POPULARITY
4 episodes with Paula Vogel
2 episodes with Paula Vogel
4 episodes with Paula Vogel
3 episodes with Paula Vogel
2 episodes with Paula Vogel
2 episodes with Paula Vogel
2 episodes with Paula Vogel
2 episodes with Paula Vogel
2 episodes with Paula Vogel
"Dance Talk” ® with Joanne Careyand special guestDavid Dorfman.In this episode of"Dance Talk” ® with Joanne Carey interviewsDavid Dorfman, the Artistic Director of the David Dorfman Dance Company. They discuss David's journey into dance, his influences, and the pivotal moments that shaped his career. David shares insights into his teaching philosophy, the importance of improvisation, and the collaborative nature of dance. He emphasizes the significance of presence in performance and the joy of mentorship in his role as a professor at Connecticut College. In this engaging conversation, David Dorfman shares his insights on the art of partner dancing, the themes of surrender and connection in his work, and the intersection of dance and war. He discusses the transformative power of dance, the importance of legacy, and how revisiting old works can be a journey through time. Dorfman emphasizes the role of dance in healing and connection, advocating for a world where everyone dances as a path to peace.Upcoming performance: Downtown to Uptown, Past to Forward.David Dorfman is the Artistic Director and Founder of David Dorfman Dance (1987), has been Professor of Dance at Connecticut College since 2004. Dorfman received a Guggenheim Fellowship in 2005 to continue his research and choreography in the topics of power and powerlessness, including activism, dissidence, and underground movements. DD has been honored with four fellowships from the National Endowment for the Arts, three New York Foundation for the Arts fellowships, an American Choreographer's Award, the first Paul Taylor Fellowship from The Yard, and a New York Dance & Performance “Bessie” Award.David was a 2019 United States Artists Fellow in Dance. His work has been commissioned widely in the U.S. and in Europe, by Dancing Wheels (Cleveland), AXIS Dance Company (Oakland), and Bedlam Dance Company (London). His forays into theater include choreography for the Tony Award-winning play,Indecent, by Paula Vogel and Rebecca Taichman, for which DD received a Lucille Lortel Award and Chita Rivera Nomination for best choreography for the play's Off-Broadway run. David traveled to London in March 2020 to set choreography forIndecent's UK premiere at the Menier Chocolate Factory. In addition, David has contributed his choreography for the upcomingWhisper House, a new musical by Duncan Sheik and Kyle Jarrow, Ibsen'sAn Enemy of the People at Yale Rep;Our Town, a co-production of Deaf West and Pasadena Playhouse;Assassins at Yale Rep; and the original musicalGreen Violin at the Prince Music Theater in Philadelphia, for which he won a 2003 Barrymore Award for best choreography. Dorfman tours an evening of solos and duets,Live Sax Acts, with dear friend and collaborator Dan Froot, most recently in New York City and at the Harare International Festival of the Arts in Zimbabwe. As a performer, he toured internationally with Kei Takei's Moving Earth and Susan Marshall & Co.DD hails from Chicago and holds a BS in Business Administration from Washington University in St. Louis (1977). He appeared on several episodes of A Chance to Dance, a reality show on OvationTV starring Dorfman's pals, the BalletBoyz .DD continually thanks Martha Myers and the late Daniel Nagrin, for being his dance mom and dad; his late parents, Oscar and Jeanette, for inspiring him to dance to heal and instilling the importance of a good joke; and his in-house “family project”, Lisa and Samson, for sharing with him the practice of unconditional love.Info About Upcoming Performanceshttps://www.daviddorfmandance.org/calendar“Dance Talk” ® with Joanne Careywherever you listen to your podcasts. https://dancetalkwithjoannecarey.com/ Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."
Today, I'm thrilled to announce my episode with one of theater's most brilliant directors, Daisy Prince. Tune in to hear some of the stories of her legendary career, including how she first met Jason Robert Brown at a piano bar, the way in which Stephen Sondheim and Hal Prince were opposite sides of a coin, the day that THE LAST FIVE YEARS was performed in chronological order, meeting her husband during THE PETRIFIED PRINCE, why she wasn't shocked by the closing of MERRILY WE ROLL ALONG, how a Yoko Ono musical led to SONGS FOR A NEW WORLD, the mentorship she has received from Paula Vogel, Richard Maltby, Jr., and other great theater artists, how she came up with the idea for THE CONNECTOR, casting Ben Levi Ross and Hannah Cruz in starring roles, the rewards of staging a period piece, and so much more, including a heartfelt tribute to Gavin Creel given on the day of his tragic passing. You won't want to miss this conversation with a theater artist whose legacy has spanned generations.
Christopher Akerlind, has designed lighting, and occasionally scenery, for over 650 productions of theater, opera, and dance across the U.S. and around the world, including 24 shows on Broadway. Chris's recent work includes Waiting for Godot at Theatre for a New Audience, Lynn Nottage's play Clyde's on Broadway and at the Mark Taper Forum, The Light in the Piazza, for which he won his first Tony, Paula Vogel's play Indecent, winning him both the Tony and Drama Desk Awards, Rocky the Musical, which garnered him a Tony nomination, Sting's musical The Last Ship, and The Gershwin's Porgy and Bess, for which he was also Tony nominated. Among Chris's other Broadway lighting designs are: August Wilson's The Piano Lesson and Seven Guitars, Talk Radio, and the musical, Waitress.Chris's numerous shows not on Broadway include: Scene with Cranes for CalArts Center for New Performance; the premiere of M Butterfly for the Santa Fe Opera; and Martha Clarke's devised pieces God's Fool, Angel Reapers, and Cheri. Chris has also received an Obie Award for Sustained Excellence, four Drama Desk Awards, the Michael Merritt Award for Design and Collaboration, two Chicago area Joseph Jefferson Awards, as well as numerous nominations for the Drama Desk, Lucille Lortel, and Outer Critics Circle Awards.Chris has taught lighting design at schools like Cal Arts, USC, CMU, and his alma mater, Yale.
Music Credits:"Overture" from Dear World (Original Broadway Cast Recording) | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Room Where It Happened" from Hamilton (Original Broadway Cast Recording) | Written by Lin-Manuel MIranda | Performed by Leslie Odom Jr., Lin-Manuel Miranda, Daveed Diggs, Okieriete Onaodowan, Original Broadway Cast of Hamilton"On the Balcony of the Casa Rosada / Don't Cry For Me, Argentina" from Evita (Original Broadway Cast Recording) | Written by Tim Rice & Andrew Lloyd Webber | Performed by Tim Rice, Andrew Lloyd Webber, Bob Gunton, Mandy Patinkin, Patti LuPone, Original Broadway Cast of Evita, Rene Weigert "My Strongest Suit" from Aida (Original Broadway Cast Recording) | Written by Elton John & Tim Rice | Performed by Women of the Palace, Sheri Rene Scott"What Comes Next" from Hamilton (Original Broadway Cast Recording) | Written by Lin-Manuel Miranda | Performed by Jonathan Groff
The new Tony-nominated play from Paula Vogel stars Jessica Lange as an unstable mother who struggles in her relationships with her two children, played by Jim Parsons and Celia Keenan-Bolger. All three are Tony nominated for their roles in "Mother Play," which is running now at the Hayes Theater through June 16. Lange, Parsons, and Keenan-Bolger join us to discuss.This segment is guest-hosted by Kousha Navidar
In today's Hot Topics, the co-hosts discuss new polls indicating former Pres. Trump is leading Pres. Biden in five battleground state, where the Biden campaign might be missing the mark, and Trump's weekend rally in New Jersey. Jim Parsons and Celia Keenan-Bolger join and discuss starring in Broadway's "Mother Play," and bringing writer Paula Vogel's autobiographical story to life. Learn more about your ad choices. Visit megaphone.fm/adchoices
Jessica Lange joins In the Envelope: The Actor's Podcast to discuss her Tony nominated performance in Paula Vogel's "Mother Play," taking on challenging material after 50 years in the industry, and why she feels freerer than ever in her work. --- Backstage has been the #1 resource for actors and talent-seekers for 60 years. In the Envelope, Backstage's podcast, features intimate, in-depth conversations with today's most noteworthy film, television, and theater actors and creators. This is your guide to every aspect of acting, from voiceover and commercial work to casting directors, agents, and more. Full of both know-how and inspiration, In the Envelope airs weekly to cover everything from practical advice on navigating the industry, to how your favorite projects are made, to personal stories of success and failure alike. Join host Vinnie Mancuso, senior editor at Backstage, for this guide on how to live the creative life from those who are doing it every day: https://bit.ly/2OMryWQ Follow Backstage and In the Envelope on social media: - https://www.facebook.com/backstage - https://www.twitter.com/backstage - https://www.twitter.com/intheenvelope - https://www.instagram.com/backstagecast Looking to get cast? Subscribe here: www.backstage.com/subscribe Browse Backstage casting listings: https://bit.ly/3mth68e Check out our community-driven virtual programming, The Slate: https://bit.ly/2WDNXf0 Backstage stands in solidarity with the Black Lives Matter movement: https://bit.ly/3cuMBt5 Special thanks to... - Host: Vinnie Mancuso - Producer: Jamie Muffett - Social media: Karen Jenkins - Design: Mark Stinson, Caitlin Watkins - Additional support: Kasey Howe, Samantha Sherlock, Oriella St. Louis
This is a free preview of a paid episode. To hear more, visit davidlat.substack.comWelcome to Original Jurisdiction, the latest legal publication by me, David Lat. You can learn more about Original Jurisdiction by reading its About page, and you can email me at davidlat@substack.com. This is a reader-supported publication; you can subscribe by clicking here. Thanks!It might seem odd to bestow the title of “titan” upon someone once described in the New York Times as standing five-foot-two and weighing 100 pounds wet. But if you know anything about banking M&A and regulatory work, you know that H. Rodgin Cohen, senior chair of Sullivan & Cromwell, is a true giant of the field.For more than 50 years, Rodge Cohen has practiced at the pinnacle of financial-services law. He's played a role in many historical events over the decades, including New York City's fiscal crisis, where he helped rescue the city from the brink of bankruptcy in 1975; the Iran hostage crisis, where he counseled American banks that released frozen Iranian funds, part of the deal that led to the 1981 release of the hostages; the 2008 financial crisis, where he represented the buyer or the seller in seemingly every major bank deal; and efforts last year to save Silicon Valley Bank and First Republic Bank.In my latest podcast episode, I interview Rodge about his remarkable career, including his involvement in the aforementioned, headline-making events. But we also cover his childhood in West Virginia, his advice for how to succeed as a deal lawyer, and even his theater and reading recommendations—because despite his demanding practice, Rodge somehow finds the time to see numerous shows and read tons of books. (One recent work we both recommend is Paula Vogel's Mother Play, which yesterday snagged four Tony Award nominations, including Best New Play.)For my first-ever interview of a corporate or transactional attorney (as opposed to a litigator), I wanted to get a big name—and Rodge Cohen is one of the biggest and best in the business. I guessed that he would be “too big to fail”—and if you listen to our enjoyable and wide-ranging conversation, you'll see that I was right.Show Notes:* H. Rodgin Cohen bio, Sullivan & Cromwell* H. Rodgin Cohen profile, Chambers and Partners* Trauma Surgeon of Wall Street, by Alan Feuer for the New York Times* The Banking Industry's Go-to Crisis Adviser, by DealBook for the New York TimesPrefer reading to listening? For paid subscribers, a transcript of the entire episode appears below.Sponsored by:NexFirm helps Biglaw attorneys become founding partners. To learn more about how NexFirm can help you launch your firm, call 212-292-1000 or email careerdevelopment@nexfirm.com.
In this episode, we discuss the new play from Paula Vogel MOTHER PLAY. Please note that this episode will contain spoilers about the show. If you haven't seen the show yet, you can catch MOTHER PLAY playing at the Helen Hayes Theatre. Follow and connect with all things @HalfHourPodcast on Instagram, TikTok, and YouTube. Please share your thoughts on MOTHER PLAY on our podcast cover post. Learn more about your ad choices. Visit megaphone.fm/adchoices
Gay homosexuals Nick and Joseph discuss Mother Play - A Play in Five Evictions - a dramatic stage play written by American playwright Paula Vogel, starring Jessica Lange, Celia Keenan-Bolger, and Jim Parsons. Additional topics include: -Brad Dourif retiring -Janet Jackson's new music -Giancarlo Esposito's murder-for-hire plot -The death of Mandisa Join us on Patreon: https://www.patreon.com/FishJellyFilmReviews Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046 Find merch here: https://fishjellyfilmreviews.myspreadshop.com/all Venmo @fishjelly Visit their website at www.fishjellyfilms.com Find their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767 Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms) Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/ Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson --- Support this podcast: https://podcasters.spotify.com/pod/show/fish-jelly/support
Today, I'm thrilled to announce the release of my episode with Tony winning actress Celia Keenan- Bolger, who is currently starring in Mother Play at the Helen Hayes Theater. Tune in to hear some of the stories of her legendary career, including what it was like working with Sondheim on her first major job, her long journey with THE LIGHT IN THE PIAZZA, how she got William FInn to write a song for her, how she made the transition between performing in musicals and plays, balancing being a mother with being an actress, what she learned from working with Bartlett Sher and his wife, the role she always wanted to play, the ins and outs of being nominated for a Tony, having Paula Vogel write a play for her, how THE GLASS MENAGERIE overcame her initial skepticism, the joy of performing in PETER AND THE STARCATCHER, and so much more. You won't want to miss this conversation with one of theater's brightest lights.
Laura Schellhardt is a Chicago based playwright and adapter. Her original works include Air Guitar High, Auctioning the Ainsleys, The Apothecary's Daughter, The K of D, Courting Vampires, and Shapeshifters, among many others. Adaptations include The Phantom Tollbooth, The Outfit, and Creole Folktales. She is also the author of Screenwriting for Dummies. She's a two-time Jeff Award nominee and recipient of the AATE Distinguished Play Award, the New Play Frontier's residency, the TCG National Playwriting Residency, the Jerome Fellowship, the New Play Award from ACT in Seattle, and a Dramatist Guild Playwriting Fellowship. She has participated in the SoHo Rep Writer/Director Lab, the Women Playwrights Festival at SRC, the Kennedy Center's New Voices/New Visions Festival, the Bonderman TYA Symposium, the Ojai New Play Conference, the Denver Center New Play Summit, the Bay Area Theatre Festival, and the O'Neill National Playwright's Festival, among others. She received her graduate degree from Brown University, under Paula Vogel. She's a former Victory Gardens Resident Playwright and current member of Walkabout Playwrights Collective and she oversees the undergraduate play Schellhardt oversees the undergraduate playwriting program in the Department of Theatre at Northwestern University. Key Takeaways We all hold many identities and their salience changes with time and context Privilege can be an obstacle when you're not aware of it but it can be a tool to empower others What you practice grows stronger, especially with how you talk to yourself and others What and how you give your attention is one of your most powerful tools Effort > outcome and process > product There's a difference between safety and comfort and it is important to learn and grow in discomfort Authenticity is a series of choices based on your values and intentions Take yourself seriously but hold yourself lightly Make connections not impressions Guest's Media Recommendations: The Anti-Racist Writing Workshop: How To Decolonize the Creative Classroom by Felicia Rose Chavez (book) Creative Acts for Curious People by Sarah Stein Greenberg (book) __ Find Guest's work: https://communication.northwestern.edu/faculty/laura-schellhardt.html __ For more of Michael's work, visit our website www.incognitotheplay.com or follow us on Instagram @incognitotheplay __ Thanks to Ned Doheny for providing our podcast music! You can find him and his music on Spotify. Editing and co-production of this podcast by Emma Yarger. Email info@incognitotheplay.com with questions or comments about the show!
