Gogh, Human Touch, Salvation and Force of Destiny. Tony Llewellyn Jones is a true gentleman of the theatre - abundant with anecdote, considered opinion and tremendous passion for a career that has rewarded him many times over. 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
London born Tony Llewellyn-Jones graduated from the National Institute of Dramatic Art in 1971 and was invited to join the Melbourne Theatre Company. Over the next two years Tony appeared in productions including Tonight at 8.30, Mother Courage, The Cherry Orchard, How Does Your Garden Grow?, The Time is Not Yet Ripe, Danton's Death, Paying the Piper, An Ideal Husband, You Want It Don't You Billy?, Macquarie, The Plough and The Stars, Forget-Me-Not-Lane, The Tavern, Sticks and Bones and Batman's Beachhead. Tony has returned to Melbourne Theatre Company for The Visit, Life x 3, Realism and North By Northwest. He also has appeared for the Old Tote Theatre Company, Marian Street, Nimrod Theatre, Griffin, Belvoir and Bell Shakespeare. For the Sydney Theatre Company his credits include The Crucible, Saint Joan, Life After George, Corporate Vibes, Amigos, Metamorphosis, The Tempest, Hay Fever and King Lear. He served on the panel that engaged Richard Wherret as the inaugural Artistic Director of the Sydney Theatre Company. He received an AFI Best Supporting Actor nomination for his role in the celebrated cinema capture of Picnic at Hanging Rock. In 2012 Tony performed in the Australian tour of Yes, Prime Minister for Guild, Woods & Bryce Productions. And in 2016 he was cast in the 60th anniversary production of My Fair Lady, as Colonel Hugh Pickering - a role it seems he was destined to play. Tony has appeared in numerous television series, including Rake, I Spry, The Prime Minister Is Missing, Underbelly, G.P., All Saints, Hell Has Harbour Views, BackBerner, Grass Roots, 13 Gantry Row, The Paper Boy, One Day Miller and Who Do You Think You Are?. His film appearances include Illuminations, Inside Looking Out, Picnic at Hanging Rock, The Girl who Met Simone de Beauvoir in Paris, Fatty Finn, Seeing Red, Man of Flowers, Cosi and Human Touch. Tony also has worked as a producer on Paul Cox feature films, including Man of Flowers, My First Wife, Cactus, Vincent: The Life and Death of Vincent van Gogh, Human Touch, Salvation and Force of Destiny. Tony Llewellyn Jones is a true gentleman of the theatre - abundant with anecdote, considered opinion and tremendous passion for a career that has rewarded him many times over. 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
Doo wop, Broadway, The Met. Larry Marshall is a veteran musical performer whose exemplary Broadway career began in 1968 with the musical Hair. 15 Broadway productions later, Larry appeared on Broadway and in the National tour of the recent musical Waitress.Larry's many other Broadway credits include Two Gentlemen of Verona,The Full Monty, The Color Purple, The Threepenny Opera with Sting, and Mother Courage with Meryl Streep for the New York Shakespeare Festival in Central Park's Delacorte Theatre.Larry has had many turns as both performer and director with the opera Porgy and Bess. He has toured in this show nationally, internationally, in opera houses and on Broadway. Larry eventually earned Tony and Drama Desk award nominations for his portrayal of Sportin' Life in the Houston Grand Opera's production of Porgy and Bess. His film roles include playing Cab Calloway in The Cotton Club and Simon Zealotes in Jesus Christ Superstar.www.larrymarshall.net
The name ANNE REVERE may not ring a bell to many today, but during the 1940s, the Broadway-trained, Tony-winning actress, who was a descendant of Revolutionary War hero Paul Revere, was one of the most revered character actresses in Hollywood. She won the Best Supporting Actress Oscar in 1944 for National Velvet and left an indelible mark on the landscape of film as Gregory Peck's sympathetic mother in Gentleman's Agreement in 1947. Learn about her life, career, and the shameful witch hunt of an obsessed Wisconsin Senator looking to make a name for himself that ended her brilliant Hollywood career. _________________________________________ Sources: The Film Encyclopedia (1994), By Ephraim Katz; Leonard Maltin's Movie Encyclopedia (1994), by Leonard Maltin; The Hollywood Motion Picture Blacklist: Seventy-Five Years Later (2022), by Larry Ceplair; Un-American Hollywood: Politics and Film in the Blacklist Era (2007), by Peter Stanfield, et. al; Tender Comrades: A Backstory of the Hollywood Black List (2012), by Patrick McGilligan and Paul Buhle; “Anne Revere Begins Again” by Robert Fray, After Dark magazine, December 1970; “Anne Revere Bio,” Spartacus Educational, by John Simon; “Horse Sense: What I Learned About Bring A Mother From ‘National Velvet's' Arminty Brown,” by Dana Stevens, Slate.com, April 11, 2014; “Anne Revere, 87, Actress, Dies; Was Movie Mother of Many Stars,” by Peter B. Flint, The New York Times, December 19, 1990; imdb.com; _____________________________________________ http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
