Podcast appearances and mentions of Naomi Wallace

Zephyr Teachout has blazed a high-profile path on state and national political stages. But lately, the 52-year-old law professor and politician has been spending her time on a tiny stage in Vermont, directing a play about the saga of Israelis and Palestinians.Teachout, who grew up in Norwich, gained national attention in 2004 when she was director of internet organizing for former Gov. Howard Dean's presidential campaign, helping to vault the small-state governor to briefly run at the front of the pack. In 2014, Teachout ran for governor of New York against the powerful incumbent Andrew Cuomo, winning one-third of the vote (Cuomo resigned in 2021 over sexual misconduct allegations). Two years later, Teachout ran for Congress. And, in 2018, she ran for attorney general of New York. She won the endorsement of the New York Times but lost to Letitia James, who later appointed Teachout as a special adviser on economic justice. Teachout is a professor of law at Fordham Law School. She is the author of "Break 'Em Up: Recovering Our Freedom From Big Ag, Big Tech, and Big Money."Far from the halls of power in Albany or the bright lights of Broadway, Teachout has maintained another passion: acting and directing at Unadilla Theater in Marshfield. When Unadilla founder Bill Blachly, who turned 100 this year, asked if she would direct the play “Returning to Haifa” this summer, Teachout quickly agreed.“The more intensely one is involved in whatever it may be professionally and certainly involved in politics, the more that I seek and need art, whether that's visual arts or music or theater as a way to be fully human, to experience both the joys and the griefs that we experience,” she said.“Returning to Haifa” links two tragedies: the Nakba (“catastrophe)” experienced by Palestinians when more than 700,000 of them fled or were driven from their homes following the establishment of the state of Israel in 1948, and the Holocaust, in which 6 million Jews died at the hands of the Nazis during World War II. Some 140,000 Holocaust survivors moved to Israel, many of them into homes abruptly abandoned by Palestinians. The play is based on a novella by Palestinian activist and writer Ghassan Kanafani, who was assassinated at the age of 36 in an operation by Mossad, the Israeli intelligence agency. The story was adapted into a play by Naomi Wallace and Ismail Khalidi. It was commissioned by the Public Theater in New York in 2016, but the production was canceled due to political pressure. It finally premiered in the United Kingdom.“Returning to Haifa” depicts a Palestinian couple returning to Israel in 1967 and visiting their house and their son who they abandoned 20 years earlier in a terrified flight from Israeli forces. The play is described by the Guardian as “a poignant family drama, as a plea for Israeli-Palestinian understanding and as a warning of what will follow without some form of reconciliation.”Teachout was moved to direct the play by a current catastrophe, Israel's war in Gaza that has killed some 40,000 Palestinians, according to the Gaza Health Ministry. Israel invaded Gaza following the Oct. 7 attack by Hamas that killed more than 1,200 Israelis.“It feels very important right now to celebrate Palestinian culture, to introduce people to great writers like Kanafani" who understood "the critical role that literature plays in tying together a community of people,” Teachout said.On the political stage, Teachout offered insights about the special challenges that Vice President Kamala Harris and other women face when running for high office. “It is harder to express anger as a woman and not be dismissed,” said the former gubernatorial candidate. “Men expressing anger on behalf of an angry public don't get the same kind of scrutiny and, frankly, sometimes disdain or disgust that women expressing anger get.”“You've noticed that Harris has chosen to run as a happy warrior,” she said. “If you're in politics, you know these things are choices. It is also a choice that I made in my campaigns and that you see Elizabeth Warren making. There's a lot more comfort with joyful women than angry women … Harris, as a Black woman in particular, faces extraordinary challenges, and she's doing an extraordinary job not letting those challenges define her candidacy.”Teachout credits Harris' rise in the polls to the desire that people have “to see past the next two years, to see a collective future. What I think Harris is tapping into in the last few weeks is a sense that a future is possible. … We're not stuck with these frankly ancient politicians. And I also think that is insufficient," she said.Teachout, who has been a leading scholar and critic of corporate monopolies, said Harris needs to “take on big power.”People “think everybody's in big money's pockets. There's no point to politics (so) why don't we just cause chaos,” Teachout said. “There's kind of a real nihilism to those who either don't vote or decide to vote for Trump just out of a kind of irritation with what's going on.”Harris needs to show that she is “willing to fight, to actually make enemies … (and) take on corporate power,” Teachout said. “For Harris to beat Trump, really leaning into that populism is critical.”