In 2015, Paula Vogel's “Indecent” premiered at Yale Repertory Theatre. It took a relatively familiar format to the audience — the play within a play. “God of Vengeance” was a play from the 1920s, written by Polish-Jewish author and playwright Sholem Asch. The story centered on a respectable Jewish family who lives above a brothel. When their young daughter falls in love with one of the sex workers downstairs, chaos ensues. A play like this wouldn't be controversial in the 2020s, but with the rise of antisemitic violence in Poland, Europe and the world at the time, Sholem Asch's contemporaries were concerned about what a play like this would say about the Jewish people. Exploring censorship, sex work, relationships, antisemitism, and more, “Indecent's” telling of the production became a force to be reckoned with by the time it made it to Broadway in 2017. Seven years later, Nashville's premiere regional theater, Nashville Rep is mounting the production. This episode was produced by Elizabeth Burton. Special thanks to Amos Glass and LaTonya Turner. Guests: Paula Vogel, playwright Micah-Shane Brewer, Artistic Director at Nashville Repertory Theatre Sarah Aili, actor
Nashville Rep's Artistic Director, Micah-Shane Brewer, engages in a captivating conversation with renowned playwright Paula Vogel. Together, they delve into the intricacies of bringing the compelling show Indecent to life, exploring the creative process, the relevance of the play, and Vogel's upcoming projects.
Just Justin here with Jumpin' Joints! It's "J"! And, also, Erika is here too but her name doesn't start with a "J" like Justin's so she didn't make it in the opening line of the description. Erika talks about one of her favorite playwrights of all time, Justin finds maybe the most Erika-coded playwright in exsistence, and Jen SIlverman fixes Erika's migraine. It's magical.SOME BUSINESS: Thank you to the two playwrights we featured in this episode! You can find some of their plays in the links below. Erika's play, Kill The Bird, can be found on her New Play Exchange and you can purchase and produce Justin's play, Community Garden, through his publisher, Playscripts. You can also check out Justijn's new podcast, The Scene: Podcast, which features Erika on the pilot! Finally, you can check out Justin's YouTube channel for more longform theatre content! For any more information, check out Justin's website and Erika's website for more cool stuff!Links to our playwrights:Jen Silverman's ConcordJen Silverman's WebsiteJulia Izumi's ConcordJulia Izumi's WebsiteIf you like the show, feel free to subscribe and give us a five star review! Also, follow us on instagram @justinborak and @actualerikakuhn and Justin on TikTok for any news and notes on upcoming episodes and more theatre reccomendations!
Have you ever dreamed of being famous? Imagined what it would be like to have all your dreams come true? Recognition, adoration, basking in the limelight. Sounds wonderful, doesn't it? But dig a little deeper and you'll find that “The Road To Fame” is a prickly path, filled with twists & turns, backstabbing & betrayals. Experience a captivating journey into fame as the performers of Letters Aloud bring to life personal and illuminating letters from renowned figures like Stephen King, Dorothy Parker, Vincent Van Gogh, Emily Dickinson, Bruce Lee, Oprah Winfrey, and Tom Hanks, and explore the steep cost and evolving nature of what it means to be “famous” from those who have traversed its path. A riotously funny, movingly poignant, and thought-provoking experience brought to life by a gifted ensemble of professional actors, with live musical accompaniment, and a dynamic slide show, “Before They Were Famous” is a show that leaves audiences with smiles on their faces and much to discuss on their drive home. Letters Aloud is a performing arts company that brings to life intimate, thought-provoking, and often humorous stories hidden within private letters of the past. Their performances are a unique combination of literature, theatre, and live music that celebrates the beauty of the written word and the human experience. (If you take NPR's Selected Shorts, cross it with The Moth podcast and add just a pinch of the old A Prairie Home Companion, you pretty much have their show…except, of course, with letters.) They believe that letters are more than just pieces of paper; they are windows into the past, bridges between people, and tools for empathy and connection. Reading them aloud in front of an audience makes for a truly unique and powerful collective experience. Whether you're a fan of literature, history, or simply good storytelling, we invite you to join us on a journey through the written word. Letters Aloud is a celebration of the human spirit and we look forward to sharing it with you. About the Performers: PAUL MORGAN STETLER Paul is the creator and curator of Letters Aloud and a co-founder (and former Co-Artistic Director) of Seattle's multi-award-winning New Century Theatre Company. A well-known Seattle actor, Paul has appeared on numerous local stages over the past 20 years, including ACT Theatre, Seattle Repertory Theatre, Village Theatre, Seattle Children's Theatre, Intiman Theatre, and Empty Space Theatre, as well as numerous regional theatres across the country. He holds a BA in English Literature at Cal State Northridge and an MFA in Theatre Arts from Penn State University. BASIL HARRIS Basil Harris is a Seattle actor and musician who has worked extensively on stage and in film and media. As a voice actor, he's a regular contributor to the audio dramas of Jim French's Imagination Theater. He also plays in the alt-pop band “Awesome”, which will be appearing here at Town Hall in December. More at basilharris.com CLAUDINE MBOLIGIKPELANI NAKO Claudine is an actor out of Seattle, Washington, and a core company member of the prestigious ACT Theatre where she has appeared in numerous plays and is a two-time Gregory Award Winner for her work on stage. Film/TV credits include Everything Sucks!, Raising Dion, and Outside In (Netflix); Three Busy Debras on HBO Max and Grimm on NBC. Up next: directing Stew by Nora Howard at ACT Theatre, March 15-31. RAY TAGAVILLA Ray Tagavilla is a UW Drama Program graduate and a recipient of the 2012, 2014 Gregory Award for Best Supporting Actor for Jesus Hopped the A Train and A Small Fire and 2016 for Lead Actor for The Last Days of Judas Iscariot. His most recent theater credits were Two Mile Hollow at Intiman Theater, Titanish at Seattle Public, and recent film credits were Three Busy Debras with Adult Swim/HBO Max. ALEXANDRA TAVARES Alexandra Tavares is one of Seattle's most treasured theatre actors. She most recently portrayed Caliban in Seattle Rep's The Tempest, as well as The Winter's Tale, The Odyssey, Constellations (nominated for Outstanding Actress), Three Tall Women, and The Great Moment at Seattle Rep. She is a co-founder of The Seagull Project and has performed with them as Nina in The Seagull, Masha (nominated Outstanding Actress) in The Three Sisters, and Yelena in Uncle Vanya. She holds an M.F.A. in acting from the University of Washington. JAMIE MASCHLER Jamie is a musician, music director, educator and ambassador of the accordion. She is co-founder of the Brazilian bands Foleada, En Canto, and the accordion duo Creosote. She has been heard with the Pueblo Symphony, Seattle Symphony, and Seattle Philharmonic. Jamie has also played the role of Nelly Friedman in Paula Vogel's award-winning play, Indecent, twice.
Tori and Mabelle talk with accomplished theater artist, June Carryl, about her transition from law to theater and beyond. June shares the turning point into playwriting with Paula Vogel and how she got bit by the acting bug. June discusses why words are crucial, how theatrical stories inspire change, and the joy of working with young audiences.
Julia and Kait tackle another one of Paula Vogel's iconic and award winning plays, How I Learned to Drive. They discuss the importance of sex education in the school system, the importance of the order in which the play occurs, and the importance of speaking up against domestic abuse and child endangerment. Enjoy!
For Shakespeare's Birthday, we're kicking off a mini-season of interviews before we dive into Season Four. Let us introduce you to Kyle J. McCloskey (He/They), a two-time recipient of the Paula Vogel Prize from the Kennedy Center, here to chat with us about Paula Vogel's concepts of plasticity, as well as how soliloquies can be powerful political tools. Official Website: https://www.kylejmccloskey.com/ New Play Exchange: https://newplayexchange.org/users/576/kyle-j-mccloskey Paul Vogel Interview: https://www.youtube.com/watch?v=XLqM2xXYbzU
Jared Mezzocchi (jaredmezzocchi.com)(TW:@JaredMezzocchi) is an two-time Obie Award-winning theater artist, working most notably as a director and multimedia designer. Mezzocchi's work has appeared at theaters nationwide, including the Kennedy Center, the Geffen Playhouse, Vineyard Theater, Arena Stage, Woolly Mammoth (company member), Milwaukee Rep, South Coast Rep, Portland Centerstage, and many more. In 2016, he received an Obie, Lucille Lortel and Henry Hewes Award for his work in Qui Nguyen's “Vietgone” at the Manhattan Theatre club. In 2020, the New York Times spotlighted his multimedia innovations during the pandemic alongside the work of four other theater artists, including Andrew Lloyd Webber and Paula Vogel. His work on Sarah Gancher's digital premiere of “Russian Troll Farm” (co-director & multimedia designer, and second Obie) was also celebrated as a New York Times critic pick, and praised for being one of the first digitally native successes for virtual theater. Mezzocchi is a two-time Macdowell Artist Fellow, a 2012 Princess Grace Award winner, and is an Associate Professor at The University of Maryland, where he teaches in the MFA Design program for the projection and multimedia track. He grew up in New Hampshire, and returns every summer to serve as Producing Artistic Director of Andy's Summer Playhouse, an innovative children's theater producing original work by professional artists from across the country.
Jared Mezzocchi (jaredmezzocchi.com)(TW:@JaredMezzocchi) is an two-time Obie Award-winning theater artist, working most notably as a director and multimedia designer. Mezzocchi's work has appeared at theaters nationwide, including the Kennedy Center, the Geffen Playhouse, Vineyard Theater, Arena Stage, Woolly Mammoth (company member), Milwaukee Rep, South Coast Rep, Portland Centerstage, and many more. In 2016, he received an Obie, Lucille Lortel and Henry Hewes Award for his work in Qui Nguyen's “Vietgone” at the Manhattan Theatre club. In 2020, the New York Times spotlighted his multimedia innovations during the pandemic alongside the work of four other theater artists, including Andrew Lloyd Webber and Paula Vogel. His work on Sarah Gancher's digital premiere of “Russian Troll Farm” (co-director & multimedia designer, and second Obie) was also celebrated as a New York Times critic pick, and praised for being one of the first digitally native successes for virtual theater. Mezzocchi is a two-time Macdowell Artist Fellow, a 2012 Princess Grace Award winner, and is an Associate Professor at The University of Maryland, where he teaches in the MFA Design program for the projection and multimedia track. He grew up in New Hampshire, and returns every summer to serve as Producing Artistic Director of Andy's Summer Playhouse, an innovative children's theater producing original work by professional artists from across the country.
On this week's episode of Playdate, Julia and Kait are joined by Jack Levenberg to discuss Paula Vogel's award winning play Indecent. They discuss the relevance this play still holds in our world today. Jack's history with this play helps shed some light on why this story is still important to be told. Enjoy!
Sarah Ruhl is a playwright . Her plays include- How to Transcend a Happy Marriage; The Oldest Boy; In the Next Room, or the vibrator play (Pulitzer Prize finalist); The Clean House (Pulitzer Prize finalist, The Susan Smith Blackburn Prize). Other plays include For Peter Pan on her 70th Birthday; Stage Kiss; Dear Elizabeth; Passion Play, a cycle (PEN American Award, The Fourth Freedom Forum Playwriting Award from The Kennedy Center); Dead Man's Cell Phone (Helen Hayes Award); Melancholy Play; Eurydice; Orlando; and Late: a cowboy song. Her plays have been produced around the country and internationally, translated into fourteen languages. Her books include Smile, a memoir; 100 Essays I Don't have Time to Write and Love Poems in Quarantine. Opera: Libretto for Eurydice (Metropolitan Opera, composer Matthew Aucoin). Awards: MacArthur “Genius” Grant, Steinberg Distinguished Playwright Award, Helen Merrill Emerging Playwrights Award, Whiting Writers' Award, MacArthur Fellowship, Lily Award, PEN Center Award for a mid-career playwright. Education: M.F.A., Brown University (with Paula Vogel). Teaches at the Yale School of Drama. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues Bookwaves George Saunders, author of the short story collection, Liberation Day, in conversation with Richard Wolinsky. George Saunders is the highly acclaimed author of several short story collections, including “Tenth of December,” and “CivilWarLand in Bad Decline,” and others, along with political commentary that has appeared in The New Yorker and other magazines. He won the 2017 Booker Prize for his only novel to date, “Lincoln in the Bardo.” This latest collection, “Liberation Day,” contains nine stories, some of which, including the title story, are science fiction. Others delve into the minds of people coping with their lives. There are subtle political implications in several of them, but all of them are stunning works of fiction. The interview was recorded on October 10, 2022 and was edited by Richard Wolinsky October 26-28, 2022. Complete 45-minute interview. Artwaves Lisa Ramirez, playwright, “The Book of Sand” at the Oakland Theater Project, November 11 – December 4th, and Associate Artistic Director of the Oakland Theater Project, in conversation with host Richard Wolinsky. Lisa Ramirez is a bi-coastal actor and playwright. She recently appeared in “Water by the Spoonful” at San Francisco Playhouse. Among the plays she has written are “Exit Cuckoo,” a one-person play about nannies, and “To the Bone.” During the pandemic shutdown, she presented a solo version of T.S. Eliot's “The Wasteland,” in a parking lot in Oakland, using radios. She also works with the Center Theatre Group in Los Angeles Oakland Theater Project website. Book Interview/Events and Theatre Links Note: Most in-person events still require proof of full vaccination for all audience members over 12 and masks. Many venues will require proof of boosters. Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination status requirements before arrival. Dates are in-theater performances unless otherwise noted. All times Pacific Standard Time. Book Stores Bay Area Book Festival Highlights from this year's Festival, May 7-8, 2022 and upcoming calendar. Book Passage. Monthly Calendar. Mix of on-line and in-store events. Books Inc. Mix of on-line and in-store events. The Booksmith. Monthly Calendar. On-line events only. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Kepler's Books On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC). See website for past streams. Alter Theatre. Upcoming: Snag by Tara Moses, Pueblo Revolt by Dillon Chitto American Conservatory Theatre A Christmas Carol, November 30 – December 24, Toni Rembe Theater. Aurora Theatre Colonialism is Terrible, but Pho is Delicious by Dustin Chinn, November 4 – December 2, in theatre. Streaming: December 3-4. Awesome Theatre Company. Check website for upcoming live shows and streaming. Berkeley Rep Jerrod Charmichael: Ari Told Me I Lack Focus, November 8-13, Peets Theatre. Wuthering Heights, adapted and directed by Emma Rice, November 18 – January 1, Roda Theatre. Boxcar Theatre. See website for event. Brava Theatre Center: See website for events. BroadwaySF: Moulin Rouge! The Musical, through November 6, 2022, Orpheum. Jagged Little Pill, through November 6, Golden Gate Theatre. Ain't Too Proud November 9 – December 6, 2022, Golden Gate. Hadestown returns September 12-17, 2023 at the Orpheum. Broadway San Jose: The Book of Mormon, Nov. 22-27, 2022 California Shakespeare Theatre (Cal Shakes). 2023 Season to be announced. Center Rep: Clue based on the screenplay, Lesher Center, Walnut Creek, October 29 – November 20, 2022. Central Works The Museum Annex by Mildred Inez Lewis, now through Nov. 13, 2022. Cinnabar Theatre. Daddy Long Legs, January 6 – 22, 2023. Contra Costa Civic Theatre To Master the Art by William Brown and Doug Frew, April 21 – May 21, 2023. Curran Theater: An Evening with Nigella Lawson, November 14, 2022. Custom Made Theatre. Shoshana in December. November 18 – December 18, Phoenix Theatrre, 414 Mason St., San Francisco. 42nd Street Moon. Gypsy In Concert, November 3-4, Heritage Theatre; November 12-13, Alcazar Theatre. Golden Thread The Language of Wild Berries by Nagmeh Samini, now through November 6, 2022. Potrero Stage. Landmark Musical Theater. The Addams Family, now through November 20, 2022. Lorraine Hansberry Theatre. Halie! The Mahalia Jackson Musical, world premiere. December 2 – 24, at the Magic. Magic Theatre. The Travelers by Luis Alfaro, February 15 – March 5, 2023. See website for other theatre events at the Magic. Marin Theatre Company Two Trains Running by August Wilson, November 25 – December 18, 2022. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC) A Picture of Two Boys by Nick Malakhow now through November 27, 2022. Oy Vey in a Manger, by the Kinsey Sicks, December 7 – 31, 2022. Oakland Theater Project. Book of Sand: A Fairy Tale by Lisa Ramirez, November 11 – December 4, livestream/on demand November 26. The Oakland Theatre at FLAX. Pear Theater. Frankie and Johnny at the Claire de Lune by Terrence McNally, December 1- 18, 2022. PianoFight. Calendar of shows. PlayGround. See website for upcoming shows. Presidio Theatre. Sleeping Beauty: Panto at the Presidio, December 1 – 30, 2022. Ray of Light: See website for upcoming productions. San Francisco Playhouse. Indecent by Paula Vogel, now through – November 5, 2022. SFBATCO See website for upcoming streaming and in- theater shows. San Jose Stage Company: Sex with Strangers by Laura Eason, now through October 30, 2022. Shotgun Players. Natasha, Pierre & the Great Comet of 1812 by Dave Malloy. November 5 – December 30, Streaming November 17, December 1. South Bay Musical Theatre: The Spitfire Grill, January 28-February 18, 2023. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino A Slice of Life, world premiere by John Fisher, November 5-27. At Theatre Rhino (formerly Spark Arts). Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley. Little Shop of Horrors, November 30 – December 24, Lucie Stern Theater, Palo Alto. Word for Word. See schedule for live and streaming works. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season, starting February. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Playbill List of Streaming Theatre: Updated weekly, this is probably the best list you'll find of national and international streaming plays and musicals. Each week has its own webpage, so scroll down. National Theatrical Streaming: Upcoming plays from around the country. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org The post Bookwaves/Artwaves – November 3, 2022: George Saunders – Lisa Ramirez (part one) appeared first on KPFA.
Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues Bookwaves Jesse Green, New York Times theatre critic, and co-author of “Shy: The Alarmingly Outspoken Memoirs of Mary Rodgers,” in conversation with host Richard Wolinsky. Mary Rodgers (1931-2014) was the daughter of composer Richard Rodgers, and is best known as the composer of the hit musical “Once Upon a Mattress” and the novel, “Freaky Friday,” which has been adapted into various media. But she is also known as the best friend of composer Stephen Sondheim, as well as for knowing, as the book points out, pretty much everyone in the Broadway universe. The memoir tells the story of her life from her perspective, with additional material created by Jesse Green, who is the New York Times chief theatre critic. The interview covers elements of her life, and focuses on the nature of criticism. Recorded September 8, 2022. Complete 48-minute interview. Bookwaves Clive Barker, noted horror and dark fantasy author, in conversation with the Probabilities crew, Richard A. Lupoff, Lawrence Davidson and Richard Wolinsky, recorded September, 1987 while he was on tour for his fantasy novel, “Weaveworld.” Digitized, remastered and edited in October 2022. Hosted by Richard Wolinsky. The last quarter of the 20th century was a golden age of horror novels. Leading the pack, of course, was Steven King. But there was also Peter Straub, Anne Rice, Dean Koontz and several others. One of the leading authors of the period was Clive Barker, who burst onto the scene in his early thirties with The Books of Blood, followed by novels and short stories specializing in horror and dark fantasy. He was also the writer and director of what is now a classic in the field, Hellraiser and its villains, Pinhead and the Cenobites. The Probabilities Crew, Richard Lupoff, Lawrence Davidson and myself, we interviewed Clive Barker three times, first in 1987 then a year later, and finally in 1996. This interview was recorded a few months after Clive's 35th birthday, was also several months before the release of the original Hellraiser film which premiered the following September. As of 2022, there have been seventeen Clive Barker novels in all, five short story collections, fourteen plays, and a variety of comic books and graphic novels, several screenplays, teleplays and adaptations, and three feature length films he directed. A new version of Hellraiser, based on his original screenplay, now streams on Hulu, along with Books of Blood from 2020. Candyman, from 2021, streams on Amazon Prime, as does the original 1987 Hellraiser. In 2012, Clive Barker he went into a coma following a disastrous visit with a dentist. Since that time, no new novels have been forthcoming, though he is credited with involvement in a number of published works and film and television adaptations. Complete 49-minute interview. Book Interview/Events and Theatre Links Note: Most in-person events still require proof of full vaccination for all audience members over 12 and masks. Many venues will require proof of boosters. Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination status requirements before arrival. Dates are in-theater performances unless otherwise noted. All times Pacific Standard Time. Book Stores Bay Area Book Festival Highlights from this year's Festival, May 7-8, 2022 and upcoming calendar. Book Passage. Monthly Calendar. Mix of on-line and in-store events. Books Inc. Mix of on-line and in-store events. The Booksmith. Monthly Calendar. On-line events only. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Kepler's Books On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC). See website for past streams. Alter Theatre. Upcoming: Snag by Tara Moses, Pueblo Revolt by Dillon Chitto American Conservatory Theatre All Hallows Gala, October 28, August Hall. A Christmas Carol, November 30 – December 24, Toni Rembe Theater. Aurora Theatre Colonialism is Terrible, but Pho is Delicious by Dustin Chinn, November 4 – December 2, in theatre. Streaming: December 3-4. Awesome Theatre Company. Terrorama in Space, October 28, 29. Exit Theatre. Berkeley Rep Jerrod Charmichael: Ari Told Me I Lack Focus, November 8-13, Peets Theatre. Wuthering Heights, adapted and directed by Emma Rice, November 18 – January 1, Roda Theatre. Boxcar Theatre. All Hallows Eve, October 28, 29, 31, The Palace Theatre. Brava Theatre Center: See website for events. BroadwaySF: Moulin Rouge! The Musical, through November 6, 2022, Orpheum. Jagged Little Pill, through November 6, Golden Gate Theatre. Ain't Too Proud November 9 – December 6, 2022, Golden Gate. Hadestown returns September 12-17, 2023 at the Orpheum. Broadway San Jose: The Book of Mormon, Nov. 22-27, 2022 California Shakespeare Theatre (Cal Shakes). 2023 Season to be announced. Center Rep: Clue based on the screenplay, Lesher Center, Walnut Creek, October 29 – November 20, 2022. Central Works The Museum Annex by Mildred Inez Lewis, now through Nov. 13, 2022. Cinnabar Theatre. Misery, based on the novel by Stephen King, now through October 30, 2022. Contra Costa Civic Theatre Upcoming show to be announced. Curran Theater: An Evening with Nigella Lawson, November 14, 2022. Custom Made Theatre. Shoshana in December. November 18 – December 18, Phoenix Theatrre, 414 Mason St., San Francisco. 42nd Street Moon. Gypsy In Concert, November 3-4, Heritage Theatre; November 12-13, Alcazar Theatre. Golden Thread The Language of Wild Berries by Nagmeh Samini, now through November 6, 2022. Potrero Stage. Landmark Musical Theater. The Addams Family, now through – November 20, 2022. Lorraine Hansberry Theatre. Halie! The Mahalia Jackson Musical, world premiere. December 2 – 24, at the Magic. Magic Theatre. The Travelers by Luis Alfaro, February 15 – March 5, 2023. See website for other theatre events at the Magic. Marin Theatre Company Two Trains Running by August Wilson, November 25 – December 18, 2022. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC) A Picture of Two Boys by Nick Malakhow now through – November 27, 2022. Oy Vey in a Manger, by the Kinsey Sicks, December 7 – 31, 2022. Oakland Theater Project. Book of Sand: A Fairy Tale by Lisa Ramirez, November 11 – December 4, livestream/on demand November 26. The Oakland Theatre at FLAX. Pear Theater. Frankie and Johnny at the Claire de Lune by Terrence McNally, December 1- 18, 2022. PianoFight. Calendar of shows. PlayGround. See website for upcoming shows. Presidio Theatre. Sleeping Beauty: Panto at the Presidio, December 1 – 30, 2022. Ray of Light: See website for upcoming productions. San Francisco Playhouse. Indecent by Paula Vogel, now through – November 5, 2022. SFBATCO See website for upcoming streaming and in- theater shows. San Jose Stage Company: Sex with Strangers by Laura Eason, now through October 30, 2022. Shotgun Players. Natasha, Pierre & the Great Comet of 1812 by Dave Malloy. November 5 – December 30, Streaming November 17, December 1. South Bay Musical Theatre: The Spitfire Grill, January 28-February 18, 2023. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino Bad Hombres by Guillermo Reyes, now through October 30. 2022. A Slice of Life, world premiere by John Fisher, November 5-27. At Theatre Rhino (formerly Spark Arts). Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley. Little Shop of Horrors, November 30 – December 24, Lucie Stern Theater, Palo Alto. Word for Word. See schedule for live and streaming works. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season, starting February. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Playbill List of Streaming Theatre: Updated weekly, this is probably the best list you'll find of national and international streaming plays and musicals. Each week has its own webpage, so scroll down. National Theatrical Streaming: Upcoming plays from around the country. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org The post Bookwaves/Artwaves – October 27, 2022: Jesse Green – Clive Barker appeared first on KPFA.
Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues Bookwaves Vauhini Vara, author of the novel, “The Immortal King Rao,” in conversation with host Richard Wolinsky. Recorded via zencastr September 8, 2022. Vauhini Vara studied at the Iowa Writers Workshop, worked as tech reporter at The Wall Street Journal and wrote for the business section of The New Yorker. She is a contributing writer at Wired. Her upcoming collection of short stories, This is Salvaged, will be published in 2023. The Immortal King Rao tells two stories, that of a fictional tech billionaire who grew up in humble beginnings in the 1950s in southern India and eventually came to the United States, and during the novel flashes forward a hundred years to a dystopia in which algorithms determine the success or failure of any individual. Vauhini Vara webpage. Complete 45-minute interview. Artwaves Richard Wolinsky & Bill Irwin, 2017 Bill Irwin, creator and performer of “On Beckett,” which was performed at the Toni Rembe (formerly Geary) Theatre, October 19-23, 2022, interviewed by Richard Wolinsky when the show was first performed in 2017. Bill Irwin won the Tony Award for his portrayal of George opposite Kathleen Turner's Martha in “Who's Afraid of Virginia Woolf.” on Broadway. He performed as both Lucky and Vladimir in productions on Broadway of Samuel Beckett's “Waiting for Godot,” and performed in A.C.T.'s recent production of Beckett's “Endgame.” A veteran of several TV shows and films, currently he appears regularly on the TV show “Law & Order: SVU” and appeared previously on “Sleepy Hollow,” and “Legion.” A founder of the legendary Pickle Family Circus, he has also appeared in San Francisco and New York in the shows “Fool Moon” and “Old Hats.” Bill Irwin's interest in Nobel laureate Samuel Beckett (1906-1989) goes back to college and his performances of Beckett not only include the mentioned plays but other works as well. The interview was recorded January 9, 2017 in a dressing room at the Strand Theatre in San Francisco. 2017 Interview podcast. Review: “Indecent” by Paula Vogel, at San Francisco Playhouse through November 5, 2022. Book Interview/Events and Theatre Links Note: Most in-person events still require proof of full vaccination for all audience members over 12 and masks. Many venues will require proof of boosters. Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination status requirements before arrival. Dates are in-theater performances unless otherwise noted. All times Pacific Standard Time. Book Stores Bay Area Book Festival Highlights from this year's Festival, May 7-8, 2022 and upcoming calendar. Book Passage. Monthly Calendar. Mix of on-line and in-store events. Books Inc. Mix of on-line and in-store events. The Booksmith. Monthly Calendar. On-line events only. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Kepler's Books On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC). See website for past streams. Alter Theatre. Upcoming: Snag by Tara Moses, Pueblo Revolt by Dillon Chitto American Conservatory Theatre On Beckett, written and performed by Bill Irwin, Toni Rembe (Geary) Theatre, Oct. 19-23. All Hallows Gala, October 28, August Hall. A Christmas Carol, November 30 – December 24, Toni Rembe Theater. Aurora Theatre Colonialism is Terrible, but Pho is Delicious by Dustin Chinn, November 4 – December 2, in theatre. Streaming: December 3-4. Awesome Theatre Company. Terrorama in Space, October 14, 15, 21. 22. 28, 29. Exit Theatre. Berkeley Rep Jerrod Charmichael: Ari Told Me I Lack Focus, November 8-13, Peets Theatre. Wuthering Heights, adapted and directed by Emma Rice, November 18 – January 1, Roda Theatre. Boxcar Theatre. All Hallows Eve, October 28, 29, 31, The Palace Theatre. Brava Theatre Center: See website for events. BroadwaySF: Moulin Rouge! The Musical, through November 6, 2022, Orpheum. Jagged Little Pill, through November 6, Golden Gate Theatre. Ain't Too Proud November 9 – December 6, 2022, Golden Gate. Hadestown returns September 12-17, 2023 at the Orpheum. Broadway San Jose: The Book of Mormon, Nov. 22-27, 2022 California Shakespeare Theatre (Cal Shakes). 2023 Season to be announced. Center Rep: Clue based on the screenplay, Lesher Center, Walnut Creek, October 29 – November 20, 2022. Central Works The Museum Annex by Mildred Inez Lewis, Oct. 15 – Nov. 13, 2022. Cinnabar Theatre. Misery, based on the novel by Stephen King, October 14-30, 2022. Contra Costa Civic Theatre Upcoming show to be announced. Curran Theater: An Evening with Nigella Lawson, November 14, 2022. Custom Made Theatre. Shoshana in December. November 18 – December 18, Phoenix Theatrre, 414 Mason St., San Francisco. 42nd Street Moon. Gypsy In Concert, November 3-4, Heritage Theatre; November 12-13, Alcazar Theatre. Golden Thread The Language of Wild Berries by Nagmeh Samini, October 14 – November 6, 2022. Potrero Stage. Landmark Musical Theater. The Addams Family, October 22 – November 20, 2022. Lorraine Hansberry Theatre. Halie! The Mahalia Jackson Musical, world premiere. December 2 – 24, at the Magic. Magic Theatre. The Travelers by Luis Alfaro, February 15 – March 5, 2023. See website for other theatre events at the Magic. Marin Theatre Company Two Trains Running by August Wilson, November 25 – December 18, 2022. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC) A Picture of Two Boys by Nick Malakhow October 21 – November 27, 2022. Oy Vey in a Manger, by the Kinsey Sicks, December 7 – 31, 2022. Oakland Theater Project. Book of Sand: A Fairy Tale by Lisa Ramirez, November 11 – December 4, livestream/on demand November 26. The Oakland Theatre at FLAX. Pear Theater. Frankie and Johnny at the Claire de Lune by Terrence McNally, December 1- 18, 2022. PianoFight. Calendar of shows. PlayGround. See website for upcoming shows. Presidio Theatre. Sleeping Beauty: Panto at the Presidio, December 1 – 30, 2022. Ray of Light: See website for upcoming productions. San Francisco Playhouse. Indecent by Paula Vogel, September 22 – November 5, 2022. SFBATCO See website for upcoming streaming and in- theater shows. San Jose Stage Company: Sex with Strangers by Laura Eason, October 12-30, 2022/ Shotgun Players. Natasha, Pierre & the Great Comet of 1812 by Dave Malloy. November 5 – December 30, Streaming November 17, December 1. South Bay Musical Theatre: The Spitfire Grill, January 28-February 18, 2023. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino Bad Hombres by Guillermo Reyes, October 6-30. 2022. A Slice of Life, world premiere by John Fisher, November 5-27. At Theatre Rhino (formerly Spark Arts). Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley. Little Shop of Horrors, November 30 – December 24, Lucie Stern Theater, Palo Alto. Word for Word. See schedule for live and streaming works. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season, starting February. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Playbill List of Streaming Theatre: Updated weekly, this is probably the best list you'll find of national and international streaming plays and musicals. Each week has its own webpage, so scroll down. National Theatrical Streaming: Upcoming plays from around the country. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org The post Bookwaves/Artwaves – October 20, 2022: Vauhini Vara – Bill Irwin appeared first on KPFA.