ZOË WANAMAKER is an actress with a multitude of Film, TV, and Theatre credits to her name. Theatre: Zoë is a 2-time Olivier Award winner, and 9-time nominee, for her work on the West End including: Once in a Lifetime (Olivier Award - Best Actress in a Revival), The Time of Your Life, Twelfth Night, Mother Courage and her Children, Othello, The Crucible, Electra (Olivier Award – Best Actress), Boston Marriage. She has also received 4 Tony Award and Drama Desk nominations for her work on Broadway in Piaf, Loot, Electra, and Awake and Sing! (won a special Drama Desk award for Outstanding Ensemble Performance). Additional West End credits include: The Devil's Disciple, Ivanov, Wild Oats; or, The Strolling Gentleman, The Taming of the Shrew, Captain Swing, Piaf, Mrs. Klein, Dead Funny, The Glass Menagerie, All My Sons, All On Her Own and Harlequinade, The Birthday Party, Constellations. She has worked extensively with the Royal Shakespeare Company and the National Theatre, as well as other regional productions including: Cabaret, Much Ado About Nothing, Kiss Me Kate, The Importance of Being Earnest, The Crucible, The Last Yankee, The Old Neighbourhood, His Girl Friday, The Rose Tattoo, Much Ado About Nothing, The Cherry Orchard, Stevie, Elegy, and Two Ladies. TV: Zoë is most known for her British Academy of Film and Television Arts (BAFTA) Award nominated work on “Love Hurts” (Tessa Piggot) and “Prime Suspect” (Moyra Henson), in addition to other television work on “My Family” (Susan Harper), “Doctor Who” (Cassandra), “Brittania” (Queen Antedia), and “Shadow and Bone” (Baghra). Other TV credits include: “Edge of Darkness,” “Paradise Postponed,” “Once in a Life Time,” “Agatha Christie's Poirot” (Ariadne Oliver), and “Mr. Selfridge,” Film: Zoë received a BAFTA nomination for her role as Ada Leverson in Wilde. She has also starred in Harry Potter and the Philosopher's Stone (Madame Hooch), Five Children and It (Martha), It's a Wonderful Afterlife (Mrs. Goldman), and My Week with Marilyn (Paula Strasberg). Learn more about your ad choices. Visit podcastchoices.com/adchoices
A very personal essay series about communication, listening, performance and British Sign Language (BSL). Sophie Stone considers her own life, career as an actor and identity as a deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots. Each essay describes a formative stage in Sophie's life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 5: Unspoken Communication Sophie eloquently speaks about being the child of addicts and finding a safe place to express emotions in the theatre. She talks about her relationship to her absent father and her unspoken grief held in silence after his death. Listen Harder broadcast on BBC Radio 3 will be accompanied by an animated transcript and BSL translation on BBC Sounds website, increasing accessibility. Sophie Stone is a leading actor who grew up in east London and has been Deaf since birth. She was the first deaf student at RADA. Since graduating, theatre includes: Othello (The Watermill Theatre); The Curious Incident Of The Dog In The Night Time (NT/Frantic Assembly Tour); The Living Newspaper (The Royal Court); The New Tomorrow (The Young Vic); The Beauty Parade (Wales Millennium Centre); As You Like It (Shakespeare's Globe); Emilia (Shakespeare's Globe/ West End); Jubilee (Lyric, Hammersmith/ Manchester Royal Exchange); The Greatest Wealth (The Old Vic); Herons (Lyric, Hammersmith); Mother Courage and Her Children (National Theatre); and In Water I'm Weightless (National Theatre of Wales). Television includes: The Chelsea Detective (2), Moving On, Two Doors Down (2), Shakespeare & Hathaway, Shetland, The Crown, Doctor Who, Mapp and Lucia, Moonstone, Marchlands, Midsomer Murders (2), Small World, Holby City, Casualty (2) and FM. Film includes: Name Me Lawand, Retreat (Sophie was awarded Best Actress Award, Clin d'Oeil Festival), My Christmas Angel, Confessions and Coming Home. She is co-founder of the Deaf & Hearing Ensemble Theatre Company, associate Artist for The Watermill Theatre, Pentabus Theatre and works as a consultant for several TV, Film and Theatre companies. Sophie had a lead role in Beethoven Can Hear You for BBC Radio 3 in 2020. Her essay for Radio 3 in 2020 for the Five Kinds of Beethoven series, was a critical success. It was accompanied by an animated transcript to increase accessibility. Writer and reader Sophie Stone Recording engineer Mat Clarke at Sonica Studios Sound designer Eloise Whitmore Producers Polly Thomas and Mina Anwar A Naked Production for BBC Radio 3
A very personal essay series about communication, listening, performance and British Sign Language (BSL). Sophie Stone considers her own life, career as an actor and identity as a deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots. Each essay describes a formative stage in Sophie's life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 4: Ownership of Communication Sophie talks about finding and owning her authentic voice. She discusses her years as an actor in a profession that sadly lacked space for disabled actors to own their own experiences without being seen as less than able. Sophie explores a brief history of Sign Language from around the world and its importance as a vital communication tool. Listen Harder broadcast on BBC Radio 3 will be accompanied by an animated transcript and BSL translation on BBC Sounds website, increasing accessibility. Sophie Stone is a leading actor who grew up in east London and has been deaf since birth. She was the first deaf student at RADA. Since graduating, theatre includes: Othello (The Watermill Theatre); The Curious Incident Of The Dog In The Night Time (NT/Frantic Assembly Tour); The Living Newspaper (The Royal Court); The New Tomorrow (The Young Vic); The Beauty Parade (Wales Millennium Centre); As You Like It (Shakespeare's Globe); Emilia (Shakespeare's Globe/ West End); Jubilee (Lyric, Hammersmith/ Manchester Royal Exchange); The Greatest Wealth (The Old Vic); Herons (Lyric, Hammersmith); Mother Courage and Her Children (National Theatre); and In Water I'm Weightless (National Theatre of Wales). Television includes: The Chelsea Detective (2), Moving On, Two Doors Down (2), Shakespeare & Hathaway, Shetland, The Crown, Doctor Who, Mapp and Lucia, Moonstone, Marchlands, Midsomer Murders (2), Small World, Holby City, Casualty (2) and FM. Film includes: Name Me Lawand, Retreat (Sophie was awarded Best Actress Award, Clin d'Oeil Festival), My Christmas Angel, Confessions and Coming Home. She is co-founder of the Deaf & Hearing Ensemble Theatre Company, associate Artist for The Watermill Theatre, Pentabus Theatre and works as a consultant for several TV, Film and Theatre companies. Sophie had a lead role in Beethoven Can Hear You for BBC Radio 3 in 2020. Her essay for Radio 3 in 2020 for the Five Kinds of Beethoven series, was a critical success. It was accompanied by an animated transcript to increase accessibility. Writer and reader Sophie Stone Recording engineer Mat Clarke at Sonica Studios Sound designer Eloise Whitmore Producers Polly Thomas and Mina Anwar A Naked Production for BBC Radio 3
