Podcasts about new harmony project

Blair Russell is a Tony nominated producer and developer of theatre and live performance whose experience ranges from fringe festivals to Broadway shows.​Credits include STILL (Off-Broadway); LIZARD BOY (Theatreworks Silicon Valley, Hope Mill Theatre, Edinburgh Fringe, Off-Broadway, Oregon Shakespeare Festival); POP OFF, MICHELANGELO! (Edinburgh Fringe, The Other Palace - London); For Tonight (Adelphi Theatre - London); DIVA: LIVE FROM HELL! (Edinburgh Fringe, Kings Head Theatre - London); SALEM (50k followers, Green Room 42 - New York); and SLAVE PLAY (Broadway - 12 Tony Noms, West End). Other projects include THE WIZ (Broadway/ NT 2024), Sweeney Todd (Immersive Off-Broadway 2017), and GYPSY with Imelda Staunton (West End 2014). On the board of The New Harmony Project, Goodspeed Musicals, and SPACE. VCU Graduate. ​Blair has been a guest speaker/artist at a number of institutions including the University of Maryland, University of North Carolina Greensboro, Walnut Hill School for the Performing Arts, and the York School in Monterey, CA. Blair has served as the Producer-in-Residence for the Johnny Mercer Writers Grove at Goodspeed Musicals for two years. He was also a visiting lecturer for the semester-long Atelier program at Princeton University where he collaborated with composer Georgia Stitt on her oratorio The Circling Universe. Blair has appeared as a guest on a number of podcasts (American Theatre Artists Online, A Star Is Bored, Backstage Talk, Broadway ReFocused), web series (Actors Unscripted, Awkward Conversations, Be Our Guest! - Live and In Color, Dreamland XR, In The (Home) Office - Goodspeed Musicals), and at global conferences (National Alliance for Musical Theater, Global XR Conference, Immerse Global Summit Series)Blair Russell Productions, LLC (BRP) goes beyond the confines of traditional theatrical production. Driven by a desire to put art first, we consistently create opportunities for emerging artists, aiming to broaden the scope of who gets to make theater and who gets to consume it. We focus on finding innovative financial frameworks, following non-traditional development paths, and harnessing the latest in technological advancements.Founded by Blair Russell in 2018, BRP's journey in the theatrical landscape has been marked by a commitment to challenging the status quo. With every production, we prioritize making theatre accessible, ensuring that each story resonates deeply and widely.Blair Russell Productions continues to relentlessly support artists who are reimagining the idea of contemporary theatre. Our mission is unwavering: to bring bold narratives to diverse audiences while showcasing the impact and potential of modern storytelling.

Send us a textThis week I had the pleasure of having a fascinating conversation with Allison Gregory on this recent episode of Playwright's Spotlight and her approach of writing about historical and mythological characters and exploring outside their known stories. We delved into the philosophy of "when we are", letting the story find us, the power of the #2 pencil and writing longhand, stealing from the best, obtaining the rights to other's works and public domain. We also discuss commissioning adaptations, tried and true material, embracing constructs, and knowing the audience of children's theatre. It's a wonderful chat I hope everyone feels motivated and inspired by. Enjoy!Allison Gregory's work has been produced nationally and internationally for multigenerational audiences by a fusion of professional theaters, academic stages, and nontraditional spaces. She has received commissions and development from the Oregon Shakespeare Festival, the Kennedy Center, South Coast Repertory, Indiana Repertory Theatre, the Playwrights' Center, the Skirball Foundation, Geva Theatre, Seattle Rep, ACT Theater, Orlando Shakes, the National New Play Network (NNPN), Hedgebrook, the New Harmony Project, and Banff Playwrights Lab. Her plays range from satires centering on underrepresented historical figures to contemporary interpretations of mythology, intimate dramas, and exuberant, innovative theatre for young people. Her plays are published by Dramatic Publishing, Playscripts, Concord Theatricals, Smith & Krauss, and Rain City Press and include – Not Medea, Junie B. Jones is Not a Crook, and Judy Moody & Stink: The Mad, Mad, Mad Treasure Hunt.To watch the video format of this episode, visit -https://youtu.be/B9pW5OH7L14Links to resources mentioned in this episode -Child's Play -https://www.childsplayaz.orgSeattle's Children's Theare -www.sct.orgWebsite and Socials for Allison Gregory - Website-www.allisongregoryplays.comFacebook-https://www.facebook.com/allison.gregory.71Websites and socials for James Elden, PMP, and Playwright's Spotlight -Punk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods                  - @playnoirla IG - @punkmonkeyprods       - @playnoir_la FB - fb.com/playnoir        - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the show

Indy Shakes is returning to the Circle City with a new play, “Riverside,” by ML Roberts.It premieres this week at the Taggart Memorial Amphitheater in Riverside Park.The play, which explores the history and community of the Riverside neighborhood, features an ensemble cast of eight. ‘”Riverside” tells the story of Black Indianapolis through the lens of a single family across three decades: the 1820s, the 1920s, and the 1960s.The play was developed in partnership with local arts organization The New Harmony Project and inspired by a desire to honor the history of the area and the collaborative spirit of neighborhood residents.“Riverside” will have performances on Thursday, Friday, and Saturday, as well as July 25 through July 27. The performances are free. Ticket information is online.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The house in Harrisville, Rhode Island is not clean. In fact it's filthy, lousy with supernatural yuck. That's bad news for whoever inhabits it, and no one's going to have it worse than the Perrons—father Roger (Ron Livingston), mother Carolyn (Lili Taylor), and their five daughters. When the otherworldly rumblings get out of hand, who they gonna call? In this case, it's the OG Ghostbusters, Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga). To say what happens next would be a spoiler, and we don't do that without a warning. But after our forays into James Wan's Dead Silence and Insidious, allow us to say that The Conjuring is a cool breath of delightfully fetid air. Director, dramaturg, and Columbia University professor Christian Parker joins us for academically incisive commentary. Intro, Debate Society, To Sir With Love (spoiler-free): 00:00-29:12Honor Roll and Detention (spoiler-heavy): 29:13-1:01:32Superlatives (spoiler-heavier): 1:01:33-1:20:57 Director James WanScreenplay Chad Hayes & Carey W. HayesFeaturing Joseph Bishara, John Brotherton, Shanley Caswell, Kyla Deaver, Vera Farmiga, Mackenzie Foy, Joey King, Hayley McFarland, Shannon Kook, Ron Livingston, Patrick Wilson, Lili Taylor Christian Parker is a director, dramaturg, and former Chair of the graduate Theatre Program at Columbia University, where he is currently a professor of Professional Practice, leading the MFA concentration in Dramaturgy.  His work has been on view at the Steppenwolf Theatre, Gulfshore Playhouse, the Rattlestick, the New Harmony Project, the Oregon Shakespeare Festival, and many others. Christian has served as the Associate Artistic Director of Atlantic Theater Company, was on the Tony Awards Nominating Committee for four years, and was a resident at the American Academy in Rome in Spring 2024.  Our theme music is by Edward Elgar and Sir Cubworth.  Music from The Conjuring by Joseph Bishara. For more information on this film, writing by your hosts (on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠our blog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), and other assorted bric-a-brac, visit our website, ⁠⁠⁠⁠⁠⁠scareupod.com⁠⁠⁠⁠⁠⁠⁠⁠. Please subscribe to this podcast via Apple Podcasts, Spotify, or wherever you get yours. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook group⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