KPFA theatre critic Richard Wolinsky reviews “Indecent” by Paula Vogel, directed by Susi Damilano, at San Francisco Playhouse through November 5, 2022. The post Review: “Indecent” by Paula Vogel, at San Francisco Playhouse appeared first on KPFA.
Katie checks in with actor, writer, and co-founder/co-Artistic Director of The Hearth, a theatre company dedicated to stories by, about, and for women and other under-represented genders, Julia Greer.
Kevin Adams shares developments in the craft of lighting, assembling his lighting department, and why he enjoys designing pop rock musicals specifically as it relates to A Beautiful Noise! If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! ABOUT KEVIN ADAMS Four-time Tony winner Kevin Adams has designed SpongeBob SquarePants (Tony nom.), Head Over Heels, Hedwig and the Angry Inch (Tony and Outer Critics Award), American Idiot (Tony Award), Spring Awakening (Tony Award; Olivier nom for the West End production), Next To Normal (Tony nom), The 39 Steps (Tony and Drama Desk Awards), Hair (Tony nom), Man And Boy, Everyday Rapture, Passing Strange, Take Me Out, A Class Act, Hedda Gabler with Kate Burton, solo shows by Eve Ensler and John Leguizamo. Off-Broadway he has worked on the original production of Hedwig and the Angry Inch, The Scottsboro Boys, Rent, Carrie, new work by Edward Albee, Eric Bogosian, Christopher Durang, Richard Greenberg, Tony Kushner, Terrence McNally, Neil Simon, Anna Deveare Smith and Paula Vogel. His work has also been seen at the Metropolitan Opera, Steppenwolf Theatre, Yale Rep, Berkeley Rep, Donmar Warehouse, and City Center Encores! On screen, he's worked on Mildred Pierce (HBO), Audra McDonald in concert (Town Hall, Joe's Pub, Lincoln Center), staged concerts featuring Patti Lupone (Gypsy, Candide, Anyone Can Whistle, Sunday in the Park with George and Regina) and Blue Man Group in Las Vegas and the Hollywood Bowl. For his work off-Broadway he has received an Obie for sustained excellence and two Lucille Lortel awards. MENTIONED IN THIS EPISODE: A Beautiful Noise on Instagram: instagram.com/abeautifulnoisemusical A Beautiful Noise on Facebook: facebook.com/ABeautifulNoiseMusical Get Your Tickets: abeautifulnoisethemusical.com ambermylar.com --- Come say hi to us! Facebook: @PageToStagePodcast @BroadwayPodcastNetwork Instagram: @PageToStagePodcast @TheMaryDina @BrianSedita @BroadwayPodcastNetwork Twitter: @TheMaryDina @BwayPodNetwork YouTube: @PageToStagePodcast @BroadwayPodcastNetwork #PageToStagePodcast Learn more about your ad choices. Visit megaphone.fm/adchoices
Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues Masters of Horror and Suspense Peter Straub (1993-2022), in conversation with Richard Wolinsky and Richard A. Lupoff, recorded april 4, 1993 while on tour for his novel, “The Throat,” third in a thematic trilogy that included “Koko” and “Mystery.” Peter Straub, who died on September 4th, 2022 at the age of 79, was a master of horror and supernatural fiction whose work erased any distinction between genre and the literary world. Among his best known novels were Ghost Story, Shadowland, Floating Dragon, The Hellfire Club, and his collaboration with Stephen King, The Talisman. He was also a poet and short fiction author. Three years after the interview, Peter Straub's novel The Hellfire Club was published to great acclaim, followed in 2001, with Black House, a sequel to The Talisman, written with Stephen King, and four later novels, the last one, A Dark Matter, published in 2010. A third book in The Talisman series was announced, but never written. A television series based on The Talisman for Netflix and created by The Duffer Brothers of Stranger Things fame, was announced in 2021 and is apparently still on track. Complete 39-minute interview. Digitized, remastered and edited by Richard Wolinsky in September, 2022. This interview has not seen the light of day in nearly thirty years. Stephen King, in conversation with Richard Wolinsky and Lawrence Davidson, while on tour for The Dead Zone, recorded September 8, 1979 at Dark Carnival Bookstore in Berkeley. At the time of this recording, Stephen King had only written a handful of books — Carrie, Salem's Lot, The Shining and the Stand preceding The Dead Zone. There were also two novels under the pseudonym Richard Bachman, which was still a secret at the time. Since then, Stephen King has become a literary institution with over 300 credits for television and film adaptations at IMDb. He also has 64 novels, 11 collections of stories, and 5 non-fiction books. This interview was transcribed and can be found in both Feast of Fear: Conversations with Stephen King, edited by Tim Underwood and Chuck Miller, and Stephen King and Clive Barker: Macabre II, edited by James Van Hise. Photo: Stephen King during the era of the interview. Photo by Marty Reichenthal/AP/Shutterstock. Review: “Moulin Rouge! The Musical” at BroadwaySF's Orpheum Theater through November 6, 2022. Book Interview/Events and Theatre Links Note: Most in-person events still require proof of full vaccination for all audience members over 12 and masks. Many venues will require proof of boosters. Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination status requirements before arrival. Dates are in-theater performances unless otherwise noted. All times Pacific Standard Time. Book Stores Bay Area Book Festival Highlights from this year's Festival, May 7-8, 2022. Book Passage. Monthly Calendar. Mix of on-line and in-store events. Books Inc. Mix of on-line and in-store events. The Booksmith. Monthly Calendar. On-line events only. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Kepler's Books On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC). See website for past streams. Alter Theatre. Upcoming: Snag by Tara Moses, filmed. American Conservatory Theatre Passengers by Shana Carroll, September 15 – October 9, 2022, Geary Theater. Aurora Theatre This Much I Know by Jonathan Spector, Sept 2 – Oct. 2, 2022. Awesome Theatre Company. Now streaming on the website: The Jersey Devil Play, Holy Sh*t That Was Scary: The Cloud; and previous productions. Berkeley Rep Goddess, conceived by Saheem Ali, August 14 – October 1, 2022. Roda Theatre. The Ripple, The Wave That Carried Me Home by Christina Anderson, September 9 – October 16, 2022, Peets Theatre. Boxcar Theatre. Nude Noir, Palace Theatre (home of Speakeasy) Oct. 14-15. See website for other listings. Brava Theatre Center: See website for events. BroadwaySF: Moulin Rouge! The Musical, through November 6, 2022, Orpheum. To Kill A Mockingbird, through October 9, 2022, Golden Gate. Hadestown returns September 12-17, 2023 at the Orpheum. Broadway San Jose: Cats, September 20-25. The Book of Mormon, Nov. 22-27, 2022 California Shakespeare Theatre (Cal Shakes) Lear by Marcus Gardley, September 7 – October 2, 2022. Center Rep: Always Patsy Cline by Ted Swindley, Lesher Center, Walnut Creek, September 9 – 25, 2022. Central Works The Museum Annex by Mildred Inez Lewis, Oct. 15 – Nov. 13, 2022. Cinnabar Theatre. Misery, based on the novel by Stephen King, October 14-30, 2022. Contra Costa Civic Theatre Camelot, small cast version, September 9 – October 9. Curran Theater: An Evening with Nigella Lawson, November 14, 2022. Custom Made Theatre. Zac and Siah, or Jesus in a Body Bag by Jeffrey Lo, Sept 23 – Oct. 16, 2022. Phoenix Theatrre, 414 Mason St., San Francisco. 42nd Street Moon. Cate Hayman, live at the Gateway, Sept. 30, 7:30 pm. Golden Thread The Language of Wild Berries by Nagmeh Samini, October 14 – November 6, 2022. Potrero Stage. Landmark Musical Theater. The Addams Family, October 22 – November 20, 2022. Lorraine Hansberry Theatre. See website for upcoming shows. Magic Theatre. Campo Santo presents Otto Frank, written and performed by Roger Guenver Smith, return engagement, September 29 – October 1. See website for other events and performances. Marin Theatre Company Dunsinane by David Greig, September 22 – October 16. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC) Aunt Jack by Nora Brigid Monahan, September 16 – October 16, 2022. Oakland Theater Project. The Crucible by Arthur Miller, September 2-25, 2022. Pear Theater. In Theater: Bull in a China Shop/Collective Rage, in repertory, September 9 to October 2, 2022. PianoFight. Calendar of shows. PlayGround. Breed or Bust by Joyful Raven, Potretro Stage, show runs September 9 – 24, 2022. Presidio Theatre. New live performance/theatre venue kicks off in September. See website for calendar details. Ray of Light: Kinky Boots, September 21 – October 8, 2022. Sept. 14-19 shows cancelled. San Francisco Playhouse. Indecent by Paula Vogel, September 22 – November 5, 2022. SFBATCO See website for upcoming streaming and in- theater shows. San Jose Stage Company: The Play That Goes Wrong, Sept. 21 – October 16, 2022. Shotgun Players. Man of God by Anna Ouyang Moench, September 3 – October 2, 2022. South Bay Musical Theatre: Stephen Sondheim's Company, September 24 – October 15, 2022. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino Bad Hombres by Guillermo Reyes, October 6-30. 2022, 4229 18th SF in the Castro. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. New live performances by John Fisher every Thursday at Theatre Rhino, September 15, 8:00 pm: Spencer. TheatreWorks Silicon Valley. Little Shop of Horrors, November 30 – December 24, Lucie Stern Theater, Palo Alto. Word for Word. Live reading: Two stories by Haruki Murakami, October 3, 7 pm. Z Below. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season, starting February. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Playbill List of Streaming Theatre: Updated weekly, this is probably the best list you'll find of national and international streaming plays and musicals. Each week has its own webpage, so scroll down. National Theatrical Streaming: Upcoming plays from around the country. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org The post Bookwaves/Artwaves: Peter Straub and Stephen King appeared first on KPFA.
Jamie Maschler joins Mary and Wyatt to talk about love, music, creativity, and a question that our listeners are always curious about: How is Lawrence Welk responsible for the public image problem that plagues the accordion? Jamie shares her memory of first meeting Mary, and it is funny as hell. "Jamie Maschler, knows the versatility of the accordion better than most. She has played the instrument since she was four and spent years perfecting and competing. Talents like her seem to be increasingly valuable.“ -The AtlanticJamie is a musician, music director, educator and an ambassador of the accordion. She is co-founder of the Brazilian bands Foleada, En Canto, and the accordion duo Creosote. She has been heard with the Pueblo Symphony, Seattle Symphony and Seattle Philharmonic. Jamie has also played the role of Nelly Friedman in Paula Vogel's award winning play Indecent twice.In 2018, the National Association of Music Merchants (NAMM) feature Jamie in their Museum of Making Music exhibit titled “Accordions: Expanding Voices in the USA”. Jamie is based in Seattle, WA where she studied accordion under three-time Latin Grammy Nominee Jovino Santos Neto at Cornish College of the Arts.Jamie works for accordion manufacturer Petosa Accordions, where she is able to share her passion and actively participate in the reinvention and face of the traditional Instrument.
