Podcasts about our teeth

Connor and Dylan are joined by Tony Award nominee Gabby Beans (Romeo + Juliet, The Skin of Our Teeth). If the end is right it justifies… the Gabby Beans of course! Listen in as this fiercely talented star of Romeo + Juliet on Broadway sat down with the twins for a little DRAMA. Gabby opens up about playing the dual roles of Mercutio and the Friar in this Sam Gold-helmed revival. She raves about the leading players of Rachel Zegler and Kit Connor, and teases the cast rap battles happening before the audience's very eyes onstage. Gabby reflects on her high school days in Germany, pursuing Neuroscience AND Theatre while at Columbia, and growing up as an army brat. She brings us back to her Tony-nominated turn in The Skin of Our Teeth at Lincoln Center, and the experience of being nominated alongside extraordinary women in her category. Trust, we chat about Jake Gyl, “Presumed Innocent,” and her aptly-named bob in the Apple TV+ series. How does this Shakespearean star spend her off days? What shows are on rotation for Gabby? Settle in for this terrific chat, which also includes chatter about Conclave, Anora, Sally Rooney's latest novel, and more. See Gabby Beans in Romeo + Juliet through February 16!Follow Gabby on InstagramFollow DRAMA. on Twitter & Instagram & TiktokFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramSubscribe to our show on iHeartRadio Broadway!Support the podcast by subscribing to DRAMA+, which also includes bonus episodes, Instagram Close Friends content, and more!

U Guys, performer and creator Phillip Taratula is here! This week's BroadwayWorld Recap has all the latest Bway news, including a special tribute to the 28th Anniversary of Chicago The Musical on Broadway! Then I am joined by Bway performer Phillip Taratula to chat all about his amazing career. Fresh off of closing the off-broadway run of The Beastiary at Ars Nova, Phillip shares about his experience working on a plethora of developmental works in New York City and beyond. We chat about how we first met, working together on A Wrinkle In Time at the New York Stage and Film Festival. Prior to this, Phillip had already been seen on the First National Tour of What The Constitution Means To Me, and on Broadway in The Skin of Our Teeth at Lincoln Center. Phillip has also been seen on multiple tv/film spots, including And Just Like That, and High Maintenance opposite Martha Stewart. One of my favorite elements of Phillip's career is the creation of his original character, Pam Goldberg, with which he has produced multiple solo shows and performances. Stick around to the end of the episode, Pam might just make an appearance! Phillip is a delight, U don't wanna miss this episode. Follow Phillip on Instagram: @ptaratula Follow the pod on Instagram: @ohmypoduguys Learn more about your ad choices. Visit megaphone.fm/adchoices

As the whiskey and Guinness flow, the Tales at the Inn get all the more outlandish, Taff and Butt get out of hand, and a Russian general cops it. This week in WAKE, we geek out about geeking out with Carly Derderian, consider whether Thornton Wilder cribbed The Skin of Our Teeth from Finnegans Wake, relax our mouths enough to speak like a Newfoundlander and unlock the meaning of the language of the Beatles. And TJ is back! This week's readers: Carly Derderian, TJ Young, Toby Malone Progress: 354 pages complete, 274 pages to go; 52.87% read. For early drops, community and show notes, join us at our free Patreon, at ⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/wakepod⁠⁠⁠⁠⁠⁠⁠⁠⁠, or check out our Linktree, at ⁠https://linktr.ee/wake.pod⁠. We welcome comments from everyone: even, nay, especially, the dreaded purists. Come and "um actually" us!

Jake Stewart & James Hardy talk about a big family, the moon, and a mammoth.   The shows discussed are: ‘Counting and Cracking' presented by Belvoir Street Theatre & Kurinji ‘Blackout Songs' by Red Stitch Actors' Theatre ‘The Frog' by Big Dog Theatre ‘Girl at the Bottom of a Well' by Henry Kelly ‘The Skin of Our Teeth' by Essendon Theatre Company   INSTAGRAM: @praisedionysus @kissing.booth.productions   EMAIL: praisedionysus@gmail.com   It is a privilege to create, view, and contemplate theatre on the lands of the Wurundjeri People of the Kulin Nation. Sovereignty was never ceded. This always was and will be Aboriginal Land.

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

Baby Jeff Time! Me and actor Julia Lambert go way back to Jeff Beginnings in 1983 for the filmed stage play The Skin of Our Teeth by Thornton Wilder. Join us for confusion, dinosaurs, lounge singers and a Very Important Discussion on cinema etiquette. 

GABBY BEANS is a Tony Award nominated actress. Some of her recent TV credits include Apple's "Presumed Innocent", HBO's “Succession,” CBS' “Blue Bloods”, CBS's “The Good Fight,” Netflix's “House of Cards,” and Showtime's “Ray Donovan.” Theater credits include Jonah at Roundabout Theater, The Skin of Our Teeth at Lincoln Center (Tony Award Nomination for Best Lead Actress), I'm Revolting at the Atlantic Theater Company, Anatomy of a Suicide at the Atlantic Theater Company, and Mary Seacole at LCT3/Lincoln Center Theater. Learn more about your ad choices. Visit podcastchoices.com/adchoices

David & Katherine celebrate the fiftieth anniversary of The Lively Years, a collaboration by Al Hirschfeld and his friend, theater critic Brooks Atkinson, featuring over 80 old and new drawings by Hirschfeld looking back at over 50 years of American theatre. Follow along with the show notes to view the works mentioned in this episode: Brooks Atkinson Our Town The Visit, 1958 R.U.R., 1973  Waiting For Godot Summer and Smoke, 1952 Arthur Miller The Beautiful People, 1941 Sidney Lumet Critic and Artist Escaping the Theater, 1948 Guys and Dolls, 1950 The Iceman Cometh, 1946 The Cradle Will Rock, 1938 (with added "Nina") Born Yesterday, 1946 (Right Side)  Henry Hull in Tobacco Road (1935) Winterset - 1935 & 1973 Idiot's Delight (1973) Golden Boy (1973) Abe Lincoln in Illinois: 1938 (Original) - 1971 (Pulitzer Prize series) - 1973 Watch On The Rhine: 1941 - 1973 There Shall Be No Night: 1940 - 1973 The Skin of Our Teeth: 1942 - 1973  Bury The Dead, 1973 Osgood Perkins (Lively Years Cover), 1973 One Third of a Nation, 1973 Nathan George in No Place To Be Somebody, 1973 Lost In The Stars: Black Theater Makers Drawn By Hirschfeld - Online Exhibition Hair, 1968 West Side Story, 1957 Raisin in the Sun, 1973 Lena Horne Hirschfeld's Original Drawings for The Lively Years (1973) ------------------------------------------------------------------ Visit our website Visit our shop Like us on Facebook Subscribe to our Youtube Channel   Follow us on Twitter Follow us on Instagram

With me today is Deborah Hecht, she's a vocal and dialogue coach with a career that has spanned teaching, she has taught at Circle in the Square, NY; Yale School of Drama; American Conservatory Theatre; and NYU's Graduate Acting Program, and currently teaches speech/voice/Shakespeare text at The Juilliard School.  98 broadway shows , Sweeney Todd (with Josh Groban), How I Learned to Drive, Martin McDonagh's Hangmen, and The Skin of Our Teeth. She also coached the Tony Award-winning Angels in America (both the original and recent Broadway productions as well as Michael Grief's production at the Signature Theatre), and Harry Potter and the Cursed Child, and The Ferryman. Deborah's film credits include All the Money in the World, Kinsey, Under the Skin, John Turturro's Illuminata, and many others.  In television, Deborah has been the speech and/or dialect coach on the Disney/Hulu limited series, We Were the Lucky Ones, and HBO Max's Tokyo Vice.  She also coached the first two Live Broadway musicals, The Sound of Music, and Peter Pan.  She has traveled the world working on some amazing projects with some wonderful actors, many of who's names will be familiar to you. She speaks with us about how she got started, and all of the wonderful adventures her career has sent her on. 

