Podcasts about new york shakespeare festival

On this episode of #LatinosOutLoud, Rachel chats virtually with Playwright Kristoffer Diaz, who is the noble pen behind the Grammy and Tony award-winning Broadway show, Hell's Kitchen. Diaz is the book writer for the Broadway hit which tells a story loosely based on Alicia Keys' life and incorporates some of her biggest hits. Rachel got the chance to see the show, and the two speak about key moments in the musical, the unity felt among the theatre audience and how both feel the same sense of fulfillment as college Professors, as Kristoffer teaches play writing at NYU and Rachel teaches podcasting at CUNY Brooklyn College. The playwright, screenwriter, and educator gained national acclaim in 2010, when his play The Elaborate Entrance of Chad Deity was produced in Chicago and New York and then named a finalist for the Pulitzer Prize in Drama. His work has been developed and performed at the Goodman Theatre, Dallas Theater Center, Geffen Playhouse, Second Stage, Actors Theatre of Louisville, and New York Shakespeare Festival's Delacorte Theater. He adapted Rent for television and wrote for the Netflix series GLOW. His newest play, Reggie Hoops, is about a female executive in the NBA. It will receive its world premiere in August at Profile Theatre in Portland, Oregon. Follow Rachel Follow Kristoffer Follow Hell's Kitchen Broadway If you're in Newwww York! Concrete Jungle where dreams are made of..., be sure to catch the show while you can! Click here for more info #LatinosOutLoud #Podcast #RachelLaLoca #HellsKitchen #KristofferDiaz #AliciaKeys #Broadway #LatinosOnBroadway

Welcome to SUPERSTARS WEEK! This week I'm rebroadcasting my interviews with five Superstars: Judy Collins, Al Kooper, David Amram, Ron Carter and Oscar Hammerstein II. David Amram is a National Treasure. He's a Musical Giant in Classical, Jazz and Popular music. He's performed with a Who's Who in all three genres including Aaron Copeland, Thelonious Monk, Dizzy Gillespie, Bob Dylan, Willie Nelson and Judy Collins. Leonard Bernstein named him the first Composer-In-Residence for the New York Philharmonic. Joseph Papp hired him to compose scores for the New York Shakespeare Festival. He's written movie scores for “Splendor In The Grass” and “The Manchurian Candidate” among others. And at 93 years young he's still going strong!My featured song is “It Is A Miracle To Me” from the album East Side Sessions by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“THE GIFT” is Robert's new single featuring his song arranged by Grammy winning arranger Michael Abene. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES” is Robert's recent single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with David at:www.davidamram.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

We'd love to hear from you! Please send us a Text Message!From the New York Times: Quote: “Much Ado About Nothing is a feast! Joseph Papp's 1972 CBS television production of the New York Shakespeare Festival's staging of Shakespeare's rollicking comedy is brassy, bouncy, and all–together entertaining. Featuring Sam Waterston, Douglas Watson and the Tony Award performances of Kathleen Widdoes and Barnard Hughes, Papp's turn of the century version was critically acclaimed and enormously popular with audiences. Much Ado About Nothing originated at the open-air Delacorte Theater in Central Park. It was such a hit in the park that producer, Joseph Papp,  that fall, transferred the entire show to Broadway and there it became the longest running Shakespeare production in Broadway history. In 1972, 20 million people saw the broadcast of this CBS – TV IBM sponsored production of Shakespeare's classic tale of romance, mistaken identity, and the battle of the sexes. Probably more people saw it on that one night than had seen it previously in history.Presented by Watchfire Music https://watchfiremusic.com/ To access all of the episodes in our podcast, please subscribe to Watchfire Music's Theater Of The Imagination Subscription Series. Unlock all of the episodes and experience so much more! Learn More here: https://bit.ly/theater-of-the-imagination-info Or, if you're ready to subscribe, subscribe here: https://bit.ly/subscribe-to-theater-of-the-imagination We'd love to hear from you! Please send us a Text Message!

David Amram is a National Treasure. He's a Musical Giant in Classical, Jazz and Popular music. He's performed with a Who's Who in all three genres including Aaron Copeland, Thelonious Monk, Dizzy Gillespie, Bob Dylan, Willie Nelson and Judy Collins. Leonard Bernstein named him the first Composer-In-Residence for the New York Philharmonic. Joseph Papp hired him to compose scores for the New York Shakespeare Festival. He's written movie scores for “Splendor In The Grass” and “The Manchurian Candidate” among others. And at 93 years young he's still going strong!My featured song is “It Is A Miracle To Me” from the album East Side Sessions by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with David at:www.davidamram.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

THE MYSTERY OF EDWIN DROOD  Book, Music, & Lyrics by Rupert Holmes | Based on the novel by Charles Dickens | Original Broadway production produced by New York Shakespeare Festival, Joseph Papp, ProducerWorks Consulted & Reference :The Mystery of Edwin Drood (Original Libretto)The Mystery of Edwin Drood (2012 Revised Libretto)Music Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Perfect Strangers" from  The Mystery of Edwin Drood (The 2013 New Broadway Cast Recording)  | Music & Lyrics by Rupert Holmes | Performed by Stephanie J. Block & Betsy Wolfe"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

Keith David is a classically trained actor, winning 3 Emmys out of 6 nominations as well as being nominated for a Tony award. He starred in the recently concluded TV series "Greenleaf" for Oprah Winfrey's OWN network. Upcoming films include "Horizon Line" with Allison Williams ("Get Out") and "Black As Night," for Amazon. In "Greenleaf" Keith portrayed 'Bishop James Greenleaf', the charismatic and God-fearing leader of the Calvary Fellowship and the patriarch of the family. The series followed the unscrupulous world of the Greenleaf family, their scandalous secrets and lies, and their sprawling Memphis megachurch. The series was praised for its push and pull dynamic, its hypocrisy, and its compelling characters. Keith's stellar performance was best stated by The Hollywood Reporter, "... Keith David ...is perfectly cast as Bishop Greenleaf. Whether he's playing to the congregation at the altar or getting conspiratorial in a smaller venue, this is an unusually great and meaty role for David." On the big screen, Keith co-starred with Chadwick Boseman in "21 Bridges". Prior credits include "Night School" with Kevin Hart and Tiffany Haddish and "Tales from the Hood 2". Additional titles include the Academy award-winning films "Crash" and "Platoon." He is widely recognized for appearing in the highly-acclaimed films Disney's "The Princess and the Frog", "Requiem for a Dream", "Men at Work", "They Live", "There's Something About Mary", and "The Thing." Other recent TV credits include an upcoming appearance on "Creepshow," "NCIS: New Orleans", "Blackish," MacGyver", and "Fresh Off the Boat". Earlier credits include "Community", "Enlisted", "ER", and "Mister Roger's Neighborhood". On Broadway, Keith starred in August Wilson's "Seven Guitars" and "Jelly's Last Jam" for which he garnered a Tony Award nomination for Best Supporting Actor in a Musical. Keith's work as a voice actor has made him a household name. His rich and powerful voice has been featured in national commercials, award shows, documentaries, video games, and animation. His work in narration has earned him three Emmys for Ken Burns' "Jackie Robinson", "The War", and "Unforgivable Blackness - The Rise and Fall of Jack Johnson". Some of his other voice acting credits include countless fan favorites such as "Adventure Time", "Bojack Horseman," "Rick & Morty", "Spawn", and "Gargoyles". Keith has lent his voice to many video game titles. Recently he portrayed the character "Spawn" in the reboot of the "Mortal Kombat" video game. Other appearances include the "Halo" series (games 2, 3, and 5), the "Saint's Row" series (games 1, 2, and 4), as well as the "Mass Effect" series (games 1,2, and 3). Born and raised in New York by his parents Lester and Dolores, Keith became interested in the arts at a very young age. After appearing in his school's production of "The Wizard of Oz", he knew this was what he wanted to do for the rest of his life. He enrolled in New York's High School of the Performing Arts and continued his studies at The Juilliard School. After graduation, he was immediately hired by Joseph Papp as an understudy for the role of Tullus Aufidius in William Shakespeare's "Coriolanus." His work with Mr. Papp and the New York Shakespeare Festival launched his incredible career. In addition to his versatile acting and voiceover work, Keith is also a remarkable singer. He's has been touring in 2 shows, "Too Marvelous for Words", in which he portrays the legendary singer Nat King Cole, and a show about the incredible Blues singer Joe Williams, "Here's to Life." Twitter: @ImKeithDavid  Instagram: @SilverThroat  Facebook: @ImKeithDavid Copyright 2023-2024 TME Productions. All Rights Reserved  May not be used without permission.  Contact info@tme.productions

On Episode 203 of Jake's Happy Nostalgia Show, we interview actor Roscoe Orman! Early on in Roscoe's acting career, he performed with the New York Shakespeare Festival and the New Federal Theater. He made his film debut as the title character Willie in the 1973 blaxploitation film Willie Dynamite and acted in projects like Sanford and Son, Law & Order, The Wire, Last Resort and more. Most people may know Roscoe best for playing the role of the human character Gordon Robinson on Sesame Street since 1974. During his Sesame days, he appeared in countless episodes, home videos and web videos, as well as his own segment, Trash Gordon!