Happy Pride! Join Holly and Meghan for a super queer round-up of everything we've seen recently and are excited to see this month. Beware - spoilers abound! We talk about the genius of Paula Vogel and the revival of How I Learned to Drive. We attempt to manifest a queer dating conversation between Ryan Haddad and Michael R. Jackson and share our love of fat protagonists as we talk about A Strange Loop. Holly has thoughts on The Minutes and we both try to unpack our experience at Which Way to the Stage. As queer psychics, we predict the transfer of Into the Woods and The ThanksGiving Play (we promise we recorded this weeks ago), dream cast and queer Into the Woods, and welcome Milky White into the queer canon. We also shout-out upcoming shows in June we're excited to check out and our current queer culture recommendations. Shows Discussed: How I Learned to Drive Now in performance at the Friedman Theatre on Broadway Closing June 12th A Strange Loop Now in performance at the Lyceum Theatre on Broadway Tickets on Sale through October 16th Which Way to the Stage Performances ended June 5th at MCC Into the Woods Broadway Transfer begins June 28th at the St. James Theatre Performances June 28th-August 21st Upcoming Shows: Fat Ham Through July 3rd at the Public Theatre FRIGID New York Queerly Fest Various performances throughout June soft Through June 26th at MCC Theatre Criminal Queerness Festival June 22nd-26th at Lincoln Center Action of the Ep/Queer Gives: NYCLU SRG Campaign SRG Fact Sheet Social Media Toolkit Sign the petition Queer Culture Recs: Gentleman Jack Man About Town: The Story of Murray Hall from The Gilded Gentlemen Podcast Episode Credits: Edited by Meghan Dixon Thesis on Joan: Follow Thesis on Joan on Instagram & Twitter Leave us a voicemail at (845) 445-9251 Email us at thesisonjoan at gmail dot com Learn more about your ad choices. Visit megaphone.fm/adchoices
Actor David Morse and playwright Paula Vogel on what they've learned revisiting the Pulitzer-winning, Tony-nominated play. Learn more about your ad choices. Visit megaphone.fm/adchoices
DAVID MORSE received Emmy® nominations for his roles on “House” and HBO's “John Adams,” and has appeared in numerous television series, including Emmy-nominated “Escape at Dannemora," “The Chair,” “The Morning Show," “The Deuce," "The Good Lord Bird,” “Hack,” “Treme,” “True Detective,” “Outsiders,” and “St. Elsewhere." Morse's film credits include The Green Mile (1999), 16 Blocks (2006), The Hurt Locker (2009), World War Z (2013) and Concussion (2015). A stage veteran, Morse is currently on Broadway in Paula Vogel's Pulitzer Prize winning show How I Learned to Drive, reprising the role he originated opposite Mary-Louise Parker Off-Broadway in 1997. He previously starred on Broadway in the 2018 revival of The Iceman Cometh, for which he received a Tony Award nomination. His other notable stage performances include the 1984 Los Angeles production of Of Mice and Men; Lanford Wilson's Redwood Curtain, in which he originated the role of Lyman; Heather MacDonald's An Almost Holy Picture; the Broadway production of The Seafarer; the Off-Broadway production of The Unavoidable Disappearance of Tom Durnin; and the original Off-Broadway production of How I Learned to Drive, for which he won a Lucille Lortel Award, a Drama Desk Award and an Obie Award®. Learn more about your ad choices. Visit podcastchoices.com/adchoices
2022 Tony Nominee(!!) David Morse is reprising his role for Paula Vogel's Pulitzer Prize-winning play How I Learned to Drive, making it's Broadway debut! David recalls his journey from loving theatre in high school to joining the Boston Repertory Company and eventually moving to New York to join the Circle Repertory Company. He also shares what made him change his mind from vowing to never do TV early in his career to becoming an established actor with a long list of TV and film credits. He opens up about how acting and playing different characters helped him get through tough times when he was younger, giving up theatre when he was struggling financially, finding the silver linings and being grateful for the way things turned out despite any shortcomings. David has become an established actor with an incredible TV, film, stage, and acting career, boasting a long list of credits like “The Green Mile” and the Off-Broadway production of Paula Vogel's Pulitzer Prize-winning drama, “How I Learned to Drive” where he won numerous awards, including an Obie Award and a Drama League Award. He appeared in over 30 productions with the Boston Repertory Company and further his stage career with the Circle Repertory Company in New York before giving TV and film a chance. Some of his other notable credits include movies like “St. Elsewhere”, “12 Monkeys”, “Contact”, “The Hurt Locker”, “Proof of Life”, “Double Vision”, and a number of TV series like “Hack”, “The Chair”, and “House”.In this episode, we talk about: In this episode, we talk about: Auditioning for the Boston Repertory Company Joining Neighborhood Playhouse to study for two years Facing bankruptcy Waking up Richard Donner in his hotel room to get a script from him Doing a one-person play Getting offered a film from Sean Penn Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices
We are thrilled to welcome the legendary Paula Vogel as our first guest on Season Three! We talk about the revival of How I Learned to Drive currently making its Broadway debut at Manhattan Theatre Club's Friedman Theatre as well as other highlights from Paula's incredible career. We talk gender collision, theater-viewing as obligation, the inspiring next generation of playwrights and theatermakers, subverting dangerous myths about queers through theater, reinventing Paula's theatrical catalogue, how Holly followed in Paula's footsteps, and increasing access to plays by BIPOC and queer writers through the virtual archive Bard at the Gate. Additionally, Paula gives us a ton of ways to support queer youth in Texas and Florida and wants your ideas on how else to create safe spaces. Stay tuned after the credits for very special surprise guests. Paula Vogel: Website | Twitter Paula Vogel's Reading List Bard at the Gate Dr. Anne Fausto-Sterling's Writing Charlie Francis Chan Jr.'s Exotic Oriental Murder Mystery by Lloyd Suh Unmerciful Good Fortune by Eddie Sanchez The Drag by Mae West Philip Kan Gotanda Naomi Iizuka The Country Wife by William Wycherly Do a Paula Vogel Bake-Off! Queer Culture Recs: Cheryl Wheeler- Music / Concert Dates Bush Tetras - Snakes Crawl / You Taste Like the Tropics Queer Gives: Donate to Bard at the Gate Gay Pride Orlando - October 15, 2022 Equality Florida TENT- Transgender Education Network of Texas Episode Credits: Edited by Meghan Dixon Thesis on Joan: Follow Thesis on Joan on Instagram & Twitter Leave us a voicemail at (845) 445-9251 Email us at thesisonjoan at gmail dot com Learn more about your ad choices. Visit megaphone.fm/adchoices
In this latest episode, Jeff and Richie discuss the latest Broadway production of Paula Vogel's HOW I LEARNED TO DRIVE at the Manhattan Theatre Club in NYC. Starring Mary-Louise Parker and David Morse, this chilling play takes Jeff & Richie's conversation to new levels as they discuss a difficult subject matter being portrayed on stage. This conversation includes thoughts on the play as a whole, as well as how audiences perceive subjects like this and how there is room for any style of storytelling on stage, especially a Pulitzer-prize winning play like this.Share with us, your thoughts, on HOW I LEARNED TO DRIVE on our Instagram page. @halfhourpodcast*This podcast will include spoilers*Thanks for listening! Please leave us a review with what you think about the podcast. Follow us on Instagram: @halfhourpodcastFollow us on TikTok: @halfhourpodcastVisit our website: www.twoworldsentertainmentllc.com
Intro: teenage hackersLet Me Run This By You: setting limits with KanyeInterview: We talk to Josh Sobel about Cal Arts, Travis Preston, Yale School of Drama, Robert Brustein, Fig and the Wasp, Oberlin College, The O'Neill Theater Center, Michael Cadman, Royal Shakespeare Company, Chicago ensemble theatre, Strawdog Theatre Company, Ianesco's Rhinoceros, Rochester NY, Brighton High School, A Chorus Line, Cabaret, horizontal hierarchies, The Wooster Group, change talk vs. change action, Chris Ackerlind, Light in the Piazza, Paula Vogel's Indecent, Samantha Behr, Haven Chicago, The Den Theater, Rochester Philharmonic, Lorenzo Palomo, Ian Martin, Hal Prince, Dr. Seuss' The Sneetches, John de Lancie, Rochester Academy of Medicine, radiation oncology, The Xylophone West by Alex Lubischer, Isaac Gomez's The Displaced, Center Theatre Group, Jeremy O'Harris' Slave Play, Rashaad Hall, Chris Jones' review of Ms. Blakk for President.FULL TRANSCRIPT (unedited):3 (10s):And I'm Gina Pulice.1 (11s):We went to theater school together. We survived it, but we didn't quite understand it.3 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (21s):We survived theater school and you will too. Are we famous yet?2 (32s):I think, I think my son has fig he's gotten into sort of like the hacking side of things and he always wants to get around all of the restrictions we put on him. Like we have content restrictions, we have time limits. And I think he's just made it his mission. I mean, this is like the theme of his life. He has made it his mission to subvert the paradigm as my husband would say. And it's exhausting because all I can do is try to be like 10 steps behind them and learn like what's a VPN. That's what I, I think what he did. I think he installed a VPN to bypass the internet control that I have.2 (1m 20s):Oh1 (1m 20s):My God.2 (1m 22s):And it somehow how that relates to, I can watch, I couldn't tell you. I can tell you that if I turn off the wifi, I can watch it on my cellular data.4 (1m 33s):It's insane.2 (1m 35s):Yeah. It's, it's beyond insane. I, and you know, I like, I'm always on this thing where I'm vacillating between letting it go and just trying harder to, you know, impose the limit. I mean, you, I wouldn't, before I had kids, I would not have imagined it was this hard to impose limits on people, you know, because you don't want them to not have what they want. Right.4 (2m 6s):Right.2 (2m 7s):And, and it's a real battle to like, make myself, give myself and my children limits. It's really hard.4 (2m 17s):My God. Yeah. Yeah. And the other thing I'm stuck on, it's like maybe there was okay. I think I'm like trying to figure out the thing, which is like, I know what I think I know what happened. So you have restrictions on content. Like, and I think a genius, the Kanye trilogy, like completely has all those triggers in it. Like all the things are in it. There's sex, suicide. There's, there's, it's all the things you, I wouldn't want a susceptible teenager to watch. Right. Like just for various reasons, not, not for anything other than triggers. Right. So like my nieces and nephew, the same thing, so, okay.4 (2m 57s):So then you set that right? And you're like, no, no, but then the kid or anyone can get a VPN, which then resets, I think the con, but I think you're still on the, you're still, you're still on the content warning site, which is blocking genius. You from watching genius. That is fucking, I mean, it's kind of genius in a way, but it's also so infuriating. It's like, come on, dude. I'm just trying to watch my fucking Kanye west bullshit.2 (3m 26s):It's literally just this race of like today I'm on top. And then the next day it's like, oh my God, they, they, they run the show. I'll never forget. There was a scene in the first season of the Sopranos where Tony and Carmel are having a problem with Anthony, or maybe it was with the daughter, a meadow and they're in their bedroom. And he goes, if she finds out, we have no power. We're screwed. And I laughed. It was the time I had watched it after I had teenagers. Yeah. Like that's what it is. We actually have no power. And yet the, the, the con that we're forced to do is pretend like we have all the power.2 (4m 12s):It's4 (4m 13s):Like2 (4m 13s):Covering4 (4m 14s):A metaphor also for life about like my mom's friend sent me something that said, you know, I forget it was like her friend had passed away and it's not fair and it's not fair. And I, and it isn't, and that's the thing. Like it, the truth is not fair. Like it sucks. But like, and, and we pretend that things are fair because if we don't, it's absolute chaos. Like if we didn't pretend really that red means stop and green means go, we'd have a real fucking problem. If we all rebelled and said, you know what, fuck you, green means go. And red means stop. And we all sent a mass media thing around.4 (4m 56s):There would be chaos. It would be2 (5m 13s):The bus. And I guess that's just the headline right there. That's like the headline in the story. Like you took the bus from LA to San Fran, Fran, because gas is so expensive.4 (5m 22s):Well, many things. Okay. So driving, it's really a grind on the five coming home, especially it's like, so rough, like, it can be a nine hour instead of five, six hours situation. It's crazy. Cause the five sucks. So, so that was the first like, and then gas. So I wasn't gonna drive cause I did the drive Thanksgiving and it was like, oh God. And then, so I was like, okay, well I'll, I'll just, I I'll fly. But then I'm afraid to fly. Even though the flight is literally 45 minutes. And then I was like, okay, but then because of gas, I said, okay, I'm going to just get my balls into it. I'm going to build up my balls and I'm going to fly. But then because of gas, you know, does jets use gas fuel though?4 (6m 6s):The flights really went up six San Francisco. You shouldn't even get a flight for a hundred bucks on Southwest round trip, like 120. No, no, two 20. So I'm like, oh no. So then I say, okay, well I'll take my Amtrak. Of course, which is actually what I, what I looked at first. But the track of it, it's a beautiful ride. It takes forever, but it goes up the coast and it's gorgeous. And you can like bid to get a fancy room,2 (6m 28s):Right? Yeah.4 (6m 29s):Well, okay. Well the tracks being repaired, so then you'd have to take a Greyhound. I'm not taking a Greyhound. So then I was like, okay, what would it take a fancy bus? And it's a flick2 (6m 38s):Of a fancy4 (6m 39s):Flex bus flicks. And Flix is big in Europe and they're charter buses and they have bathrooms and it's like assigned seating. And I bought two seats because I was like, fuck you. And it's so inexpensive, but still listen. I just, you know, and I worked, my dad was an addict. I have food addict issues. I get addicts. So don't come. People don't come at me for saying this. But the bus is a place where heroin, heroin, addicts thrive. Like that2 (7m 9s):Is the heroin addict doing on the4 (7m 11s):Bus nodding out. So there's two, there was a couple and I was like, oh, these are heroin addicts. They just looked so like, their luggage was all fucked up. They couldn't barely get on the bus. They were fighting young people, LA style tattoos. Fine. I am tattoos. It's not that they, but it was like this very specific look thin bedraggled, but not, not, not a curated look like more like, I'm just fucked up inappropriate clothing for the weather. Like big. Although in San Francisco is cold. Maybe they need something. I didn't know. They had like heavy coats on it's like 90 degree, all their shit. Right? Like they're, you know, I've got one little carrier. They've got like bags, like big things.4 (7m 52s):Okay. And that you can check, but you have to pay more for it. And their suitcases are falling apart. Okay. Fine. But they have cell phones, which is so, but a lot of people have cell phones. I mean, I I'm always shocked when people have cell phones that look like they shouldn't, I'm like, what? How do you maintain that? But anyway, so they get on an immediate, they sit in the, they got the seats in the way back, which is like a little bigger, but also your brother bathroom's gross, but they just not out immediately. They get on and like midfoot, mid fighting. They just like pass out and I'm like, oh my God. Like not out like out. And then don't wake up until we get there. Like literally it's an eight hour ride.4 (8m 32s):They don't get up at all.2 (8m 35s):Wow. They'd probably been awake. Yeah. Or I guess maybe not4 (8m 41s):How2 (8m 42s):It works with the4 (8m 42s):Heroin. Well, it depends like, I mean,2 (8m 44s):Not the heroin.4 (8m 46s):That's my new band name. That's our new band name. The heroin's got mics on two levels.2 (8m 51s):Yeah,4 (8m 53s):That was good. Gina. Okay. So no for me and my, my, my clients were a lot of them on heroin. And what would happen is like, you can't always get heroin. Right. Because it's expensive. And because I mean, it's cheaper than whatever, but it's expensive. And then, so you go without it and you start to detox and then you're up, you can't sleep. You're a mess. And then when you finally score again or whatever, get your heroin, then you just feel great for about half an hour. Then you pass out. It's just so it's such a waste, but okay. It's a process.2 (9m 25s):You know, although I would never want to be a heroin addict. I will say something like what's occurring to me. As you're talking about this couple is like, you know how with addicts, their life is very focused around just scoring or whatever. So to be able to have your life goals in these little chunks is really appealing to me.4 (9m 47s):Yeah. Well, it's a very, very, very specified job2 (9m 52s):World. Right? You make, I think when you're a heroin addict, you must have a really small world and your objectives are like, get score. That's at a place to4 (10m 1s):Sleep and don't get arrested and don't2 (10m 3s):Get, don't get arrested. Like there's something and I, I'm sorry to be cheeky about it. Cause people have really suffered with heroin addiction. I, I'm not suggesting that people, anybody should be an addict. I'm just saying like the idea4 (10m 14s):Yeah. To you. It's like, yeah, me too.2 (10m 17s):Actually even just the other day I was thinking I was watching somebody who had, what I imagined was probably a minimum wage job. And I don't remember what the job was now, but I just, I was looking at the person doing their tasks and I was thinking, yeah, maybe I should get a job like that. You know? And then 30 seconds in, I'm really trying to imagine myself. And I'm like, what am I talking about? Oh, people don't love working at McDonald's. Don't love, you know, whatever the4 (10m 47s):Jobs. And I will in, in adulthood in 30 dumb, in 40 dumb, like the last one I had at that fucking donut shop, I was like, oh, this seemed quaint. The chef was a jerk. I got in like a fight with the chef was so rude. Like here I am 42, right. Or 43 or something. And I was working at this place in Rogers park for like cash only under the table owned by these two young SIRS. They, whatever their business was working. But like the fucking chef was like talking shit about me. Like,2 (11m 23s):Is that a doughnut chef? No,4 (11m 28s):I should have said that. No, they also serve sandwiches. That's brilliant. That's brilliant. I was2 (11m 33s):Just thinking to myself, like, do you have to be a chef?4 (11m 36s):No, that's hilarious. But she was like, or they were, they were talking shit about me. And I was like, oh no, no, no. And I was basically volunteering there. I was so outraged. I was like This person that2 (11m 51s):To read an essay about that, you've got, write an essay about your donut shop stint.4 (11m 55s):Oh, I will. And I want to name names. They were fucking assholes. And also they, like, when I went to confront the PR, like I was like, I like when you walk behind someone you're supposed to stay behind. Right. But if you've never worked in the restaurant industry that does not come naturally. And also I'm really fast moving. So like I just met, she goes, you have to stay behind. And I was like, oh my God, I'm gonna fucking kill you. And then