This week I have the wonderful opportunity to talk with my friend, playwright and TV writer, Franky D. Gonzalez. Follow Franky on Insta: https://www.instagram.com/phattheddproductions/ Franky D. Gonzalez is a playwright and TV writer of Colombian descent splitting time between Dallas and Los Angeles. Nationally, his work has appeared with The Lark, the Sundance Institute, the Ojai Playwrights Conference, Berkeley Repertory Theatre's Ground Floor, the NNPN National Showcase of New Plays, the Latinx Playwrights Circle, the Texas State University's Black and Latino Playwrights Celebration, The Sol Project (SolFest 2022), Urbanite Theatre, Visión Latino Theatre Company, the Great Plains Theatre Conference, the Goodman Theatre (Live @ Five Series), Launch Pad at UC Santa Barbara, The New Harmony Project, Bishop Arts Theatre Center, Repertorio Español, LAByrinth Theater Company, Ars Nova (ANT Fest 2021), Dallas Theater Center, the William Inge Theatre Festival, Austin Latinx New Play Festival, Stages Repertory Theatre's Sin Muros Latinx Theatre Festival, the Latino Theatre Company's RE:Encuentro 2021: National Virtual Latina/o/x Theatre Festival, the Latinx Theatre Commons 2022 Comedy Carnaval, Seven Devils New Play Foundry, the HBMG Foundation National Winter Playwrights Retreat, Tofte Lake Center, Ignition Arts, Play4Keeps Podcast, the Antaeus Playwrights Lab, Clamour Theatre Company, Ammunition Theater Company, Greenway Court Theatre, the Cloud Factory, The Mid-America Theatre Conference, The Midwest Dramatists Conference, and the One-Minute Play Festival. Franky was a recipient of the Charles Rowan Beye New Play Commission, an MTC/Sloan Commission, the Risk Theatre Modern Tragedy Prize, co-recipient of the MetLife Nuestras Voces Latino Playwriting Award, won the Crossroads Project Diverse Voices Playwriting Initiative Award, the Judith Royer Award for Excellence in Playwriting, the Short+Sweet Theatre Festival Manila Best Overall Production Prize, and was a staff writer for the fourth season of 13 Reasons Why. The 2023 Chicago Production of his play That Must Be the Entrance to Heaven garnered two Non-Equity Jeff Awards (for Short Run Production and Director). Previously Franky was named the 4 Seasons Resident Playwright, a Sony Pictures Television Diverse Writers Program Fellow, and a Core Writer with the Playwrights Center. Currently Franky serves as the Bishop Arts Theatre Center Playwright-in-Residence, is writing on a Sony/Amazon show, and is developing a series with Sony Pictures Television. He is proudly represented by Valor Entertainment, the Gersh Agency, and the law firm Del Shaw Moonves Tanaka Finkelstein Lezcano Bonn & Dang.  Full Play Reading of Even Flowers Bloom in Hell, Sometimes By Franky D. Gonzalez  -  https://open.spotify.com/episode/5qHu05Z8Wzw6lkAVoR6KmE?si=_yyuEjKCRzeD3zNcPQ2AEw Andy's Past Interview with Franky on the Ashland New Plays Festival Podcast - https://open.spotify.com/episode/2M9TDqe7B2hCh9DCBZN81c?si=Ul5g2-g_QSmND2Hxa1U0MQ Music is licensed from Musicbed.com.   Subscribe to my YouTube: ⁠⁠⁠www.youtube.com/@andyfilmsandhikes⁠⁠⁠ Follow Host Andy Neal on Instagram: ⁠⁠⁠⁠⁠www.instagram.com/andyfilmsandhikes⁠⁠⁠⁠  Check out my TikTok: ⁠⁠⁠www.tiktok.com/@andyfilmsandhikes ⁠⁠ Buy Andy a Coffee: https://www.buymeacoffee.com/andyfilmsandhikes  --- Send in a voice message: https://podcasters.spotify.com/pod/show/adventureisoutthere/message

In this episode, Jennifer talks to Christina Pumariega all about the tangible aspects of TV writing, pilots, and storytelling. Puma shares what inspired her to write her first pilot, how she ended up landing a writer's room gig, and the importance of community. They delve into the intricacies of structure - from creating compelling loglines to storyengines to ABC breakdowns to character descriptions. They discuss the art of breaking story, carding, the challenges of both starting and ending a script, and the messy process of writing. Plus they share the value of persistence & discipline,   seeking feedback & mentorship, and navigating the ever-evolving landscape of the entertainment industry. About Christina: Christina Pumariega acts and writes. Often simultaneously. She is the author of VOS! (Crossing Borders Festival at Two River Theater), Joan Dark (DCPA Colorado New Play Summit, Jane Chambers Prize runner-up, O'Neill NPC finalist), Lei Chiede/She Asks (O'Neill NPC finalist) and Her Math Play (EST/Sloan Foundation in collaboration with Hartford Stage Company, BAPF finalist). Her plays have been developed at Joe's Pub at the Public Theater, the New Harmony Project, the Lark, New Georges, Hartford Stage Company and Ammunition Theatre Company. She is currently under commission by Denver Center for the Performing Arts and Two River Theater. TV writing credits include “Turner & Hooch” (Disney+) and “Bluff City Law” (NBC). Acting on and Off-Broadway and in television and film, Pumariega has cross examined Coach Taylor, made out with the Fly and set a Cuban pharmacy ablaze in a corset. She's been an Expert Contributor to BackStage Magazine and has taught at Yale, NYU, Pace and other institutions. Pumariega created and leads the collective Más Páginas: both a writers' group dedicated to nurturing diverse voices; and playwriting and screenwriting classes held entirely online. Born and raised all over the south, her father is Cuban, her mother is Italian-American. MFA Acting, NYU. Christina's IG: @christinapumariega Want to coach with Jennifer? Schedule a session here! https://appt.link/jenniferapple Monologue Sourcing Promo Link! https://empoweredartistcollective.com/podcastpromo Learn more: https://www.empoweredartistcollective.com/podcast EAC IG: @EmpoweredArtistCollective  EAC TikTok: @EmpowerArtistCollective EAC Facebook: https://www.facebook.com/empoweredartistcollective/ Nominate a Podcast Guest! https://form.jotform.com/220608577638162 Sign up for our newsletter! https://mailchi.mp/8e72e8dcb662/stay-in-touch Check Out Our Merch! https://www.empoweredartistcollective.threadless.com/ Any thoughts you'd like to share? Email us at EmpoweredArtistCollective@gmail.com