This week Alex & Ryan conclude their talk with NYU film professor David Irving, in the second episode of a two-part series where they discuss Tod Browning's 1932 film "Freaks." David Irving is a director whose professional film credits include Night of the Cyclone (1990) with Kris Kristofferson and Marisa Berenson; C.H.U.D. II (1988) with Robert Vaughn and Gerrit Graham; The Emperor's New Clothes (1987) with Sid Caesar and Robert Morse; Sleeping Beauty (1987) with Morgan Fairchild, Tawnee Welch, and Sylvia Miles; Rumpelstiltskin (1987) with Amy Irving and Billy Barty; Goodbye, Cruel World (1983) with Dick Shawn and Cynthia Sikes. His documentary credits include Romare Bearden: Visual Jazz (1995); Jacob Lawrence: The Glory of Expression (1993); Dr. Lorraine Hale: Alive with Love (1992); and Faith Ringgold: The Last Story Quilt (1991). His theatre directing credits include The Man Who Killed the Buddha (1981) by Martin Epstein for the Los Angeles Odyssey Theater; and The Skin of Our Teeth (1981) by Thornton Wilder for the Beverly Hills Playhouse. His credits as producer in film include Home Free All (1982) with Alan Nicholls and The Great Texas Dynamite Chase (1975) with Claudia Jennings for New World Pictures. He has won numerous awards including the Bronze Chris Award for Jacob Lawrence; the Cine Golden Eagle for Faith Ringgold; the L.A. Weekly Award for Direction for The Man Who Killed the Buddha, and the Writers Guild of America Award for The Secret of the Lost Valley (1980). David has also written the award-winning textbook "Producing and Directing the Short Film and Video" and "Fundamentals of Film Directing." He is currently an associate professor at NYU's Tisch School of the Arts. David Irving IMDB Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film.   In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. MAX launched the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in July 2023. How I Got Greenlit Instagram X Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Pete Musto, Producer/Editor Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howIgotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Alex & Ryan talk with NYU film professor and author David Irving, in the first episode of a two-part series. David Irving is a director whose professional film credits include Night of the Cyclone (1990) with Kris Kristofferson and Marisa Berenson; C.H.U.D. II (1988) with Robert Vaughn and Gerrit Graham; The Emperor's New Clothes (1987) with Sid Caesar and Robert Morse; Sleeping Beauty (1987) with Morgan Fairchild, Tawnee Welch, and Sylvia Miles; Rumpelstiltskin (1987) with Amy Irving and Billy Barty; Goodbye, Cruel World (1983) with Dick Shawn and Cynthia Sikes. His documentary credits include Romare Bearden: Visual Jazz (1995); Jacob Lawrence: The Glory of Expression (1993); Dr. Lorraine Hale: Alive with Love (1992); and Faith Ringgold: The Last Story Quilt (1991). His theatre directing credits include The Man Who Killed the Buddha (1981) by Martin Epstein for the Los Angeles Odyssey Theater; and The Skin of Our Teeth (1981) by Thornton Wilder for the Beverly Hills Playhouse. His credits as producer in film include Home Free All (1982) with Alan Nicholls and The Great Texas Dynamite Chase (1975) with Claudia Jennings for New World Pictures. He has won numerous awards including the Bronze Chris Award for Jacob Lawrence; the Cine Golden Eagle for Faith Ringgold; the L.A. Weekly Award for Direction for The Man Who Killed the Buddha, and the Writers Guild of America Award for The Secret of the Lost Valley (1980). David has also written the award-winning textbook "Producing and Directing the Short Film and Video" and "Fundamentals of Film Directing." He is currently an associate professor at NYU's Tisch School of the Arts. David Irving IMDB Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film.   In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. MAX launched the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in July 2023. How I Got Greenlit Instagram X Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Pete Musto, Producer/Editor Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howIgotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Claudia Cromley & Jaren Hodgson are actors who have been in shows like Sweeny Todd, She Loves Me, and most recently Skin of Our Teeth. On The precipice of graduating college we sit down and talk about acting, becoming someone else, how technology influences the adaptation of theater, and the role theater will play as humanity transcends more into the machine. Plus a bunch more. Enjoy!Don't forget to Like, Comment, and Subscribe.Jaren Hodgson: https://www.instagram.com/jarenthomas.h3/Claudia Cromley: https://www.instagram.com/claudcrom/https://claudiacrom.wixsite.com/websiteMichael Scarano: https://www.instagram.com/michaelscarano10/Patrick Hurley: https://www.instagram.com/patrickhurley1/Spotify: https://open.spotify.com/show/7j7dyOL7lB7F3Jnhp07pVl?si=5f83193186354bd5YouTube Full Episodes: https://www.youtube.com/@crashthemode6274 YouTube  Clips: https://www.youtube.com/@CrashTheModeClips

Wow, we just got this episode out by the Skin of Our Teeth!! Have a listen and enjoy! Please LIKE and FOLLOW and as always if you have a phrase you'd like us to address, email us at thebrasstackspod@gmail.com https://dictionary.cambridge.org/us/dictionary/english/by-the-skin-of-teeth https://en.wikipedia.org/wiki/Skin_of_my_teeth#:~:text=Skin%20of%20my%20teeth%20(Hebrew,the%20skinne%20of%20my%20tethe.%22 --- Support this podcast: https://anchor.fm/tyson-thompson8/support

Katie checks in with screenwriter (The Lake House), director (Side Effects at MCC, Cat on a Hot Tin Roof, The Skin of Our Teeth, Petrified Forest at Berkshire Theatre Group), and Pulitzer Prize-winning playwright (Skyscraper, The Columnist, Lost Lake, Proof), David Auburn.

Greetings and salutations! You found your way back and we are so happy to have you here! On this edition we are starting our journey off-Broadway before returning to Broadway at Lincoln Center with the shows: New Golden Age and The Skin of Our Teeth

Season 2, Bonus Episode: Natalie & Darren discuss recent Broadway and Off -Broadway theatre with recommendations of what's on. Productions reviewed include: Take Me Out, Islander, Paradise Square, The Minutes, The Skin of Our Teeth, Potus,  American Buffalo, Time and Place, A Strange Loop and Americano!

We've made it back around to the Tonys again and we're here to give you both our choices and our predictions! So follow along with your ballot and see how much our picks align with yours, or come back after June 12 to see just how wrong we were! We also have mini reviews for Girl from the North Country and Paradise Square as we didn't cover them in the regular season, so there might be minor spoilers ahead. -- MJ sound designer Gareth Owen really succeeded in creating a rock concert, using some new technology on Broadway. And speaking of sound design, take a look back at when mics first graced the Broadway stage. Watch two Anne Boleyns of Six in conversation from either sides of the Atlantic. Hear about designing Hangmen's set from Anna Fleische and check out design elements from The Skin of Our Teeth, including a dinosaur and a giant slide. (Errata: Christine mentioned Act 2 as being based on Coney Island, when it actually should've been Atlantic City.) Listen to Sam Mendes talk about what it was like to take on The Lehman Trilogy (conversation about this specifically starts around 25:00). Check out our previous episodes for more coverage on this season's musicals! -- Music featured in this episode: We're Live - Mr. Saturday Night Like a Rolling Stone - Girl From the North Country Paradise Square - Paradise Square Beat It - MJ the Musical Pretty, Pretty Girl - Diana I Don't Need Your Love (Remix) - Six Getting Married Today - Company How? - Flying Over Sunset Boundaries - A Strange Loop The Ladies Who Lunch - Company -- Follow us on Twitter and Instagram @BottomlessBway, our blog at https://bottomlessbway.home.blog/, or email us at bottomlessbway@gmail.com! You can also leave feedback in this 30-second survey.

We're back to talk about the most recent Pulitzer Prize-winning musical, and while we can't promise any loops in this episode, you never know what might happen because we're back to talk about the most recent... -- Take a look at Blake Lively's Met Gala dress transformation, which disappointed Christine. In contrast, you can see Zendaya's gown from 2019 which included a bit more pizzaz. See what Michael R. Jackson has to say about the piece in a track-by-track breakdown. Also learn more about the conception and writing of A Strange Loop with this article from The Cut. Hear directly from Michael R. Jackson and other creatives in this panel discussion at the Guggenheim, including Michael R. Jackson performing Inner White Girl and Memory Song. If you want to fall down the Wikipedia rabbit hole of what a strange loop is in the metaphysical sense, this article makes a good starting point. Or check out some of Christine's other favorite strange loops: M. C. Escher's Ascending and Descending Ted Chiang's short story, Tower of Babylon The Shepard-Risset glissando The Skin of Our Teeth, another Pulitzer Prize-winning show that was on Broadway this year -- Music featured in this episode: While the Broadway cast recording won't be fully released until June 10, six tracks are currently available, and excerpts from the Broadway version were used when possible. All other music comes from the original off-Broadway cast recording. A Strange Loop (Original Broadway Cast Recording) Apple Music / Spotify / Amazon Music A Strange Loop (Original Cast Recording Apple Music / Spotify / Amazon Music -- Follow us on Twitter and Instagram @BottomlessBway or email us at bottomlessbway@gmail.com! You can also leave feedback in this 30-second survey.