Harvey Brownstone conducts an in-depth Interview with Bruce Davison, Iconic, Award-Winning Actor About Harvey's guest: Today's special guest, Bruce Davison, is an iconic, multi-award winning actor who's brought us dozens of unforgettable performances in a stellar career that spans almost 6 decades.    He earned an Academy Award nomination and WON a Golden Globe Award and a whole slew of prestigious film festival awards for Best Supporting Actor for his quiet, finely nuanced, painfully tender performance as “David”, the lover and caretaker of a life partner ravaged by AIDS, in the groundbreaking film, “Longtime Companion”.   His other movie credits include “Last Summer”, “Six Degrees of Separation”, “Abnormal Attraction”, “The Crucible”, “Apt Pupil”, “X-Men”, “X-2”, “Runaway Jury”, “Captors”, “Short Cuts”, for which he and his fellow cast members won a Golden Globe Special Award AND a Venice Film Festival Award for their work as an ensemble, and “Displacement”, for which he won a Hollywood Reel Independent Film Festival Award for Best Supporting Actor.  And of course, we all remember him from the cult classic horror film “Willard”, in which he bonded notoriously with a herd of rats.    On television, you've seen him in hundreds of shows including “Harry and the Hendersons”, “Hunter”, “The Practice”, “Seinfeld”, “Knight Rider”, “Ghost Whisperer”, ”Mozart in the Jungle”,  “Designated Survivor”, “The Fosters”, ”1923”,  ”Bosch Legacy”, and “Glow and Darkness”.   And who can ever forget him as the villainous Senator on “Ozark” and the wise judge on “Lincoln Lawyer”?  And he was nominated for an Emmy Award for Outstanding Guest Actor in a Drama Series for his performance in “Touched By an Angel”.   On the stage, he starred on Broadway in "Tiger at the Gates", “The Elephant Man” and “The Glass Menagerie”, as well as at the Lincoln Center in the cast of "King Lear."  And he portrayed Clarence in "Richard III" at the New York Shakespeare Festival.      He's also starred onstage in "The Skin of Our Teeth," "The Little Foxes", "A Life in the Theatre," “Love Letters”, “How I Learned to Drive” and “Streamers”, for which he won the Los Angeles Drama Critics Award.  He received a second Los Angeles Drama Critics Award for his performance in the multi-award winning play "The Normal Heart".    Our guest is also an Emmy nominated director for his work on the 2001 TV movie, “Off Season”.   In 2012 our guest received an Honorary Satellite Award, and in 2018 he received a Lifetime Achievement Award from the Action on Film International Film Festival. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To learn more about Bruce Davison, go to:https://www.instagram.com/bruce.davison/ https://twitter.com/bruce_davison #BruceDavison    #harveybrownstoneinterviews

JEFF HAMLIN Production Manager for Lincoln Center Theater oversaw more than 150 productions from 1985-2014. For Michael Bennett he served as production stage manager on A CHORUS LINE, BALLROOM, and DREAMGIRLS. Today Jeff joins us to discuss the life and career of Bernard Gersten and Lincoln Center Theater. BERNARD GERSTEN affectionately known as “Bernie” Gersten was born on January 30, 1923. From 1960 to 1978 he worked with Joseph Papp as Associate Producer for the New York Shakespeare Festival. He oversaw productions of Hair, That Championship Season, For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf, Streamers, and A Chorus Line. After leaving NYSF he served as Executive Producer at Lincoln Center Theater from 1985 until he retired in 2013. He over saw over 150 productions for which he received 15 Tony Awards including: House of Blue Leaves, Six Degrees of Separation, Sarafina, and The Coast of Utopia. In 2013 he received the Tony Award for Lifetime Achievement. Mr. Gersten died on April 27, 2020.    

Paul goes behind the curtain with Gail Papp, widow and partner of the legendary Joseph Papp, Founder of The Public Theatre. Gail joined Joseph Papp's New York Shakespeare Festival in 1965, became Director of New Works Development for the Public Theater and was responsible for some of theater's greatest productions: The Normal Heart, The Mystery of Edwin Drood, Angels in America, […]

Welcome to Season Five of Countermelody! While I indulge in a much-needed break for the month of January (my first in four years!), I have asked a number of Countermelody fans and listeners to provide spoken introductions to some of their favorite episodes from the first three seasons of the podcast. Today conductor Brian Castles-Onion introduces an episode from June 2020, as we neared the height of the pandemic and the panic surrounding it. It is an interview with Ira Siff, artistic director of La Gran Scena Opera Company di New York, alter ego of the beloved “traumatic soprano” Vera Galupe-Borszkh, lecturer for the Metropolitan Opera Guild and Weekly Commentator on the Metropolitan Opera broadcasts. So much has changed for everyone since the interview was recorded in January 2020, most poignantly (as relates to this episode) the death of our beloved Chic Walker (who portrayed Dame Emily Post-Morddum and Alfredo Sorta-Pudgi in La Gran Scena) on 11 April 2022; and the passing of Renata Scotto on 16 August 2023. My association with Ira Siff and La Gran Scena Opera Company di New York goes back more than thirty years, when Ira provided me with my first employment as a professional singer when my alter ego Daniela della Scarpone sang for two years with the renowned travesty opera company. I sat down with Ira in his East Village apartment in January 2020 for a wide-ranging interview in which we discuss his early days as a standee at the old Met (where some of his opera-going experiences included Maria Callas's final Tosca performances, Renata Scotto's 1965 debut as Madama Butterfly, and Leonie Rysanek's wild traversals of Verdi and Wagner). He discusses his first performing experiences in the early 1970s in association with Al Carmines and others, the genesis of La Gran Scena and their development into a worldwide phenomenon, and his subsequent “legitimate” career as lecturer, stage director, vocal coach and voice teacher and commentator all stemmed from in his words, “getting in a dress and singing soprano,” which he dubs “the strangest part.” This is a free-wheeling and extremely Opera Queeny interview, peppered with Ira's unique anecdotes and snippets from Gran Scena (and other!) performances. Today's guest host Brian Castles-Onion is one of Australia's most exciting and well-known opera conductors. Completing his tertiary studies at the Newcastle Conservatorium of Music, his outstanding achievements speak for themselves. He has worked at New York's Metropolitan Opera, the Julliard School of Music and the Rossini Festival in Italy, and has held the position of Artistic Director of Canterbury Opera in New Zealand. He currently continues his long run association with Opera Australia. His conducting experience includes well over five hundred opera performances throughout Australia, Asia and New Zealand alone. He was on the podium for Opera Australia's 40th Anniversary Gala and 60th Anniversary Gala, The Robert Allman Farewell Gala and conducted the Dame Joan Sutherland State Memorial Service – which was broadcast internationally on television and radio. His book Losing the Plot in Opera has been a Best Seller in Australia and the UK. Brian became a Member of the Order of Australia (AM) in the 2017 Australia Day Honours List. Today's interviewee and subject, Ira Siff, is a native New Yorker, who grew up on the standing room line of the old Metropolitan Opera, worshiping the famous singers of the 60's. A graduate of the Cooper Union, with a degree in Fine Arts, Mr. Siff began to study voice, and made his debut as a tenor in 1970. For the next decade, he performed roles in opera, operetta and musicals in New York, at The New York Shakespeare Festival, Circle in the Square, Playwrights Horizons, and many other venues. Turning to cabaret, Ira created an act using vocal parody of opera, jazz, and other styles of music, gaining critical acclaim, and a loyal following. In 1981, he founded La Gran Scena Opera Company di New Yor...

GAIL MERRIFIELD PAPP was born in San Francisco into a family with a deep theater lineage. After joining Joseph Papp's New York Shakespeare Festival in 1965, she became Director of New Works Development for the Public Theater and was responsible for some of its best-remembered productions. These include The Normal Heart, Larry Kramer's Tony Award-winning play about the AIDS crisis, for which she received the Human Rights Campaign Arts and Communication Award, and Rupert Holmes's Tony Award-winning Best Musical The Mystery of Edwin Drood.  Gail speaks with Radio Free Galisteo's John Shannon about Her new book.  Public/Private: My Life With Joe Papp at The Public Theater. Support the showFollow Radio Free Galisteo on Instagram at: @radiofreegalisteo. We're on twitter here: https://twitter.com/FreeGalisteo or @FreeGalisteo. We're now on BLUESKY: https://bsky.app/profile/radiofreegalisteo.bsky.social Support the show by going to https://www.RadioFreeGalisteo.com and clicking on our Red DONATE button to select a method of financial encouragement - Patreon, Paypal, Stripe or just Buy Us a Coffee!

Doo wop, Broadway, The Met. Larry Marshall is a veteran musical performer whose exemplary Broadway career began in 1968 with the musical Hair. 15 Broadway productions later, Larry appeared on Broadway and in the National tour of the recent musical Waitress.Larry's many other Broadway credits include Two Gentlemen of Verona,The Full Monty, The Color Purple, The Threepenny Opera with Sting, and Mother Courage with Meryl Streep for the New York Shakespeare Festival in Central Park's Delacorte Theatre.Larry has had many turns as both performer and director with the opera Porgy and Bess. He has toured in this show nationally, internationally, in opera houses and on Broadway. Larry eventually earned Tony and Drama Desk award nominations for his portrayal of Sportin' Life in the Houston Grand Opera's production of Porgy and Bess. His film roles include playing Cab Calloway in The Cotton Club and Simon Zealotes in Jesus Christ Superstar.www.larrymarshall.net

Concetta Tomei's richly recognizable presence has warmed screens for 40 years. Her Italian roots, the American dreams of her parents and grandparents and her midwestern upbringing, plus four years as a seventh and eighth grade teacher prepared and sustained her as she faced show biz rigors and rejections. Her acting chops were masterfully honed on the New York stage where she performed off-Broadway and on, in the New York Shakespeare Festival, in Cyrano with Kevin Kline and in The Elephant Man with David Bowie.Concetta shares her fierce heart and dynamic spirit as she regales us with story after story of her uniquely thrilling life as a character actor. She talks about her love for her co-stars: David Bowie's kindness and intensity, Brian Dennehy's thoughtful mentorship, Dick Van Dyke's fun and curiosity, and Jack Lemmon and Walter Matthau's propensity to crack each other up on the set of Out To Sea while Concetta got to dance with Donald O'Connor!Concetta goes into tender detail about her wonderful, supportive parents, who immigrated to Kenosha from Italy and who she credits with much of her success. She also pays grateful homage to her education, studying drama at what became DePaul University, and the deep lessons provided by the works of Shakespeare and her treasured opportunities to perform key roles.Her paths of learning, and preparing led her to starring roles in China Beach and Providence and opened the gates of Star Trek fandom with an appearance as Minister Odala on Star Trek: Voyager.We play a few rounds of IMDB Roulette with a spicy story from the set of Dynasty. (Lesson Learned: Do not incur the wrath of Joan Collins). Concetta is also an animal rights activist and she would love for you to look into the work of Best Friends Animal Sanctuary.In recommendations, Fritz got into the Netflix docu-series Beckham, and Weezy is living for ABC's The Golden Bachelor.Path Points of Interest:Concetta Tomei on WikipediaConcetta Tomei on IMDBConcetta Tomei on TCMBest Friends Animal SocietyConcetta Tomei on FacebookThe Golden BachelorBeckham - Netflix

Ira Siff is a native New Yorker, who grew up on the standing room line of the old Metropolitan Opera, worshiping the famous singers of the 60s.  A graduate of the Cooper Union, with a degree in Fine Arts, Ira studied voice, and made his debut as a tenor in 1970. For the next decade, he performed roles in opera, operetta and musicals in New York, at The New York Shakespeare Festival, Circle in the Square, Playwrights Horizons, and other venues. Turning to cabaret, Ira created an act using vocal parody of opera, jazz, and other styles of music, gaining critical acclaim, and a loyal following.  He has also given master classes in bel canto and verismo for the Metropolitan Opera Guild since 2008, and has presented sold-out lectures for the Met Guild  on a variety of opera topics.  Since 2007 he has served as commentator on the Met's Saturday afternoon radio broadcasts.