Bishop Arts Theatre Center (BATC) is kicking off their 30th Anniversary season with the world premiere performance of Franky D. Gonzalez's new play, The Tragedy of Othello. This entertaining and thought-provoking production is a 120-minute show which will begin October 19th and run for three consecutive weekends through November 5th, 2023.Franky Gonzalez stops by to talk about how his adaptation will retain the original plot but employ a modern aesthetic and language and set in Dallas in current times. The play centers on Imani Othello who encounters racism, sexism and ageism after being named the first Black woman head coach of a football team. The incredible Denise Lee will breathe life into the indomitable spirit of Othello. Franky D. Gonzalez is a Latino playwright based in Dallas and L.A. His work has appeared with The Lark, Sundance Institute, the Ojai Playwrights Conference, NNPN, LTC Carnaval, Latinx Playwrights Circle, Urbanite Theatre, Great Plains Theatre Conference, Goodman Theatre, The New Harmony Project, The Workshop Theater, LAByrinth Theater Company, Ars Nova, and Dallas Theater Center among others. He is the Bishop Arts Theatre Center Playwright-in-Residence.Also, hear a rather robust conversation between the guys about spiders and frogs and skunks. (oh my!)The Tragedy of Othello begins October 19 – November 5, 2023, for three consecutive weekends at the Bishop Arts Theatre Center at 215 S Tyler Street, Dallas, TX 75208. Tickets for The Tragedy of Othello can be purchased online at www.bishopartstheatre.org or by calling the box office at 214.948.0716 Monday through Friday 9:00 a.m. to 5:00 p.m.

Today's guest, author and producer Matt Williams, shares all about how he made the switch from writing for TV to learning to write prose. Matt has learned the value of practicing writing, listening to your “Spirit Voice,” thinking carefully, and not rushing the process. He has so many nuggets of wisdom to share for aspiring writers, especially those who are interested in improving their craft! Plus, he shares the origin story of Home Improvement, which you do not want to miss! Matt Williams is best known as the creator and Executive Producer of the hit series Roseanne and the co-creator and Executive Producer of Home Improvement, one of the most successful programs in television history. Williams started his television career when he joined The Cosby Show during its premiere season and worked as a writer/producer on the show for three subsequent seasons. He also co-created the series A Different World. Matt's work was nominated for Emmy and Humanitas Awards and won a Peabody Award for Outstanding Achievement in Television Writing.In 1989, Williams formed the bi-coastal production company Wind Dancer Films with principals Carmen Finestra and David McFadzean. Williams' projects under the Wind Dancer banner include the television programs Carol & Company, Soul Man, Buddies, and the PBS children's program Ready Jet Go! In film, Matt wrote or produced Wild Hearts Can't Be Broken, Firelight, Where the Heart Is, What Women Want, Bernie, and The Keeping Room.Matt has directed numerous productions in regional and Off-Broadway theatres. He directed the world premiere of Robby Benson's musical Open Heart at the Cherry Lane Theatre. Along with Daryl Roth Productions and his partners at Wind Dancer, he co-produced the stage production of Camping with Henry and Tom. He and Wind Dancer co-produced The Bubbly Black Girl Sheds Her Chameleon Skin at Playwrights Horizons.In addition to his many credits, Matt is a founding board member of The New Harmony Project and the Cherry Lane Theatre. Matt is currently an Adjunct Associate Professor at Columbia University School of the Arts Theatre Program. He lives in New York with his wife, actress Angelina Fiordellisi, the Artistic Director of the Cherry Lane Theatre.IG: @mattallenwilliams

Deborah Yarchun is a New Jersey-born, Air Force-raised, and Austin-rooted playwright; her plays are just as geographically discombobulated. She's currently LA/NYC-based. Her plays have been produced and/or developed at Ensemble Studio Theatre, Centenary Stage Company, The Civilians' R&D Group, Capital Rep, The New Harmony Project, Martha's Vineyard Playhouse, Amphibian Stage Productions, The Great Plains Theater Conference, Jewish Ensemble Theater, The Playwrights' Center, Rattlestick Playwrights Theatre, TheatreSquared's Arkansas New Play Festival, the William Inge Center for the Arts, Jewish Plays Project, the Minnesota Fringe, Minnesota Jewish Theatre Company, Northern Stage, the Philadelphia Fringe, The Samuel French Off-Off Broadway Festival, Playwrights Horizons' Peter Jay Sharp Theater by Young Playwrights Inc., Williams Street Rep, and at theaters and universities across the United States and in Canada.Deborah's honors include two Jerome Fellowships at The Playwrights' Center, a Dramatists Guild Foundation Fellowship, an EST/Sloan Commission, Dartmouth's Neukom Literary Arts Award for Playwriting, The Kennedy Center's Jean Kennedy Smith Playwriting Award, the Kernodle New Play Award, the Richard Maibaum Playwriting Award, and Women in the Arts & Media Coalition's Collaboration Award. Her play GREAT WHITE was an Honorable Mention for the Relentless Award and her play ATLAS, THE LONELY GIBBON was a finalist for the 2021 National Playwrights Conference. Deborah is a 2021-2024 Core Writer at The Playwrights' Center and a New Georges Affiliated Artist. She earned her M.F.A. from the University of Iowa where she was an Iowa Arts Fellow.Deborah is the winner of VetRep's latest full-length playwriting competition for her play TECTONIC MELANGE. Her play THE CALM BEFORE is currently in development with VetRep.