A very personal essay series about communication, listening, performance and British Sign Language (BSL). Sophie Stone considers her own life, career as an actor and identity as a Deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots. Each essay describes a formative stage in Sophie's life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 3: Visibility of Communication Sophie talks candidly about the fear and isolation she felt as a deaf child, how seeing other deaf people, finding a community experiencing the world in similar ways, encouraged her to realise she was not alone. In challenging limiting beliefs and fighting for Deaf rights, Sophie describes finding the courage to carve out new pathways and opportunities in her life and career, creating opportunities for deaf voices to be integral to the creative process, and carving space for deafness to be made visible. Listen Harder broadcast on BBC Radio 3 will be accompanied by an animated transcript and BSL translation on BBC Sounds website, increasing accessibility. Sophie Stone is a leading actor who grew up in east London and has been Deaf since birth. She was the first deaf student at RADA. Since graduating, theatre includes: Othello (The Watermill Theatre); The Curious Incident Of The Dog In The Night Time (NT/Frantic Assembly Tour); The Living Newspaper (The Royal Court); The New Tomorrow (The Young Vic); The Beauty Parade (Wales Millennium Centre); As You Like It (Shakespeare's Globe); Emilia (Shakespeare's Globe/ West End); Jubilee (Lyric, Hammersmith/ Manchester Royal Exchange); The Greatest Wealth (The Old Vic); Herons (Lyric, Hammersmith); Mother Courage and Her Children (National Theatre); and In Water I'm Weightless (National Theatre of Wales). Television includes: The Chelsea Detective (2), Moving On, Two Doors Down (2), Shakespeare & Hathaway, Shetland, The Crown, Doctor Who, Mapp and Lucia, Moonstone, Marchlands, Midsomer Murders (2), Small World, Holby City, Casualty (2) and FM. Film includes: Name Me Lawand, Retreat (Sophie was awarded Best Actress Award, Clin d'Oeil Festival), My Christmas Angel, Confessions and Coming Home. She is co-founder of the Deaf & Hearing Ensemble Theatre Company, associate Artist for The Watermill Theatre, Pentabus Theatre and works as a consultant for several TV, Film and Theatre companies. Sophie had a lead role in Beethoven Can Hear You for BBC Radio 3 in 2020. Her essay for Radio 3 in 2020 for the Five Kinds of Beethoven series, was a critical success. It was accompanied by an animated transcript to increase accessibility. Writer and reader Sophie Stone Recording engineer Mat Clarke at Sonica Studios Sound designer Eloise Whitmore Producers Polly Thomas and Mina Anwar A Naked Production for BBC Radio 3
A very personal essay series about communication, listening, performance and British Sign Language (BSL). Sophie Stone considers her own life, career as an actor and identity as a deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots. Each essay describes a formative stage in Sophie's life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 2: Forms of Communication Sophie looks at different forms of communication, and how her relationship to sounds and her other senses and has shaped her work as a deaf actor. She talks about the challenges and possibilities of shaping a more authentic representation of disability on stage and screen. The essay explores the ways deaf artists have perceived their own deafness and how this impacts their own creativity. Listen Harder broadcast on BBC Radio 3 will be accompanied by an animated transcript and BSL translation on BBC Sounds website, increasing accessibility. Sophie Stone is a leading actor who grew up in east London and has been deaf since birth. She was the first deaf student at RADA. Since graduating, theatre includes: Othello (The Watermill Theatre); The Curious Incident Of The Dog In The Night Time (NT/Frantic Assembly Tour); The Living Newspaper (The Royal Court); The New Tomorrow (The Young Vic); The Beauty Parade (Wales Millennium Centre); As You Like It (Shakespeare's Globe); Emilia (Shakespeare's Globe/ West End); Jubilee (Lyric, Hammersmith/ Manchester Royal Exchange); The Greatest Wealth (The Old Vic); Herons (Lyric, Hammersmith); Mother Courage and Her Children (National Theatre); and In Water I'm Weightless (National Theatre of Wales). Television includes: The Chelsea Detective (2), Moving On, Two Doors Down (2), Shakespeare & Hathaway, Shetland, The Crown, Doctor Who, Mapp and Lucia, Moonstone, Marchlands, Midsomer Murders (2), Small World, Holby City, Casualty (2) and FM. Film includes: Name Me Lawand, Retreat (Sophie was awarded Best Actress Award, Clin d'Oeil Festival), My Christmas Angel, Confessions and Coming Home. She is co-founder of the Deaf & Hearing Ensemble Theatre Company, associate Artist for The Watermill Theatre, Pentabus Theatre and works as a consultant for several TV, Film and Theatre companies. Sophie had a lead role in Beethoven Can Hear You for BBC Radio 3 in 2020. Her essay for Radio 3 in 2020 for the Five Kinds of Beethoven series, was a critical success. It was accompanied by an animated transcript to increase accessibility. Writer and reader Sophie Stone Recording engineer Mat Clarke at Sonica Studios Sound designer Eloise Whitmore Producers Polly Thomas and Mina Anwar A Naked Production for BBC Radio 3.