Bill Rauch is the inaugural Artistic Director of Perelman Performing Arts Center. His work as a theater director has been seen across the nation, from low-income community centers to Broadway in the Tony Award-winning production of Robert Schenkkan's All the Way and its sequel The Great Society, as well as at many of the largest regional theaters in the country. His other New York credits include the world premiere of Naomi Wallace's Night Is a Room at Signature Theatre, the New York premiere of Sarah Ruhl's The Clean House at Lincoln Center Theater, and a site-specific Occasional Grace in multiple Manhattan churches for En Garde Arts. From 2007 to 2019, Bill was artistic director of the Oregon Shakespeare Festival (OSF), the country's oldest and largest rotating repertory theater, where he directed seven world premieres and 20 other plays including several by Shakespeare as well as innovative productions of classic musicals including a queer re-envisioning of Oklahoma! Bill is also co-founder of Cornerstone Theater Company where he served as artistic director from 1986 to 2006, directing more than 40 productions, most of them collaborations with diverse rural and urban communities. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this widely praised history of an infamous institution, award-winning scholar Marcus Rediker shines a light into the darkest corners of the British and American slave ships of the eighteenth century. Drawing on thirty years of research in maritime archives, court records, diaries, and firsthand accounts, The Slave Ship: A Human History (Penguin, 2008) is riveting and sobering in its revelations, reconstructing in chilling detail a world nearly lost to history: the “floating dungeons” at the forefront of the birth of African American culture. Marcus Rediker is Distinguished Professor of Atlantic History at the University of Pittsburgh. His “histories from below,” including The Slave Ship: A Human History, have won numerous awards, including the George Washington Book Prize, and have been translated into seventeen languages worldwide. He has produced a film, Ghosts of Amistad, with director Tony Buba, and written a play, “The Return of Benjamin Lay,” with playwright Naomi Wallace. He is currently writing a book about escaping slavery by sea in antebellum America. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In this widely praised history of an infamous institution, award-winning scholar Marcus Rediker shines a light into the darkest corners of the British and American slave ships of the eighteenth century. Drawing on thirty years of research in maritime archives, court records, diaries, and firsthand accounts, The Slave Ship: A Human History (Penguin, 2008) is riveting and sobering in its revelations, reconstructing in chilling detail a world nearly lost to history: the “floating dungeons” at the forefront of the birth of African American culture. Marcus Rediker is Distinguished Professor of Atlantic History at the University of Pittsburgh. His “histories from below,” including The Slave Ship: A Human History, have won numerous awards, including the George Washington Book Prize, and have been translated into seventeen languages worldwide. He has produced a film, Ghosts of Amistad, with director Tony Buba, and written a play, “The Return of Benjamin Lay,” with playwright Naomi Wallace. He is currently writing a book about escaping slavery by sea in antebellum America. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. 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 this widely praised history of an infamous institution, award-winning scholar Marcus Rediker shines a light into the darkest corners of the British and American slave ships of the eighteenth century. Drawing on thirty years of research in maritime archives, court records, diaries, and firsthand accounts, The Slave Ship: A Human History (Penguin, 2008) is riveting and sobering in its revelations, reconstructing in chilling detail a world nearly lost to history: the “floating dungeons” at the forefront of the birth of African American culture. Marcus Rediker is Distinguished Professor of Atlantic History at the University of Pittsburgh. His “histories from below,” including The Slave Ship: A Human History, have won numerous awards, including the George Washington Book Prize, and have been translated into seventeen languages worldwide. He has produced a film, Ghosts of Amistad, with director Tony Buba, and written a play, “The Return of Benjamin Lay,” with playwright Naomi Wallace. He is currently writing a book about escaping slavery by sea in antebellum America. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In this widely praised history of an infamous institution, award-winning scholar Marcus Rediker shines a light into the darkest corners of the British and American slave ships of the eighteenth century. Drawing on thirty years of research in maritime archives, court records, diaries, and firsthand accounts, The Slave Ship: A Human History (Penguin, 2008) is riveting and sobering in its revelations, reconstructing in chilling detail a world nearly lost to history: the “floating dungeons” at the forefront of the birth of African American culture. Marcus Rediker is Distinguished Professor of Atlantic History at the University of Pittsburgh. His “histories from below,” including The Slave Ship: A Human History, have won numerous awards, including the George Washington Book Prize, and have been translated into seventeen languages worldwide. He has produced a film, Ghosts of Amistad, with director Tony Buba, and written a play, “The Return of Benjamin Lay,” with playwright Naomi Wallace. He is currently writing a book about escaping slavery by sea in antebellum America. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