In this episode of the “Speaking to Influence”, Dr. Laura Sicola spends time with Ellen Gallagher, Chief Operations Officer at Wilkes University. In this episode you will learn: how a free text-book initiative is increasing student's likelihood for success that time spent earning a 4-year degree teaches you critical interpersonal and management skills how everyone, regardless of their role, has the ability and responsibility to represent their organization on social media that filling a presentation with technical terms and knowledge, is often more about a speaker lacking confidence than effectively communicating to adjust you communication style to match what will most resonate with the intended audience that confidence and humility are not mutually exclusive and that you should be confident in your abilities, but humble enough to be ready to learn from other's fresh perspectives. About Ellen Gallagher: With over 30 years of experience as a financial leader in the nonprofit sector, Ellen serves as the COO of Wilkes University, an independent, non-denominational four-year university in Wilkes-Barre, PA. She oversees several of the university's operations including finance, information technology, facilities and dining services, campus security and capital projects. She also helps in developing the financial, technological and facility planning initiatives for the university. Throughout her career, she has held several positions at several arts and non -profit organizations including at the American Museum of Natural History in New York City, The Public Theater and New York Shakespeare Festival, the Lincoln Center Redevelopment Corporation, the Tucker Music Foundation and the Pennsylvania Ballet. Ellen is also an accomplished pianist. You can connect with Ellen in the following ways:  Wilkes University: https://www.wilkes.edu  LinkedIn: https://www.linkedin.com/in/ellengallaghercoo/   You can connect with Laura in the following ways: LinkedIn: https://www.linkedin.com/in/drlaurasicola LinkedIn Business Page: https://www.linkedin.com/company/vocal-impact-productions/ YouTube: https://www.youtube.com/c/VocalImpactProductions Facebook: Vocal Impact Productions Twitter: @LauraSicola Instagram: @VocalImpactProductions Website: https://vocalimpactproductions.com/ Laura's Online Course: https://virtualinfluence.today See omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.

Welcome to the Instant Trivia podcast episode 851, where we ask the best trivia on the Internet. Round 1. Category: also a bar drink 1: Flathead or Phillips head. a screwdriver. 2: With so much brainpower on stage today, this "Living Dead" movie monster wouldn't know where to start. a zombie. 3: It was last call for this Scottish outlaw on Dec. 28, 1734. Rob Roy. 4: Take a flying leap and name this type of reconnaissance plane or insect of the family Acrididae. a grasshopper. 5: G'day! This wooden weapon can also be a scheme that does injury to its originator. a boomerang. Round 2. Category: they all played hamlet 1: Fans from around the world sped to Winnipeg to see this "Speed" star play Hamlet there in 1995. Keanu Reeves. 2: He's only 9 years younger than Glenn Close, but he called her Mom in Zeffirelli's 1990 version. Mel Gibson. 3: The role of Obi-Wan Kenobi was light-years away when he played Hamlet at the Old Vic in 1938. Sir Alec Guinness. 4: This star of "A Fish Called Wanda" not only starred in but directed a 1990 production of "Hamlet". Kevin Kline. 5: He played Hamlet at the New York Shakespeare Festival before he hammed it up as Mike Hammer:. Stacy Keach. Round 3. Category: tv bars and restaurants 1: On this sitcom Duff Beer is on tap at Moe's Tavern where the clientele is always "animated". "The Simpsons". 2: Head north, far north, to visit The Brick, this show's restaurant. "Northern Exposure". 3: On this sitcom you could have seen Jay Thomas take a few "Potts" shots in the Blue Shamrock. "Love And War". 4: On this sitcom you may find the Crane brothers having coffee at Cafe Nervosa. "Frasier". 5: The Lunch Box in Lanford, Ill. is one of this sitcom's settings. "Roseanne". Round 4. Category: classic movies 1: It's the first rule of Fight Club. you do not talk about Fight Club. 2: Crime film that features Gene Hackman as Buck Barrow. Bonnie and Clyde. 3: Charlie Chaplin befriends a millionaire and falls in love with a blind girl in this 1931 film. City Lights. 4: Film in which De Niro as Travis Bickle asks, "You talkin' to me? You talkin' to me?". Taxi Driver. 5: In it, reporter Rosalind Russell tells Cary Grant, "I wouldn't cover the burning of Rome for you if they were just lighting it up". His Girl Friday. Round 5. Category: what a year! 1: Dewaele won the Tour de France, Coco Chanel was the toast of Paris and Sacre Bleu!, the market crashed in this year. 1929. 2: The Titanic set off on maiden voyage. 1912. 3: In this year, Teddy became president, Eddie became king and Nicky became father of Anastasia. 1901. 4: Rosa Parks sat down for freedom. 1955. 5: (Hi, I'm Tyler Christopher of General Hospital.) In this year, ABC gave "G.H." a shot on TV, "He's So Fine" shot up to No. 1 and JFK visited the Berlin Wall. 1963. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Joe Papp was responsible for some of modern American theater's most iconic institutions: New York City's free Shakespeare in the Park. The Public Theater. The whole idea of "Off-Broadway." We spoke with Los Angeles Times film critic Kenneth Turan about Papp's life and works, from his hardscabble childhood, through the frightening era of Joe McCarthy, to the founding of Shakespeare in the Park and The Public. Published in 2009, Turan's epic oral history of the early years of the New York Shakespeare Festival and The Public Theater is called Free for All: Joe Papp, the Public, and the Greatest Theater Story Ever Told. To create that book, he spent untold hours with Joe Papp and also talked with New York politicians, Broadway producers, and seemingly everyone else who helped Papp make Shakespeare in the Park a reality, including performers like James Earl Jones, George C. Scott, Meryl Streep, Kevin Kline, Colleen Dewhurst, Tommy Lee Jones, and a Staten Island car-wash employee who would go on to play Romeo under the stage name of Martin Sheen. Turan is interviewed by Barbara Bogaev. Kenneth Turan was film critic for the Los Angeles Times and National Public Radio's Morning Edition. Free for All: Joe Papp, the Public, and the Greatest Theater Story Ever Told was published by Anchor Books, a division of Random House. From the Shakespeare Unlimited podcast series. Originally published August 7, 2018, and rebroadcast June 7, 2022. © Folger Shakespeare Library. All rights reserved. This podcast episode, "This Green Plot Shall Be Our Stage," was produced under the supervision of Garland Scott, and is presented with permission of rlpaulproductions LLC, which created it for the Folger. It was edited by Gail Kern Paster and Esther Ferington. Ben Lauer is the web producer. We had technical help from Lauren Cascio and Nick Bozzone at Formosa Commercials recording studio in Santa Monica, California.

Christine Toy Johnson is an award-winning writer, actor, director, filmmaker, and advocate for inclusion based in New York City. As a performer, she has been breaking the color barrier for over 35 years, and has been featured extensively on Broadway, off-Broadway, in regional theatres across the country, in film, television, and concerts worldwide. She currently plays “Diane and others” on the First National/North American tour of Come From Away. Other highlights include the New York revivals of The Music Man, Merrily We Rollalong, Pacific Overtures, Falsettol And and Grease!, the national tours of Cats, Flower Drum Song and Bombay Dreams, and other leading roles at some of the most well-respected theatres across the country including the Guthrie Theater, New York Shakespeare Festival, the Mint Theatre, the Williamstown Theatre Festival, the Huntington Theatre, Yale Rep, Syracuse Stage, The Denver Center Theatre Company, The Minnesota Opera and New York City Opera. Over 100 film and television appearances include playing “Sherry Yang” on Season 2 of the Netflix/Marvel TV series Iron Fist, recurring roles on Bull, The Americans, You and Law And Order: SVU, NCIS New Orleans, Madam Secretary, Mr. Robot, The Good Fight, Braindead, Unbreakable Kimmy Schmidt, Mozart In The Jungle, The Blacklist, Smash, 666 Park Avenue, 30 Rock, Ugly Betty, The Big C, Fringe, Royal Pains, Crossing Jordan, many episodes in the Law And Order franchise, and two years as “Lisa West” on One Life To Live. Philanthropic/Activist Causes: Dramatists Guild podcast “The Dramatists Guild Presents Talkback” and shifting perceptions about AAPI artists and the relationship to stopping anti-Asian hate crimes