A graduate from Princeton AND Yale, Lileana Blain Cruz joins Black Hair in the Big Leagues with host, Salisha Thomas. Lileana is the director of The Skin of Our Teeth on Broadway which also happens to be her Broadway directorial debut!!!! Go to the Beaumont Theatre at Lincoln Center in NYC to catch the show and follow Lileana @LileanaBlainCruzofficial or her website at www.lileanablaincruz.com. Follow Host, Salisha Thomas @salishathomas or her blog at www.salishathomas.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jesse and Miriam discuss Lileana Blain-Cruz's lively, expansive production of Skin of Our Teeth at Lincoln Center Theater.

An episode with 2022 Tony-nominated Director Lileana Blain-Cruz on her latest work, "The Skin of Our Teeth," and the resilience of the Black Community. Edited by Justin Payne. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tune in to this podcast to hear how the stunning production of The Skin of Our Teeth came to be, how long the play has been in Lileana's consciousness, and how she's excited by elevating who and what we pay attention to.View full transcript here.

Peter Filichia, James Marino, and Michael Portantiere talk about Macbeth, The Skin of Our Teeth, The Minutes, Mr. Saturday Night, American Buffalo, Paradise Square, for colored girls who have considered suicide / when the rainbow is enuf, and Nightclub Cantata @ The Cell. This Week on Broadway has been coming read more The post This Week on Broadway for May 8, 2022: Macbeth appeared first on BroadwayRadio.

Dark days call for some dark conversation, so we discuss “The Batman,” “Broadway's “The Skin of Our Teeth,” “A Strange Loop,” and this year's Met Gala.

“The Skin of Our Teeth” Reviews, Drama League Award Nominations, Delacorte Announces “Richard III” Casting, “Spring Awakening” HBO Documentary Drops Trailer “Today on Broadway” is a daily, Monday through Friday, podcast hitting the top theatre headlines of the day. Any and all feedback is appreciated: Ashley Steves ashley@broadwayradio.com | @NoThisIsAshleyGrace read more The post Today on Broadway: Tuesday, April 26, 2022 appeared first on BroadwayRadio.

Celebrating one year of Call Time (!!), Katie checks in with actor (Mary Page Marlowe, These Paper Bullets!, Dance Dance Revolution, The Skin of Our Teeth, and currently: The Minutes on Broadway), Ariana Venturi.