In this widely praised history of an infamous institution, award-winning scholar Marcus Rediker shines a light into the darkest corners of the British and American slave ships of the eighteenth century. Drawing on thirty years of research in maritime archives, court records, diaries, and firsthand accounts, The Slave Ship: A Human History (Penguin, 2008) is riveting and sobering in its revelations, reconstructing in chilling detail a world nearly lost to history: the “floating dungeons” at the forefront of the birth of African American culture. Marcus Rediker is Distinguished Professor of Atlantic History at the University of Pittsburgh. His “histories from below,” including The Slave Ship: A Human History, have won numerous awards, including the George Washington Book Prize, and have been translated into seventeen languages worldwide. He has produced a film, Ghosts of Amistad, with director Tony Buba, and written a play, “The Return of Benjamin Lay,” with playwright Naomi Wallace. He is currently writing a book about escaping slavery by sea in antebellum America. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this widely praised history of an infamous institution, award-winning scholar Marcus Rediker shines a light into the darkest corners of the British and American slave ships of the eighteenth century. Drawing on thirty years of research in maritime archives, court records, diaries, and firsthand accounts, The Slave Ship: A Human History (Penguin, 2008) is riveting and sobering in its revelations, reconstructing in chilling detail a world nearly lost to history: the “floating dungeons” at the forefront of the birth of African American culture. Marcus Rediker is Distinguished Professor of Atlantic History at the University of Pittsburgh. His “histories from below,” including The Slave Ship: A Human History, have won numerous awards, including the George Washington Book Prize, and have been translated into seventeen languages worldwide. He has produced a film, Ghosts of Amistad, with director Tony Buba, and written a play, “The Return of Benjamin Lay,” with playwright Naomi Wallace. He is currently writing a book about escaping slavery by sea in antebellum America. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In this widely praised history of an infamous institution, award-winning scholar Marcus Rediker shines a light into the darkest corners of the British and American slave ships of the eighteenth century. Drawing on thirty years of research in maritime archives, court records, diaries, and firsthand accounts, The Slave Ship: A Human History (Penguin, 2008) is riveting and sobering in its revelations, reconstructing in chilling detail a world nearly lost to history: the “floating dungeons” at the forefront of the birth of African American culture. Marcus Rediker is Distinguished Professor of Atlantic History at the University of Pittsburgh. His “histories from below,” including The Slave Ship: A Human History, have won numerous awards, including the George Washington Book Prize, and have been translated into seventeen languages worldwide. He has produced a film, Ghosts of Amistad, with director Tony Buba, and written a play, “The Return of Benjamin Lay,” with playwright Naomi Wallace. He is currently writing a book about escaping slavery by sea in antebellum America. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this widely praised history of an infamous institution, award-winning scholar Marcus Rediker shines a light into the darkest corners of the British and American slave ships of the eighteenth century. Drawing on thirty years of research in maritime archives, court records, diaries, and firsthand accounts, The Slave Ship: A Human History (Penguin, 2008) is riveting and sobering in its revelations, reconstructing in chilling detail a world nearly lost to history: the “floating dungeons” at the forefront of the birth of African American culture. Marcus Rediker is Distinguished Professor of Atlantic History at the University of Pittsburgh. His “histories from below,” including The Slave Ship: A Human History, have won numerous awards, including the George Washington Book Prize, and have been translated into seventeen languages worldwide. He has produced a film, Ghosts of Amistad, with director Tony Buba, and written a play, “The Return of Benjamin Lay,” with playwright Naomi Wallace. He is currently writing a book about escaping slavery by sea in antebellum America. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