A very personal essay series about communication, listening, performance and British Sign Language (BSL). Sophie Stone considers her own life, career as an actor and identity as a deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots. Each essay describes a formative stage in Sophie's life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 1: Communication Withheld Sophie talks candidly about her early years as a deaf child, denied access to language and communication through an inadequate education system teaching oralism above any other form of communication. Sophie describes her rebellious teenage years and how through finding BSL and the language of theatre, she began to find deeper more authentic ways to communicate. Listen Harder broadcast on BBC Radio 3 will be accompanied by an animated transcript and BSL translation on BBC Sounds website, increasing accessibility. Sophie Stone is a leading actor who grew up in east London and has been deaf since birth. She was the first Deaf student at RADA. Since graduating, theatre includes: Othello (The Watermill Theatre); The Curious Incident Of The Dog In The Night Time (NT/Frantic Assembly Tour); The Living Newspaper (The Royal Court); The New Tomorrow (The Young Vic); The Beauty Parade (Wales Millennium Centre); As You Like It (Shakespeare's Globe); Emilia (Shakespeare's Globe/ West End); Jubilee (Lyric, Hammersmith/ Manchester Royal Exchange); The Greatest Wealth (The Old Vic); Herons (Lyric, Hammersmith); Mother Courage and Her Children (National Theatre); and In Water I'm Weightless (National Theatre of Wales). Television includes: The Chelsea Detective (2), Moving On, Two Doors Down (2), Shakespeare & Hathaway, Shetland, The Crown, Doctor Who, Mapp and Lucia, Moonstone, Marchlands, Midsomer Murders (2), Small World, Holby City, Casualty (2) and FM. Film includes: Name Me Lawand, Retreat (Sophie was awarded Best Actress Award, Clin d'Oeil Festival), My Christmas Angel, Confessions and Coming Home. She is co-founder of the Deaf & Hearing Ensemble Theatre Company, associate Artist for The Watermill Theatre, Pentabus Theatre and works as a consultant for several TV, Film and Theatre companies. Sophie had a lead role in Beethoven Can Hear You for BBC Radio 3 in 2020. Her essay for Radio 3 in 2020 for the Five Kinds of Beethoven series, was a critical success. It was accompanied by an animated transcript to increase accessibility. Writer and reader Sophie Stone Recording engineer Mat Clarke at Sonica Studios Sound designer Eloise Whitmore Producers Polly Thomas and Mina Anwar A Naked Production for BBC Radio 3
Join hosts Joshua and Dan this Thanksgiving as they cover a towering work of theatre written by a towering man. As everyone sits down at the table, the traditional holiday question of "what is Mother Courage thankful for this year?" is asked. The conversation zigs and zags to many places as the hosts discuss what a Mother Courage musical would look like, Ethel Merman (as always), and why certain tapes exist. idk, Joshie thinks it's weird we're doing this. I think this is the reason we exist. Take it for a spin. Jump on the cart! Tune in to next week's episode when we discuss RENT; specifically, the show, not the concept that no one can afford anymore because of freaking gentrification. Oh - the Broadway production's performance from April 19th, 1996! Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast
After a poor night out following a few too many glasses of Prosecco, hosts Dan and Joshua find themselves stuck in the drunk tank only to be released upon recounting the strange affairs of the Man of La Mancha (but specifically Brian Stokes Mitchell's take, because Goulet slurred his words too much.) Hop on your pantomime horse and embrace delusion as our hosts trudge through the blazing hot Spanish deserts and encounter such giant topics as Dave Malloy's Don Quixote, the three-name Mary conspiracy, and Joshua's whole-out extravaganza. Tune in to next week's episode when we discuss Mother Courage and her Children (no we're not fucking kidding); specifically, the pro-shot of the original production's performance from 1957 (no we're not fucking kidding)! Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast
In episode 055, we are joined by none other than Austin Pendleton. Austin is a wealth of knowledge when it comes to the wide world of acting. Having trained with him myself, I was excited to share his perspective on the show. We talk about what initially fueled his excitement about acting, some of the strongest skills that successful actors have, and what were some of the biggest takeaways that Austin learned from his acting teachers.Austin Pendleton is a playwright, actor, director, teacher, and a Steppenwolf ensemble member since 1987. He received critical acclaim in 1964 for his performance as Motel in the original Broadway cast of “Fiddler on the Roof.” He appeared in “The Last Sweet Days of Isaac” (for which he won the Drama Desk Award for Outstanding Performance and an Obie Award), “The Diary of Anne Frank,” “Goodtime Charley,” and “Up from Paradise” as well as many other plays. In August 2006, Pendleton played the Chaplain in Bertolt Brecht's “Mother Courage and Her Children” with Meryl Streep and Kevin Kline in the Public Theater production. As a director, Pendleton has worked extensively on and off-Broadway. His direction of Elizabeth Taylor and Maureen Stapleton in Lillian Hellman's “The Little Foxes” garnered him a Tony Award nomination. In 2007, Austin Pendleton received a Special Award for his contributions to American theater at the 52nd Annual Drama Desk Awards.Sign up for the Actorcast Newsletter at Actorcast.