she would under her breath talk shit to me about to the other people. And so, and so I finally, you get them, you get them every time, this way. So I pulled the owner aside and I was really upset, like crying because she was treating me like shit. And I said, listen, what the fuck is this? And then the next, the person wanted to then that the owner was like, look, this lady is doing as a favor by working here basically because we have no one and she's working on under the table.4 (12m 42s):So then the, the, the person wanted to talk to me, the chef and I talked to her, I'm like what? She goes, I'm sorry. If I come off a little, I go, oh no, no, you don't come off. You are. And I said, I don't know what's happening here. I'm like, just try to do my job and go the fuck home and make my money to pay my cell phone bill, bitch. Like I wrote that and then I just quit. I was like, fuck all. Y'all. So, no, it sounds really quaint, which is why I fucking get those jobs. And then you get in there and you're like, oh, this is how on earth.2 (13m 11s):Oh God, I am sure it was, I4 (13m 15s):Don't do2 (13m 15s):It. Yeah, no, no, I won't. I will not do it. It just, it just periodically, it just occurred to me4 (13m 20s):Because there's a set skill set set of tasks that no one eat you ma I imagine that no one is like on their high horse. No, no. People are still on their fucking high horse in minimum wage jobs. There's a hierarchy of fucking assholes anywhere you've.2 (13m 37s):But then I did get to watch the third episode of the Kanye documentary and then, okay, well, I didn't finish it though. I'm only like 20 minutes into it. It's so sad. Right? It's going to go on. It's going to turn4 (13m 50s):It. It does. But in also in an unexpected way, what I will say, I think we should talk about the third episode next time. Okay.2 (13m 58s):But4 (13m 59s):The first two, for me, fucking amazing in the storytelling, whether, regardless of how I feel about Kanye west, which I don't feel any kind of way other than, I mean, I just, I I'm talking about the, since we're about to make a documentary, right? Like I'm looking at, I love the first two. I love cooties filmmaking. And the first two episodes, it then takes a turn on the third, but like the first two are so packed with information and visuals and, and storytelling.4 (14m 39s):Like, I loved it. You and you also get a S he such a great job of like showing a slice of time, you know, and, and, and all the characters in it and real life people we know and get glimpses of. And I just thought, and for me, the most moving part of it, I mean, I have real lot of feelings about Donda and Connie's relationship and Donda herself. I have a lot of diagnoses for both of them, but I'm not, you know, like, I feel like she's got bipolar. Like, I think there's a whole thing going on there, but what I found, I have never, I have never been so moved for, for the hustle and the perseverance of a human being and the just sort of neutral and unwavering.4 (15m 32s):We know it's not really true, but like they're like, but the unwavered, what I saw was an unwavering unshakable, almost naive belief in oneself.2 (15m 42s):This is what I wanted to talk to you about. This is what I wanted to run by you. Cause the, the connection between talking about that, me working on the documentary and, and this a, I agree with you, Cody is an amazing documentarian. And we could totally learn a lot from the way that he weaved his own personal story into that, his relationship with this, you know, mega personality. But yeah, you know, the scene where he's talking to a bunch of kids and he's, he's talking about self-compassion, I mean, he, he has a point, you know, what, what should you, you created an amazing piece of art and somebody compliments you on it and you you're supposed to pretend like you're dumb.2 (16m 29s):You all, you don't agree that it's, that it's amazing. You know, like there's something to be said for that. And there's something to be said for what you're just describing the unshakable confidence, but I want to hear what your thoughts are about their relationship.4 (16m 45s):It was interesting to watch the process of what I would call a simultaneous process of infantilizing him as well as idolizing him as well as parental defying him, as well as believing in him. It's a combo platter. And I believe from watching her and watching what I noticed in her mannerisms and his that I think they both had a mania thing going on, like in her eyeballs. So I have become really good at looking at people's eyeballs.4 (17m 26s):And I notice in the documentary, as it goes along when Kanye is manic, his voice goes up in pitch and his eyeballs looked different and she had this eyeball situation, which is this sort of darty, Desperate eyeballs. And I noticed it in my clients all the time and I'd be like, oh, they're manic, they're manic. It's not an, and it's like, hypomania, it's not for her. But like, I saw that in her. And I was like, oh, like, what's happening? Where am I going? What's happening? Who can I okay. And, and covered with a bit of like, you know, self-help, you can do it this and perseverance, but it's, it's all a combo platter, but that was my take.4 (18m 15s):What was on their relationship was like a, I need you, you need me, what's happening. I'm worried about you, but I'm going to then hope that by, by really pumping you up, that I'm going to pump up the mental illness away.2 (18m 31s):. Yeah. Well, I, I agree with what you say about the, their relationship, their dynamic, and it makes sense that yeah, maybe she had a touch of the bipolar too. What I was thinking about it is, and like I say, I haven't gotten through the third episode, but what I was thinking is it's so evident how meaningful their relationship was to both of them, but in this case for, for him and that he could just maybe spend the rest of his life, chasing that relationship, chasing a woman who will fall over him, the way that she did.2 (19m 14s):I mean, really what it seems like, what he needs is a person who kind of use it as their sole purpose in life to, to, to support his genius, which is why he probably makes a terrible partner, But that the, she gave him like this, like she was mainlining love to.4 (19m 35s):Yeah.2 (19m 37s):And you know, he's unlikely to find that any place else. Right,4 (19m 41s):Right.2 (19m 41s):But he's still looking, I think, Well,4 (19m 46s):And then it's really interesting. So like Cody gave up his whole life to, to follow him and it wasn't enough. Like it, it becomes not enough. And then when the person literally is removed by death, then what do you do is what we're seeing in the documentary. But like the it's, it's a it's, it's so fucked up because I, I feel like from watching from the outside, she must've felt like she was his only hope. Right. Which is which, okay. Which I'm sure is it's2 (20m 18s):Hard to me was her only hope.4 (20m 19s):No, she was, she's like, I'm my son's only advocate. Right? My old, his only hope for love and happiness comes from me ultimately. And whatever went down in his childhood, I have to make up for what other, all of them, with the other, all the mothers stuff happens. Right. I can imagine. And then it's like, yeah, it sets him up to be, like you said, chasing that the rest of his entire life. And she's not going to be around forever. And she did the best she could. And she did so much compared to what a lot of people do. And he's, it's just, it, you throw in mega stardom in there and it is a recipe for absolute meltdown.2 (21m 6s):It actually, it really relates to the thing we were talking about when we started talking today, which is about limits and limit setting. And I think I mentioned to you that I'm also reading this book about Sandy hook conspiracy and the straight line between Sandy hook conspiracy and the January 6th instruction. But in the part of the book where they're talking about Adam Lanza and his mother, I hadn't heard this before that, you know, he, he he'd been flagged in the psychiatric system, you know, going back since he was a young boy and I don't know why she opted out of treatment for him. But what I do know from this book is that what she strove to do was keep meeting his needs wherever they were.2 (21m 53s):But because he was so mentally ill, his needs were things like w w when he had his, the intake at Yale, the clinician noted that he said to his mother, you need to stand with no part of your body touching the wall and that she just did it. And that at home, it had gotten too, there were things he couldn't have cooking odors, curtains, door knobs.4 (22m 23s):Yeah.2 (22m 24s):And she just kept meeting the need. And this was something that I really relate to. Hopefully I have not going off the rails like that, but when your child is suffering and what they're telling you is I want this thing, the decision to say, I know better than you. You think you want this thing, but that is not the right thing for you and for that child to be screaming in your face or not. But, you know, with all of their energy, all of their conviction, they're coming to you saying no, this with my kids, it's the screens.2 (23m 4s):No, I need my screen time. And I'm going. Yeah. But you, you can't know what I know, which is that you, it's not good for you. It's simply not good. And it's just so hard to tolerate when your child is enraged or hurt by you4 (23m 22s):Suffering the suffering.2 (23m 24s):So nobody said any limits for Kanye, and he's now floating like a balloon in the ether, right?4 (23m 32s):Yeah. It's, it's really bad. He's now he's now has restraining orders. And now he's got the Grammy said he can't perform there. So now the limits are being imposed that are huge. And I don't know what's going to, and I also, from working in Hollywood, what I noticed was it is so easy when you have money and power yeah. To, to develop a team that will, will do what you're saying. That, that Adam Lanza's Mrs. Or miss Lanza did. It's so easy to have that bought and built in.2 (24m 15s):And I will tell you this, my, one of my very most successful treatments that I did when I was at private practice therapist is I treated somebody with very, very severe borderline personality disorder. And it was a kind of situation where the client would quit all of the time, you know, quit, quit therapy. And then, and then you would do this dance of like, they, you know, they don't really mean it. So you don't, you don't give up their appointment time because they're going to show up. Sometimes they're going to show up and act like nothing happened. Like they never said they were going to quit. So with this one person that I've been working with for a really long time, and we had a good relationship, which, which is to say yes, she was very, very sick.2 (25m 4s):And she was very, very difficult, but also she had so many great qualities that it kept me. Like, it kept me really invested in her, but the 50th time or whatever it was that she quit after I, she was also in this group that I was running and she like got violent Sharna in the group and left and whatever. Anyway, this time around, when she quit treatment, I said, okay, we're done now. And then she showed up for her next appointment. And I said, no, we're, we're done now. And that precipitated a year long hospitalization for her, but this person is now doing amazing, honestly.2 (25m 49s):And I knew in her family dynamic, her parents were afraid to set limits with that because she was a very, very strong personality, but it was only through the limit setting anything. It had to go all the way to the end, right. For her and, and to, to reject and decry and be victimized and blah, blah, blah, for then her to like follow her dream College. She, she, I can't say what it is obviously, but she has a job that was the job of her dreams and that she learned, she only discovered was the job of her dreams in treatment and that she could have only gotten to do after having really had to contend with actually living with the limit.0 (26m 42s):Well,3 (26m 55s):Today on the podcast, we are talking to Josh . Josh is graduating this year with his MFA in directing from Cal arts. And he formerly had a whole career in Chicago as artistic director of the Haven in Chicago. And he has a lot of interesting insights about his experience of being in school again, after having well launched into his career. So please enjoy our conversation with Josh Sobel.2 (27m 36s):So Josh was just explaining the Cal arts is, I was saying, is it a conservatory? And he was saying, it's an art school in the truest sense. So go ahead and repeat what you're saying.6 (27m 44s):Yeah. So like Travis, who's an alum of like Yale back from the Robert Brustein days of Yale. He he's like, look, Yale school of drama is always considered like, Ooh, Yale school of drama, but he's like, if you think about it within the larger Yale structure, you've also got like the business school and like, you've got the journal, you've got the medical school, you've got all these things. So like within the theater universe, it's huge, but within the structure of the university, it Yale, you know, and so the beauty of Cal arts in a way is that it exists outside of that larger sort of academic structure. It isn't part of a university. It is an art school with a theater department.6 (28m 27s):And there's something that, that is really freeing honestly about that. And the Cal arts in particular sort of leaned into in terms of its sort of generative and, and experimental sort of Ben it's, it's been an interesting experience. Yeah, please.2 (28m 45s):Gina Bridget went there. Yes. Yeah. That's what I'm saying. I think she's the another co Cal arts alum we have.6 (28m 51s):Well, and it's funny, cause you mentioned they were an acting alum and the acting program I have to say is in particular fascinating and unique. And I love it because unlike a lot of programs I've encountered and I've like taught in academia a little bit before I went in, before I started as a student in it, it's like very few programs encouraged teach and want their actors to be generative artists in their own. Right. And bring that to the table in the room. And honestly, as a director, I'm like, it's a gift. It is such a goddamn gift in terms of the collaborative process. Like I, I can sometimes when I'm hitting my own moment, like really feel comfortable being like, I need like a physical gesture representing a panic attack in slow motion that moves across the stage this way, take third, take 30 minutes.6 (29m 44s):Here's some music and an object.4 (29m 46s):Oh God, that sounds like the greatest thing I've ever heard.6 (29m 51s):I did something similar with a particular actor in my thesis show thesis show, quote unquote. And like she killed it. Oh my God. Avalon Greenberg call. She's about to graduate from the BFA program and she's, or a couple of years. And she's incredible. But like she ran with it and these actors are sort of prepared to take that and like, just make shit and be like, is this what it is? What does it need? And then I can sit there and like sculpt, we can then like work together to be like, Ooh, let's expand that moment out. Let's tighten that bit. And we're then working collaboratively on this other thing.4 (30m 25s):So amazing Josh, like, like I, I, I do this every time we talked to someone that I really like, and I like their vibe and I like how they're talking about their education. I'm like, oh, I'm going to apply there. And then I remember that I did apply to Cal arts for undergrad and I got a call back, which was like the greatest thing, because I was a terrible actor. And I like in the truest sense, like what you're talking about, I would have been like, so, so I am, so I am so glad to talk to you because I, when you say things like that, about how you direct as well, and I'm not a director, Gina directs, I don't direct, but like I want to work with someone who says shit like that.6 (31m 7s):Well, I, I really, I don't know. It's funny. I, you know, outside of like grad school, when I was in undergrad, I went to undergrad at Oberlin college, which is really sort of a diamond in the rough school for theater. It's like, and it's a lot of OBS do well out there. And it's weird because it's like, it's not known, but it's really good. But while I was there, I also did a semester at the O'Neill and I don't know if you're familiar, the national theater Institute. Yeah. So I, I did fall 2007 and like, I really lucked out my partner and I were a year apart actually, before we ever met weird small world, but we both walked out because we've got there right at the time as this particular artistic director was there, Michael Cadman, who was a, an alum himself of the Royal Shakespeare company.6 (31m 52s):And like he understood ensemble. It's funny. Cause I always like, what am I, I love Chicago and I miss Chicago so much, but one of my like little gripes with Chicago is that the word ensemble gets thrown out a4 (32m 6s):Lot.6 (32m 7s):And I, I have a very particular opinion about that because it's like, I think ensemble sometimes it's just meant to mean or thought to mean like a collection of actors, you know, or the company members, you know, the, the Steppenwolf ensemble or the straw dog or whatever. And I'm like ensemble is a value. I think ensemble is, is some it's about how one sits in the middle of a collaborative process. It's about how the threads are drawn. Not even just in the actors, it's about the threads are drawn outside to stage management, to producing, to designers, to everything. Like, and we're all coming together to sort of generate something together, right?6 (32m 49s):Like that's ensemble and Michael understood more than anyone I've ever met in my life. Like how to nurture, how to build, how to find the ensemble impulse in people. And he would just build semesters of the young students and sort of demonstrate that for for four months. And yeah, that's sort of been a foundational thing from that point forward. So I'm, I'm always ready to like chill for the O'Neil. Like, I love the, I love being,2 (33m 16s):Yeah. I actually live kind of near there. I live in Connecticut. Yeah. Oh, that's6 (33m 21s):Brilliant.2 (33m 21s):So you just made me think about something. Has any group of theater artists ever called the ensemble? Also the, the whole entire staff, like everybody on crew, because it is such a group effort. And we as act, this is one of the big things about, you know, going through an acting program, you just, and maybe it was just me, but you just think like, it's all about this. It's all about the actors and you just think everybody else is there supporting what you're doing.4 (33m 55s):Well,6 (33m 56s):It treats it like a technical term, right? It's like, it's a category. And rather than like, no, it's actually about an energy. It's about a trust. It's about something else. And I will say to answer your question like that w when I was a strong dog ensemble member, that that was one of the things I loved most about being on the straw dog ensemble was you had designers, you had managers, you had people like from every aspect of the creative process, sort of understood as part of the ensemble. It was all framed that way.4 (34m 24s):It's interesting. Like, I feel like what happens maybe is like, so take Steppenwolf because everyone talks about Steppenwolf as the original ensemble, which really you're right. A side note tends to mean in Chicago. And I can say this because I'm from there means that nobody is prettier or more famous than, than other actors. Like, that's what they mean by ensemble. Like that's how people talk about that. They're like, no, this is an ensemble piece. Meaning that even though you're really pretty, you're not going to be the star, like to someone, they never say that to me. You know what I mean? Okay. But anyway, side note, but ensembles. So when it's interesting, because it's like when a theater gets bigger, meaning