In this widely praised history of an infamous institution, award-winning scholar Marcus Rediker shines a light into the darkest corners of the British and American slave ships of the eighteenth century. Drawing on thirty years of research in maritime archives, court records, diaries, and firsthand accounts, The Slave Ship: A Human History (Penguin, 2008) is riveting and sobering in its revelations, reconstructing in chilling detail a world nearly lost to history: the “floating dungeons” at the forefront of the birth of African American culture. Marcus Rediker is Distinguished Professor of Atlantic History at the University of Pittsburgh. His “histories from below,” including The Slave Ship: A Human History, have won numerous awards, including the George Washington Book Prize, and have been translated into seventeen languages worldwide. He has produced a film, Ghosts of Amistad, with director Tony Buba, and written a play, “The Return of Benjamin Lay,” with playwright Naomi Wallace. He is currently writing a book about escaping slavery by sea in antebellum America. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

In this episode, we discuss:How panhandling as a teen directly led Vincent to his career in theatre His book, Page to Stage: The Craft of Adaptation, and the six building blocks of a great adaptation or any play, really The playwright exchange program he wishes would have a second lifeAnd more! Ahem, listen for all those name drops - they hit hard!All About Our GuestFor over four decades, Vincent Murphy was an artistic producing director of three acclaimed theaters, with a professional career of collaboration on more than 200 productions in the US, Canada, South America, and Europe. As a director, playwright, actor, designer, choreographer, and artistic director, he has garnered more than forty major awards in directing, acting, playwriting, and teaching.Murphy has devoted much of his career to championing the development of new plays. At Theater Emory, where he is a full professor in the arts, he developed a biennial Brave New Works series. He created the Playwriting Center of Theater Emory where over one hundred new plays and adaptations went on to productions around the world. Murphy initiated and produced festivals with residencies by Athol Fugard, Frank Manley, Naomi Wallace and Wole Soyinka.He has taught adaptation workshops for professionals and students at several theaters and play labs in the USA, Canada and Europe. His former students who became leaders in the field include Robert O'Hara, Lauren Gunderson, Hank Azaria, Ariel Fristoe, Adam Richmond and Justine Shapiro.Murphy himself is a seasoned adapter and producer of new work. He began his career in 1970 by creating a well-received adaptation of the works of William Blake. In 2013, The University Of Michigan Press published his book on adaptation for the theatre, Page to Stage: The Craft of Adaptation. Buy Vincent's Book:at the University of Michigan Presson AmazonConnect with host Melissa Schmitz***Sign up for the 101 Stage Adaptations Newsletter***101 Stage AdaptationsFollow the Podcast on Facebook & InstagramRead Melissa's plays on New Play ExchangeConnect with Melissa on LinkedInWays to support the show:- Buy Me a Coffee- Tell us your thoughts in our Listener Survey!- Give a 5-Star rating- Write a glowing review on Apple Podcasts - Send this episode to a friend- Share on social media (Tag us so we can thank you!)Creators: Host your podcast through Buzzsprout using my affiliate link & get a $20 credit on your paid account. Let your fans directly support you via Buy Me a Coffee (affiliate link).

This episode features Megan Sandberg-Zakian, Evren Odcikin, Kareem Fahmy and Pirronne Yousefzadeh, the four incredible forces behind Maia Directors. The organization is a consulting service for organizations and artists engaging with MENASA stories – those from the Middle East, North Africa, and South Asia. These change makers discuss trends in the theatre field, the importance of being of service (and valuing that work) and collaborations on projects like Madhuri Shekar's The House of Joy, the premiere of Ismail Khalidi and Naomi Wallace's adaptation of The Corpse Washer, and the Big Bridge Theatre Consortium's commission of Rohina Malik.