Super excited to announce new guest, John Milosich, to The Story!Born in Buffalo NY, raised in Erie Pa, Actor-Musician John “Milo” Milosich continues to recalibrate his trajectory as a creative and a performer. He taught music and theater in public and private schools for ten years. Scrubbing toilets in exchange for acting and dance classes at Synetic Theater lead him to mainstage shows with them at the John F. Kennedy Center for the Performing Arts and neighboring DC theaters.He composed music for live performance by a gypsy punk band in a devised rendition of the Brechtian play Mother Courage and Her Children. It paid $50 and a case of PBR, but there he took up the accordion to soon after earn a role in a two-year Broadway touring production that ran in 70 cities across the US, Canada and Japan. He acted, played guitar, accordion and foot percussion at Arena Stage in DC, Kansas City Repertory Theatre and Baltimore Center Stage before the pandemic, but has yet to be cast in a theatre production close to Lancaster. Instead, he's the ringleader of the accordion-powered romp-rock band for adventurers, Featherburn, and the one-man ensemble, MiloSolo.You can find John's work here:Band sites:featherburn.comsongwhip.com/featherburninstagram.com/featherburnFeatherburnSolo music sites:milosolo.comMiloSoloActor website:johnmilosich.comSupport this podcast at — https://redcircle.com/the-story/donations
Super excited to announce new guest, John Milosich, to The Story!Born in Buffalo NY, raised in Erie Pa, Actor-Musician John “Milo” Milosich continues to recalibrate his trajectory as a creative and a performer. He taught music and theater in public and private schools for ten years. Scrubbing toilets in exchange for acting and dance classes at Synetic Theater lead him to mainstage shows with them at the John F. Kennedy Center for the Performing Arts and neighboring DC theaters.He composed music for live performance by a gypsy punk band in a devised rendition of the Brechtian play Mother Courage and Her Children. It paid $50 and a case of PBR, but there he took up the accordion to soon after earn a role in a two-year Broadway touring production that ran in 70 cities across the US, Canada and Japan. He acted, played guitar, accordion and foot percussion at Arena Stage in DC, Kansas City Repertory Theatre and Baltimore Center Stage before the pandemic, but has yet to be cast in a theatre production close to Lancaster. Instead, he's the ringleader of the accordion-powered romp-rock band for adventurers, Featherburn, and the one-man ensemble, MiloSolo.You can find John's work here:Band sites:featherburn.comsongwhip.com/featherburninstagram.com/featherburnFeatherburnSolo music sites:milosolo.comMiloSoloActor website:johnmilosich.comSupport this podcast at — https://redcircle.com/the-story/donations
In Brecht and the Bible: A Study of Religious Nihilism and Human Weakness in Brecht's Drama of Morality and the City (UNC Press, 2020), Father G. Ronald Murphy argues that Brecht, atheist and Marxist though he was, was also a sensitive reader and interpreter of the Bible. Murphy persuasively shows that Brecht's use of Biblical texts was not only satirical, but was at times deadly serious, particularly concerning the theme of death itself. For Brecht, the Bible provides eloquent reminders of the finitude of life and of the necessity of work, of eating by the sweat of one's brow. The conflict between work and life, for example in the case of Mother Courage's paradoxical dependence on the war for her survival even as it kills her precious children, proves a major theme in Brecht. This is a work that should appeal to scholars of German literature, but also to anyone interested in the interpretation of Brecht, whether for scholarly or artistic reasons. 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
In Brecht and the Bible: A Study of Religious Nihilism and Human Weakness in Brecht's Drama of Morality and the City (UNC Press, 2020), Father G. Ronald Murphy argues that Brecht, atheist and Marxist though he was, was also a sensitive reader and interpreter of the Bible. Murphy persuasively shows that Brecht's use of Biblical texts was not only satirical, but was at times deadly serious, particularly concerning the theme of death itself. For Brecht, the Bible provides eloquent reminders of the finitude of life and of the necessity of work, of eating by the sweat of one's brow. The conflict between work and life, for example in the case of Mother Courage's paradoxical dependence on the war for her survival even as it kills her precious children, proves a major theme in Brecht. This is a work that should appeal to scholars of German literature, but also to anyone interested in the interpretation of Brecht, whether for scholarly or artistic reasons. 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
In Brecht and the Bible: A Study of Religious Nihilism and Human Weakness in Brecht's Drama of Morality and the City (UNC Press, 2020), Father G. Ronald Murphy argues that Brecht, atheist and Marxist though he was, was also a sensitive reader and interpreter of the Bible. Murphy persuasively shows that Brecht's use of Biblical texts was not only satirical, but was at times deadly serious, particularly concerning the theme of death itself. For Brecht, the Bible provides eloquent reminders of the finitude of life and of the necessity of work, of eating by the sweat of one's brow. The conflict between work and life, for example in the case of Mother Courage's paradoxical dependence on the war for her survival even as it kills her precious children, proves a major theme in Brecht. This is a work that should appeal to scholars of German literature, but also to anyone interested in the interpretation of Brecht, whether for scholarly or artistic reasons. 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/german-studies