(Get Surfshark VPN at https://surfshark.deals/MOXIE - Enter promo code MOXIE for 83% off and 3 extra months free!) T-shirt for Ukraine Why did no one tell me about Moms Mabley?!!  Hear about her and other 'living loud and proud' ladies (Dorothy Parker, Mae West, Tallulah Bankhead) on this International Women's Day. 01:00 Tallulah Bankhead 13:00 Mae West 23:00 Moms Mabley Links to all the research resources are on the website. Hang out with your fellow Brainiacs.  Reach out and touch Moxie on Facebook, Twitter,  or Instagram.  Become a patron of the podcast arts! Patreon or Ko-Fi.  Or buy the book and a shirt. Music: Kevin MacLeod, David Fesilyan, Dan Henig. and/or Chris Haugen. Sponsors:  Dumb People with Terrible Ideas, History Obscura, Sambucol Want to start a podcast or need a better podcast host?  Get up to TWO months hosting for free from Libsyn with coupon code "moxie." Dorothy Parker was a famously wry, witty, and acerbic writer and critic, with a low opinion of relationships.  Her wit was apparent from an early age, referring to her father's second wife as “The Housekeeper.”  She was described by journalist and critic Alexander Woolcott as “a combination of Little Nell and Lady MacBeth.”  As a literary critic, she said of one book, "This is not a novel to be tossed aside lightly. It should be thrown with great force." The author of the book?  Italian dictator Benito Mussolini.  My name's Moxie….   This episode drops on Intl Womens Day, and I've covered a lot of remarkable women on the show, for a number of remarkable reasons, but today we focus on ladies for their remarks, for their wit and their wild ways.  Tallulah Bankhead is a name I've known for many years, but never really knew anything about her.  Back in the day, going to the big “computer show and sale” at the raceway complex with my dad, circa 1996, I picked up some cd-roms of FVM video games and some educational stuff like Microsoft Encarta Musical Instruments and some reference that included hundred of famous quotes.  Some of you I realize will have no idea what I just said, a few of you will be unclear what a cd-rom is, but a few of you just got a cold chill like someone walking across your grave.  Tallulah Bankhead's wit featured prominently with quotes like, "If I were well behaved, I'd die of boredom," “I read Shakespeare and the Bible, and I can shoot dice. That's what I call a liberal education," and "I'll come and make love to you at five o'clock. If I'm late, start without me."  ‘I like her,' I thought, but didn't look into who she actually was until this week.  Considering she's the inspiration for one of Disney's most iconic villains, you'd think I'd have come across something between then and now, but not.   Bankhead, the daughter of an Alabama congressman and future speaker of the House, was named after her paternal grandmother, whose name was inspired by Tallulah Falls, Georgia.  That grandmother would raise her when her mother died a few days after her birth and the loss sent her father into a pit of depression and alcoholism.  Little Tallulah was… difficult.  Tallulah discovered at an early age that theatrics were a viable outlet for gaining the attention, good or bad, that she craved.  A series of throat and chest infections as a child had left her with a raspy voice which would later become her trademark.  It also made her stand out from her classmates, but Tallulah was not the type to be bullied and soon became the terror or students and the bane of teachers.  She would find herself sent to, and expelled from, two different convent schools, the first for once for throwing ink at a nun and the next time for making a pass at one.   At 15, Bankhead submitted her own photo to film industry magazine Picture Play, winning a small part in a movie and a trip to New York.  She was allowed to go only by promising her father, a Congressman, she'd abstain from men and alcohol, but as she famously put it in her autobiography, "He didn't say anything about women and cocaine."  She was a self-described "technical virgin" until 20.  Though she lacked training and discipline, she possessed a dazzling stage presence, her husky voice providing fascinating contrast with her good looks.  Quickly ascending to stardom, she just as easily gained renown for her quick-witted outspokenness and indefatigable party going.  In New York, Bankhead moved into the famous Algonquin Hotel, a hotspot for the artistic and literary elite of the era, and was quickly rubbing shoulders with the rich and famous.   After several years starring in films and on stage in New York, Bankhole's acting was praised, but she had not yet scored a big commercial hit.  So, she moved to London in 1923, where her stardom grew. Her fame heightened in 1924 when she played Amy in Sidney Howard's They Knew What They Wanted. The show won the 1925 Pulitzer Prize.     But Bankhead was best known for her antics off-stage.  She'd drive her Bently recklessly through London and if she got lost, she'd hire a black cab to drive to where she was going and she'd follow him.  She spent her nights at booze and drug-filled parties, partaking liberally, and reportedly smoked 120 cigarettes a day, which is kind of dubious because how would you have time for anything else.  She also openly had a series of relationships with both men and women, including some very famous female personalities of the day.  Names attached to her, with or without facts to back it included Greta Garbo, Hattie McDaniel, the first AfrAm actress to win an Oscar, and singer Billie Holiday.   One thing that's known with great certainty is that she talked openly about her vices, and women just weren't supposed to do that.  Hell, they weren't supposed to *have vices.  She found herself included in Hays' "Doom Book", which would help her inspire a Disney villain, since only the worst of the worst were in the Doom Book, but it didn't do much for her career.  Brief refresher on the Hays Code, and you can hear lots more about it in the episode Words You Can't Say on TV or Radio, way back in Oct 2018 before I started numbering episodes, the Hays Code a set of strict guidelines all motion pictures companies operated under from 1934 to 1968.  It prohibited profanity, suggestive nudity, sexual perversions like homosexuality, interracial relationships, any talk of reproductive anything, and, in case you were unclear where all this came from, it banned ridicule of authority in general and the clergy in particular.  This is why married couples in black&white sitcoms slept in separate beds.  The Doom Book, which was either a closely guarded secret or never physically existed, was said to have contained the names of over 150 thespians considered too morally tumultuous to be used in movies.  So this is the law of the land when a gal like Tallulah Bankhead is running around in cursing like a sailor in hedonistic, drug-fueled, openly-bisexual glee.     Giving up on Hollywood, Bankhead returned to Broadway for a decade or so, where she reached her zenith with her performances in The Little Foxes and The Skin of Our Teeth, both of which earned her the New York Drama Critics Circle Award, and was briefly married to actor John Emery.  [a la Sam O'Nella] Never heard of him?  Me neither.  What's his story?  I didn't bother.  In 1943 she decided to give Hollywood a second try, but Hollywood hadn't had the same thought about her.  There was one bright spot, being cast in and praised for Alfred Hitchcock's Lifeboat in 1944.   By the late 1940s and early 1950s, Bankhead's hedonistic lifestyle and excessive drinking had taken its toll.  Critics complained that she had become a self-caricature, which feels like a real oof.  She kept her career afloat by publishing a best-selling autobiography, touring in plays like Private Lives and Dear Charles, before headlining her own nightclub act.  In 1965 she made her last *film appearance, playing a homicidal religious fanatic in the British thriller Die! Die! My Darling!  Tallulah Bankhead's final acting assignments included a “Special Guest Villain” stint on the TV series Batman.  When she was advised that the series was considered “high camp,” her response was vintage Tallulah: “Don't tell me about camp, dahling! I invented it!”   Am I ever going to tell you which Disney villain she inspired?  I supposed, if I must.  Disney animator Marc Davis once told of his creative process when tasked to create the villain for an upcoming film.  (It was 1961 if you want to try to guess.)  The chaaracter would become iconic, instantly recognizable whether cartoon or real life.  Davis looked to real-life "bad" women, and while he said there were a number of different people who he kept in mind while drawing her, one name rose to the top – Tallulah Bankhead.  So no matter if her movie or Broadway career is forgotten, Bankhead will always live on as Cruella de Ville. Mae West   When she was good, she was very good. But when she was bad, she made film history. Whether making films, writing plays or flirting with the camera, Mae West was undisputedly the most controversial sex siren of her time and she even landed in jail because of it.  She was the queen of double entendres on and off screen, delivering some of the best-remembered quips in movie history.  You know the line, "Is that a gun in your pocket, or are you just happy to see me?", yeah, that was West In "She Done Him Wrong." in 1933.   Mary Jane West was born on Aug. 17, 1893 in Queens, NY to a boxer turned cop and a former corset and fashion model.  The acting bug bit the heck out of West when she was tiny, bringing home talent show prizes at age 5.  At age 12, she became a professional vaudeville performer.  She was secretly married at age 17, but only lived with her husband for a few weeks, though they didn't legally divorce for 31 years. The adult West was rumored to have secretly married another man, but on the whole she preferred younger men. Her long-term partner Paul Novak was 30 years her junior.   West was also rumored to have worn custom 8 in platform shoes, because she was only 5'2”.  Two tangents, I would have *massive respect for anyone who could even walk in 8in platform, and that's something all the women in today's discussion have in common - they're all my size.   In 1926, under the pen name "Jane Mast," West wrote, produced and starred in a play called Sex, about a sex worker named Margie La Monte who was looking to better her situation by finding a well-to-do man to marry well if not wisely.  Mae West was sentenced to 10 days in prison and given a $500 fine, charged with “obscenity and corrupting the morals of youth.”  The rumor mill went into overtime when she was behind bars –  she was permitted to wear silk underpants instead of prison-issue or the warden wined and dined her every night.  West was set free after serving eight of the ten days and remarked to reporters that it was “…the first time I ever got anything for good behavior.”  Before the show was raided in February of 1927 around 325,000 people had come through the turnstiles.  Buns in seats, laddie, buns in seat.   Not bothered in the slightest, and probably keenly aware of all the free publicity she just got, West appeared in a string of successful plays, including "The Drag," a 1927 play that was banned from Broadway because of its homosexual theme.  If you think people try to tell you what to say these days, imagine having to deal with the likes of the Hays Code or the Catholic Legion of Decency, which I maintain sounds like a pro-wrestling tag team.  She was an advocate of gay and transgender rights, which were at the time generally throught to be the same thing, and her belief that "a gay man was actually a female soul housed in a male body" ran counter to the belief at that time that homosexuality was an illness.  Her next play, The Pleasure Man ran for only one showing before also being shut down with the whole cast being arrested for obscenity, but this time getting off thanks to a hung jury.  West continued to stir up controversy with her plays, including the Broadway smash "Diamond Lil" in 1928, about a loose woman of the 1890s.     Dominating the Broadway scene was nice, but West had her eyes set to the, well, to the west and Hollywood.  West was 38 years old at the time, which is the age when the phone stops ringing for many actresses, but Paramount Pictures offered West a contract at $5000 a week ($80,000 now) and –luckily for all of us or I might not be talking about her right now– they let her re-write her lines.  Her first film, Night After Night, set the tone for her on-screen persona right from jump street, from her first line where a hat check girl says to her “Goodness, what beautiful diamonds.” To which West replied, “Goodness had nothing to do with it, dearie.”  Within three years she was the second highest paid person in the United States.  The only person earning more was the publishing magnate friggin' William Randolph Hearst.     