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Get ready to "say a prayer" as hosts Bobby and Kristina discuss 2002's Dance of the Vampires on episode nineteen of My Favorite Flop.   ABOUT DANCE OF THE VAMPIRES Based on the Roman Polanski film The Fearless Vampire Killers, Dance of the Vampires follows Professor Abronsius as he attempts to prove the existence of vampires in Transylvania while his bumbling assistant Alfred falls for innkeeper's daughter Sarah, unaware that she is being pursued by the mysterious Count von Krolock. The musical features a book by Jim Steinman, Michael Kunze, and David Ives and music and lyrics by Jim Steinman. Academy Award-winning film director Roman Polanski was inspired to adapt his cult comedy for the musical stage after being approached to work on a theatrical production of Anne Rice's Interview with the Vampire. Composer Jim Steinman and book writer/lyricist Michael Kunze were ultimately chosen to collaborate based on both of their previous bodies of work, with Steinman literally being chosen by the director after putting 5 of his preexisting songs into a rough outline by Kunze (all of which remained in the final version of the show, including the hit song "Total Eclipse of the Heart"). The show, then known as Tanz der Vampire, originally opened on October 4, 1997 in Vienna, Austria where it ran for over 2 years. A new production opened in Germany following its closing and has played somewhere in the country almost consistently to this very day. Because of that, Tanz de Vampire is one of the most successful musicals in European history. From its premiere, English producers were seeking to bring the show to English-speaking countries. Composer Steinman was no stranger to the theater scene in New York, having spent five years under the professional wing of New York Shakespeare Festival founder Joseph Papp in the early Seventies. After briefly considering a West End run, it was decided to bring the musical (now titled Dance of the Vampires) to Broadway instead. After several failed attempts, many rewrites, and replacements on the creative team, Dance of the Vampires finally opened December 9, 2002. The Broadway version of the show was critically lambasted and the work of lead performer Michael Crawford was reviewed particularly harshly. When the reviews came out, Jim Steinman made a show of his disapproval of the project by not attending opening night and publicly distancing himself from the show.  On January 25, 2003, after 56 performances, Dance of the Vampires closed. According to The New York Times, it was "one of the costliest failures in Broadway history", losing roughly $12 million, easily eclipsing the infamous musical Carrie.   Original Broadway Cast Michael Crawford as Count Giovanni Von Krolock Mandy Gonzalez as Sarah René Auberjonois as Professor Abronsius Max von Essen as Alfred Ron Orbach as Chagal Leah Hocking as Magda Liz McCartney as Rebecca Asa Somers as Herbert Mark Price as Boris Erin Leigh Peck as Zsa-Zsa E. Alyssa Claar as Nadja

On this episode, The Barretta Brothers welcome actor, voice actor, and comedian, Stuart Pankin.     ABOUT OUR GUEST:   Stuart Pankin Stuart Pankin: five time nominated, CableAce Award winning actor for HBO's Not Necessarily The News. Master's Degree in Theatre from Columbia University. Performed with the New York Shakespeare Festival, Brooklyn Academy of Music Repertory Company, American Place Theatre, Lincoln Center, Folger Shakespeare Theatre, Odyssey Theatre, Musical Theatre West, Reprise LA!. Starred in over seventy Off Broadway, summer, and regional theatre productions; Starred and/or featured in such movies as The Artist, Fatal Attraction, Arachnophobia, Life Stinks, Honey We Shrunk Ourselves, The Hollywood Knights, Irreconcilable Differences, and Striptease. Series regular on nine prime time television shows and pilots; Guest starred and recurred in over 350 television productions, including MOWs, Web series; voiced numerous cartoons including the award-winning Dinosaurs.  

On today's episode, we re-enter the Afro-Latino Actors Studio with Carlos Carrasco: actor, filmmaker, and director of the Panamanian International Film Festival. Last week, in part 1 of our conversation, Mr. Carrasco took the lead on stage, then gave us the VIP tour backstage, behind the curtains, where we glimpsed into what it is like to be an immigrant Afro-Latino in acting in the United States, and how this experience impacted his identity and drove him to also dedicate his time to social impact causes for Latin actors, theatre, and film. In today's conversation, we examine the heart of art, how the sounds of things carry the emotions of things, we deconstruct language into its most fundamental pieces, and explore how art is a process of selection. Born in Panamá City, Panamá, Carlos Carrasco has appeared as an actor on Broadway and Off Broadway in New York City, as well as appearing at many of the country's regional theaters. He appeared on Broadway in the Circle-In-The-Square's production of "The National Health” and has appeared at The Hartford Stage Co., Shakespeare & Co., Atlanta's Alliance Theatre, The Arizona Theatre Co., The Folger Theatre and The American Shakespeare Theatre. Off- Broadway he appeared with The Puerto Rican Traveling Theatre, INTAR, Theatre for a New Audience and The New York Shakespeare Festival. Mr. Carrasco has co-starred in such feature films as "Speed," "Blood In...Blood Out," “Turnover,” “Parker,” ”One Man's Hero," "The Burning Season" and "The Fisher King." On television he has been a guest on many prime time series, including “Insecure,” “CSI,” "Star Trek: Deep Space 9," " ER,” "Seaquest," "Hunter," "The Equalizer" and the made for television movies "As Good As Dead" and "Have You Seen My Son?”. Mr. Carrasco has been active in the non-profit sector, serving for six years as Executive Director of the Hispanic Organization of Latin Actors, serving for three years on the Theatre panel for the New York State Council on the Arts and currently producing a Latin American film festival, The Panamanian International Film Festival, now entering its seventh season. As filmmaker, Mr. Carrasco has produced and directed five short films, from the documentary “Art Galleries and Back Alleys,” celebrating the East Los Angeles Artists Collaborative Self-Help Graphics to the more recent “One” and “Disarm” tackling the difficult issues of police and school shootings. I had the honor of speaking with Carlos Carrasco on the 29th of August, 2020. This is the second part of our two-part conversation.  But before we jump into the conversation with Mr. Carrasco, Aïcha Martine Thiam and I would like to introduce you to The Nasiona BIPOC Music Series. We will begin most podcast episodes this year by showcasing a BIPOC musical artist from our series, which you can explore at TheNasiona.com. Today's musical guest is Chromic, and they perform their track “Lightless,” which you can find in The Nasiona‘s compilation BIPOC musical album, Volume 1: Petrichor. Want to be considered for our BIPOC Music Series? Go here to learn more.   The Nasiona Podcast amplifies the voices and experiences of the marginalized, undervalued, overlooked, silenced, and forgotten, as well as gives you a glimpse into Othered worlds. We focus on stories that explore the spectrum of human experiences—stories based on facts, truth-seeking, human concerns, real events, and real people, with a personal touch. From liminal lives to the marginalized, and everything in between, we believe that the subjective can offer its own reality and reveal truths some facts can't discover. Hosted, edited, and produced by Julián Esteban Torres López.  Please follow The Nasiona on Twitter, Instagram, and Facebook for regular updates: @TheNasiona Thank you to Aïcha Martine Thiam for co-producing the BIPOC Music Series component of the episode, and to Chromic for being our musical guest. Original music for The Nasiona Podcast was produced by the Grammy Award-winning team of Joe Sparkman and Marcus Allen, aka The Heavyweights. Joe Sparkman: Twitter + Instagram. Marcus Allen: Twitter + Instagram. The Nasiona Magazine and Podcast depend on voluntary contributions from readers and listeners like you. We hope the value of our work to our community is worth your patronage. If you like what we do, please show this by liking, rating, and reviewing us; buying or recommending our books; and by financially supporting our work either through The Nasiona's Patreon page or through Julián Esteban Torres López's Ko-fi donation platform. Every little bit helps. Thank you for listening and reading, and thank you for your support.

Today we take you inside the Afro-Latino Actors Studio with Carlos Carrasco: actor, filmmaker, and director of the Panamanian International Film Festival in Los Angeles. Mr. Carrasco will take the lead on stage, then give us the VIP tour backstage, behind the curtains, where we glimpse into what it is like to be an immigrant Afro-Latino in acting in the United States, and how this experience has impacted his identity and drove him to also dedicate his time to social impact causes for Latin actors, theatre, and film. Born in Panamá City, Panamá, Carlos Carrasco has appeared as an actor on Broadway and Off Broadway in New York City, as well as appearing at many of the country's regional theaters. He appeared on Broadway in the Circle-In-The-Square's production of "The National Health” and has appeared at The Hartford Stage Co., Shakespeare & Co., Atlanta's Alliance Theatre, The Arizona Theatre Co., The Folger Theatre and The American Shakespeare Theatre. Off- Broadway he appeared with The Puerto Rican Traveling Theatre, INTAR, Theatre for a New Audience and The New York Shakespeare Festival. Mr. Carrasco has co-starred in such feature films as "Speed," "Blood In...Blood Out," “Turnover,” “Parker,” ”One Man's Hero," "The Burning Season" and "The Fisher King." On television he has been a guest on many prime time series, including “Insecure,” “CSI,” "Star Trek: Deep Space 9," " ER,” "Seaquest," "Hunter," "The Equalizer" and the made for television movies "As Good As Dead" and "Have You Seen My Son?”. Mr. Carrasco has been active in the non-profit sector, serving for six years as Executive Director of the Hispanic Organization of Latin Actors, serving for three years on the Theatre panel for the New York State Council on the Arts and currently producing a Latin American film festival, The Panamanian International Film Festival, now entering its seventh season. As filmmaker, Mr. Carrasco has produced and directed five short films, from the documentary “Art Galleries and Back Alleys,” celebrating the East Los Angeles Artists Collaborative Self-Help Graphics to the more recent “One” and “Disarm” tackling the difficult issues of police and school shootings. I had the honor of speaking with Carlos Carrasco on the 16th of August, 2020. This is the first part of our two-part conversation. But before we jump into the conversation with Mr. Carrasco, Aïcha Martine Thiam and I would like to introduce you to The Nasiona BIPOC Music Series. We will begin most podcast episodes this year by showcasing a BIPOC musical artist from our series, which you can explore at TheNasiona.com.  On April 26th, we had the honor of featuring the world premiere of Tre. Charles's debut single and music video for “Stressin.” which you can listen to and watch on our website. Today, we'll showcase “Stressin.” for you, in case you missed it. Want to be considered for our BIPOC Music Series? Go here to learn more.   The Nasiona Podcast amplifies the voices and experiences of the marginalized, undervalued, overlooked, silenced, and forgotten, as well as gives you a glimpse into Othered worlds. We focus on stories that explore the spectrum of human experiences—stories based on facts, truth-seeking, human concerns, real events, and real people, with a personal touch. From liminal lives to the marginalized, and everything in between, we believe that the subjective can offer its own reality and reveal truths some facts can't discover. Hosted, edited, and produced by Julián Esteban Torres López.  Please follow The Nasiona on Twitter, Instagram, and Facebook for regular updates: @TheNasiona Thank you to Aïcha Martine Thiam for co-producing the BIPOC Music Series component of the episode, and to Tre. Charles for being our musical guests. Original music for The Nasiona Podcast was produced by the Grammy Award-winning team of Joe Sparkman and Marcus Allen, aka The Heavyweights. Joe Sparkman: Twitter + Instagram. Marcus Allen: Twitter + Instagram. The Nasiona Magazine and Podcast depend on voluntary contributions from readers and listeners like you. We hope the value of our work to our community is worth your patronage. If you like what we do, please show this by liking, rating, and reviewing us; buying or recommending our books; and by financially supporting our work either through The Nasiona's Patreon page or through Julián Esteban Torres López's Ko-fi donation platform. Every little bit helps. Thank you for listening and reading, and thank you for your support.