This week, I'm thrilled to shine a light on an organization that is truly walking the walk when it comes to living its values. The New Harmony Project - led by Lori Wolter Hudson and David Hudson cares for and nurtures writers to give them the space, time, energy, and inspiration to create works that change our world by interrogating the complexities of hope. There's a lot there -- what it means to care for and nurture writers, the role of hope in helping to forge a more just and equitable world, and what it looks like in practice to translate a bold and beautiful mission into organizational practices that can actually be used to guide the institution. In this conversation, David and Lori share how their recent strategic planning process has helped them answer these critical questions, and how it has helped them actually translate their mission and operationalize their values.  It's a great look into how powerful a good strategic planning process can be, and into how intertwined personal inspiration, strategy, organizational values, and day-to-day operations truly are when leading an organization. 

Next on The Eclectic from Destination Freedom Black Radio Days is Idris Goodwin, a playwright, director, break beat poet and educator. He is the Director of the Colorado Springs Fine Arts Center at Colorado College and a 2021 United States Artist Fellow. Idris is a highly sought-after writer for multi-generational audiences, produced and commissioned by Regional, Community and Academic Theater institutions across the country. Idris's play The Way The Mountain Moved was commissioned and produced as part of Oregon Shakespeare's groundbreaking American Revolutions series. His work has been produced Off-Broadway and at The Humana Festival at Actor's Theater of Louisville, Steppenwolf Theater, The Kennedy Center, The Denver Center for The Performing Arts, Cleveland Playhouse, and Company One. He's received awards and development support from the NEA, The Ford, Mellon, and Edgerton Foundation, Berkeley Rep's Ground Floor Program, The Eugene O'Neill Center, The Lark Playwriting Center, and New Harmony Project. Across two decades Idris Goodwin has forged an impactful career as a multiple award-winning playwright, breakbeat poet, director, educator, and organizer. Idris is the Director of The Colorado Springs Fine Arts Center at Colorado College, and the first Black man to hold the position in its 100 year history. Prior to this, Goodwin served two seasons as Producing Artistic Director at StageOne Family Theatre in Louisville, Kentucky The Eclectic is a companion podcast to Destination Freedom Black Radio Days that features interviews with difference makers, artists, authors, bold thinkers, and people we love who get stuff done. Produced and hosted by donnie l. betts of No Credits Productions, LLC. Follow @nocreditsproductions on Facebook and Instagram, and @donniebetts on Twitter. #Blackradiodays #socialjustice #destinationfreedomblackradiodays #donniebetts Learn more about your ad choices. Visit megaphone.fm/adchoices

For Video Edition, Please Click and Subscribe Here: https://youtu.be/a8lqwXTrY6g JOHN PIELMEIER began his career as an actor, working at Actors Theater of Louisville, the Guthrie Theater, Milwaukee Rep, Alaska Rep, Baltimore's Center Stage, and the Eugene O'Neill National Playwrights' Conference. It was at the O'Neill that his play Agnes of God was first staged. A co-winner of the Great American Play contest, Agnes premiered professionally at Actors Theater of Louisville, which production was followed by several regional productions and a seventeen month run on Broadway. His other plays include Voices in the Dark, produced on Broadway and winner of the 1999 Edgar Award for Best Play (published by Broadway Play Publishing); Haunted Lives, a collection of one-acts published by Dramatists Play Service; Courage, a one-man show about J.M. Barrie, produced at the Lambs' Theatre off-Broadway, published by Playscripts, Inc. and filmed for public television; The Boys of Winter, produced on Broadway and published by Playscripts, Inc.; Sleight of Hand, produced on Broadway; Jass, presented at the O'Neill Playwrights' Conference and workshopped at the New Harmony Project; Impassioned Embraces, a collection of short plays and monologues, published by Dramatists Play Service; Steeplechase the Funny Place, a musical (with music and lyrics by Matty Selman) workshopped at the New Harmony Project; Young Rube, a musical (also with Mr. Selman), workshopped at the Gathering at Bigfork in Bigfork, Montana and first produced at the Repertory Theatre of Saint Louis; Willi, a one-man show based on the speeches of mountaineer Willi Unsoeld, which premiered (and was performed by the author) at A Contemporary Theatre in Seattle (breaking box office records); The Classics Professor, workshopped at The Gathering at Bigfork and at CAP21, New York City.