West not only made her own career, she insisted a young Cary Grant be cast opposite her, putting Grant on the road to his Golden Age icon status.  That was ‘33's "She Done Him Wrong," which contained her most famous quote, but I'm sorry to tell you that you've been saying it wrong your whole life.  Yes, your whole life.  You've seen it parodied in cartoons.  The line isn't  "Why don't you come up and seem me sometime?" "Why don't you come up some time and see me?"  Am I being painfully pedantic to point this out?  Yes. …. That's all.   The public loved Mae West, but her blunt sexuality onscreen rubbed censors the wrong way.  In 1934, they began deleting overtly sexy lines and whole scenes from her films. Not about to take that lying down, West doubled up on double entendres, hoping that the censors would delete the most offensive lines and miss the subtler ones.  More controversial films followed.  West was already 50 when she made "The Heat's On," but her youthful look and performance made the film a cult favorite.  She also got banned from the radio for a sketch about Adam and Eve opposite Don Ameche, was on TV a few times, and even recorded two successful rock albums, decades before the late Christopher Lee.  Bonus facts: Cassandra Peterson, aka Elvira Mistress of the Dark, was once the lead singer of an Italian punk rock band.     MIDROLL   The script for this episode started with Bankhead, West, and Dorothy Parker.  I recognized that they were demographically pretty similar, though Parker was Jewish and there's a wild theory out there that West was mixed-race, so I started asking around for WOC/LGBT of that same era and one name came up again and again, a name I'd never heard of, an oversight I now know to be a damn shame if ever there was one.  Presenting for the elucidation of many listeners, Moms Mabley.  Moms, plural not possessive, had been a vaudeville star for half a century on what was called the Chitlin Circuit, before white audiences began to discover her.  Her trademarks were her old lady persona, complete with house coat, dust cap and waddling shuffle, and her raunchy, man-hungry humor, which is funny in a few ways when you consider she was an out-and-proud lesbian.   Although Moms spent her professional life making people laugh, her personal life had more than its share of grief.  If you're not in the mood for tragic backstory, I totally understand if you want to hit your jump-30 button.  Born Loretta Mary Aiken in North Carolina in 1894, Moms was the grandaughter of a slave and one of 16 children.  She was the victim of rape twice before the age of 14, once by an older black man and the other by the town's white sheriff.  Both rapes resulted in pregnancies; both babies were given away.  Loretta's father, a volunteer fireman, had been killed when a fire engine exploded, and her mother was run over and killed by a truck while coming home from church on Christmas Day.  Her stepfather forced her to marry a man she didn't even like, one assumes to pare down the number of dependent minors in the house.  At the age of 14, Loretta ran away to join a minstrel show.  A young girl out in the world on her own would normally be a recipe for disaster, heartache and suffering, but Moms had already had enough of all those, thank you very much.  She took the name Mabley from her first boyfriend and acquired the nickname Moms later on, though none of my sources, and they are regrettably few and superficial, recounted why.  She was only in her early 20's when she devised the old lady character and kept her persona up until her actual age exceeded the character.   Like all who played vaudeville, she had multiple talents: dancing, singing, jokes. Unlike many of her contemporaries, she had a gift for crafting original material far stronger than the stock routines others toured with. At the prompting of the vaudeville team Butterbeans and Susie, she moved to New York City in the early 20's and found herself in the the Harlem Renaissance. "I never went back across the Mason-Dixon line," recalled Mabley. "Not for another thirty years."  Toward the end of her life, Moms would say “There were some horrible things done to me.  I played every state in the Union except Mississippi.  I won't go there; they ain't read.”  She hardly needed to back then anyway, playing the Apollo so often she could probably have gotten her mail forwarded there.   There used to be a showbiz expression, “It won't play in Peoria,” meaning something will not be successful for a wide, Joe Everyman (read: white) audience, and Moms certainly fit that bill.  Moms talked about sex constantly.  That's not surprising from female comics these days, though it still isn't as acceptable as it is for male comics.  But unlike the male comics of Mom's day, she slid into the jokes sideways with a double-entendre or a well-placed pause, rather than the straightforward use of obscenity that would become popular with such later black comedians as Richard Pryor.  Although Loretta herself was a lesbian, Moms was that of ''dirty old lady'' with a penchant for younger men.  She made fun of older men, subtly ridiculing the ways they wielded authority over women as well as the declining of their sexual powers. Her signature line became: ''Ain't nothin' an old man can do for me but bring me a message from a young man.''   She moved from vaudeville into films, but Hollywood wasn't exactly rolling out the red carpet for black actors and film-makers.  That's okay, they said, we'll just do it ourselves.  As early as 1929 there were over 460 "colored movie houses" across America. owned and operated by, and catering specifically to, African-Americans, with all-Black cast films, shorts, and even newsreels.  But it would be fair to say that these were B-movies, filmed in a couple of days, with whatever equipment and people you could cobble together.  Hell, scenes were usually shot in one take, because editing requires more time and money.  Where they shone was in the musical numbers, crafting scenes that would have shamed MGM or Warner Brothers, if only they'd had any budget at all.  Comedian Slappy White remembered, "It wasn't hard casting the actors. All of us were out of work before the picture started [and we] would all be out of work again as soon as it was finished."   Moms starred in 1948's Boarding House Blues where she played landlord to a building of rent-dodging vaudeville performers, which is an amazing premise. The film also showcased "Crip" Heard, a tap dancer with only one arm and one leg. And the best thing about Boarding House Blues?  You can actually see it!  It's on the free Tubi app, link in the show notes, not a sponsor, and I plan to watch it as soon as I can make myself sit still for 1.5 hours.  Watch-party anyone?   Film was nice and everything, but it was vinyl records that gave Moms the boost she needed to expand her audience.  Comedy records were *the thing in the early 60's.Her first vinyl appearance came a few years prior with the 1956 Vanguard Records release A Night at the Apollo. The album is a fascinating social document with liner notes written by Langston Hughes.  Of the many other noteworthy things about that album is the fact that Moms wasn't paid for her part in it.  So she was understandably reluctant when the Chess brothers asked her to cut an album with them.  Phil and Leonard Chess were Jewish immigrants who arrived in Chicago a few months prior to the stock market crash who were able to buy some South Side bars after the end of prohibition.  Their Macomba Lounge became a hot spot when they started booking live music, mostly rhythm and blues, which drew in the biggest crowds.  The brothers noticed this, and that the acts who had people lining up around the block, weren't available on records, so they started a record company.  Chess Records signed names like Muddy Waters, Howlin' Wolf, Bo Diddley, and Chuck Berry.  These records delivered new found joys for the white public and offered posterity for Chicago's African-American crowd.  Always on the lookout for what was popular with their original Black audience, Chess Records asked Moms Mabley to sign, but she understandably didn't want to get screwed again.  Luckily her manager was able to persuade her and Moms Mabley on Stage (also known under the name Moms Mabley: The Funniest Woman Alive) was produced.    Chicago was host to Hugh Hefner's Playboy Club, a venue that always featured a strong roster of Black performers and plenty of white bohemians, and that's where she recorded Moms Mabley at The Playboy Club.  Y'all gotta see this album cover, link in the shownotes.  If you were to listen to On Stage and then Playboy Club, you'd notice something…different between the two albums.  On Stage was recorded at The Apollo and opens with a thunderous cacophony of cheerings.  Playboy Club, not as much, because that album was recorded in front of an all-white audience.  It was time for a cross-over.  It was also the time for civil rights –lunch counters, fire hoses, marches.  Mabley's act became increasingly political, but her benevolent old grandma persona made her non-threatening and more accessible to white crowds. Moms knew white audiences needed to hear her message now, and that they might actually hear her.  She was just a little old lady, shuffling onto the stage, how threatening could she be?  Plus she was on the biggest TV shows of the day –Merv Griffin, Johnny Carson, Flip Wilson, Mike Douglas, the Smothers Brothers– and they were okay, so she must be okay.   Moms had crossed over.  She played Carnegie Hall and the Kennedy Center.  She put out more albums, including my favorite title, Young Men Si, Old Men No.  She began acting in big studio films, like The Cincinatti Kid, with Steve McQueen.  In 1966 Moms returned to the South for the first time in over three decades.  It, uh, didn't go great.  In the middle of her show, five shots rang out in the theater and Moms scrambled off-stage.  Thankfully, the shots went nowhere near her, originating apparently from a fight between audience members.  Regardless, a story made the rounds that one of the bullets went straight through her floppy hat.  "I hadn't been in Columbia, South Carolina, for thirty-five years," explained Moms, "and [now] bullets ran me out of town."    Music became a regular part of her act, and a cover version of "Abraham, Martin and John" hit No. 35 on the Billboard Hot 100 on July 19, 1969, making Mabley, at 75, the oldest living person to have a U.S. Top 40 hit.  Mabley continued performing in the 1970s. In 1971, she appeared on The Pearl Bailey Show. Later that year, she opened for Ike & Tina Turner at the Greek Theatre and sang a tribute to Louis Armstrong as part of her set.[24] While filming the 1974 film Amazing Grace, (her only film starring role)[1] Mabley suffered a heart attack. She returned to work three weeks later, after receiving a pacemaker.  She is survived not only by her children (she had four other children as an adult), but by more contemporary comedians who remember her and want to keep her story alive.  She was the subject of a Broadway play by Clarice Taylor, who played one of the grandma's on the Cosby Show; two projects from Whoopi Goldberg, one being the comedy show that put Goldberg on the map in 1984 and a documentary in 2013, and in season 3 of The Marvelous Mrs. Maisel, where she was portrayed by lifelong fan Wanda Sykes.   And that's… Dorothy Parker's wit was, deservedly, the stuff of legend.  Of the Yale prom, she said, “ If all the girls attending it were laid end to end, I wouldn't be at all surprised.”  It was that saucy humor that got her fired from her job as a staff writer at Vanity Fair.  Parker spoke openly about having had an abortion, a thing that simply was not done in the 1920's, saying, “It serves me right for putting all my eggs in one bastard.” A firm believer in civil rights, she bequeathed her literary estate to Dr. Martin Luther King, Jr.  Remember   Sources: https://www.tcm.com/tcmdb/person/204532%7C103917/Mae-West/#biography https://www.britannica.com/biography/Mae-West https://www.mentalfloss.com/article/52283/13-things-you-might-not-know-about-mae-west http://www.todayifoundout.com/index.php/2012/04/this-day-in-history-mae-west-is-sentenced-to-10-days-in-prison-for-writing-directing-and-performing-in-the-broadway-play-sex/ https://www.britannica.com/biography/Tallulah-Bankhead https://www.vanityfair.com/hollywood/2021/05/real-cruella-de-vil-tallulah-bankhead https://www.nytimes.com/1987/08/09/theater/theater-the-pain-behind-the-laughter-of-moms-mabley.html https://dorothyparker.com/gallery/biography https://bookshop.org/books/your-brain-on-facts-things-you-didn-t-know-things-you-thought-you-knew-and-things-you-never-knew-you-never-knew-trivia-quizzes-fun-fa/9781642502534?aid=14459&listref=books-based-on-podcasts https://www.mamamia.com.au/tallulah-bankhead-cruella/  