In Brecht and the Bible: A Study of Religious Nihilism and Human Weakness in Brecht's Drama of Morality and the City (UNC Press, 2020), Father G. Ronald Murphy argues that Brecht, atheist and Marxist though he was, was also a sensitive reader and interpreter of the Bible. Murphy persuasively shows that Brecht's use of Biblical texts was not only satirical, but was at times deadly serious, particularly concerning the theme of death itself. For Brecht, the Bible provides eloquent reminders of the finitude of life and of the necessity of work, of eating by the sweat of one's brow. The conflict between work and life, for example in the case of Mother Courage's paradoxical dependence on the war for her survival even as it kills her precious children, proves a major theme in Brecht. This is a work that should appeal to scholars of German literature, but also to anyone interested in the interpretation of Brecht, whether for scholarly or artistic reasons. 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
In Brecht and the Bible: A Study of Religious Nihilism and Human Weakness in Brecht's Drama of Morality and the City (UNC Press, 2020), Father G. Ronald Murphy argues that Brecht, atheist and Marxist though he was, was also a sensitive reader and interpreter of the Bible. Murphy persuasively shows that Brecht's use of Biblical texts was not only satirical, but was at times deadly serious, particularly concerning the theme of death itself. For Brecht, the Bible provides eloquent reminders of the finitude of life and of the necessity of work, of eating by the sweat of one's brow. The conflict between work and life, for example in the case of Mother Courage's paradoxical dependence on the war for her survival even as it kills her precious children, proves a major theme in Brecht. This is a work that should appeal to scholars of German literature, but also to anyone interested in the interpretation of Brecht, whether for scholarly or artistic reasons. 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/intellectual-history
In Brecht and the Bible: A Study of Religious Nihilism and Human Weakness in Brecht's Drama of Morality and the City (UNC Press, 2020), Father G. Ronald Murphy argues that Brecht, atheist and Marxist though he was, was also a sensitive reader and interpreter of the Bible. Murphy persuasively shows that Brecht's use of Biblical texts was not only satirical, but was at times deadly serious, particularly concerning the theme of death itself. For Brecht, the Bible provides eloquent reminders of the finitude of life and of the necessity of work, of eating by the sweat of one's brow. The conflict between work and life, for example in the case of Mother Courage's paradoxical dependence on the war for her survival even as it kills her precious children, proves a major theme in Brecht. This is a work that should appeal to scholars of German literature, but also to anyone interested in the interpretation of Brecht, whether for scholarly or artistic reasons. 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/european-studies
In Brecht and the Bible: A Study of Religious Nihilism and Human Weakness in Brecht's Drama of Morality and the City (UNC Press, 2020), Father G. Ronald Murphy argues that Brecht, atheist and Marxist though he was, was also a sensitive reader and interpreter of the Bible. Murphy persuasively shows that Brecht's use of Biblical texts was not only satirical, but was at times deadly serious, particularly concerning the theme of death itself. For Brecht, the Bible provides eloquent reminders of the finitude of life and of the necessity of work, of eating by the sweat of one's brow. The conflict between work and life, for example in the case of Mother Courage's paradoxical dependence on the war for her survival even as it kills her precious children, proves a major theme in Brecht. This is a work that should appeal to scholars of German literature, but also to anyone interested in the interpretation of Brecht, whether for scholarly or artistic reasons. 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/biblical-studies
In Brecht and the Bible: A Study of Religious Nihilism and Human Weakness in Brecht's Drama of Morality and the City (UNC Press, 2020), Father G. Ronald Murphy argues that Brecht, atheist and Marxist though he was, was also a sensitive reader and interpreter of the Bible. Murphy persuasively shows that Brecht's use of Biblical texts was not only satirical, but was at times deadly serious, particularly concerning the theme of death itself. For Brecht, the Bible provides eloquent reminders of the finitude of life and of the necessity of work, of eating by the sweat of one's brow. The conflict between work and life, for example in the case of Mother Courage's paradoxical dependence on the war for her survival even as it kills her precious children, proves a major theme in Brecht. This is a work that should appeal to scholars of German literature, but also to anyone interested in the interpretation of Brecht, whether for scholarly or artistic reasons. 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.