We return to our Playwright Series where we look at a single playwright and their large body of work. In this episode, we discuss the life and work of NAOMI WALLACE. We read the three plays: In the Heart of America (1994), Slaughter City (1996), and The Trestle at Pope Lick Creek (1998) to share our thoughts on Naomi Wallace's craft in playwriting. We hope you will check these plays out and listen in to our conversation! NAOMI WALLACE'S PLAYS: 1. In the Heart of America (1994) 2. Slaughter City (1996) 3. The Trestle at Pope Lick Creek (1998) GLISTENS: Sam's: Julius Caesar / Donmar Trilogy dir. By Phyllida Lloyd - Harriet Walter plays Brutus stannswarehouse.org/show/donmar-trilogy/ Sarah's: Termites lol gross _____________________________________________ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Instagram and Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support

We return to our Playwright Series where we look at a single playwright and their large body of work. In this episode, we discuss the life and work of NAOMI WALLACE. We read the three plays: In the Heart of America (1994), Slaughter City (1996), and The Trestle at Pope Lick Creek (1998) to share our thoughts on Naomi Wallace's craft in playwriting. We hope you will check these plays out and listen in to our conversation! NAOMI WALLACE'S PLAYS: 1. In the Heart of America (1994) 2. Slaughter City (1996) 3. The Trestle at Pope Lick Creek (1998) GLISTENS: Sam's: Julius Caesar / Donmar Trilogy dir. By Phyllida Lloyd - Harriet Walter plays Brutus https://stannswarehouse.org/show/donmar-trilogy/ Sarah's: Termites lol gross _____________________________________________ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Instagram and Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com

Hello, listeners! Boy, do we have a treat for you! This is an in-depth special episode where we had the greatest pleasure of chatting with one of our favorite people from Iowa... ART BORRECA! He is the Co-Head of the Playwriting Program and Head of the Dramaturgy Program at the University of Iowa (aka where Sam and I met and became friends!). Art talks about his journey into theater and dramaturgy, what he loves about new plays, and shares with us the Iowa Playwrights Workshop program. We are so excited for you to listen to this one. So please, grab your favorite drink, kick your feet up, and listen to this very special episode. Art Borreca is associate professor of dramaturgy, dramatic literature, and theatre history, co-head of the playwriting program, and head of the dramaturgy program. He has worked as a dramaturg with a number of leading theatre artists, including Athol Fugard, Wole Soyinka, Theodora Skipitares, David Gothard, and Naomi Wallace in such venues as the Yale Repertory Theatre, New York Theatre Workshop, LaMama ETC, Oxford Stage Company in the U.K., and T.P.T (Theatre Project Tokyo) in Japan. His research interests include contemporary British and American theatre, new play dramaturgy, and political dramaturgy. His articles and reviews have appeared in TDR (The Drama Review), Modern Drama, and Theatre Journal; as well as in several books, including Dramaturgy in American Theatre, What is Dramaturgy? and Approaching the Millennium: Essays on Angels in America. Professor Borreca is a contributing editor of the two-volume Norton Anthology of Drama. GLISTENS: Sarah - Sinkholes Sam - American Shakespeare Virtual Tour americanshakespearecenter.com/vr/ Art - His students from his Post-Modern class. ________________________ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support