LCT Announces “Skin of Our Teeth” Cast, “Harmony” Announces Complete Cast, Grace Recommends Euphoria’s Theatre Episode “Today on Broadway” is a daily, Monday through Friday, podcast hitting the top theatre headlines of the day. Ashley Steves ashley@broadwayradio.com | @NoThisIsAshleyGrace Aki grace@broadwayradio.com | @ItsGraceAkiJames Marino james@broadwayradio.com | @JamesMarinoJennifer McHugh jennifer@broadwaystars.com | read more The post Today on Broadway: Wednesday, February 23, 2022 appeared first on BroadwayRadio.

It's time for another visit with Midday theater critic J. Wynn Rousuck, who joins Tom this week with her review of The Skin of Our Teeth,Thornton Wilder's Pulitzer-Prize winning play that's getting a lively new production at Baltimore'sEveryman Theatre. First produced on Broadway in 1942 as the world was being engulfed by war, Wilder's innovative play imagines how humanity survives a global apocalypse and emerges stronger on the other side. Noah Himmelstein directs Everyman Theatre's ensemble cast, starring resident company actors Felicia Curry as Sabina, Jefferson Russellas Mr. Antrobus and Beth Hylton as Mrs. Antrobus. The Skin of Our Teethcontinues at The Everyman Theatrethrough January 2. A streaming option will be available later in this run. For ticket information, click here. See omnystudio.com/listener for privacy information.

It's Midday on the Arts.  A little later in this hour, Tom checks in with our theater critic, J Wynn Rousuck, for her reviews of two shows at Baltimore Center Stage. Tom will also talk to some folks from Baltimore's Everyman Theater about their new production of Thornton Wilder's The Skin of Our Teeth. But we begin with two classically trained string players who have reimagined the repertoire and the audience for their instruments. In 2004, two high school buddies from Broward County, Florida, formed the duo Black Violin. Here's Wil B on viola and Kev Marcus on violin with a little taste of Black Violin from their 2020 release, a holiday album called Give Thanks. This is their take on the classic, Joy to the World. Black Violin is in the middle of a national tour that has them playing the Joseph Meyerhoff Symphony Hall here in Baltimore tonight (Dec.10), for one show only. They'll be joined on stage by DJ SPS and drummer Nat Stokes. Their show starts at 8:00. For ticketing information, click here. Wil Baptiste and Kev Marcus join us on Zoom from south Florida. Their conversation with Tom was recorded earlier this week, so we can't take any calls. See omnystudio.com/listener for privacy information.

Next on today's Midday on the Arts: Baltimore's Everyman Theater is presenting The Skin of Our Teeth, a Pulitzer Prize-winning play by Thornton Wilder that premiered on Broadway on November 18, 1942, at a time when the world was convulsed by global war. The new production at Everyman opens tonight, Dec 10, a few days after the 80th anniversary of Japan's 1941attack on Pearl Harbor. That event led the US to go to war and was a major inspiration for Thornton Wilder to write the The Skin of Our Teeth. The comic play, a groundbreaking and still-resonant satirical work that addresses the anxieties sparked by a world in chaos, continues at the Everyman through January 2nd. For ticket info, click here. Joining Tom now to talk about the challenges and rewards of working on Everyman's new production of The Skin of Our Teeth are Noah Himmelstein, Everyman's Assistant Artistic Director and the director of the play, and Felicia Curry, an ET resident company actor who plays the lead role of Sabina. See omnystudio.com/listener for privacy information.

Be sure to subscribe for more - Creation Grounds Podcast Know who casts what and measure your way to your bookings with Auditiontrackers.com ________ Helene Kvale Imdb Website: Helene Kvale Upcoming documentary: The Loom Helene Kvale was born in Norway, grew up in San Francisco until she was eleven and then lived in London. She received a BSc Econ Honors. from the London School of Economics, reading Anthropology and then gained her post graduate actor training diploma at The Drama Studio, London. As an actor, Helene performed on the West End stage in Burning Blue (winner of 2 Olivier Awards), Life During Wartime, and To Kill A Mockingbird. She also starred in numerous regional and touring productions including The Secret Rapture, Roman and Marys, Diary of Anne Frank, Getting Out, Brand, Canadian Gothic, Sexual Perversity in Chicago. Helene was part of the National Theatre Company playing Lady Anne opposite Ian McKellen in Richard III and in King Lear (Brian Cox) as well as Napoli Milionaria. At the NT Studio she played opposite Ray Winstone in Shift and in Gitta's Atonement, directed by Brian Cox. Helene has appeared in over twenty television dramas including Prime Suspect 4, Soldier Soldier, Daddy's Girl, London Bridge, This Life, Deceit, Lovejoy, The Bill. Film work includes Tomorrow La Scala! (British Academy Award Nomination and Juried at the Cannes Film Festival), Talk and 5:45 (Winner Berlin Short Film Festival). In 2003, she returned to the USA to join the faculty in the Department of Dramatic Arts at the University of Connecticut as Assistant Professor in Residence. Helene is also a director and writer. She is the founding Artistic Director of Bated Breath Theatre Company where she produced, conceived and directed Hunger, The Parkville Project and her translation of A Doll's House at the Gene Frankel Theater in New York. Helene regularly directs for The Connecticut Repertory Theatre including If We Were Birds, Eurydice, Big Love, Pride and Prejudice, Too Much Memory, The Skin of Our Teeth and Gut Girls. She also directed Marat/Sade for the Studio D Series. Helene is an alumna of The Lincoln Center Theater Directors Lab. As a screenwriter, Helene co-wrote the independent films Burning Blue (national release July 2014) and When You're Not Looking. She is currently writing a TV pilot called Indivisible. She currently is working on a documentary near and dear to her heart slated for release in 2023. ________ Some Questions I Ask: When did your interest for the arts begin? (3:35) About the day she decided to start taking action towards building career as artist? (5:06) On transition from the US to Europe (6:45) What was the London Arts scene like and how was your journey to success there (10:18) On working opposite Ian McKellen & Brian Cox at National Theatre (13:52) What was it like building your Lady Anne? (19:32) On television career (21:05) What prompted shift from TV career to teaching? (24:22) What biggest foundation lesson do you want actors to walk away from the things you teach? (26:30) On directing (30:50) Favorite kind of actors to direct (34:10) What led to the formation of your theater Bated Breath? (37:17) What do you believe today that you didn't believe 10 years ago & why? (38:49) On her interest for documentaries (41:56) When you think of the word creative who comes to mind for you and why? (51:14) How can people connect with you? (55:00) ____________ 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 -

John and Craig discuss the projects they’re not currently working on. From the sunk cost fallacy to grudge writing, they offer advice for when you should rescue an idea from the Maybe-write list. We follow up on bad bosses, Ponzi schemes and answer listener questions about what to do when you have a crush on your producer. Finally in our bonus segment for premium members, John and Craig discuss which words they’d be willing to lose forever and the many interpretations of “Sure.” Links: “Everyone Just Knows He’s an Absolute Monster”: Scott Rudin’s Ex-Staffers Speak Out on Abusive Behavior by Tatiana Siegel for The Hollywood Reporter California Employment Lawyers Association Hollywood actor arrested in alleged $227-million Ponzi scheme Peeps Movie Why We Have So Many Problems with Our Teeth by Peter S. Ungar Paul Ritter, British Stage, Film and TV Actor, Dies at 54 John’s Twitter Thread on Words We’d Lose Get a Scriptnotes T-shirt! Gift a Scriptnotes Subscription or treat yourself to a premium subscription! John August on Twitter John on Instagram Outro by Nora Beyer (send us yours!) Scriptnotes is produced by Megana Rao and edited by Matthew Chilelli. Email us at ask@johnaugust.com You can download the episode here.

Renoly Santiago, was born in Lajas, Puerto Rico and he spent his childhood in Union City, New Jersey. Before establishing himself as an accomplished entertainer, Renoly started singing, acting, dancing and writing early on, following his calling while very young; earning a dance scholarship to the Ballet Hispanico and a place at The Professional Children's School in New York. At age 17, he became a lead character and writer on the Emmy-nominated television series 'City Kids'. Renoly made his film debut co-starring in the blockbuster hit 'Dangerous Minds' alongside Michelle Pfeiffer. He plays other major roles in Hollywood films, his credits including 'Hackers' with Angelina Jolie, 'Daylight' with Sylvester Stallone and 'Con Air' with Nicolas Cage and John Malkovich. He also appears in indie films such as 'Punks', 'The Street King' (aka 'King Rikki'), 'Just Another Romantic Wrestling Comedy' and 'Lavoe: The Untold Story', as Latin music legend Johnny Pacheco. Among his episodic television appearances are guest leads in 'Law & Order: Criminal Intent', 'Touched by an Angel', 'Big Apple' and the one-hour television special, 'Stand-up'. Renoly has appeared in many off-Broadway productions under such notable directors as Liz Swados in Lincoln Centre and later, in workshops with Graciella Danielle in 'Blood Wedding' and Gabriel Barre in the Kander & Ebb musical 'Skin of Our Teeth' with Audra MacDonald and Sara Ramirez. Renoly was nominated for a Drama Desk Award by the press as Outstanding Featured Performer in a Musical in his Broadway debut as leader of the Vampires gang, Tony Hernandez, in Paul Simon's Latin rock-opera 'The Capeman'. He starred alongside Marc Anthony, Ednita Nazario and Ruben Blades. His later writing credits include the book to the musical 'Bring in the Morning... A Wake-Up Call' at the Apollo Theater in Harlem, New York, starring Lauryn Hill. As a singer, Renoly can be heard as back-up for recording artist India on her album 'Latin Songbird', in duets with Danny Rivera and Marc Anthony amongst others, having performed with many Artists of international renown. He is using his talents in 2011 on community Arts projects in New York; new acting, writing and production ventures across some exciting genres at home and abroad; writing new songs in English and Spanish and recording music in the studio for his debut album." - IMDb Mini Biography By: Joanne Lewis #theespotwithcamille #camillekauer #renolysantiago #hackers #conair #thegetdown #dangerousminds #thecapeman Watch full episode here: https://facebook.com/therealCamilleKauer/videos/615269142751061/ https://www.youtube.com/watch?v=BDCq00c8JNI Follow Renoly Santiago at: T-Shirts: https://www.redbubble.com/people/renolynyc/shop https://www.facebook.com/Renoly-Santiago https://www.instagram.com/renolysantiago/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/camillekauer/message Support this podcast: https://anchor.fm/camillekauer/support