NGOZI ANYANWU is a playwright, storyteller, and most recently a 2020 Steinberg Playwright Award winner. Previous productions include Good Grief (Vineyard Theatre in NYC / Center Theatre Group in LA) and The Homecoming Queen (sold-out world premiere run at Atlantic Theater Company). Good Grief was on the Kilroys List 2016 and a semifinalist for the Princess Grace Award, and won the Humanitas Award. The Homecoming Queen was on the Kilroys List 2017 and was a Leah Ryan Finalist. Her play Nike… (Kilroys List 2017) was workshopped at The New Black Fest in conjunction with The Lark and The Strand Festival in conjunction with A.C.T and Space on Ryder Farm. Ngozi also has commissions with NYU, The Old Globe, Two Rivers Theatre, Atlantic Theater, and Steppenwolf. Anyanwu has also received residencies from LCT3, Space on Ryder Farm, the Djerassi Resident Artists Program, The New Harmony Project, New York Stage and Film, and Page 73. She attended Point Park University (BA) and received her MFA in Acting from University of California, San Diego. DANIEL J. WATTS is an NYC-based multidisciplinary artist. For acting, Watts is a 2020 Tony Award nominee and Outer Critics Circle Award winner for his portrayal of Ike Turner in the hit Broadway musical TINA. He has appeared in nine Broadway shows including Hamilton, Memphis, and After Midnight. He received the Barrymore Award (People's Light) and the LA Ovation Award (Geffen Playhouse) for Best Featured Actor for his portrayal of Sammy Davis, Jr. in Lights Out: Nat King Cole opposite Dulé Hill. TV credits include Season 3 of “The Marvelous Mrs. Maisel,” Seasons 1 & 2 of “The Last OG,” “Blindspot,” and “Vinyl.” Off-Broadway he has starred as the title character in Suzan-Lori Parks' Death of the Last Black Man in the Entire World AKA The Negro Book of the Dead (Signature Theatre) and Whorl Inside a Loop (Second Stage Theater). A play-on-words, Daniel J. Watts' The Jam pays homage to Watts' great-grandmother who, after making jam from scratch, would share with others what she was unable to consume herself. The Jam is Watts' continuation of that legacy, blending elements of stand-up comedy and compelling storytelling with his original spoken word, often set to music and/or dance. The Jam: Only Child was a wide success at the 2020 Public Theater Under the Radar Festival and has also streamed as part of the Signature Theater (DC) 2020-2021 season. Inaugural (2020) ANTONYO Award Winner for Best Quarantine Content. His original work and musical collaborations are featured on Raphael Saadiq's newest album “Jimmy Lee,” Tituss Burgess' “Saint Tituss,” Divinity Roxx's “ImPossible,” Nick Blaemire's “Ampersand;” as a contributing artist for Armstrong Now in conjunction with The Louis Armstrong House Museum; and featured in the young adult anthology "How I Resist" edited by The New York Times Best Seller Maureen Johnson for Wednesday Books/Macmillan. His TED talk “To Accomplish Great Things, You Need to Let Paint Dry” appears at go.Ted.com/danieljwatts. Watts is an artist in residence at ASU Gammage and also serves as an adjunct professor of NYU's Tisch New Studio. BFA, Elon University Music Theatre Program. 2021 Commencement SpDaniel J. Watts has appeared in eight Broadway shows including Tina : The Tina Turner Musical, Hamilton, In The Heights and Memphis. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In our 51st Deming Lens episode, host Tripp Babbitt shares his interpretation of wide-ranging aspects and implications of Dr. Deming's System of Profound Knowledge. This month he looks at supply chain and risk management. Show Notes [00:00:14] Deming Lens - Episode 51: Pay for Performance [00:02:19] A Journey with Pay for Performance [00:03:28] The New Harmony Project [00:04:33] The Result of Collectivism [00:06:35] Analytical vs Synthetic Thinking [00:10:19] Dr. Deming and Pay for Performance [00:12:22] Pay for Performance, Collectivism and Dr. Deming     Transcript [00:00:14] In the 51st episode of the Demning lens, we'll talk about. Pay for performance. Hi, I'm Tripp Babbitt, host of the Deming Institute podcast, and this is the fifty first episode of the Deming Lens. And as I was going back and searching through some of the old episodes I've done, I noticed I hadn't done one on pay for performance. And it kind of came to the forefront of my mind when I was going through some Tic Tacs. And there's a couple of people out there that are big advocates of pay for performance as ways to keep people in their organizations, which is becoming a problem now. You know, people aren't going back to work for variety reasons. The stimming check certainly plays a role in that, working from home, people being called back to work when they had got used to being at home. There's this thing that goes around on LinkedIn about you only live once and you might as well do something that that makes you happy. And organizations these days don't seem to be making people very happy. And so these are some of the topics that I think I want to talk about with regards to pay for performance. And I actually put a whole YouTube video together on my personal YouTube channel responding to Tessa White, who goes by the name Job Doc Tessa. And she used to get some pretty good advice. But one of the pieces of advice was if you're going to keep people that you got to pay for performance.   [00:02:19] So let's talk about that, because it's been an interesting journey with regards to pay for performance and at least in my own personal journey, doing public and private seminars where we would talk about pay for performance, which was something that Dr Deming obviously advocated against. And I'd often get a lot of pushback on this. You know, when you're talking about getting rid of incentives or paying for performance at almost every public or private seminar that I did, I get some pushback either allowed during the course of the seminar or privately afterwards that asking if Dr Deming was a socialist or a communist. And I've done other episodes on this particular subject, but I'm from Indiana and in Indiana. Back in the early 1980s.   [00:03:28] There was a project called and New Harmony, Indiana, that basically advocated for collectivism, which was put together as a utopian society by a gentleman, by the British industrialists, by the name of Robert Owen from 1825 to 1827. So let's have a look, maybe a little bit over a year. And then it was dissolved in 1827 because this whole concept of social education and equality did not work well for a lot of different reasons. But the idea of a utopian society in New Harmony, Indiana, was to eliminate crime and poverty and increase health, decrease misery and increase your intelligence and happiness. And this was what this community of equality was supposed to achieve in Indiana.   [00:04:33] And but what happened over time is that people discovered that the equality that this society was advocating, that there were certain rare and very hard working people, you know, putting together the agriculture that was needed for the society or building houses or whatever, is that the hard working realize that they were earning the same as the laziest of the people in the group and that caused conflict. And then people stopped working. So food wasn't being grown and houses weren't. Their houses and buildings were being built because there was kind of a pointing fingers and blame and things of that sort. So this whole utopian society based on collectivism was didn't work out. It collapsed very quickly and. You know, when you when I'm talking about pay for performance in public and private seminars. You know, the thing I'm communicating to people is that the individual cannot be separated from the system that you work in. And what I discovered over the years is there's there's something called Dunbar's number, which is 150. When an organization grows to about 150, you you become it becomes more and more bureaucratic. And the larger it grows, the more bureaucratic that it becomes. And managing that becomes very difficult. So the larger your system is, the harder it is to separate the performance of an individual from the system that that you're working in. Now, I've seen it get really bad, anywhere from 75 to 150 employees and working with some smaller organizations.   [00:06:35] And but it's borne the pay for performance. The mindset is borne from what I referenced is analytical versus synthetic thinking. And that is that, you know, we break down the pieces in analytic and analytical thinking and we break them down all the way to the individual and say, OK, here's your goals. If you just meet your goals and everybody meets their goals, the company's going to do well. And I think if you go back to the interview I did with Paula Marshall, you'll discover that you can't separate the individual from that system and that the system is greater than the sum of its parts. So the whole concept of synthetic thinking or systems thinking gives you a different view of how your organization works. And it's not something that you can just break apart all the way down to the individual and add it up. It's exponential. And managing the interconnections in a system is where you get your largest gains. So, you know, it's been interesting from my standpoint that we have gone from this concept of Dr. Deming's ideas around pay for performance, where people were, in essence, questioning whether he was a socialist or a communist or whatever. To today we seem to have this pendulum swinging, swinging where, you know, everybody should be getting the same pay. And I you know, the things that Dr. Deming worked on from my studies and my using his system of profound knowledge are getting clarity of purpose.   [00:08:29] You know, if you if you understand your system and you understand your connection to the customer, that raises your level as a worker, understanding kind of what you do as opposed to just being kind of this cog in the system that just does its thing. And there's no benefit to doing that, but that people are paid differently based on the skills that they get. And developing those skills becomes something that the organization would want to do for its own benefit, as well as the benefit of the individual. One other thing Dr. Deming advocated is innovation and that people are participating and coming up with ideas and more and more. I've seen this huge conflict in organizations between the executives micromanaging things. And, you know, you do your work and you do it in this way, as opposed to giving more responsibility that the worker has even greater knowledge because they're actually doing the work to make their own decisions about their own work. And that management's job is to remove the barriers that create problems for the workers. And they're facilitating things, moving, moving forward. And the best organizations that I've worked with either working towards that or they're getting the knowledge to work towards that. And this is what will keep people there. Never will there be this collectivism type of mentality on the one and one side of things where, you know, everybody gets the same pay.   [00:10:19] And on the other end, where there's this pay for performance, there's Dr. Deming is proposing something very different than those two concepts to be able to make the organization better and have individuals want to be a part of that and not go to things like wanting to be an entrepreneur. Fighting, though, the work from home, you know, going to a smaller company or just staying waiting till the clock runs out on their stimming checks, these are all things that are preventing us from moving forward. Now, one thing I am getting more and more concerned about is, you know, we need these large organizations to achieve big things. You know, an individual entrepreneur has to be very fortunate. You know, there's very few Jeff Bezos of the world that start from scratch and then grow a particular company into a behemoth like Amazon. And so we need these large organizations and we need them to run well because they can achieve big things, whether it's making cars or homes or whatever it is. These are very large systems and people get lost in the shuffle in the way that things are happening today. And so they're dissatisfied. We have a whole generation of people that are really caught up and trying to do something for the greater good. But I think it gets a little bit misguided. And I believe that some of the organizations that we have today with the mindset of micromanaging people and control and incentives and pay for performance are all things that are making their systems worse.   [00:12:22] And, you know. We don't need pay for performance and we don't need collectivism, but what we do need are good systems that people want to work in on a daily basis. And so that's that's the message I wanted to communicate this month in the Deming lens is this concept of pay for performance where you can separate an individual from the system, which you can't. And the larger the system is, the harder that becomes. If you're an entrepreneur, then, yeah, pay for performance. And that's that's exactly what you get when you're an entrepreneur, you know, a company of one. But as it grows, there needs to be a better an organization built on a clarity of purpose, their connection to the customer, and that the person, no matter where they are in your organization, can understand that what the customer is looking for. And I use what's called a customer lens to be able to achieve that and innovation, the ability to share ideas that they have about the work and the way that it should be done and the ownership of that by the worker as opposed to management and executives and people of that sort. So that was it for this week. I'll talk to you again next month for the latest videos, blogs, events and information from the Dummying Institute. Be sure to go to Deming dot org.