a broader audience, more money, I feel like there becomes a really strong, clear delineation between technical staff and the actors.4 (35m 15s):And it comes, becomes compartmentalized probably because they have to run a freaking business with a multimillion dollar budget as we're like straw, dog. Like you can kind of stay it's like that storefront. It kind of, you can really get in there, which is how stepping will start it. So I think what we're talking about is the capitalization of the,6 (35m 33s):Oh, always, I mean, honestly, always all the time,4 (35m 37s):But yeah, but I'm, I'm curious about she and Gina, did you say2 (35m 42s):I did and I'm so sorry. I forgot to say Josh Sobell congratulations. Your surviving theater school. You're almost done4 (35m 49s):Art school theater school, you know, it's all the thing, but yeah. So I wanted to ask, I guess, take it back before I get on the runaway train of like, did you start out as a direct, like where you would act what's what was your path to the school of Cal arts? I guess6 (36m 7s):I've, I've been a director most of the time. I of course did a little bit of actually got rather late. Like I'm not one of those people who was like really involved in a lot of things when I was really, really little, but I had sort of a formative experience in high school as an audience member. My school was really remarkable. I, I unfortunately should catch up with them and see what they're doing in their theater department. But at the time, like we were a high school that was doing like Ian ESCO and Tom Stoppard and shit. Like, it was pretty cool. I assistant directed rhinoceros my senior year of high school, like Steve Rochester, New York, right in high school, shout out to Steve angle, Mr. Angle.6 (36m 47s):He was incredible. He also was the AP lit teacher and ran an incredible AP lit class. Like, oh my God, we, we read and watched just incredible stuff. And so actually his show, but he was one of the other directors there did chorus line and they did like an unedited chorus line in high school, which I also very much admired. And Paul's monologue hit me like eight when I don't know how familiar you are with, with the show. But like, you know, it's a classic Broadway, 1970s. It was sort of groundbreaking at the time because it was all real interviews of people who were all fighting chorus.6 (37m 27s):Of course, Paul Paul's monologue when he sort of finally breaks down and tells the story about his, his parents meeting him at the drag show in the back of, I lost it. Like I was a weeping mess. I don't know. And I had not had that particular experience before. And I walked out, I remember going home nerdy, like misfit fucking high school student hadn't found themselves yet and was like, I feel different. I don't know how I don't, I can't quantify it, but I feel like I am moving through the world differently than I was before I had that experience.6 (38m 8s):Wow. I want to do that. And that was, that was the moment. And so I started auditioning a little bit, but I always got interested in directing because I, it was the idea of like creating that holistic experience for an audience member, the way it was created for me. And so we also had, I think it was like an official partnership, like you could license with the 24 hour plays in New York. So my high did the 24 hour plays every year. And so I would stay overnight at the fucking school and, and do and direct. And that was sort of my first directing configuration. I was terrible. God. And my first few shows like first few shows at Oberlin were terrible.6 (38m 55s):Why, why? Oh my God, too, in my own head, I'm still too in my own head. It's the main thing I'm working on. I'm a very cerebral artist and that's not necessarily a bad thing. I just am seeking balance. That's part of the reason I went to Cal arts and Kellogg's was actually really the right choice for that in a lot of reasons to sort of break down some of my more cerebral and rigid habits. But I just didn't like, I, I was in my own way. It was that classic. Like it, my insecurity, I was second guessing. I was, it was actually Michael Cadman. It was the O'Neil. That was the turning point of that as well. So like I, anyways, I went through high school, got into it, went to Oberlin, was sort of jumping between theater and film got focused in theater because I liked the linearity of the process.6 (39m 40s):It just fit my brain better. You can really build the Dominos in order and watch them fall. And I love that from a process standpoint, joy. And so I went to the O'Neill and I was still like, I was overthinking and I was over like complicating and convoluting and Michael Cadman who I'm the final day of the program. I was like, you asshole, you couldn't have said this to me like weeks ago. I'm the final day of the program was like, you're very, very smart stop trying so hard to prove it.7 (40m 19s):Ah,6 (40m 20s):And that was, that was another game changing moment for me. And I, I started sort of stepping back and letting myself have more fun with it and just found myself sort of like what were my passion projects? What were the things that made me feel the way I did it, chorus line in a way. And my first show back in undergrad was a cabaret. And that was, that was a really huge, huge show for me. And I was very proud of that show and still have, like, I watched the video sometimes I was like, oh God, those transitions fucking suck. But, but yeah, directing, directing has always been sort of my thing because of that idea of like, I get to sort of, I don't know.6 (41m 4s):I, I, it's funny because so many people think about directing in this very hierarchical standpoint, right? Like they like the sort of like top-down, they get to sit at the head of the thing and create their vision. I challenged that constantly. And it's funny because people think by challenging that you give up the sort of directorial authority I call bullshit. I I'm interested in what I like to refer to as horizontal hierarchy. I say, I refer to it. I didn't invent the phrase, but like I've sort of taken it and I really love applying it to collaboration. I like the idea that as the director, I'm sort of sitting in the middle, I'm the same plane as everyone else surrounded by all of these brilliant fucking artists.6 (41m 48s):And I get to be like, Ooh, yes, it's a bit of that. It's not quite that. Can we bring it over there? I, yes, let's bring that in and pulling all of it towards the middle. And I still get to, by virtue of being in the center of a doll, just make decisions I get to make, be the arbiter of the quote, unquote vision or whatever you want to call it. But it's not that it breaks down the hierarchy in a way I'm not above anyone else that doesn't have to be my idea. It has to be the coolest idea. And so by sitting in the middle of it, I just get to sort of help tie the threads together in a way that feels like the audience experience we're going for. Like, that's my job to God.4 (42m 30s):Interesting. So it's so, oh yes. And I'm so curious as to why more directors don't do a horror. Is that, is it just an ego thing? A horizontal.6 (42m 47s):Yeah. Yeah. I think there's a lot of fear. There's a lot of like, I'm not even going to call it insecurity. Cause I actually think that doesn't do it justice and I think it's too easily dismissible. I think it's fear. I think there's a lot of fear. I mean, if I'm really Frank, I'm confronting it in certain areas of my program right now.4 (43m 25s):Okay. Wait, so you're saying that I just want to reiterate for my own brain because this happens all the time in all organizations across the board. So I'm really, and we're like, we were talking about it yesterday sort of. So, so you, you, you, there is an atmosphere of like, we want to make change, right.6 (43m 43s):Faded a stated goal,4 (43m 46s):Right? Not an atmosphere. Okay. So a stated goal, which a lot of theaters that I am familiar with and institutions are making these statements right now that the statement on paper or on the web or wherever it is saying, we want to take your feedback and make change. And it usually revolves around the word change. Like we're open to change. And if we're always, if we're honest, nobody's fucking open to change. We fucking,6 (44m 14s):And that's what we're talking about. It's the same fear to me. It's the same fear that you find in directing. It's a fear of some, some kind of loss of authority. It's a fear of some kind of loss of control. It's the fear of, I don't know. And it's so funny, like all of the ways you encounter it, because then yeah, you go and you actually say, here's the thing. And like I did this recently and I got yelled at, I got, and again, I've been, I've been working in Chicago theater for a decade before this. I don't give a shit. I was an artistic director, right. Like I was artistic director of Haven, Chicago. I don't like, this is, I don't need your ego. So I think it was actually kind of fun.6 (44m 56s):I think whether it's directing, whether it's artistic directors and institutional leadership, whether it's corporate leadership, whether it's, it's all of this, it's, it's, it's a full each year that, that somehow you're going to lose your Control.4 (45m 10s):This is so classic in, in terms of, so Gina and I were both therapists for years and look, and obviously we were children of parents. So I would go to my mom and say, this is the exact same thing. I would go to her and say, Hey mom, you're pretty abusive verbally. And she would say, but I'm the best mom. I know how to be. And at least you're not being beaten. Like I was beaten. And I'm like, okay. Yes, true. That all that is true. I, and you're still abusive to me. You're hurting me and sh and whether or not you want to make changes. That's the thing.4 (45m 50s):So we, we are literally reenacting parent child relationships in every walk of life. Like this sounds like a conversation a kid might have with their father where the father is like, well, I provide, we we're great.6 (46m 8s):And it's not about perfection. Like, it's not about like everyone and just like, we're all human beings. Right? Like I, I never wanted to feel like, and that's sometimes my problem with like, like I'm, I'm as left to center as you can get in a lot of ways, but it's like my one problem with sometimes a lot of left wing stuff is w where it's like, I think there is a purism that sometimes get, gets into it. And it's like, no, like we're all fucking human beings, right? If we believe in the ability to change and restorative justice and all of these things, then we have to actually believe that people can improve and get better. But it's like, there needs to be that honest interest in improving and getting better. There needs to be that genuine interest in it. And it's like, it's one of the things I was really proud of that we built it at Haven in Chicago with4 (46m 47s):Such a great theater. Gina Pavan is amazing. We're going to be there in the summer. So maybe we'll check it.6 (46m 53s):Ian Martin, like it's so funny. Cause it was such a, it was also a gift to really be able to do a transition process with Ian, you know, cause we really tried to be in, I've been part of some really unintentional transition processes. So like there were a lot of reasons where I really felt like Ian was exactly like, not, it wasn't even about sustaining what Haven had been doing. It was about how do we build and evolve on what Haven had been doing. And so Ian was sort of perfect. And we built the structure that you don't see very often where I, he was, yeah, he was my art, my associate artistic director for half the final season. And then we switched and he became artistic director and I was his associate artistic director for the other half of the season.6 (47m 36s):So he could have the responsibility and be in the decision-making position, but have the institutional memory sort of right at hand. And then it's like, and then I step away. So like I bring that up because there was an intentionality that we tried to bring to, like, we're going to be a theater company, let's be a theater company. Like you mentioned the business. Like let's, let's try to be a business, but let's try to be a next generation business.2 (48m 2s):And by the way, statements statements are to change as you know, sex is to relationships. Like it's a good start, but like you have to do more6 (48m 12s):Exact than just exactly.4 (48m 13s):So I guess the question is, what is it for me for me anyway? What is it in you, Josh? That is the kind of person because what is it? And there's a reckoning, obviously that I talk about a lot in, in terms of American theater and theater in general and the movie industry, the reckoning that's coming or in is, is that part of your drive right now to do this? Or it sounds like you've always been this sort of way, but why the fight? What, what, what about the fight?6 (48m 43s):Yeah, I think, I think, I think it's got it. That's such an interesting question because it's making me think in a chicken egg way, like is my ethics and my politics, like in here, like I don't know, the weirdest thing just came to mind and I'm going to follow that impulse.4 (48m 58s):Great.6 (48m 59s):Do it. And forgive me if I get a little bit emotional right now, it's it's my dad. If I'm really being honest, my dad is actually, he's not in the arts, but he's very artistic. He's a cellist. He's a musician. His odd actually, if you go to the Dem theater in Chicago, where Haven is the space that Haven exists in is the Bookspan theater specifically, the Janet Bookspan theater. Janet Bookspan is my aunt, his sister who was a major opera director, vocal coach, teacher, performer, actor assisted how prince back in the day, like holy4 (49m 40s):Shit.6 (49m 41s):Yeah. So like, and I have it on my mom's side as well, but my mom actually is an artist. She's a painter, but my dad, my dad is a radiation oncologist. He's a cancer physician, but music and art has always been a very big part of his life. His family, my life, he actually sidebar. Cause this is just a fun thing. And I hope this gets included. Cause I love bragging about this. My dad talk about politics and, and art colliding and art ed creative ethics. My dad has always been a big fan of Dr. Seuss's the snitches, this exists. You can go online. It's amazing. I'm so inspired by this. He was part of the Rochester academy of medicine and they have this amazing old building that has a roof.6 (50m 23s):That was basically, it's like a mansion that was donated and it's got this that was built for chamber music. And he developed relationships with the Rochester Philharmonic re developed friendships with musicians and created basically a chamber trio to play at the Rochester academy of medicine. And through this met a composer as Spanish composer, living in Berlin, named the Lorenzo. Palomo, who's pretty bright. His music is pretty outstanding and ended up commissioning a piece of music for this trio. And one thing led to another. And we found out that since my dad was young, he had believed that Dr.6 (51m 6s):Seuss is the snitches one. It was one of the most impactful, universal and effective lessons about acceptance and like anti-racism that you could find. And it was always his dream to have a piece of music, Allah, Peter, and the Wolf that was composed to be performed in tandem with a narration of Dr. Seuss's the snitches. So you can license this now on music theater international, because he did it. He commissioned Lorenzo to compose a piece of music for Dr. Seuss's the snitches. And we also by hooker by crooked premiered at my Alma mater at Oberlin and has since played around the country actually.6 (51m 52s):And I believe internationally. And, and it was all because he wanted to spread the message. It was because he wanted to use art to create an anti-racist piece of art. And the other cool thing is through a connection with his niece who ran the department of cultural affairs in Miami Dade county. She had a connection to John Delancey, who you might know as Q from star Trek, the next generation who did the original narration, the premiere. And so actually it's all on YouTube. You can hear John Delancey doing the speeches. And so like that's an aspect of my dad right there.6 (52m 33s):Another aspect was that I'll never forget this story. He actually built, he in Clifton Springs, New York built the cancer center, finger lakes, radiation oncology, because there, you know, there was a large elderly in particular community out there if I recall. And so, you know, as people are getting later in life, you know, biology happens and access to cancer treatment was non-existent except like 45 minutes or more at least minimum drive out of the way, if not hours out of the way. And especially as you're getting older, that becomes less and less sustainable for radiation treatments, for chemo treatments for all of these things.6 (53m 15s):So he found funding and worked his ass off as I, in some of my youngest days and built this cancer center from the ground up. And there was a day that I remember very distinctly hearing this story where as we've all been in any doctor's office, they were just running like, you know, three, four hours behind and sorry, I get emotional tug this story. It's so funny because it's like, that's, that's my true north in a way. You know, he, he sent his technicians out. This was back in the day when like Rent-A-Center was still a thing and blockbuster and shit, and like went out to get like sent them out to get like a television, sent them out to get a bunch of movies, sent them out to get like a sandwich platter and just showed up and basically were like, Hey, we're sorry.6 (54m 11s):We're we know we're running behind. We just want you to know, we haven't forgotten that you're here. You know? And like when does that happen at a doctor's office? Like when has that ever actually happened? Right. That's my,2 (54m 27s):Not for nothing, but my dad sold x-ray equipment. I've met a lot of radiation oncologists, and it's very unusual. Like there tends to be kind of a personality type with people who go into radar and it, it's not that what you're describing. So your dad must be a really remarkable person,6 (54m 45s):But yeah, no. And so I think it was a values thing. If we really want to talk about it, it's a values thing. It's, it's, it's a sense of how can we make this better? Like how can we be people first? How can we like again, we talk about Haven, right? One of the things I used to say, and I, and I would try, I tried to work hard to embody was like, oh, sorry, this does plug into our original conversations to bring it back perfectly on topic. One of my first shows I did in Chicago, I did a production of a play called xylophone west by Alex who's becoming a leg. Yeah. Alex is great. He's he's rising really well.6 (55m 26s):And like, we, he was actually, when I was the associate director of the summer Oneal program, he was a playwriting student when I was associate director. And that was our first. So it's cool. Just like, as we've sort of grown together, it's been amazing. And we did a reading of it and I, we have very strong opinions, especially because of the O'Neil being sort of a hub of new play development about what new play development is. There's a lot of bad, new play development. There's a lot of bad talk-backs, there's, there's a lot. And really it comes down to the difference between responsive feedback versus prescriptive feedback and how to cultivate that and understanding the difference.6 (56m 6s):And these, this artistic director did not understand this. And well, similar to what we're talking about, we were like, Hey, can we structure the talk back this way? Can we, this would really help Alex, Alex would say, this would really help me, like understand my play better. And artistic director's response was, I'll never forget this. Just remember who's the employer and who's the employee.4 (56m 34s):Right, right,6 (56m 