The Friends sat down and recorded over Skype on June 14 and talked about "We See You White American Theatre," an open letter that got more than 50,000 signatures (including from a bunch of celebrities) and what can be done to solve racism in the American theater. Then they whistle a happy tune and discuss The King and I. They watched a video of the 2015 Broadway revival and talk about how it's problematic but they love it anyway, and how they would improve The King and I. #YourFavesAreProblematic Their guest this episode is actor April Matthis, who was the star of the play Toni Stone by Lydia Diamond, and who's been up for every acting award in New York City for her performance. This Obie-winning star has also been in Gatz by Elevator Repair Service, and she called in to discuss Playing on Air, a theater podcast where she acted in short plays by Dominique Morisseau and Ngozi Anyanwu, and trying to create theater in the time of COVID-19.. Here are links to things that Friends talked about in this episode. The We See You White American Theatre letter. Washington Post: "When black people are in pain, white people join book clubs." Montana Levi Blanco's Instagram video about racism in the theater. Rachel Chavkin's apology to Montana Levi Blanco. Diep's article about the American musical's obsession with Asians. Playing on Air: website/iTunes Night Vision by Dominique Morisseau: website/iTunes G.O.A.T. by Ngozu Anyanwu: website/iTunes The Skin of Our Teeth at Paper Chairs Theatre Company. Ronald Peet doing the 24-Hour Plays. April Matthis doing the 24-Hour Plays. 2666 by Roberto Bolaño at the Goodman Theatre. Support the show (https://www.patreon.com/tokentheatrefriends?fan_landing=true) Learn more about your ad choices. Visit megaphone.fm/adchoices

We can be the best at cleaning our teeth, however, food can still have a major impact on our oral health. Acids, carbs and sugars - we'll unpack all that here. The post Best and Worst Foods for Our Teeth appeared first on A Healthier Michigan.

Marcus Doshi designs lighting and sets for theatre, dance, opera, and collaborates with artists and architects on non-performance-based work. Doshi is a frequent collaborator with New York’s Theatre for a New Audience, where his work has been seen in 11 plays, including The Skin of Our Teeth, A Doll’s House/The Father in rep., Othello (2009 — Lucille Lortel Award Nomination) and Hamlet (2009 – Drama Desk Award Nomination). He is also a frequent collaborator with Chicago’s Steppenwolf Theatre Company, where he has designed the world premieres of Linda Vista, Mary Page Marlowe, and Visiting Edna, as well as several others including Pass Over, which was later filmed for Amazon by Spike Lee. Other New York credits include productions for Juilliard Opera (Les Mamelles de Tirésias, Der Kaiser von Atlantis, La Calisto), Lincoln Center Theatre, the Public Theatre, the Vineyard Theatre, and New York Theatre Workshop, among others. His work has been seen at virtually every important regional theater nationwide. Internationally he has designed for the Comedie Francaise, the Festival d’Aix-en-Provence, Les Théâtres de la Ville de Luxembourg, La Monnaie in Brussels, the Edinburgh Festival Fringe, the Royal Opera House Linbury Studio, the National Theater of Sarajevo, the Sydney Festival, among many other venues. Doshi holds degrees from Wabash College and Yale University, and is a tenured Associate Professor of Theatre at Northwestern University, where he teaches in the MFA Design and Directing programs.

Watch the video of this episode. What does it mean to be live? Can a hologram be considered performance? Is going to the theatre a private or communal act? And should performing artists embrace and incorporate technological change—or should they resist, and build an oasis from social media and screen time? What on earth is going on with live performance in the digital age? Listen to the first-ever recording of the podcast with a live audience! The panel, moderated by Ben, features Colleen Renihan, Craig Walker and Michael Wheeler of the Dan School of Drama and Music. About the Panel Colleen Renihan Colleen Renihan was delighted to join the Dan School of Drama and Music faculty as a Queen's National Scholar in 2016. She earned a B. Mus. in Vocal Performance from the University of Manitoba, an Artist Diploma in Opera Performance from the Vancouver Academy of Music, and an MA and PhD in Musicology at the University of Toronto in 2011 with generous funding support from the Social Sciences and Humanities Research Council of Canada. Her dissertation Sounding the Past was a finalist for the Society for American Music’s Housewright Dissertation Award. Dr. Renihan’s research considers aspects of opera and operatic culture from a postmodern perspective. Inherently interdisciplinary in nature, it explores cultural politics, popular culture, performance theory, temporality, memory theory, opera’s interactions with media (specifically film), and opera’s potential for intervention in current debates in the philosophy of history. Her work has been published in a variety of edited collections and journals, including, most recently, twentieth century music, The Journal of the Society for American Music, and Music, Sound, and the Moving Image. Forthcoming publications include an invited chapter on Benjamin Britten’s coronation opera Gloriana to an edited collection for Boydell & Brewer, and a chapter on affective listening in Harry Somers’s Louis Riel for Wilfrid Laurier Press. Two current book projects explore the historiographical dimensions of American postwar opera, and innovation in Canadian opera and music theatre 1970-2010. Dr. Renihan has presented her research at academic conferences in Canada, the United States, and Europe, including chapter and national meetings of the American Musicological Society, and in 2010, she participated in the Society for Music Theory’s graduate student workshop on ‘Music and Narrative’ with Michael Klein. She was a founding member of Operatics (a working group for the interdisciplinary study of opera) at the University of Toronto, a founding member of IPMC (Interdisciplinary Perspectives on Music in Canada), and has been involved with several research and writing projects at the Canadian Music Centre. Learn more about Colleen. Craig Walker is Director of the Dan School of Drama and Music and Professor of Drama, and is also cross-appointed to the Departments of English and Cultural Studies. Dr. Walker earned his Ph.D. at the University of Toronto, where he had taken his earlier degrees in English. He has taught courses in most subjects in Queen's Drama at one time or another. As a director, for the Queen’s Drama, Dr. Walker has directed the world premiere of Orbit, a play about the daughters of Galileo by Jennifer Wise (2014), a double-bill of Michel Tremblay’s Counter Service and Nina Shengold’s Lives of the Great Waitresses (2012), Thornton Wilder’s Our Town (2010), his own adaptation of Bertolt Brecht’s Drums In the Night (2008), John Lazarus’ Meltdown (2005), Michel Tremblay’s Les Belles Soeurs (2003), Thornton Wilder’s The Skin of Our Teeth (2000), his own translation of Odon von Horvath’s Judgement Day (1999), Richard Rose and D.D. Kugler’s adaptation of Timothy Findley’s Not Wanted on the Voyage (1997), the medieval morality play Everyman (1996) and Elmer Rice’s The Adding Machine (1993). From 1997 to 2007, Dr. Walker was Artistic Director of Theatre Kingston, during which time the company produced 54 plays, 36 of which were Canadian, including 18 world premieres. On the academic side (see profile on academia.edu), Dr. Walker's most recent publication is "Canadian Drama and the Nationalist Impulse" in The Oxford Handbook to Canadian Literature. He is the author of The Buried Astrolabe: Canadian Dramatic Imagination and Western Tradition and co-editor (with Jennifer Wise of the University of Victoria) of The Broadview Anthology of Drama: Plays from the Western Theatre, Volumes I and II and The Broadview Anthology of Drama, Concise Edition. He was Book Review Editor for Modern Drama for two years, from 1998 to 2000. In 2009, he was appointed as a Corresponding Scholar at the Shaw Festival. He is a Fellow of the Royal Society of Canada. Learn more about Craig. Michael Wheeler is Artistic Director of SpiderWebShow Performance, an online performance company working at a national scale. His previous position was as Executive Director of Generator, a mentoring, teaching, and innovation incubator that empowers independent artists, producers and leaders in Toronto. He has co-curated The Freefall Festival with The Theatre Centre and HATCH emerging artist projects with Harbourfront Centre. In 2017, he will co-curate the first Festival of Live Digital Art (foldA) at The Isabel Bader Centre for the Performing Arts. As Founding Artistic Director of Praxis Theatre and a theatre director, he has produced and created numerous independent works including Rifles (2 Dora nominations), the World Premiere of Jesus Chrysler by Tara Beagan presented in association with Theatre Passe Muraille, a National Tour of the SummerWorks Award-winning G20 drama You Should Have Stayed Home, and Jesse Brown’s Canadaland World Tour of Canada. Much of Michael’s work has intertwined with online tools, as editor and publisher of websites like PraxisTheatre.com (Winner Best Blog Post & Best Arts and Culture Blog: Canadian Blog Awards), DepartmentOfCulture.ca, AfricaTrilogy.ca, WreckingBall.ca and most recently SpiderWebShow.ca. He holds a BA (distinction) from McGill University and a Masters of Fine Arts from The American Repertory/Moscow Art Theatre Institute for Advanced Theatre Training at Harvard University. Learn more about Michael.