In Brecht and the Bible: A Study of Religious Nihilism and Human Weakness in Brecht's Drama of Morality and the City (UNC Press, 2020), Father G. Ronald Murphy argues that Brecht, atheist and Marxist though he was, was also a sensitive reader and interpreter of the Bible. Murphy persuasively shows that Brecht's use of Biblical texts was not only satirical, but was at times deadly serious, particularly concerning the theme of death itself. For Brecht, the Bible provides eloquent reminders of the finitude of life and of the necessity of work, of eating by the sweat of one's brow. The conflict between work and life, for example in the case of Mother Courage's paradoxical dependence on the war for her survival even as it kills her precious children, proves a major theme in Brecht. This is a work that should appeal to scholars of German literature, but also to anyone interested in the interpretation of Brecht, whether for scholarly or artistic reasons. 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/christian-studies
Gloria Dawn Evans was born in Port Melbourne on 26 February, 1929. Her father was William Evans, a ventriloquist, magician and paper-tearer known as Billy Andross, and her mother was Zilla Weatherly, a contortionist and singer who toured for many years with her sisters Zaida and Queenie. Gloria made her stage debut with them when she was only 14 days old. Three years later she was singing and dancing, billed as 'Baby Dawn'. In 1939 she toured with other talented youngsters in the Tivoli Gang. In 1941, when she was 12, her mother launched her at the Tivoli as an adult soubrette. She appeared there with George Wallace, Jim Gerald, Queenie Paul and Roy Rene ('Mo'), though she had a golden rule: 'I never work blue or nude.' In 1946 Dawn appeared in revue for Harry Wren at the Cremorne in Brisbane. The following year she married a juggler, Frank Cleary, and together they toured with Sorlie's tent show in pantomime and revue. In 1949 Dawn made her musical comedy debut in Little Nellie Kelly and Sunny for Will Mahoney at the Cremorne. In 1952 she had the title role in the starry production of Cinderella at the Melbourne Tivoli. Tommy Trinder, who played Buttons, was impressed: 'She was a great artist. Had she gone to England or America she would have been a world star.' In 1959 Garnet H. Carroll gave Gloria Dawn the coveted Carol Burnett role in his production of the musical Once Upon a Mattress at the Princess in Melbourne. In 1961-2 she toured for J.C. Williamson's in the comedy The Amorous Prawn and as the ebullient Rose in the Australian musical The Sentimental Bloke. From 1965 until 1967 Gloria Dawn featured in a string of sparkling Phillip Theatre revues for William Orr: A Cup of Tea, a Bex and a Good Lie Down, Hail, Gloria Fitzpatrick (a 'revuesical' designed to showcase her versatility), There Will be an Interval of 15 Minutes and But I Wouldn't Want to Live There. Following this, she played the title role in Annie Get Your Gun, first, in 1967, 'in the round' in a large tent at Warringah Mall on Sydney's North Shore, and, a couple of years later, at David H. McIlwraith's resplendent Lido Theatre Restaurant in Russell Street, Melbourne. In 1972 Dawn and comedian Johnny Lockwood conducted workshops in vaudeville tradition for the cast of the Old Tote's How Could You Believe Me When I Said I'd be Your Valet When You Know I've Been a Liar All My Life?, and John Bell's free-wheeling interpretation of Goldoni's A Servant of Two Masters. It was Dawn's great friend, playwright Peter Kenna, who persuaded her to take the greatest gamble of her life. At the Community Theatre in Sydney in 1972 she played her first major dramatic role, Oola Maguire, in a revival of The Slaughter of St Teresa's Day, which Kenna had written expressly for her. Her remarkable performance won her the Sydney Critics' Circle Best Actress Award. This triumph led to three more challenges the following year: she was Anna Fierling in Brecht's Mother Courage and Her Children for the Melbourne Theatre Company, Aggie in Kenna's A Hard God for Nimrod in Sydney, Melbourne, Brisbane and Canberra, and Mrs Peachum in The Threepenny Opera for the Old Tote at the Sydney Opera House Drama Theatre. A Hard God was televised by the ABC in 1974. At Her Majesty's Theatre, Melbourne, in 1972 she delivered a powerhouse performance as Mama Rose in Gypsy. It was Dawn's greatest success; tragically, it was to be her last as she became gravely ill. Toni Lamond was called in to substitute when required. Lamond took over for the Adelaide run, but Dawn was well enough to appear on the opening night in Sydney. Lamond remembered: 'Gloria was extraordinary that Saturday night. She reached down to her very depths and gave all she had. By the following Thursday, she was faltering. On the Friday...
Peter Filichia, James Marino, and Michael Portantiere talk about a possible casino in Times Square and what that means for Broadway. Reviews include The Fantasticks @ Flint Repertory Theatre, Godspell @ The Music Mountain Theatre, …what the end will be @ Roundabout, Mr. Parker @ Theater Row, Mother Courage and read more The post This Week on Broadway for June 5, 2022: The Fantasticks @ Flint Repertory Theatre appeared first on BroadwayRadio.