Be sure to subscribe for more - Creation Grounds Podcast Know who casts what and measure your way to your bookings with Auditiontrackers.com ________ Woodie King Jr. Imdb IG: Instagram Website: New Federal Theatre Alabama born Woodie King Jr. is an award winning theater director, producer, writer and all around multi-hyphenate. Earlier this year we lost Douglas Turner Ward who founded the historic and internationally known Negro Ensemble Company. (The Negro Ensembe Company has a whole wall dedicated to it's impact and legacy in the African American Mueseum in Washington D.C). In this episode Woodie discusses and honors Doug's legacy and impact. He shares stories about Doug and also shares about how New Federal was founded. He discusses some challenges that black theatre faces and what some potential solutions are. In 1970, King founded the New Federal Theatre and the National Black Touring Circuit in New York City, where he remained as producing director throughout his career. King produced shows both on and off Broadway, and directed performances across the country in venues such as the New York Shakespeare Festival; the Cleveland Playhouse; Center Stage of Baltimore; and the Pittsburgh Public Theatre. King's work earned him numerous nominations and awards over the years, including a 1988 NAACP Image Award for his direction of Checkmates, and 1993 Audelco Awards for Best Director and Best Play for his production of Robert Johnson: Trick The Devil; he also received an Obie Award for Sustained Achievement. King was awarded an honorary doctorate in humane letters from Wayne State University, and a doctorate of fine arts from the College of Wooster. In addition to his directing and producing of theater, King wrote extensively about the theater industry; he contributed to numerous magazines, such as Black World, Variety, and The Tulane Drama Review, as well as authoring a number of books. ________ Some Questions I Ask: What was the moment you decided you wanted to build a life in the arts? (2:04) What questions in interviews do you wish people would ask you that they never do? (3:50) First time meeting Douglas Turner Ward? (5:40) Why is Douglas Turner Ward such an important figure in American history? (6:10) What is your favorite moment with Douglas Turner Ward? (7:22) What's your earliest memory of Negro Ensemble Company? (8:06) Advice to artists about to graduate and enter real world, professional world (9:00) Why have companies like NEC and New Federal been around for as long as they have? (10:00) Most important lesson you've learned from Douglas Turner Ward? (10:46) If Doug was creating and sustaining a theatre company in the modern technology age what would he be doing? (12:06) What are some of the biggest challenges of black theatre today and what are some potential solutions? (12:45) What show of performance had you completely riveted or is most memorable? (13:30) When you think of the word creative who comes to mind for you and why? (14:06) Advice for this generation of actors? (14:58) How can people connect? (16:30) ____________ You can follow Arron at: Website: ArronLloyd.com Instagram: https://www.instagram.com/arronlloyd/ Facebook: Arron Lloyd Twitter: https://twitter.com/ArronLloyd Twitch: https://www.twitch.tv/arronsl316 TikTok:Arronslloyd Youtube: Arron Lloyd This is NYC merch -

Best known for his record-setting performance in the title role of “The Phantom of the Opera” on Broadway, Howard has appeared extensively in leading roles on Broadway and London’s West End. Other leading roles on Broadway include “Gigi”, “The Kiss Of The Spider Woman”, “She Loves Me”, “The Secret Garden”, “Anything Goes” (nominated for Tony and Drama Desk Awards), “The Mystery of Edwin Drood” (Tony and Drama Desk nominations, and received the Theatre World Award), and “Sunday in the Park with George”. On London’s West End, Howard starred in acclaimed revivals of “Mack and Mabel” and “Anything Goes”. He was nominated for a Drama Desk award for his New York theatrical debut in the New York Shakespeare Festival's production of “La Bohème” opposite Linda Ronstadt. His solo CD “Howard McGillin: Where Time Stands Still” is available online at cdbaby.com. https://www.howardmcgillin.com/ https://www.broadwaymentorsprogram.com/ https://www.projectals.org/

Today’s episode is an interview I did with Ira Siff, artistic director of La Gran Scena Opera Company di New York, alter ego of the beloved “traumatic soprano” Vera Galupe-Borszkh, lecturer for the Metropolitan Opera Guild and Weekly Commentator on the Metropolitan Opera broadcasts. My association with Ira and Gran Scena goes back more than thirty years, when he provided me with my first employment as a singer when my alter ego Daniela della Scarpone sang for two years with the renowned travesty opera company. I sat down with Ira in his East Village apartment last this past January for a wide-ranging interview in which we discuss his early days as a standee at the old Met (where some of his opera-going experiences included Maria Callas’s final Tosca performances, Renata Scotto’s 1965 debut as Madama Butterfly, and Leonie Rysanek’s wild traversals of Verdi and Wagner). He discusses his first performing experiences in the early 1970s in association with Al Carmines and others, the genesis of La Gran Scena and their development into a worldwide phenomenon, and his subsequent “legitimate” career as lecturer, stage director, vocal coach and voice teacher and commentator all stemmed from in his words, “getting in a dress and singing soprano,” which he dubs “the strangest part.” This is a free-wheeling and extremely Opera Queeny interview, peppered with Ira’s unique anecdotes and snippets from Gran Scena (and other!) performances. There is no better way to celebrate Gay Pride in isolation than to listen to this episode! Ira Siff is a native New Yorker, who grew up on the standing room line of the old Metropolitan Opera, worshiping the famous singers of the 60’s. A graduate of the Cooper Union, with a degree in Fine Arts, Mr. Siff began to study voice, and made his debut as a tenor in 1970. For the next decade, he performed roles in opera, operetta and musicals in the New York, at The New York Shakespeare Festival, Circle in the Square, Playwrights Horizons, and many other venues. Turning to cabaret, Ira created an act using vocal parody of opera, jazz, and other styles of music, gaining critical acclaim, and a loyal following. In 1981, he founded La Gran Scena Opera Co. di New York, the internationally acclaimed travesty troupe, whose gifted falsetto “divas” have spoofed opera with great affection for over two decades, in New York annually, and on tours to some of the great festivals, theatres and opera houses of the world. For the past thirty years, Mr. Siff has been a voice teacher and interpretive coach, teaching in New York, Italy, Israel, Holland and China, giving Master Classes for the Metropolitan Opera Guild, and was on the faculty of the Renata Scotto Vocal Academy. Ira was a guest teacher of bel canto technique at The Royal Conservatory in Den Haag in 2008, and then at the Dutch National Opera Academy for five seasons, and at the Amsterdam Conservatory in The Netherlands where he returned annually, and was appointed Permanent Guest Teacher. In 2000, he turned to stage directing, gaining critical acclaim for his productions of operas ranging from Tosca, Turandot, and La Fanciulla del West to Lakmé, Werther, and La Grande Duchesse de Gérolstein at venues such as Carnegie Hall, Sarasota Opera, The Caramoor Festival, and the Tanglewood Music Festival, where he directed productions of Così fan tutte, Don Giovanni, and Ariadne auf Naxos. All in all, he has directed operas for companies in New Jersey to New Zealand, with stops along the way in Puerto Rico, Lima, Peru and Utah. Singers whom he has directed include Sumi Jo, Dolora Zajick, Aprile Millo, Eglise Gutierrez, Krassimira Stoyanova, and the late Marcello Giordani. Conductors with whom he has collaborated as a stage director have included Richard Bonynge, Christoph von Dohnányi, and James Levine. He has also given master classes in bel canto and verismo for the Metropolitan Opera Guild every season since 2008 and has presented sold-out lectures for the M...

All In All With Stacy Keach Stacy Keach is an American actor and voice actor. He has played mainly dramatic roles throughout his career, often in law enforcement or as a private detective. His most prominent role was as Mickey Spillane’s fictional detective Mike Hammer, which he played in numerous stand-alone television films and at least three different television series throughout the 1980s and 1990s. The role earned him a Golden Globe Award nomination in 1984. Keach has appeared as the lead in films such as Fat City and The Ninth Configuration. He has also performed as a narrator for programs including CNBC’S American Greed (2008–) and various educational television programs. Comedic roles include Ken, the father of comedian Christopher Titus in the FOX sitcom Titus (2000–2002), and as Sergeant Stedenko in Cheech & Chong’s films Up in Smoke (1978) and Nice Dreams (1981). Keach won a Golden Globe Award and was nominated for a Primetime Emmy Award for the television miniseries Hemingway (1988). An accomplished pianist and composer, Keach composed the music for the film, Imbued (2009), directed by Rob Nilssen, a celebrated film festival favorite, in which Keach also starred. He has also completed composing the music for the Mike Hammer audio radio series, “Encore For Murder”, written by Max Collins, directed by Carl Amari, and produced by Blackstone Audio. But it is perhaps the live theatre where Keach shines brightest. He began his professional career with the New York Shakespeare Festival in 1964, doubling as Marcellus and the Player King in a production of Hamlet directed by Joseph Papp and which featured Julie Harris as Ophelia. He rose to prominence in 1967 in the Off-Broadway political satire, MacBird, where the title role was a cross between Lyndon Johnson and Macbeth and for which he received the first of his three Obie awards. He played the title roles in Henry 5, Hamlet (which he played 3 times), Richard 3, Macbeth, and most recently as King Lear in Robert Falls’ modern adaptation at Chicago’s Goodman Theatre, which Charles Isherwood of the NY Times called “terrific” and “a blistering modern-dress production that brings alive the morally disordered universe of the play with a ferocity unmatched by any other production I’ve seen.” Mr. Keach’s stage portrayals of Peer Gynt, Falstaff and Cyrano de Bergerac, and Hamlet caused the New York Times to dub him “the finest American classical actor since John Barrymore.” Keach is an inductee of the Theater Hall of Fame and was honored with a star on The Hollywood Walk of Fame in 2019. Of his many accomplishments, Keach claims that his greatest accomplishment is his family. He has been married to his beautiful wife Malgosia for twenty-five years, and they have two wonderful children, Shannon Keach (1988), and daughter Karolina Keach (1990). Website Link: 

What is an actor? For instance -- can a disabled person play an able bodied character? How stuck are we in our imaginations? Is it possible to look beyond physical characteristics and focus just on the character being performed? Anita Hollander has performed in major theatre venues throughout Europe, Asia and America as an actress, singer, composer, lyricist, director, producer and teacher. As a two-time cancer survivor, Anita has negotiated over half her 50-year performing career on one leg, And she has worked to raise awareness about issues surrounding the disabled actor.Ms. Hollander has premiered new works of composers and playwrights at Carnegie Hall, Playwrights Horizons, Kennedy Center, and New York Shakespeare Festival, where she sang original work of Philip Glass. She received a Helen Hayes Award nomination for Outstanding Lead Actress in a Musical.CONTACT: Alan Winson barcrawlradio@gmail.com See acast.com/privacy for privacy and opt-out information.