(S5, EP 7) Trigger Warning: Episode will contain topics on personal Anti-Asian violence. Queer Khmer American playwright Vichet Chum joins me as part of Season 5's "Our Becoming: An LGBTQ Asian Experience" for this week's episode. This episode was recorded back in April 15th during Khmer New Year's. We talk about the ongoing anti-Asian violence and his family's own experience with anti-Asian racism as a child. We discussed the controversy with VICE News and the Tuol Sleng Prison photo controversy, and how cultural appropriation and colonizing harms our Khmer community to learn history and begin the healing process. Vichet shares his excitement over his upcoming plays that he's working on, and the goals that he seeks to amplify the Cambodian-American experience. Check out this episode and follow Vichet on IG @vichetchum . Bio: Vichet Chum is a Cambodian-American playwright and theater maker, originally from Dallas, Texas and now living in New York City. His plays have been workshopped at Steppenwolf Theatre, the Magic Theater, the Alley Theatre, the UCROSS Foundation, Fault Line Theatre, Crowded Outlet, Second Generation Productions, Weston Playhouse, Cleveland Public Theatre, All For One Theater, Amios, Florida State University, Merrimack Repertory Theatre and the New Harmony Project. He received the 2018-19 Princess Grace Award in Playwriting with New Dramatists and is a current board member for the New Harmony Project. Vichet was a part of the 2019-20 Resident Working Farm Group at Space on Ryder Farm, the 2020 Interstate 73 Writer's Group at Page 73 and the 2020 Ars Nova Play Group. In the 2022/23 season, his plays High School Play: A Nostalgia Fest will have its world premiere at the Alley Theatre and Bald Sisters will have its world premiere at Steppenwolf Theatre Company. He is a proud graduate of the University of Evansville (BFA) and Brown University/Trinity Repertory Company (MFA). He's represented by Beth Blickers at APA. vichetchum.com --- Support this podcast: https://anchor.fm/banhmichronicles/support

Hang & Focus Live featuring Cambodian-American playwright and theater maker Vichet Chum! Vichet Chum's plays have been workshopped at Steppenwolf Theatre, the Magic Theater, the Alley Theatre, the UCROSS Foundation, Fault Line Theatre, Crowded Outlet, Second Generation Productions, Weston Playhouse, Cleveland Public Theatre, All For One Theater, Amios, Florida State University, Merrimack Repertory Theatre and the New Harmony Project. Join the conversation! #HangAndFocus #Podcast #ArizonaTheatreCompany #VichetChum #Theatre #PerformingArts

Blair Russell is a freelance producer, developer, supporter, and lover of theatre whose experience ranges from fringe festivals to Broadway shows. His most recent projects include the twelve-time Tony nominated Slave Play by Jeremy O. Harris and the critically acclaimed immersive Off-Broadway production of Sweeney Todd. At Show Shepherd, he helps writers and producers navigate the development of new work, and he produces live immersive audio dramas as Director of Operations for Resounding. He currently serves on the board of New York Theatre Barn and The New Harmony Project and he is a graduate of Virginia Commonwealth University with a BFA in Technical Theatre/Stage Management.

Award-winning playwright, actor, writer and first-gen badass femme Ngozi Anyanwu (IG: @gozeface) joins Chisara for a Joy+Well Conversation you do not want to miss. Like what you heard in this episode? Leave us a review, rating, or comment. Or visit us on Instagram— @livejoywell — and drop us a note. Thanks for listening!Here's some more about Ngozi Anyanwu (Playwright) Education: University of California, San Diego (MFA in Acting), Point Park University (BA). Acting: The Pittsburgh Public Theatre, The City Theatre, Barrington Stage, Rattlestick Playwrights Theater, and The Mark Taper Forum. Television credits include “Limitless,” “Deadbeat,” “The Affair,” “Law & Order: SVU,” “The Mysteries of Laura,” and “The Deuce.” Good Grief, Victory Is Ours, The Homecoming Queen, and Nike or We Don't Need Another Hero. Film credits include Split and Women Who Kill. Good Grief(kilroys list 2016, semi finalist Princess Grace, Humanitas Award) was produced at Center Theatre Group in Los Angeles in Spring 2017 which Anyanwu also starred in. NIKE(kilroys list 2017) was recently workshopped at The New Black Fest in conjunction with The Lark and The Strand Festival in conjunction with A.C.T and Space on Ryder Farm. The Homecoming Queen(kilroys list 2017, Leah Ryan Finalist) recently had its  world premiere at The Atlantic theater which also had a sold out run. Anyanwu has also received residencies from LCT3, Space on Ryder Farm, and the Djerassi Resident Artists Program, The New Harmony Project, New York Stage and Film and Page 73. Anyanwu is developing a pilot with Juvee Productions and Abc Signature. She is also commissioned with NYU, The Old Globe and The Atlantic Theatre.Intro Music:Too Cool by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4534-too-coolLicense: http://creativecommons.org/licenses/by/4.0/