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Bertolt Brecht, orig. Eugen Berthold Friedrich Brecht, (born Feb. 10, 1898, Augsburg, Ger.—died Aug. 14, 1956, East Berlin, E.Ger.), was a German playwright and poet. He studied medicine at Munich (1917–21) before writing his first plays, including Baal (1922). Other plays followed, including A Man's a Man (1926), as well as a considerable body of poetry. With the composer Kurt Weill he wrote the satirical musicals The Threepenny Opera (1928; film, 1931), which gained him a wide audience, and The Rise and Fall of the City of Mahagonny (1930). In these years he became a Marxist and developed his theory of epic theatre. With the rise of the Nazis he went into exile, first in Scandinavia (1933–41), then in the U.S., where he wrote his major essays and the plays Mother Courage and Her Children (1941), The Life of Galileo (1943), The Good Woman of Sichuan (1943), and The Caucasian Chalk Circle (1948). Harassed for his politics, in 1949 he returned to East Germany, where he established the Berliner Ensemble theatre troupe and staged his own plays, including The Resistible Rise of Arturo Ui (1957). He outlined his theory of drama in A Little Organum for the Theatre (1949).From https://www.britannica.com/summary/Bertolt-Brecht. For more information about Bertolt Brecht:Previously on The Quarantine Tapes:George Prochnik about Brecht, at 18:25: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-162-george-prochnikKwame Dawes about Brecht, at 14:55: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-037-kwame-dawes“Bertolt Brecht”: https://www.poetryfoundation.org/poets/bertolt-brecht“Singing About the Dark Times: The Poetry of Bertolt Brecht”: http://www.theliberal.co.uk/issue_9/poetry/hofmann_9.html“Bertolt Brecht in Dark Times”: https://tribunemag.co.uk/2020/06/red-library-brecht
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Bertolt Brecht, orig. Eugen Berthold Friedrich Brecht, (born Feb. 10, 1898, Augsburg, Ger.—died Aug. 14, 1956, East Berlin, E.Ger.), was a German playwright and poet. He studied medicine at Munich (1917–21) before writing his first plays, including Baal (1922). Other plays followed, including A Man's a Man (1926), as well as a considerable body of poetry. With the composer Kurt Weill he wrote the satirical musicals The Threepenny Opera (1928; film, 1931), which gained him a wide audience, and The Rise and Fall of the City of Mahagonny (1930). In these years he became a Marxist and developed his theory of epic theatre. With the rise of the Nazis he went into exile, first in Scandinavia (1933–41), then in the U.S., where he wrote his major essays and the plays Mother Courage and Her Children (1941), The Life of Galileo (1943), The Good Woman of Sichuan (1943), and The Caucasian Chalk Circle (1948). Harassed for his politics, in 1949 he returned to East Germany, where he established the Berliner Ensemble theatre troupe and staged his own plays, including The Resistible Rise of Arturo Ui (1957). He outlined his theory of drama in A Little Organum for the Theatre (1949).From https://www.britannica.com/summary/Bertolt-Brecht. For more information about Bertolt Brecht:Previously on The Quarantine Tapes:George Prochnik about Brecht, at 18:25: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-162-george-prochnikKwame Dawes about Brecht, at 14:55: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-037-kwame-dawes“Bertolt Brecht”: https://www.poetryfoundation.org/poets/bertolt-brecht“The Poet of Ill Tidings”: https://www.thenation.com/article/archive/the-poet-of-ill-tidings/“Brecht Was a Revolutionary”: https://jacobinmag.com/2019/04/bertolt-brecht-marxist-culture-politics-estrangement
From My Left Foot to Harry Potter, Fleabag to Killing Eve, Fiona Shaw is an integral presence in the Irish and British screen drama of the last three decades; and in collaboration with the foremost directors of our time – from Deborah Warner to Nicholas Hytner – is universally renowned as one of the most outstanding and distinguished stage actors of her generation. Whether in her ground-breaking performance as Shakespeare's Richard II or her unforgettable turn as Brecht's Mother Courage, as Euripides' Medea or Ibsen's Hedda Gabler, her work is experimental, provocative, and risk-taking, daring audiences to reassess what they thought they knew about theatre and the human condition. In this episode of the How To Academy Podcast, she explores her life and work with writer and broadcaster Matthew Stadlen. Learn more about your ad choices. Visit megaphone.fm/adchoices
Scottish Iranian actor Nick Karimi is known for his work in Macbeth, An Oak Tree, and Everyman at the National Theatre in London and War Horse in London's West End. He's appeared nationally in The Arabian Nights, A Tale of Two Cities, Lardo, The Hairy Ape, Titus Andronicus, The Magic Flute, Damascus Aleppo, Game of Life, I Was a Beautiful Day, Outward Bound, The Fear of Breathing, The Double, The Pearlfisher, Nova Scotia, Mother Courage and her Children, Mountain Language, The Dead Fiddler, Emperor Jones, Amy Means Necessary, and The Kite Runner.Raised in Edinburgh, it was whilst training at Rose Bruford Drama School that he discovered he was dyslexic, and this forms part of the discussion on today's show with this remarkable man who's gifted with the ability to light up any room and regale people with his infectious warmth and spirit - it's always a joy for me to spend time with Nick and I hope some of that rubs off on you too.
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