Hello, listeners! Boy, do we have a treat for you! This is an in-depth special episode where we had the greatest pleasure of chatting with one of our favorite people from Iowa... ART BORRECA! He is the Co-Head of the Playwriting Program and Head of the Dramaturgy Program at the University of Iowa (aka where Sam and I met and became friends!). Art talks about his journey into theater and dramaturgy, what he loves about new plays, and shares with us the Iowa Playwrights Workshop program. We are so excited for you to listen to this one. So please, grab your favorite drink, kick your feet up, and listen to this very special episode. Art Borreca is associate professor of dramaturgy, dramatic literature, and theatre history, co-head of the playwriting program, and head of the dramaturgy program. He has worked as a dramaturg with a number of leading theatre artists, including Athol Fugard, Wole Soyinka, Theodora Skipitares, David Gothard, and Naomi Wallace in such venues as the Yale Repertory Theatre, New York Theatre Workshop, LaMama ETC, Oxford Stage Company in the U.K., and T.P.T (Theatre Project Tokyo) in Japan. His research interests include contemporary British and American theatre, new play dramaturgy, and political dramaturgy. His articles and reviews have appeared in TDR (The Drama Review), Modern Drama, and Theatre Journal; as well as in several books, including Dramaturgy in American Theatre, What is Dramaturgy? and Approaching the Millennium: Essays on Angels in America. Professor Borreca is a contributing editor of the two-volume Norton Anthology of Drama. GLISTENS: Sarah - Sinkholes Sam - American Shakespeare Virtual Tour https://americanshakespearecenter.com/vr/ Art - His students from his Post-Modern class. ________________________ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com

Banqueroute n°2 - La Brèche, Naomi Wallace by Alexandra Chaigneau

UC Irvine's Bryan Jackson joins Janeane to talk about the UCI Collegiate Showcase at the Newport Beach Film Fest. SCREENING INFO 1:15PM Saturday April 27 Starlight Triangle Square Cinemas, Costa Mesa, CA TICKETS/NBFF PROGRAM PAGE: https://newportbeachfilmfest.com/event/university-of-california-irvine/ www.digifilmuci.com "DigiFilm is the hub for creative film production at UC Irvine Claire Trevor School of the Arts. Our courses challenge students to put critical thinking and technical skill into action. The curriculum is a model of what it means to be a working film artist." ABOUT BRYAN JACKSON Bryan Jackson Continuing Lecturer Digital Filmmaking + Digital Arts MFA, University of California, Los Angeles BRYAN JACKSON is a interdisciplinary artist working in Los Angeles. His self-portrait video Softly (2007) employs dolls as actors staged on miniature, handcrafted sets and features music created by his collaborator, the Tokyo-based composer Yoshizawa Eiji. Haircut (2004), written and directed by Jackson and features James Kyson Lee (NBC’s Heroes) won the Jury Prize for Best Experimental Film at New Orleans’ Reel Identity Film Festival, and was named Best Experimental Short at Cinekink New York. The film was shot entirely in first-person with a surveillance camera mounted to the forehead of its protagonist. Haircut has screened as an official selection at 41 international film festivals. Jackson earned his MFA studying Theater Directing and Experimental Film at the University of California Los Angeles. As a theater director he has staged works by Jean Genet, E.E. Cummings, and Naomi Wallace. Jackson produced video installations for the premiere of Long Beach Opera’s Downtown Opera Project. In 2007, he had his New York gallery premiere at Alexander Gray Associates. In 2006, he co-produced video installations for LACMA Lab’s ‘Consider This…’ with artist Bruce Yonemoto. As a member of ASCAP, his writing credits include lyrics on albums for the Japanese band Scudelia Electro, and are featured on the Sony/NHK-1 anime King of Thieves: Jing. Jackson has taught acting and directing at UCLA, and video-making at the Southern California Institute of Architecture (SCI-Arc), and the San Francisco Art Institute.

Lloyd Beck interviews Piercey Dalton who plays as Character name Naomi Wallace, Naomi aka Piercey is the mother of Logan who is played by Dylan Minnette. In the interview we talk about The Open House Horror/Thriller movie. We also talk about her latest project called Duke which is based on a true story of a young adult who has a learning difficulty called Autism.

Journalist Rula Jebreal, who conducted one of the last interviews with Jamal Khashoggi before he was executed, discusses possible motives for his murder and shares audio from the interview. Sam Husseini, a journalist who once asked a top Saudi official to defend the legitimacy of his regime, joins for a roundtable on the history of U.S. support for Saudi Arabia, the intentional amnesia of the politicians demanding action, and the slaughter in Yemen.  Renowned playwright Naomi Wallace has a new one-person play about Yemen. Intercepted has adapted it into a radio drama performed by Ismail Khalidi.  Indigenous historian Nick Estes discusses the ongoing attacks on native people, voter disenfranchisement, the Red Power movement and the latest on the fight against major oil and gas pipelines.