To open the show, actor-director Frank Zotter and playwright Peter Takach swing by to fill us in on this year's Brave New Play Rites. Courtesy of Christine Kim, we have an interview with Julia Ullrich on Align Entertainment's production of Legally Blonde, as well as an interview with Deborah Pearson, the creator of the PuSh Festival's history history history. We close the show with correspondents Ileana De Soza and Lua Presidio, discussing the Arts Club's production of Jitters, the film Brasilia, the StoryHive webseries Luchador, Studio 58's The Skin of Our Teeth, and UBC Opera's La Cenerentola.

17X:Xavier Pastrano&Vinyl WELCOME TO AN X-TRA SPECIAL EPISODE OF THE EDUPUNX PODCAST EPISODE NOTES:So this week, I had a great conversation with my guest, Xavier Pastrano. So much so that we had a couple tangents that lead into up discussing the topic that brought us together - vinyl records! I recognize that this is going to be a very niche conversation, so feel free to skip it and wait for the next episode on Tuesday. But if you liked listening to me chat with Xavier, you'll like this EXTRA eduPUNX episode.I'm gonna try to do more one-off mini-episodes like this one because many of my conversations get on tangents and I just end up scrapping the stuff that doesn't fit into the topic. But NOW, I'm likely going to keep this format moving forward.Cheap pop note: Make sure you follow Xavier on Instagram at @0staxxofwaxx0, and me at @CrigBididman.MUSIC NOTES:- Once again, you get to hear more tunes from the new album, "Omnicide," from Xavier's band, Skin of Our Teeth. You can purchase a digital copy or a CD at skinofourteeth.bandcamp.com.FOLLOW, RATE, REVIEW, SUBSCRIBE, AND SHARE!- Any love on the iTunes app helps! CLICK HERE TO VISIT THE ITUNES STORE!- Follow along on Instagram and Twitter @eduPUNXpod!Thanks so much for tuning in and I'll see you next week!Up the punx!Let's get to work.- CRAIG. CHECK OUT OUR PREVIOUS EPISODES April 2020 2 March 2020 1 February 2020 2 January 2020 3 December 2019 1 November 2019 2 August 2019 3 July 2019 2 May 2019 2 April 2019 2 February 2019 2 January 2019 3 December 2018 1 November 2018 2 October 2018 2 September 2018 4 August 2018 4 July 2018 3 June 2018 4 May 2018 6 April 2018 5 March 2018 6 February 2018 5 January 2018 4 December 2017 3 November 2017 3 October 2017 7 September 2017 4 August 2017 4 July 2017 4 June 2017 4

017:Xavier Pastrano(Skin of Our Teeth) &High School Poetry WELCOME TO THE EDUPUNX PODCAST! This week, we bring you a very chill conversation with Xavier Pastrano, who is the bassist and lead singer of the sludge/stoner metal band, Skin of Our Teeth. Xavier is also a high school English teacher in Sioux Falls, South Dakota! The dude is incredibly passionate about poetry and literature and we connect on our shared experiences as English teachers - since I taught high school English for a couple of years as well.We also get into race relations a bit, since Xavier was raised as a mixed kid by a single white mother. And since Xavier lives in a very conservative state, we get into the politics of being a more progressive educator in areas where inclusiveness might not be a priority in the education system. Needless to say, we had a lot to discuss - so much so that there will be a bonus episode later this week of just us talking about music and vinyl!EPISODE NOTES:- Xavier discusses how his Black Like Me unit with his students was deeply impactful for his students.- It was powerful to hear how Xavier's students reacted to the racist murder of Emmett Till.- Xavier and I have a shared love of the post punk/dark wave band She Wants Revenge.- I was glad to learn that Xavier took one of his students' favorite artists, Twenty-One Pilots, and demonstrated the poetic devices at play in their song, “Car Radio."- I discuss how I used four songs in Thrice's "Alchemy Index" album as a demonstration of Shakespearian sonnets.- It might not be the recipe that Xavier references in the conversation, but here is a recipe for eggless egg salad!- In classic English teacher fashion, Xavier lists "Catcher in the Rye" and "Perks of Being a Wallflower" as two of his favorite books of all time.- For his all-time music favorites, Xavier displays his true varied taste in music by naming, Baroness (specifically the "Blue" album) and No Doubt (specifically “Tragic Kingdom”) as the top of the list.- Make sure to check out new album from Monolord (“Rust”), and the uniquely polarizing, Zeal and Ardor ("Devil is Fine"). MUSIC NOTES:- This week you get to hear tunes from the new album by stoner/sludge band, Skin of Our Teeth, titled, "Omnicide," which is due out on November 10th. Xavier is the lead singer and bassist (he also does some drums too) of this two-man band; yes, only two people are making all that noise you're hearing throughout the episode. They even trade off between drum and bass throughout their sets, which is pretty damn sweet.- If you like what you hear, visit skinofourteeth.bandcamp.com to snag yourself a CD or a digital copy of the album now! ADVERTISING NOTES:- Since Xavier and I discuss the creativity of some of our students, I wanted to hype the work of one of my former students once again!- If you need some design work done, check out the work by my buddy and former student, Nevan Doyle! He is one of the best up-and-coming graphic designers and artists today!- Visit Mishko.co to check out his artwork, videos, and music! You can commission him to create artwork and/or videos for your band, brand, program, company, and/or office! Make it happen!FOLLOW, RATE, REVIEW, SUBSCRIBE, AND SHARE!- Any love on the iTunes app helps! CLICK HERE TO VISIT THE ITUNES STORE!- Follow along on Instagram and Twitter @eduPUNXpod!Thanks so much for tuning in and I'll see you next week!Up the punx!Let's get to work.- CRAIG. CHECK OUT OUR PREVIOUS EPISODES April 2020 2 March 2020 1 February 2020 2 January 2020 3 December 2019 1 November 2019 2 August 2019 3 July 2019 2 May 2019 2 April 2019 2 February 2019 2 January 2019 3 December 2018 1 November 2018 2 October 2018 2 September 2018 4 August 2018 4 July 2018 3 June 2018 4 May 2018 6 April 2018 5 March 2018 6 February 2018 5 January 2018 4 December 2017 3 November 2017 3 October 2017 7 September 2017 4 August 2017 4 July 2017 4 June 2017 4

Dinosaurs and mammoths and the end of the world, oh my! This time Phil Gonzales joins in to discuss the time we made it through by The Skin of Our Teeth. Is Thornton Wilder’s play still relevant? Is it understandable? Why aren’t you watching it right now? Host John McCoy with Phil Gonzales.

The Total Tutor will interview author Jason Butt author of 100 Things Ravens Fans Should Know & Do Before They Die. Next, The Total Tutor will interview New York Times Best Selling Author Anna David. Last, The Total Tutor will interview author Denise Barry author of What Does the Tooth Fairy Do with Our Teeth?

This program features a round-table discussion about Shakespeare 70s' production of The Skin of Our Teeth opening at Kendall Hall on the Campus of The College of New Jersey on September 26th, 2008. Guests include producer Janet Quartarone, director Brian Bara, Designer and Tech director Dale Simon, Puppet Master Walt Cupit and Actor Damien Gaeta who plays Henry.