35s):Right,4 (56m 35s):Right.6 (56m 36s):Case in point to everything we're talking about. And so like, I, it's sort of, when I think about like the sort of challenge to, sorry, I completely lost my train of thought.4 (56m 49s):No, no. What we're talking about is no, no, it's fine. It's when we're talking about a lot of things.6 (56m 53s):So4 (56m 54s):That's okay. What we're talking about is like this whole idea of like that your mentor wasn't your mentor anymore and why people don't want to change and the message versus what is actually happening in.6 (57m 6s):Yeah. Yeah. I'm trying to remember why I specifically brought up xylophone west, but it was like this idea of, I don't know. I think about this, this, I owe my, my dad my values. Yeah. Value system. That's right. Thank you. I just needed to hear about, yeah. Yeah. It's a value system thing. It's like, that tells me what that person's value system is. Right. That tells me sort of the culture that they built. And for me as at Haven, sort of taking a note from my dad, right? Hey guys, that you're here. We see that you're here. The way I would phrase that as an artistic director was like, yes, you are our employees. Let's be like, it's not that, that isn't real. Like we are, you were signing a contract to work for us.6 (57m 49s):We have expectations based on their contract. You are also a guest in our home. And that is our responsibility. Like as leadership as a company, as an institution, as a director, like you are, you are a guest in our home. This is our home. We are responsible. Especially if we want to talk about mentorship in academia, some of us are paying $50,000 a year,4 (58m 14s):Right.6 (58m 15s):Be in your home. Like you have all of the control of this space. You can, you can make this, whatever you want it to be, and we're paying you to exist inside of it. And, and it becomes a question for me of how do you take that responsibility? Like what if, whether it's an academic responsibility of like, we are literally paying for the privilege of this, or in a professional standpoint where it's like, it's, it's a little bit in the reverse either way. It's like you are in the position of power. You are in the position where you can like build culture that I use, that I find that word comes up a lot. When I rant about this, which I rant about4 (58m 53s):Culture, building culture,6 (58m 54s):Building culture, whether it's academic, whether it's professional, like that's the responsibility. And if you don't take that as the responsibility it's so,4 (59m 3s):Okay. The, the, the other thing that I was going to say is you had a moment where, so I have these moments where I say to myself, usually not out loud, but you kind of almost said it out loud, but you didn't either. Which is I say, my mama did not come to this country as an and work her ass off for this shit. And your moment was, my dad did not build a fucking radiology oncology center and then get Rent-A-Center furniture and sandwiches for me to be doing this shit like that is that moment. Well, I think, well, that's what I heard there. Everyone has a line and a true north of like, wait, wait, my legacy is not going to be, this is not going to be not saying anything to you.6 (59m 47s):And legacy is, is something I think about sometimes, but it's like, it's not even about that per se. It's like, I see what it means to people. Right? And like, if, if we believe in our own bullshit, like, especially as artists, you know, because artists are, are at the forefront of talking a lot of shit about like empathy, right. About community, about humanity, about seeing each other about uplifting each other about making the world a better place. And it's like, well, that's all well and good. But like, are you like how? And it's not even just like, again, like there's so many ways to do it, but I think sometimes we take for granted the small ways of doing it.6 (1h 0m 29s):I think sometimes we take for granted the like, what if we just buy everyone dinner? What if we like make a concerted effort to pay people a little bit better? Like, what if we, what if we show our work in that? Like, what if we actually believe in the transparency that we add? Like so much, like we talk about transparency so much in our industry, like, or rather not in our industry, I should say like artists talk about transparency in the world, right? Like we want corporate transparency. We want more governmental transparency. What are some of the least transparent motherfuckers?2 (1h 1m 4s):Yeah. I feel like I know why that happens in theater too. It's because there's no money. So everybody goes into it with all of their, like very theoretical and ideological approaches. And when you get very cerebral, very theoretical, you forget about things like, oh yeah, people don't want to do 10 out of twelves anymore because it's, it's, it's too fatiguing. And it actually works against the thing that they're there to do, which is create a new each performance, like being able to offer something fresh each time. So it, it, that is actually an area in which it's helpful to think about theater as a business.2 (1h 1m 47s):Because if this, if you were running a seven 11 and you had an employee, you'd have to have a bathroom, like it's, you know, you just think about the pragmatic things more when you're thinking about it as a business.6 (1h 1m 57s):Right. And, and it's like, I, and for me, it's like a lot of these things are considered mutually exclusive for some, or they're treated as mutually exclusive, but like, you have to, it's like the business and the sort of like cultural, ethical side, somehow don't mix. And I just don't agree. I don't agree for a lot of reasons. I don't agree in part through the Haven experiment. You know, I it's like, look, we, we're still not making money. And we, we, I want to say we were very privileged to have particular financial support. I don't want to take that for granted that we were not starting in the same place as a lot of other people. And I, and I don't take that for granted. It's not a brag. It's like a, like the bootstrap Smith. Like I want to make sure that it's not like, you know, taken for granted, but it's also like, there's still this idea that people won't show up sometimes like that, like literally I've had other artistic directors talk to me about Haven work in Chicago being like, what are you sure there's an audience here.6 (1h 2m 53s):I'm like motherfuckers. We just sent like 15 people away at the door for Isaac Gomez, horror play. But no one else would produce like, like why, what are we it, and those decisions are made because of business, right? Because, because how are we going to sell it to Chris Jones? Because like, how are we going to, and I, I, we found time and time again, that there is an audience for this work that we were able to at times even make money on, like compared to what we, what our show to show budget work. We were able to make money back, like, and we were paying people, you know, it still stipends, you know, not what they're worth. I don't want to pretend we were ever able to pay people what they worth.6 (1h 3m 35s):But we were able to pay people, usually double the typical storefront stipend it's like, and, and still keep ourselves on a typical like budget that I was used to for other storefronts. So it's like, it's this question of like, why are these things treated as mutually exclusive on a bigger scale? Look at center theater group right now, an article just got written. I got to see slave play out here, which amazing production also Chicago, shout out. I got to see cause he's under studying. And I got to see him perform that night. Rashad hall. Brilliant, brilliant. And his2 (1h 4m 11s):Shot6 (1h 4m 11s):Is brilliant. Oh my God, his Phillip just broke my goddamn heart. Oh my God. He was so good. That's a show that is deeply controversial, deeply challenging queer by PAC sexual BDSM oriented, racist, racist, racist, or in terms of its its topic matter like racism in the United States. And historically, and today it's it's and they gave away like 5,000 or more like free and discounted tickets. And they still made money.2 (1h 4m 48s):Jeremy DOE he recently just put something up on social about this that he made. He made accessibility like the most important feature of his, you know, this play being produced and it worked and it worked better still made money on this scarcity model, which is, I mean, that's a lot of this just comes from the scarcity model, influencing how everybody feels. So constantly afraid of losing the one little sliver of the pie that they have that, you know, all they can think about is how to make that tiny little sliver. How to divvy it up instead of saying no, how can we get more pie people? We want more pie. We want to just keep getting our tiny little slivers we want, we, we want to add.2 (1h 5m 28s):So I'm mindful of the time because I know we're about 50 and we're going to be having to wrap up and I want to hear about it's your last semester and you're working on a project and you're going to have spring break next week. What is your, is it a thesis? Is that, is that,6 (1h 5m 43s):That, that was actually last semester. That last semester. Yeah. That's so that's done. I've I've kept myself a little bit busy. I don't know. I, I found myself strangely in spite of the pandemic lab, maybe because of the pandemic last year and now being back in in person and, and all of that. I just, and also I think because of like big was amazing and like my designers were incredible. The students here are unbelievable, but it was also because of some of the things I shared, like an exhausting process, excuse me. And so I sort of took a break and then got into the semester and for some reason just was like, I want to make shit. I want to be involved in making shit.6 (1h 6m 24s):I want to, I want to be involved in my own shit. I want to get involved in other people's shit. I just want to make shit. And so I'm like, I just finished up working on a collaboration with a doctoral student in the music school where we created a, I worked with a lighting designer and we worked collaboratively to create a light based sort of design journey, like a sort of light experience in conversation with the music called busking style in real time, as part of his doctoral thesis.2 (1h 6m 60s):Wait, you're saying it was busking like that the project was6 (1h 7m 4s):The, the style of, of calling the lighting. Was it wasn't like, it was sort of like, Yeah, it was a, yeah. So it was board op up in the booth watching and listening for particular moments. And the music was also highly improv. The reason is because the composition had moments of high improvisation. So there were moments where it was literally like just listening for certain things to shift the lighting responsibly to the music as it was happening. And it was just something I had never done before. So I'm like, let's try this out. And then I'm, I'm drama turking and assistant directing a play that an acting MFA student who's a dear, dear friend has written in his performing it.6 (1h 7m 48s):So I can be sort of the outside eye while she's on the inside of it. And then I might have another project cooking for right before graduation. I'm I'm figuring that out right now. And then I've also got things outside. I'm thrilled to say my partner is actually going to be going to USC for film school next year. So she and I are actually working collaboratively on a couple of things with another acting alum from, from Cal arts, actually a which I'll be able to share a little bit more, actually there's some stuff online with little like BTS stuff it's called goon and I'm actually really pumped about it. Yeah. I'm really, it's, it's, it's super fun, super quirky.6 (1h 8m 30s):We found a great cinematographer. Right. We shed who's just has an inspired eye. And so, yeah, just, I don't know, just finding myself in that moment of like, I think also out of frustration, maybe with Cal arts at times, like I just want to get with the students here and make some shifts. Let's just make some,2 (1h 8m 47s):I think your thing is you want to helm your own ship, always. You want to kind of be in charge of your own destiny and which is a very good, I mean, I see you're making a face about it, but I just, from my prime saying that's a very good quality to have. And it actually leads me to another question I was going to ask you, which is, are you, age-wise about there with your peers in this MFA6 (1h 9m 9s):And that's been interesting. Yeah. Older, older. Yeah. I'm in my mid thirties. And that has been a, an interesting difference of experience at times. Yeah.2 (1h 9m 19s):Yeah. Well, we've talked to a lot of MFA's who, because they were in their thirties, we're able to see the whole thing about school in a m
Katie checks in with playwright (The Power of Punctuation, The Day the Butcher Shop Closed, Party Hop Off-Broadway; upcoming: All Nighter), Natalie Margolin.
What Up With Rob and Chris: Interview with Kevin Steinberg Podcast Host, Author, and Screenwriter. Kevin Steinberg~ Started out in theater in Toronto as actor/writer/producer and continued as theater actor in Boston. Worked in film & television in Toronto, Montreal and Los Angeles. Credits include: Seinfeld, Frasier, The Larry Sanders Show, Newsradio and Married With Children. Currently focused on writing scripts and launching a podcast. Kevin has had the pleasure of working with talented, award winning directors and actors: James Burrows, Todd Holland, Andy Ackerman, Philip Charles Mackenzie, Tom Cherones, Christian Duguay, Jerry Seinfeld, Julia Louis Dreyfus, Kelsey Grammar, Ed O'Neil, Katy Sagal, Maura Tierney and many other talented actors and crew members. I've also worked with incredibly talented, creative people onstage in; Toronto, Los Angeles, Boston, Ottawa and Newfoundland in plays by some very gifted playwrights; Michel Marc Bouchard, Maria Irene Fornes and Paula Vogel among others Here are some links for Kevin Steinberg: Frankly Kev Podcast- https://franklykev.com/ IMDb- https://www.imdb.com/name/nm6739985/?... Instagram 1- https://www.instagram.com/kevinpstein... Instagram Podcast- https://www.instagram.com/franklykevp... --- Support this podcast: https://podcasters.spotify.com/pod/show/what-up-with-rob-chris/support
In this episode of 2:00 AM Thespian Thoughts, Jordan and Lucy nerd out about theatrical ingenuity, academic superiority, and aptly named YouTube videos, all while maintaining a healthy dose of not knowing how to pronounce people's names. Listen in for the first episode of Pride month!
Welcome back to the 33rd episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. The theatres may be closed, but art finds a way to survive! For the time being on this podcast we are rereleasing our past reviews, interviews, roundtables, and duet reviews in remastered audio only versions so you can take your CoH content on the go! For our 33rd episode we continue to branch out our review series beyond the Stratford Festival and onto other productions. In this episode we discussed the 2017 Broadway production of Indecent, written by Paula Vogel, co-created and directed by Rebecca Taichman. Cup of Hemlock Theatre is a Toronto-based performing arts collective dedicated to staging works that examine the moral quandaries of the human experience. With an inquisitive compass, we aim to provide audiences the space to retrace their personal stories and navigate their individual ideologies. Follow us on Instagram/Facebook/Twitter: cohtheatre Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeat Apple Podcasts: https://apple.co/3aYbBeN Spotify: https://spoti.fi/3sAbjAu Max Ackerman – Instagram: mackerman12 // dandeliontheatreto Aisling Murphy – Instagram: aly_murph // Website: aislingmurphy.ca Ryan Borochovitz – [Just send all that love to CoH instead; he won't mind!] --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support
In which Sarah and Will discuss the Pulitzer Prize winning drama, How I Learned to Drive. Warning: this play deals with sexual abuse of minors. --- Send in a voice message: https://anchor.fm/theplaywrights/message Support this podcast: https://anchor.fm/theplaywrights/support
We return to our Playwright Series where we look at a single playwright and their large body of work. We discuss plays from their early, mid-career, and the latest or most recent play of their career. In this episode, we discuss the life and work of Paula Vogel. We read the three plays: And Baby Makes Seven (1984), How I Learned to Drive (1997), and Indecent (2017) to share our thoughts on Paula Vogel's craft in playwriting. We hope you will check these plays out and listen in to our conversation! PAULA VOGEL'S PLAYS: 1. And Baby Makes Seven (1984) 2. How I Learned to Drive (1997) 3. Indecent (2017) GLISTENS: Sarah's: California Wildfires Sam's: Wired's Five Levels series _____________________________________________ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support
Eric and Chris are back from Sydney! We go over our impressions of the experience and talk about "Indecent" by Paula Vogel at the Ahmanson Theater in Los Angeles. Please send emails and voicemails to opencallpodcast@gmail.com!
The boys are joined once again by Arts Fuse editor-in-chief Bill Marx, who opines on the continued demise of Boston fringe theater, most recently embodied by the loss of a home for the Gold Dust Orphans and the buying up of The Machine in Boston's Fenway neighborhood by a developer. The crew then discusses Paula Vogel's play Indecent, now playing at the Huntington Theater. Vogel's play was the subject of a debate between two critics in the pages of The Arts Fuse, with one lauding the it as a success, the other calling the writing obvious, and, at times, verging on Holocaust porn. Finally, Matt tries, and fails, to convince Bill and Lucas to watch Game of Thrones. The Arts Fuse turns 12 in June, and so we're having our annual spring appeal. Please visit us online or on social media to help support our continued coverage of the arts. $100 dollars or more gets you a snazzy t-shirt. https://artsfuse.org/ https://www.facebook.com/donate/449866119156075/10157037493503567/ https://www.mightycause.com/organization/Global-Narratives Thanks for listening and supporting our work.
Paula Vogel's Indecent examines the controversy surrounding a 1923 Broadway play that scandalized New York with a tale of a Jewish brothel owner. Idaho Matters speaks with Buffie Main of Alley Repertory Theater about censorship, sex and religion.
Julie Felise Dubiner is associate director of Oregon Shakespeare Festival's American Revolutions: The United States History Cycle, a multi-decade program of commissioning and developing 37 new plays sprung from moments of change in United States history. On my recent trip to Ashland, I was able to meet and chat with Julie about OSF's program and the wonderful plays that have already come out of it, a couple of which -- Lynn Nottage's Sweat and Paula Vogel's Indecent -- appear on this season's list of Most Produced Plays in the US compiled by American Theatre magazine. Featuring the question of what it means to be American, dramatizing moments of change and the problem with tying those moments to US presidents, watching the first run-thru of this generation's Death of a Salesman, overcoming one's shameful past in improvisation, fueling comedy with rage, how a sense of humor might save us, and the importance of writing the history of your people on to the stage. (Length 22:49)
I could have called myself a Stradivarius, for though I, of course, was just an ordinary violin, waiting, ready to be held for the first time in a musician's hands, primed to be played, mobilized by all my busy genes to become music – when first I felt the quiver of its stirring sound, I became, imparadised, the most priceless stringed instrument on the face of the earth. Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.
© 2020-2025 Ivy Podcast Discovery LLC