We were thrilled to welcome Brett Neveu to the booth just two days after being in the audience for the press opening of his marvelous new play, To Catch A Fish at Timeline Theatre. This production, masterfully directed by Ron OJ Parson, features one of the best ensemble casts we've ever seen, with standout performances by  Geno Walker, Al'Jaleel McGhee, Tiffany Addison, and Linda Bright Clay. We recently saw Al'Jaleel and Linda in Antoinette Nwandu's Breach at Victory Gardens. What a treat to see their work again so soon! Based on a true news story set in Milwaukee, Brett's play is about family and love and explores different types of love in a profound and very moving way. Timeline's 99 seat theatre makes for an intimate experience.  All the seats are good. The show runs through July 1 and is an absolute must see! This play came out of the Playwrights Collective at Timeline, which sounds like a very cool process for the writers. Brett, like our friend and recent guest Stuart Dybek, teaches writing at Northwestern University. He teaches classes in writing plays, television, and films. We are hoping to sit in on a class! Brett is a member of A Red Orchid's ensemble and has done 10 world premieres there. He has been interviewed by Booth One friend and guest, Mark Larson, for his book about Ensemble in Chicago Theatre and shares some of his insights about being part of an ensemble. A Red Orchid's theatre space is quite small and intimate, which sparks Brett's inspiration. As he says, "It challenges the actors and audience to communicate in a dangerous and interesting way." He studied writing at the University of Iowa along with some other amazing playwrights who are his good friends, such as Rebecca Gilman and Naomi Wallace. Brett plays in a band called The Last Afternoons. Multi-talented much? Kiss of Death: Florence Berman:         What a story! Florence Berman and her husband Maurie, started SuperDawg in 1948 as a way to pay the bills as they were going through school at Northwestern. All these years later, it is iconic. And we are happy to report that Brett Neveau and his daughter consider it to be an all-time favorite place. Read her beautiful obit by Maureen O'Donnell here.

Gerry Kowarsky and guest host Mark Bretz review (1) THE AMISH PROJECT, by Jessica Dickey, at Mustard Seed Theatre, (2) SPINNING INTO BUTTER, by Rebecca Gilman, at Insight Theatre Company, (3) GOTTERDAMMERUNG, by Richard Wagner, at Union Avenue Opera, (4) ONE FLEA SPARE, by Naomi Wallace, at Slightly Askew Theatre Ensemble, and (5) WILD OATS, by James McClure, at St. Louis Shakespeare.

On this week's episode of the Talk Theatre In Chicago podcast, Tom Williams talks with Naomi Wallace who is the playwright featured this year with the Eclipse Theatre Company. She talk about her show The Trestle at Pope Lick Creek and One Flea Spare as well as her upcoming visit to Chicago.