Emily Ritger is a director, playwright, performer and choreographer based in Chicago. As a teacher and director developing new work, she has worked for American Theatre Company, Redmoon, Cleveland Public Theatre, Northlight Theatre, ChiArts, The New Harmony Project and The National High School Institute. While Ritger’s focus is in ensemble based work, her diverse training includes Viola Spolin Theatre Games, Viewpoints, Puppetry, Contact Improv, experimental methods of writing and various forms of music, creating work that is saturated in movement, music and play. Her work draws from her experience of growing up in small town Wisconsin. It celebrates rural america - its voice, land, dialect, sense of community and the people who carry on the traditions and way of life inherent to living off the land. With the agrarian landscape as her cornerstone, her work explores the philosophy and religion inherent in nature and living off the land, and the cyclical birth and death inherent in life on a farm. Her current projects include her solo show, "Crud", part documentary style theatre, part fantastical music and shadow puppetry, examining a day her family never talks about. "Behaymas", a collaboration with playwright Aliza Bartfield, three humans and one animal blur the lines of domesticity and societal constructions of family. And her play "The Day Krissy LeDuke Fell Through the Ice", is a moment in time and its arrayed vectors of tragedy told through free verse and music. She has studied with theater artists Dan Hurlin, David Neumann, Sibyl Kempson, Tina Landau, Brett Bailey, Claudia Castellucci, Aretha Sills, Shirley Kaplan, Cassandra Medley, Stuart Spencer and Tom Lee, and received her MFA in Theater from Sarah Lawrence College and a BS in Theatre and Philosophy from the University of Evansville. Edited and Produced by Kyrie Ellison (SLC21) Interviewed by Anne Bakan (SLC20) and Kyrie Ellison (SLC21)

Literary Manager (and fellow Iowa alumn) Jenni Page-White joins us on this episode to share her experiences as both a dramaturg and literary manager. This is a great episode for our listeners who are interested in dramaturgy and have been thinking about literary management as a profession! Jenni gives us some thoughtful insight into the world. We hope you'll enjoy it! Jenni Page-White is the literary manager at Actors Theatre of Louisville, where she curates and develops new work for the Humana Festival of New American Plays. Her dramaturgy credits at Actors Theatre include The Curious Incident of the Dog in the Night-Time and Angels in America (Parts One and Two), and the world premieres of We've Come to Believe, by Kara Lee Corthron, Emily Feldman, and Matthew Paul Olmos; Dave Harris's Everybody Black; Mara Nelson-Greenberg's Do You Feel Anger?; Susan Soon He Stanton's we, the invisibles ; Basil Kreimendahl's We're Gonna Be Okay; Tasha Gordon-Solmon's I Now Pronounce; Brendan Pelsue's Wellesley Girl; and Steven Dietz's This Random World. Prior to working at Actors Theatre, she was the literary associate at Steppenwolf Theatre Company, where she helped select and develop new plays for First Look and coordinated post-show discussion programming. As a freelance dramaturg, she has worked with WildWind Performance Lab, American Theater Company, Sideshow Theatre Company and LiveWire Chicago Theatre, and she has evaluated work for the National Endowment for the Arts, the Playwrights' Center, the O'Neill National Playwrights Conference, and The New Harmony Project. She is the co-editor, with Amy Wegener, of several volumes of Humana Festival play anthologies. She holds a B.F.A. from the University of Oklahoma and an M.F.A. from the University of Iowa. To learn more about Jenni and her work at Actors Theater of Louisville, visit the website: https://www.actorstheatre.org/bios/jenni-page-white/ 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 on 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

Literary Manager (and fellow Iowa alumn) Jenni Page-White joins us on this episode to share her experiences as both a dramaturg and literary manager. This is a great episode for our listeners who are interested in dramaturgy and have been thinking about literary management as a profession! Jenni gives us some thoughtful insight into the world. We hope you'll enjoy it! Jenni Page-White is the literary manager at Actors Theatre of Louisville, where she curates and develops new work for the Humana Festival of New American Plays. Her dramaturgy credits at Actors Theatre include The Curious Incident of the Dog in the Night-Time and Angels in America (Parts One and Two), and the world premieres of We’ve Come to Believe by Kara Lee Corthron, Emily Feldman, and Matthew Paul Olmos; Dave Harris’s Everybody Black; Mara Nelson-Greenberg’s Do You Feel Anger?; Susan Soon He Stanton’s we, the invisibles; Basil Kreimendahl’s We’re Gonna Be Okay; Tasha Gordon-Solmon’s I Now Pronounce; Brendan Pelsue’s Wellesley Girl; and Steven Dietz’s This Random World. Prior to working at Actors Theatre, she was the literary associate at Steppenwolf Theatre Company, where she helped select and develop new plays for First Look and coordinated post-show discussion programming. As a freelance dramaturg, she has worked with WildWind Performance Lab, American Theater Company, Sideshow Theatre Company, and LiveWire Chicago Theatre, and she has evaluated work for the National Endowment for the Arts, the Playwrights’ Center, the O’Neill National Playwrights Conference, and The New Harmony Project. She is the co-editor, with Amy Wegener, of several volumes of Humana Festival play anthologies. She holds a B.F.A. from the University of Oklahoma and an M.F.A. from the University of Iowa. To learn more about Jenni and her work at Actors Theater of Louisville, visit the website: https://www.actorstheatre.org/bios/jenni-page-white/ 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 on our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com

Matthew Socey has a lively chat with Jeff Sparks about the histories of the New Harmony Project, the Heartland Film Festival and a slew of other cinema topics and releases.

Matthew Socey has a lively chat with Jeff Sparks about the histories of the New Harmony Project, the Heartland Film Festival and a slew of other cinema topics and releases.

Jeff Sparks, founder of the writer's camp called The New Harmony Project, founder of The Heartland International Film Festival, and recently a promoter/coordinator of a new criminal justice center, reflects on how stories affect culture. Jeff's Book, "Changing Culture Through Stories," is described.   