On this week’s City Speaks podcast, Pittsburgh City Theatre’s Director of New Play Development, Clare Drobot, speaks with Dwayne Washington and Avery Glyph, two of the actors from One Night in Miami, which runs at City Theatre on Pittsburgh’s Southside through Dec. 1.   DWAYNE WASHINGTON, who plays Sam Cooke in One Night in Miami, has acted iff-broadway in such classics as Fiagro 90210, Tanya and Nancy: The Rock Opera, National Tour: In The Mood, Ragtime, and Man of La Mancha. Read more about him at TheDwayneWashington.com.   AVERY GLYMPH, who plays Malcolm X in One Night in Miami, is proud to make his Pittsburgh debut with City Theatre, and has most recently appeared in Hamlet at The Shakespeare Theatre Company in Washington, D.C. Off-Broadway credits include Roundabout Theatre Company, New York Shakespeare Festival, The Drama Dept., and Lincoln Center Lab. Avery's film and television appearances include the upcoming Out and About, She's Gotta Have it, Against the Current, Last Ball, He Got Game, 13 Conversations About One Thing, I’m with Lucy, Madam Secretary, Forever, Ugly Betty, Oz, all Law & Orders, The Electric Company, among more. Awards include St. Louis Critics Circle Awards for Best Ensemble and Best Production for All the Way, as well as nominations for the San Diego Critics Circle Award and the NAACP Theatre Award for The Whipping Man. Avery holds a BFA from The North Carolina School of the Arts and an MFA from the STC Academy for Classical Acting at the George Washington University. Visit AveryGlymph.com for more details.   A play about four of the most important figures in Black Civil Rights history, One Night in Miami depicts the night of February 25, 1964, when Muhammed Ali, Malcolm X, Sam Cooke, and NFL legend Jim Browne met to celebrate in a Miami hotel room.   Get tickets here: https://citytheatrecompany.org/play/one-night-in-miami/   Listen to more City Speaks here: https://postindustrial.com/

Desmond Dekker, "Israelites" Black and Dekker Bob Dylan, "Forever Young" Biograph (Disc 3) George Jones, "I'll Fly Away" The Best of Sacred Music Mosby Family Singers, "The Lord is My Shepherd" Fire In My Bones: Raw + Rare + Other-Worldly African-American Gospel [1944-2007] Soul Stirrers (The), "Stand By Me Father" Various Sam Cooke's SAR Records Story - Disc 1 of 2 New York Shakespeare Festival, "Ballad in Which Macheath Begs All Men for Forgiveness" Threepenny Opera Act 3 The Velvet Underground "Jesus" The Velvet Underground Tom Waits, "Chocolate Jesus" Glitter And Doom: Live In Atlanta (CD1) Ralph Stanley, "I Am A Man Of Constant Sorrow" Bound To Ride The Cross-Road Singers, "Sing Til The Power Of The Lord Comes Down" I Heard The Angels Singing : Electrifying Black Gospel From The Nashboro Label 1951-1983 Rustavi Choir "The Grace Of The Holy Spirit" Georgian Sacred Music Prince, "When Doves Cry" Ultimate - CD 1 Johann Sebastian Bach, "Herr Jesu Christ Du Hochstes Gut VIII Stark Mich Mit Deinem Freudengeist" Trinity Cantatas II Clear Creek Missionary Baptist Church Congregation, "Prayer (excerpt)-I Love the Lord" Fire In My Bones: Raw + Rare + Other-Worldly African-American Gospel [1944-2007] Blue Heaven, "Church In The Wildwood" Victory In Jesus 2005 Lucille Barbee, "Let The Church Roll On" VA - Gospel Groovers Vol 6 Sister Rosetta Tharpe, "Two Little Fishes, Five Loaves Of Bread" Gospel Train Big Mama Thornton, "Wade in the Water" Traditional The Way It Is Talking Heads, "Take Me To The River" Once In A Lifetime Aretha Franklin, "Mary, Don't You Weep" Amazing Grace (The Complete Recordings) [Disc 2] The Forest Rangers Chorale, "Blessed Assurance" Curtis Mayfield (The Impressions), "People Get Ready" Gospel The Staple Singers, "You Got Shoes" VA - Gospel Groovers Vol 6 The Mellow Larks, "Time to Pray (Alleluia)" The Trojan Story Iggy & the Stooges, "Raw Power" Raw Power Andrew Watts and The Gospel Storytellers, "One Day In Paradise" There Is A God Somewhere The Rolling Stones, "Sympathy For The Devil" Beggars Banquet

David Naughton made his professional debut in the New York Shakespeare Festival’s production of “Hamlet” in Lincoln Center. But he is best known for his starring role in the groundbreaking horror classic “An American Werewolf In London.” The movie, a perfect blend of scares, gore, music and laughs, is one of those motion pictures that still stands up on every level, and looks as if it could have been made today. This was, however, only one of his many roles in horror film. His other credits include supporting and lead roles in Kidnapped (1987), Goddess of Love (1988) with Vanna White, The Sleeping Car (1990), Steel and Lace (1991), Amityville: A New Generation (1993), Body Bags (1993) with John Carpenter, Ice Cream Man (1995), and Mirror, Mirror III: The Voyeur. He also appeared in The Boy in Blue in 1986 with Nicholas Cage, and has had an impressive TV career as well with appearances in Sharknado 5, American Horror Story, Grey’s Anatomy, ER, JAG, Seinfeld, MacGyver and many more.

In 1954, Joseph Papp founded the New York Shakespeare Festival with touring productions of Shakespeare, presented for free to the people of New York City. 65 years later, The Public Theater is still touring Shakespeare with our Mobile Unit to the five boroughs and beyond. This episode is all about the Mobile Unit (and more), featuring a covnersation with Roxanna Barrios (Associate Director of the Mobile Unit) and Laurie Woolery (director of Mobile Unit's The Tempest), an excerpt of Michael Thurber's music from a past Mobile Unit production, a chance to 'Meet The Public' with Assistant General Manager Alyssa Simmons, and more! Episode music by Michael Freidman Audio engineering by Dani Lencioni Hosted by Drew Broussard and Reynaldi Lindner Lolong Featuring Roxanna Barrios, Kaleda Davis, Lauren Henderson, Alyssa Simmons, Jackie Tralies, Michael Thurber, and Laurie Woolery

Joe Papp was responsible for some of modern American theater's most iconic institutions: New York City's free Shakespeare in the Park. The Public Theater. The whole idea of "Off-Broadway." We spoke with Los Angeles Times film critic Kenneth Turan about Papp's life and work, from his hardscrabble childhood, through the frightening era of Joe McCarthy, to the founding of Shakespeare in the Park and the Public. Ken's epic oral history of the early years of the New York Shakespeare Festival and the Public Theater, "Free for All: Joe Papp, the Public, and the Greatest Theater Story Ever Told," published in 2009. He spent untold hours with Papp and also talked with New York politicians, Broadway producers, and seeming everyone else who helped Papp make Shakespeare in the Park a reality, including actors James Earl Jones, George C. Scott, Meryl Streep, Kevin Kline, Colleen Dewhurst, Tommy Lee Jones, and a Staten Island car-wash employee who would go on to play Romeo under the name of Martin Sheen. Ken is interviewed by Barbara Bogaev. From the "Shakespeare Unlimited" podcast series. Published August 7, 2018. © Folger Shakespeare Library. This podcast episode, "This Green Plot Shall Be Our Stage," was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Ben Lauer is the web producer. We had technical help from Lauren Cascio and Nick Bozzone at Formosa Commercials recording studio in Santa Monica, California.

Out actor/producer/writer Kevin Spirtas has spearheaded a new digital series set to premiere on Amazon Video April 24th titled, “After Forever." With a tag line that reads, “A story about love, loss and new beginnings,” the series chronicles the journey of a gay couple, their group of friends, and how they deal with the losses in their lives. Fans know Kevin not only from his long-running role as "Dr. Craig Wesley" on Days of Our Lives, and films like the Friday the 13th series, he's an Indie Series Award winner and garnered an Emmy nomination for his work on the digital series "Winterthorne;" plus there's his many appearances on Broadway in hits like A Chorus Line, Hairspray, Meet Me In St. Louis and The Boy from Oz where he stood by for superstar Hugh Jackman. He's also had a second parallel career as a producer of projects like a staged reading at the New York Shakespeare Festival starring Meryl Streep, and was on the producing teams that brought the Finian's Rainbow revival as well as Priscilla Queen of the Desert to Broadway. Kevin chats with me about "After Forever" in this episode of The Randy Report. For more info about the show, head to the official website www.AfterForeverTheSeries.com

Out actor/producer/writer Kevin Spirtas has spearheaded a new digital series set to premiere on Amazon Video April 24th titled, “After Forever." With a tag line that reads, “A story about love, loss and new beginnings,” the series chronicles the journey of a gay couple, their group of friends, and how they deal with the losses in their lives. Fans know Kevin not only from his long-running role as "Dr. Craig Wesley" on Days of Our Lives, and films like the Friday the 13th series, he's an Indie Series Award winner and garnered an Emmy nomination for his work on the digital series "Winterthorne;" plus there's his many appearances on Broadway in hits like A Chorus Line, Hairspray, Meet Me In St. Louis and The Boy from Oz where he stood by for superstar Hugh Jackman. He's also had a second parallel career as a producer of projects like a staged reading at the New York Shakespeare Festival starring Meryl Streep, and was on the producing teams that brought the Finian's Rainbow revival as well as Priscilla Queen of the Desert to Broadway. Kevin chats with me about "After Forever" in this episode of The Randy Report. For more info about the show, head to the official website www.AfterForeverTheSeries.com