One of the interviews I’m most proud of was conducted in late 2007 with dancer-choreographer Jen Abrams. I’m delighted to bring this episode out of the archives and present it in Body and Soul’s new home. When our "half-hour" interview concluded, we were amused to see that it had actually lasted a full hour! But that's what it takes to tell even part of the story of her work with the WOW Cafe Theater collective, an historic and essential part of the still-hearty cultural abundance of Manhattan's rapidly-changing East Village. Listening to Jen talk about her background in contact improvisation, I discovered a fascinating connection between contact improvisation and the "open source," grassroots nature of WOW. Her intensity and strength as an artist working in dance, theater and poetry are more than matched by the tenacity of this theater collective and space that she so clearly loves. And here’s her bio: Jen Abrams’ work has been presented at BAX, HERE, Dixon Place, the Nuyorican Poets Café, and the Bowery Poetry Club, as well as at WOW Café Theater, where she has been an active member for seven years. She has produced three full-length concerts of her own work at WOW: Itch (2000), Saturn Return (2001), and Surfacing (2002), as well as two shared bill evenings: As I Was Saying (2004, with Risa Jaroslow and Eva Lawrence) and Asunder (2006 with Clarinda Mac Low and Tara O’Con.). She was a 2005 BAX space grantee, and is co-curator and co-producer with Sally Silvers of TalkTalk WalkWalk, an annual poetry and dance festival. Her choreographic work has also been seen at WOW in the stage plays The Skriker by Caryl Churchill, All Eyes, All Sides – Beckett One Acts, Naomi Wallace’s Slaughter City, and Moira Cutler’s MetaMeshugenaMorphosis and Sonofabitch Stew, all with Dogsbody Theater. The Village Voice has called her work “quintessentially New York,” and her performances “convincing no matter what [she chooses] to do.” Jen has studied the form of Contact Improvisation for twelve years, beginning at Oberlin College, the birthplace of the form. She relocated to New York City from Chicago, where she presented and performed in five full-length concerts with the contact improv-based company she co-founded, Limbic Fix. She is classically trained as an actor, and performed in plays throughout Chicago before moving to New York City to focus on movement-based performance. She is also a writer, and has given readings of her work at St. Mark’s Poetry Project, Halcyon, and Bar 13. By day, Jen works as a fundraiser for a small poetry press, and serves as Managing Director for Risa Jaroslow & Dancers. She also teaches Contact Improv through Movement Research. Her roots in theater and immersion in literature inform her dances. Visit Jen Abram's Web site at http://www.jenabrams.org. Visit Eva Yaa Asantewaa's dance blog--InfiniteBody--at http://infinitebody.blogspot.com.

One of the interviews I’m most proud of was conducted in late 2007 with dancer-choreographer Jen Abrams. I’m delighted to bring this episode out of the archives and present it in Body and Soul’s new home. When our "half-hour" interview concluded, we were amused to see that it had actually lasted a full hour! But that's what it takes to tell even part of the story of her work with the WOW Cafe Theater collective, an historic and essential part of the still-hearty cultural abundance of Manhattan's rapidly-changing East Village. Listening to Jen talk about her background in contact improvisation, I discovered a fascinating connection between contact improvisation and the "open source," grassroots nature of WOW. Her intensity and strength as an artist working in dance, theater and poetry are more than matched by the tenacity of this theater collective and space that she so clearly loves. And here’s her bio: Jen Abrams’ work has been presented at BAX, HERE, Dixon Place, the Nuyorican Poets Café, and the Bowery Poetry Club, as well as at WOW Café Theater, where she has been an active member for seven years. She has produced three full-length concerts of her own work at WOW: Itch (2000), Saturn Return (2001), and Surfacing (2002), as well as two shared bill evenings: As I Was Saying (2004, with Risa Jaroslow and Eva Lawrence) and Asunder (2006 with Clarinda Mac Low and Tara O’Con.). She was a 2005 BAX space grantee, and is co-curator and co-producer with Sally Silvers of TalkTalk WalkWalk, an annual poetry and dance festival. Her choreographic work has also been seen at WOW in the stage plays The Skriker by Caryl Churchill, All Eyes, All Sides – Beckett One Acts, Naomi Wallace’s Slaughter City, and Moira Cutler’s MetaMeshugenaMorphosis and Sonofabitch Stew, all with Dogsbody Theater. The Village Voice has called her work “quintessentially New York,” and her performances “convincing no matter what [she chooses] to do.” Jen has studied the form of Contact Improvisation for twelve years, beginning at Oberlin College, the birthplace of the form. She relocated to New York City from Chicago, where she presented and performed in five full-length concerts with the contact improv-based company she co-founded, Limbic Fix. She is classically trained as an actor, and performed in plays throughout Chicago before moving to New York City to focus on movement-based performance. She is also a writer, and has given readings of her work at St. Mark’s Poetry Project, Halcyon, and Bar 13. By day, Jen works as a fundraiser for a small poetry press, and serves as Managing Director for Risa Jaroslow & Dancers. She also teaches Contact Improv through Movement Research. Her roots in theater and immersion in literature inform her dances. Visit Jen Abram's Web site at http://www.jenabrams.org. Visit Eva Yaa Asantewaa's dance blog--InfiniteBody--at http://infinitebody.blogspot.com.