Actor, director, writer, and producer Carrie Preston shares her experiences with the dark side, keeping creatively busy by making her own work along side her acting career, her involvement with The New Harmony Project supporting playwrights, growing up in an artistic family, and learning to hold on loosely to opportunities or ideas and accept change. Check out what she's up to at http://carriepreston.com and with her production company: http://daisy3pictures.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Deborah Yarchun is a New York City playwright from Austin, Texas. Her honors include two Jerome Fellowships, an EST/Sloan Commission, The Kennedy Center’s Jean Kennedy Smith Playwriting Award for The Man in the Sukkah, the Kernodle New Play Award for Tectonic Mélange, the Richard Maibaum Playwriting Award, and the Iowa Art Fellowship. Deborah's plays have been developed at places including Ensemble Studio Theatre, The New Harmony Project, Jewish Plays Project, The Great Plains Theatre Conference, Jewish Ensemble Theatre, TheatreSquared, and Williams Street Rep, where her new play, Bombers Moon will be produced next summer in July and August 2018. She is a 2017-2018 Dramatists Guild Fellow and the Fall 2017 Playwright-in-Residence at the William Inge Center for the Arts. Deborah earned her Bachelor’s degree in screenwriting and playwriting at Drexel University and her MFA in playwriting at the University of Iowa.   Deborah shares with Marc about spinning stories wildly out of various starting points and ideas, her writing process and attraction to intimate dramas, how aspiring writers can improve their craft, and her newest plays developed at the William Inge Center for the Arts and as a Dramatists Guild Fellow.

Tony Treadway joins us to talk all things Arts in Harmony 2017 Festival happening June 3-4th, 2017. This year’s festival will be held on Saturday, June 3rd (from 9:00am to 5:00pm) and Sunday, June 4th (from 10:00am to 4:00pm) along the friendly confines of Granary and Main Streets. The festival will feature a “Celebration of the Written Word,” featuring national and regional authors, writers, and poets. These “word smiths” will be giving lectures, readings, and discussions during the festival, as well as signing and selling their published works. Other notable components of the festival include live music, a collection of artists and craftspeople, unique food vendors, children’s activities and more. Live readings will be held throughout both days of the festival. Authors and poets involved with this exciting addition to Arts in Harmony include: members of the New Harmony Project, publisher and author Kaylie Jones and Kaylie Jones Books authors J. Patrick Redmond and Patricia A. Smith, Judy Mandel, Mark Thompson Publishing and their authors, Mindy Kronenberg, Tom Raithel, Linda Neal Reising, Mark Williams, Shari Wagner (Indiana’s Poet Laureate), and Jessica Thompson. Visit each author to learn more about their craft and for the opportunity to purchase their work. The Arts in Harmony 2017 Festival will also showcase a talented selection of musicians and bands. Saturday will commence with performances by Kayla Smock, Ronnie Lee, Osiella, and the Boscoe France Band (2012 Gibson Blues Guitar Competition National Winner). Sunday will feature the Wolfgang Mozart Dixieland Jazz Band and Brett Gibbs Trio Plus. Arts in Harmony will also feature one of the largest gatherings of artists and craftspeople in the tri-state. This year’s festival will feature 50+ Fine Artists and Craftspeople displaying and selling their work in booths along historic New Harmony’s Granary Street and in the Rapp-Owen Granary. From painting to pottery, photography to weaving, and wood carvings to jewelry, a plethora of talented artists will be available throughout the festival area. While many artists from last year’s festival will be returning, keep an eye out for new and exciting artists who will be joining the festival this year. As always, Arts in Harmony will have entertaining children’s activities, unique food trucks, live music, beautiful art, and the opportunity to spend a great day in historic New Harmony. The New Harmony Business Associates and Arts in Harmony Planning Committee are proud to sponsor this FREE event. Come out and experience New Harmony on June 3-4th during Arts in Harmony 2017!

The New Harmony Project's Evening with Playwright Robert Schenkken at the IRT. Ed Fry of the NHP will join us for the first half hour in-studio; at 1:30, Schenkkan himself will join the conversation by Skype.

Travis DiNicola is joined by art consultant Anne Surak, artist Emily Kenerk, and Arts for Learning's JoEllen Florio Rossebo to talk about Supply and Demand, the first pop up art exhibit created by Anne Surak's business, art + space. For almost three decades the New Harmony Project has been a place and a time where writers can gather for a supportive environment. Sharon Gamble invited New Harmony Project's Joel Grynheim and Ed Fry to tell us more. For Dance Kaleidoscope's next concert, The Next Wave, Point Park dance professor Keisha Lalama has been invited to Indianapolis to choreograph a new work, and to reunite with Mariel Greenlee. Travis spoke to them about the project, and their past.

JBN sat down with David Hudson, an actor, writer, producer, and voice-over artist. Mr. Hudson has worked extensively with the New Harmony Project, appeared on several web series of note, and perhaps most notably he makes up one third of the creators of THREE DAY HANGOVER (www.threedayhangover.com), a NYC theater company that produces fresh, unexpected, immersive, joyful productions of classic plays in bars. On the verge of its second season, 3DH’s raucous past season included R+J: STAR-CROSS’D DEATH MATCH and THE HAMLET PROJECT, in which David played the titular role to sold-out crowds and rave reviews in the NY Post, Broadway World, and the NY Times. Song Presentation: "Annabel Lee", music by Joel B. New (www.joelbnew.com), poem by Edgar Allan Poe.

Butler Jazz Plays Radiohead, Indiana World Organization of China Painters 2013 Convention and New Harmony Project.

PLAYWRIGHT | FICTION WRITER -James Magruder is a playwright, translator, and fiction writer. His stories have appeared or will appear in The Gettysburg Review, The Harrington Quarterly, Bloom, Subtropics, The Normal School, Mary, and the anthologies Boy Crazy and New Stories from the Midwest. He teaches translation and adaptation at the Yale School of Drama, where he received his doctorate. His produced translations and adaptations of works by Marivaux, Moliere, Lesage, Labiche, Gozzi, and Dickens have been produced on and off Broadway, across the country, and in Japan and Germany. He also teaches dramaturgy at Swarthmore College. His plays have been staged in Baltimore, Atlanta, and New York and published in The Art of the One-Act, Arts & Letters, and Third Coast. His writing has been supported by the Maryland State Arts Council, the New Harmony Project, the MacDowell Colony, where he was named a Thornton Wilder Fellow, the Ucross Foundation, the Blue Mountain Center, and the Jerome Foundation. The University of Wisconsin Press published his debut novel, Sugarless, last October. It was named one of “Twenty Indies to Watch” by Publishers Weekly. It is one of five nominees for a Lambda Literary Award and a semi-finalist for the Cabell First Novelist Award.