Great American Songbook composer Cy Coleman is the subject of TALKish, The Halli Casser-Jayne Show when joining Halli at her table are Lucie Arnaz, Michelle Lee and Andy Propst the author of YOU FASCINATE ME SO, THE LIFE AND TIMES OF CY COLEMAN and some surprise guests too!Great American Songbook composer Cy Coleman who wrote the great standards “Witchcraft” and “The Best Is Yet To Come,” the writer of such classic musicals as Sweet Charity, On the Twentieth Century, Barnum, City of Angels, and The Will Rogers Follies is finally the subject of an important biography YOU FASCINATE ME SO by Andy Propst. Andy Propst is a journalist whose career has encompassed work with New York Shakespeare Festival founder, Joseph Papp and Tony Award-winning director George C. Wolfe, as well as five years on-air at XM Satellite Radio's XM 28 On Broadway channel. His writing has appeared in the Village Voice, Time Out New York, Backstage and the Sondheim Review.Award-winning actress and performer Lucie Arnaz is the daughter of Hollywood royalty. Her mother, Lucille Ball and her dad, Desi Arnaz were the infamous pranksters Lucy and Ricky on the favorite comedy TV series of all times, I Love Lucy. Ball starred in Cy Coleman's WILDCAT. Lucie Arnaz built her own career with grit and grind, acting in television, and film, including in THE JAZZ SINGER with Neil Diamond for which she was nominated for the Golden Globe. Ultimately she made her mark on Broadway in a host of productions beginning with the musical THEY'RE PLAYING OUR SONG. She headlined the first national tour of Cy Coleman's mega-hit musical SEESAW.Emmy Award Nominee and a two-time Tony nominee Michele Lee starred as the loveable and quirky Gittel Mosca in the original production of the Coleman/ Dorothy Fields musical SEESAW, for which she won the Drama Desk and the Outer Critics Award for Best Actress. Lee has been a favorite of audiences since she caught their attention on the 50s TV show THE MANY LOVES OF DOBBIE GILLIS. She made her Broadway debut in HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING with Rudy Valle and a young Robert Morse. Later she joined us in our living rooms as Karen Fairgate on the long run of the nighttime soap opera KNOTT'S LANDING.Great American Songbook, Cy Coleman, Broadway, Michele Lee, Lucie Arnaz, Andy Propst, Shelby Coleman on The Halli Casser-Jayne Show…it's witchcraft when we look at the life, times and music of composer Cy Coleman on The Halli Casser-Jayne Show. For more information visit Halli Casser-Jayne dot com.

Welcome to Masters of the Stage Replay, which revisits podcasts that seem especially relevant this season. As we approach the 2017 “Mr. Abbott” Award Gala honoring director Kenny Leon, we will be featuring discussions by previous “Mr. Abbott” Award recipients. Today’s podcast features George C. Wolfe. On April 18th, 1994 collaborator and colleague Hope Clarke sat down to interview writer-director George C. Wolfe. In this post-Jelly pre-Bring In 'Da Noise, Bring in 'Da Funk interview, Mr. Wolfe discusses his origins as an artist, the difficulty and fulfillment of writing and directing, his experience running the New York Shakespeare Festival and the future of his career. Originally recorded - April 18, 1994.

Kenny Leon is a director notable for his work on Broadway and in regional theater. He gained prominence in 1988, when he became one of the few African Americans to head a notable non-profit theater company as the artistic director of Atlanta's Alliance Theatre Company. In 2004, he directed a revival of Lorraine Hansberry's A Raisin in the Sun, starring Sean Combs, Phylicia Rashad and Audra McDonald. He also directed the Broadway premiere of August Wilson's Gem of the Ocean. He was nominated for a Tony Award in 2010 for Best Director for his work on August Wilson's Fences. He has also directed plays at the Cincinnati Playhouse in the Park, the Huntington Theatre Company in Boston, the New York Shakespeare Festival, and the Goodman Theatre in Chicago among many others. In 2014, he directed the Broadway revival of A Raisin in the Sun for which he won the Tony Award for Best Director of a Play. In 2015, he directed the live musical The Wiz for NBC. He once again partnered with NBC for Hairspray: Live!. Listen in to hear Kenny talk about all the things a Director needs to be in the 21st-century, as well as . . . What he did when a teacher told him he shouldn’t be a Director. How he taught homeless people how to act. Why all Directors should try their hand at acting. Telecasts . . . the beginning of a revolution and why. How we’re doing on diversity, and what he would tell future Directors of color. Oh, and don’t forget to tune into Hairspray Live! this Wednesday, December 7th at 8 PM ET n NBC!   Keep up with me: @KenDavenportBway www.theproducersperspective.com Learn more about your ad choices. Visit megaphone.fm/adchoices

He composed songs such as “Witchcraft” and “The Best Is Yet To Come” and wrote the classic musicals Sweet Charity, On the Twentieth Century, Barnum, City of Angels, and The Will Rogers Follies. His name: Cy Coleman, the subject of a remarkable new biography YOU FASCINATE ME SO by journalist and author Andy Propst. Propst will be joining Halli at her table on The Halli Casser-Jayne Show along with performers Michele Lee, Lucie Arnaz and Mrs. Cy Coleman for a show-stopping conversation about the man and his music.Andy Propst, the author of YOU FASCINATE ME SO, THE LIFE AND TIMES OF CY COLEMAN is a journalist whose career has encompassed work with New York Shakespeare Festival founder, Joseph Papp and Tony Award-winning director George C. Wolfe, as well as five years on-air at XM Satellite Radio's XM 28 On Broadway channel. His writing has appeared in the Village Voice, Time Out New York, Backstage and the Sondheim Review.Award-winning actress and performer Lucie Arnaz is the daughter of Hollywood royalty. Her mother, Lucille Ball and her dad, Desi Arnaz, Lucy and Ricky on I Love Lucy. Ball starred in Cy Coleman's WILDCAT. Lucie Arnaz built her own career with grit and grind, acting in television, and film, including in THE JAZZ SINGER with Neil Diamond for which she was nominated for the Golden Globe. Ultimately she made her mark on Broadway in a host of productions beginning with the musical THEY'RE PLAYING OUR SONG. She headlined the first national tour of Cy Coleman's mega-hit musical SEESAW.Emmy Award Nominee and a two-time Tony nominee Michele Lee starred as the loveable and quirky Gittel Mosca in the original production of the Coleman/ Dorothy Fields musical SEESAW, for which she won the Drama Desk and the Outer Critics Award for Best Actress. Lee has been a favorite of audiences since she caught their attention on the 50s TV show THE MANY LOVES OF DOBBIE GILLIS. She made her Broadway debut in HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING with Rudy Valle and a young Robert Morse. Later she joined us in our living rooms as Karen Fairgate on the long run of the nighttime soap opera KNOTT'S LANDING.Michele Lee, Lucie Arnaz, Andy Propst, Shelby Coleman on The Halli Casser-Jayne Show when we look at the life, times and music of composer Cy Coleman on The Halli Casser-Jayne Show. For more information visit http://goo.gl/tMuVJc

George C. Wolfe: On April 18th, 1994 collaborator and colleague Hope Clarke sat down to interview writer-director George C. Wolfe. In this post-Jelly pre-Bring In 'Da Noise, Bring in 'Da Funk interview, Mr. Wolfe discusses his origins as an artist, the difficulty and fulfillment of writing and directing, his experience running the New York Shakespeare Festival and the future of his career. Originally recorded - April 18, 1994. Running Time - 1:03:46 ©1994 SDCF

  Guest: Dr. Tawnya Pettiford-­Wates is a playwright, director, actor, poet, writer/scholar­activist and teacher. She has appeared with the Tony Award Winning company in the New York Shakespeare Festival's Broadway production of “For Colored Girls who have considered Suicide / when the rainbow is enuf” performing in both the National and International Touring Companies Lucy Marshall,a South African Descendant, Zimbabwean Born, and a Naturalized American Citizen and a resident of North Carolina will talk about the connection and similarities of Dr King and Nelson Mandela and Corretta Scott King and Winnie Mandela Paul Bayethe is a an Educator, Cultural Preservist, eldest Patriarch of the Damasane family, and Pastor at the Family of God Church in Bulawayo, Zimbabwe, Africa. Follow us at padnation@facebook and pad4truth@twitter Interested in advertising on the show, e-mail us at labatchelor40@gmail.com AND DON'T FORGET TO CHECK OUT THE BATCHELOR PAD BLUES AND JAZZ SHOW FROM 8PM TO 11PM EST at www.bluesjazzradio.com    

Martin Pakledinaz passed away on July 8th, 2012. This edition of Downstage Center was recorded in 2010. Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Martin Pakledinaz passed away on July 8th, 2012. This edition of Downstage Center was recorded in 2010. Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Daniel Ostling is a freelance Scenic Designer based in San Francisco with a second residence in NYC. He has worked at numerous regional theaters including the Brooklyn Academy of Music, New York Shakespeare Festival, La Jolla Playhouse, the Mark Taper Forum, Seattle Repertory, Oregon Shakespeare Festival, Goodman, San Francisco Opera Center, Shakespeare Theater (D.C.), and Portland Center Stage among others. Internationally, his work has been seen in at the Barbican and the Donmar Warehouse in London, UK and the Melbourne Theatre Co. in Australia. Mr. Ostling is an ensemble member of Lookingglass Theatre Company in Chicago since 1997. He works extensively with director Mary Zimmerman having designed numerous production including Metamorphoses for which he was nominated for a 2002 Tony Award. Upcoming projects include Much Ado About Nothing (California Shakespeare), Candide (Goodman/Chgo, Shakespeare Theatre/ DC), Becky Shaw (South Coast Rep), Arabian Nights (Berkeley Repertory).

Daniel Ostling is a freelance Scenic Designer based in San Francisco with a second residence in NYC. He has worked at numerous regional theaters including the Brooklyn Academy of Music, New York Shakespeare Festival, La Jolla Playhouse, the Mark Taper Forum, Seattle Repertory, Oregon Shakespeare Festival, Goodman, San Francisco Opera Center, Shakespeare Theater (D.C.), and Portland Center Stage among others. Internationally, his work has been seen in at the Barbican and the Donmar Warehouse in London, UK and the Melbourne Theatre Co. in Australia. Mr. Ostling is an ensemble member of Lookingglass Theatre Company in Chicago since 1997. He works extensively with director Mary Zimmerman having designed numerous production including Metamorphoses for which he was nominated for a 2002 Tony Award. Upcoming projects include Much Ado About Nothing (California Shakespeare), Candide (Goodman/Chgo, Shakespeare Theatre/ DC), Becky Shaw (South Coast Rep), Arabian Nights (Berkeley Repertory).

Daniel Ostling is a freelance Scenic Designer based in San Francisco with a second residence in NYC. He has worked at numerous regional theaters including the Brooklyn Academy of Music, New York Shakespeare Festival, La Jolla Playhouse, the Mark Taper Forum, Seattle Repertory, Oregon Shakespeare Festival, Goodman, San Francisco Opera Center, Shakespeare Theater (D.C.), and Portland Center Stage among others. Internationally, his work has been seen in at the Barbican and the Donmar Warehouse in London, UK and the Melbourne Theatre Co. in Australia. Mr. Ostling is an ensemble member of Lookingglass Theatre Company in Chicago since 1997. He works extensively with director Mary Zimmerman having designed numerous production including Metamorphoses for which he was nominated for a 2002 Tony Award. Upcoming projects include Much Ado About Nothing (California Shakespeare), Candide (Goodman/Chgo, Shakespeare Theatre/ DC), Becky Shaw (South Coast Rep), Arabian Nights (Berkeley Repertory).

"Lombardi"'s leading lady Judith Light talks about her research into both the role and the real-life Marie Lombardi, and whether she thinks "Lombardi" is a "football play." She also talks about her early training at Carnegie Mellon University; her first professional job, touring European military bases in "Guys and Dolls" during the Vietnam War; shuttling between regional theatres, particularly Milwaukee Rep and Seattle Rep in the early 70s; what she learned from comedian Pat Paulsen when she appeared with him in "The Last of the Red Hot Lovers"; playing small roles in the New York Shakespeare Festival's productions of "A Doll's House" and "Measure for Measure" and a major role on Broadway in the short-lived "Herzl"; why she took a 22 year hiatus from the stage -- and then chose to return in a role as challenging as Vivian Bearing in "Wit"; the opportunity to work with playwright and director Athol Fugard on "Sorrows and Rejoicings" in both New York and Los Angeles; and her appearance as Joanne in "Company" for Reprise! -- and whether there are more musicals in her future. Original air date - November 24, 2010.

"Lombardi"'s leading lady Judith Light talks about her research into both the role and the real-life Marie Lombardi, and whether she thinks "Lombardi" is a "football play." She also talks about her early training at Carnegie Mellon University; her first professional job, touring European military bases in "Guys and Dolls" during the Vietnam War; shuttling between regional theatres, particularly Milwaukee Rep and Seattle Rep in the early 70s; what she learned from comedian Pat Paulsen when she appeared with him in "The Last of the Red Hot Lovers"; playing small roles in the New York Shakespeare Festival's productions of "A Doll's House" and "Measure for Measure" and a major role on Broadway in the short-lived "Herzl"; why she took a 22 year hiatus from the stage -- and then chose to return in a role as challenging as Vivian Bearing in "Wit"; the opportunity to work with playwright and director Athol Fugard on "Sorrows and Rejoicings" in both New York and Los Angeles; and her appearance as Joanne in "Company" for Reprise! -- and whether there are more musicals in her future. Original air date - November 24, 2010.

Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Costume designer Martin Pakledinaz (Tony Award winner for Best Costume Design of a Musical in 2000 for “Kiss Me Kate” and 2002 for “Thoroughly Modern Millie”) talks about creating the clothes for the recent Broadway revival of “Lend Me A Tenor”, the commencement of planning for the spring 2011 production of “Anything Goes” and the revival of “Oklahoma!” that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with “Inacent Black” and “I Won't Dance”; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 “Grease” without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role.

Costume designer Martin Pakledinaz talks about creating the clothes for the recent Broadway revival of "Lend Me A Tenor", the commencement of planning for the spring 2011 production of "Anything Goes" and the revival of "Oklahoma!" that will be part of Arena Stage's opening of its furbished and expanded venue. He also talks about his early thoughts of acting and who finally disabused him of that notion; his early working doing sketches for the legendary Theoni V. Aldredge and how he ultimately had to rediscover his own voice instead of speaking through hers; his very early - and short-lived - Broadway experiences with "Inacent Black" and "I Won't Dance"; developing his skills through productions at The York Theatre, the New York Shakespeare Festival; the McCarter Theatre; and the Roundabout Theatre Company; why he tried to costume the kids from the 2007 "Grease" without using leather jackets - and how long that idea lasted; the differing production timetables of theatre and opera and how each effects his work; and how much of his designs rely on the particular actor cast in a role. Original air date - August 18, 2010.

Progenitor of fight direction in America and 2010 Tony Honor recipient B.H. Barry talks about his decades of developing and staging fights across the country, starting with "Hamlet" in 1978 at Arena Stage and continuing with countless productions for the New York Shakespeare Festival, such Broadway shows as the fabled 1981 "Frankenstein", "City of Angels", "My Favorite Year", "An Inspector Calls" and most recently "Dividing the Estate". He discusses his upbringing and education in England, his early days as an actor and how he was drawn into fight directing, his role in establishing the Society of British Fight Directors -- and his lack of participation in its American counterpart, how he develops fights by probing the director's vision of the characters participating in the fight, why his fights are rooted more in acting then athleticism, and what it was like to be part of a tabloid saga when actors famously strayed from his direction in Broadway's "I Hate Hamlet". Original air date - May 12, 2010.

Progenitor of fight direction in America and 2010 Tony Honor recipient B.H. Barry talks about his decades of developing and staging fights across the country, starting with "Hamlet" in 1978 at Arena Stage and continuing with countless productions for the New York Shakespeare Festival, such Broadway shows as the fabled 1981 "Frankenstein", "City of Angels", "My Favorite Year", "An Inspector Calls" and most recently "Dividing the Estate". He discusses his upbringing and education in England, his early days as an actor and how he was drawn into fight directing, his role in establishing the Society of British Fight Directors -- and his lack of participation in its American counterpart, how he develops fights by probing the director's vision of the characters participating in the fight, why his fights are rooted more in acting then athleticism, and what it was like to be part of a tabloid saga when actors famously strayed from his direction in Broadway's "I Hate Hamlet". Original air date - May 12, 2010.

Bernard Gersten, Executive Producer of Lincoln Center Theater, takes listeners on a highly condensed tour of his 60-year career in the theatre, including his joining Maurice Evans' US Army Special Services Unit while stationed on Hawaii during World War II; his subsequent New York debut as assistant stage manager, ensemble member and understudy in Evans' "G.I." "Hamlet"; his years as a stage manager, including the threat to his job at the American Shakespeare Festival in Connecticut after he was called before the infamous House Un-American Activities Committee; how he met and came to work with Joseph Papp at the New York Shakespeare Festival, a tenure that included the construction of the "temporary" Delacorte Theatre, the opening of The Public Theater on Astor Place with the original "Hair", and the phenomenal success of "A Chorus Line"; his work with Frances Ford Coppola on four films, including the oft-discussed but little seen "One From the Heart"; how he signed on at the inception of Lincoln Center Theater in 1985 when the Vivian Beaumont was thought to be a highly undesirable venue; and his role in the selection of Andre Bishop as LCT's artistic director upon the departure of Gregory Mosher in 1991. Original air date - December 21, 2009.

Bernard Gersten, whose tenure as Executive Producer of Lincoln Center Theater has scored them numerous Tony Awards, including the recent revival of South Pacific, Coast of Utopia and Contact, takes listeners on a highly condensed tour of his 60-year career in the theatre, including his joining Maurice Evans' US Army Special Services Unit while stationed on Hawaii during World War II; his subsequent New York debut as assistant stage manager, ensemble member and understudy in Evans' "G.I." Hamlet; his years as a stage manager, including the threat to his job at the American Shakespeare Festival in Connecticut after he was called before the infamous House Un-American Activities Committee; how he met and came to work with Joseph Papp at the New York Shakespeare Festival, a tenure that included the construction of the "temporary" Delacorte Theatre, the opening of The Public Theater on Astor Place with the original Hair, and the phenomenal success of A Chorus Line; his work with Frances Ford Coppola on four films, including the oft-discussed but little seen One From the Heart; how he signed on at the inception of Lincoln Center Theater in 1985 when the Vivian Beaumont was thought to be a highly undesirable venue; and his role in the selection of Andre Bishop as LCT's artistic director upon the departure of Gregory Mosher in 1991.

Bernard Gersten, Executive Producer of Lincoln Center Theater, takes listeners on a highly condensed tour of his 60-year career in the theatre, including his joining Maurice Evans' US Army Special Services Unit while stationed on Hawaii during World War II; his subsequent New York debut as assistant stage manager, ensemble member and understudy in Evans' "G.I." "Hamlet"; his years as a stage manager, including the threat to his job at the American Shakespeare Festival in Connecticut after he was called before the infamous House Un-American Activities Committee; how he met and came to work with Joseph Papp at the New York Shakespeare Festival, a tenure that included the construction of the "temporary" Delacorte Theatre, the opening of The Public Theater on Astor Place with the original "Hair", and the phenomenal success of "A Chorus Line"; his work with Frances Ford Coppola on four films, including the oft-discussed but little seen "One From the Heart"; how he signed on at the inception of Lincoln Center Theater in 1985 when the Vivian Beaumont was thought to be a highly undesirable venue; and his role in the selection of Andre Bishop as LCT's artistic director upon the departure of Gregory Mosher in 1991. Original air date - December 21, 2009.

On April 18th, 1994 collaborator and colleague Hope Clarke sat down to interview writer-director George C. Wolfe. In this post-"Jelly" pre-"Bring In 'Da Noise, Bring in 'Da Funk" interview, Mr. Wolfe discusses his origins as an artist, the difficulty and fulfillment of writing and directing, his experience running the New York Shakespeare Festival and the future of his career.