Podcasts about princess grace award

Tanya Everett moved from Massachusetts to Brooklyn to pursue her career as an actor and writer. Her plays have been performed in many Off and Off-off Broadway venues: including the Public, Cherry Lane, HERE Arts Center, TheaterLab, Kraine, Cherry Pit and the Tank. Her play “And The Gods Walk Among Us” was named Semi-Finalist for the Princess Grace Award and Finalist for the Lark Development Week. Her play, “A Dead Black Man,” was a Finalist for the Dramatist Guild Fellowship in 2019.  She recently graduated from Brooklyn College, under Mac Wellman and Erin Courtney. She won the AAUW Career Development Grant, the Truman Capote Scholarship, and the 2018 MFA in Playwriting Awards to support her academic pursuits.  Some of her teachers and mentors include: Stephen Adley Guirgis, Ellen McLaughlin, Maggie Flanigan, and Julia Jordan. When she is neither acting nor writing, Tanya enjoys homemade food, live performances, working with youth, cuddling and communing with artistic spirits. ▬▬▬▬▬▬▬▬ Tanya Everett ⌲ IMDb: https://www.imdb.com/name/nm2672891/ ⌲ IG: https://www.instagram.com/tanya.everett/ ▬▬▬▬▬▬▬▬ The Moving Spotlight Podcast ⌲ iTunes: https://podcasts.apple.com/us/podcast/the-moving-spotlight/id1597207264 ⌲ Spotify: https://open.spotify.com/show/7cjqYAWSFXz2hgCHiAjy27 ⌲ Patreon: https://www.patreon.com/themovingspotlight ⌲ ALL: https://linktr.ee/themovingspotlight ▬▬▬▬▬▬▬▬ #Brooklyn #NYTheater #Playwrite #TedTalk #TedX #EGOT #GriefDance #BicoastalActor #BicoastalActress #Tempest #ImprovActing #Emmys #TVTime #iTunes #Actor #ActorsLife #Believe #Success #Inspiration #Netflix #Hulu #Amazon #HBO #AppleTV #Showtime #Acting #Artist #Theatre #Film #YourBestBadActing #Content #CorbinCoyle #JohnRuby #RealFIREacting #TMS_Pod --- Support this podcast: https://podcasters.spotify.com/pod/show/the-moving-spotlight/support

Sarah-Gabrielle Ryan is from Philadelphia, Pennsylvania where she studied on scholarship at the Rock School for Dance Education, Metropolitan Ballet Academy, and the School of Pennsylvania Ballet. Sarah-Gabrielle joined Pennsylvania Ballet II (now Philadelphia Ballet II) in 2014 before joining Pacific Northwest Ballet in 2016, where she is currently a principal dancer. She is a two-time Princess Grace Award nominee, was named Dance Magazine's On the Rise in 2018, and was the cover of Pointe Magazine in 2021. In addition to performing, Sarah-Gabrielle has taught around the nation and has choreographed work for Pacific Northwest Ballet's NEXT STEP, Gonzaga University Department of Theatre and Dance, and most recently for Pacific Northwest Ballet in celebration of Latino Heritage Month. Sarah-Gabrielle holds a certificate for Management of Successful Arts and Cultural Organizations from the DeVos Institute of Arts Management, has served as Vice-Chair of Community Engagement for Moulin/Belle Arts Residency, and is co-artistic director of Green Bay Ballet Festival. Follow and connect with Sarah on Instagram: https://www.instagram.com/xosarahryan/ Watch this episode on Youtube: https://youtu.be/1ei1fahVtIA To learn more about my mindset coaching and speaking services, visit kirstenkemp.com To stay up to date on the latest announcements and blog posts at The Confident Dancer, sign up to be a part of my email newsletter community here: http://eepurl.com/gDmjtz To follow along for daily tips and behind-the-scenes looks at what I'm up to, follow me on Instagram at @kirsten_theconfidentdancer __________________________________________________ WORK WITH ME 1:1! THE CONFIDENT DANCER COACHING PROGRAM: A 1:1 Coaching Program to help you do the inner work to step into a new level of confidence, well-being, and preparedness to accomplish your career goals. Perfect for pre-professional, professional, or recreational dancers wanting to master the mental side of optimum performance, so you can overcome the mental blocks that have been holding you back and confidently dance to your fullest potential! Learn more and apply here: https://kirstenkemp.com/confident-dancer-coaching-program#confident-dancer __________________________________________________ SPEAKING & WORKSHOPS: I offer mindset seminars to equip dancers with the inspiration and practical tools to thrive in their well-being and ability to perform their personal best. These 60-90 minute seminars can be a valuable addition to the holistic support and education of your dancers at your next intensive, year-round program, or professional development opportunity for your company dancers. Learn more and inquire here: https://kirstenkemp.com/speaking-and-workshops#speaking-and-workshops __________________________________________________ ONLINE COURSES: My online course offerings are a wonderful way to learn the practical steps to retraining your mind so you can thrive and excel in your dancing, all at your own pace and for a more affordable price than individual coaching. Whether your goal is to break through fear and nervousness so you can show up confidently in your auditions or you want to release the self-criticism or self-doubt that's been draining all the joy out of dancing lately, The Confident Dancer Course and rotating mini-courses available are designed to help you do just that. Learn more and enroll here: https://kirstenkemp.com/online-course-offerings _________________________________________________ DOWNLOAD MY FREE PDF GUIDE on "How To Find Your Unique Strengths as a Dancer": https://mailchi.mp/7e51450a0a3e/findyourstrengths DOWNLOAD MY FREE PDF GUIDE on "How to Break Through the Feeling of Not Being Good Enough": https://tinyurl.com/redefining-good-enough

FOR A LIMITED TIME ONLY (aka THE BREAD PLAY): After getting the unlimited bread deal at an Italian restaurant, Arlo and Val are both stuffed and ready for the check. But their server doesn't bring them their check. He brings them more bread. He keeps ... bringing them more bread. He won't stop. He won't ever stop. The bread is unlimited. And there is no escape. A romantic horror comedy about the hard truth that nothing lasts forever, except maybe bread. Written by Daniel Prillaman Directed by Jonathan Cook Performed by Roshelle Simpson as "Val", John D. Nelson as "Arlo", Valentin Angel Fernandez as "Server", and Jacquie Floyd and Jonathan Cook as the "Advertisement Announcers" Intro/Outro music: JK/47 About the writer: Daniel (he/him) is a neurodivergent ginger Virginian currently based out of Northern Ohio (with his creative partner and wife, Allisyn). He has a special fondness for absurdism, folklore, and horror, but ultimately loves plays about honest people (or talking animals) in situations he hasn't seen before. When not gleefully giving his "soul" to artistic endeavors and projects, he legitimately enjoys long walks on the beach, a video game with a glass of wine, and biscuits. His plays include "A Pirate Carol," "The Ashen Crown," and "You See Them in the Corners of Your Eyes," which have been produced in camp workshops and schools across the United States. His cosmic horror, "In the Slush," was a Finalist for the 2023 Princess Grace Award. Daniel is an alumnus of the University of Virginia and a member of the Dramatists Guild. Gather by the Ghost Light merch available at Home | Gather by the Ghost Light (bigcartel.com) If you would like to further support this podcast, please visit Gather by the Ghost Light is increasing public knowledge of emerging writers and actors (buymeacoffee.com) If you are associated with a theatre and would like to perform this play, please send an email to info@gatherbytheghostlight.com to get connected with the playwright. If you enjoy this podcast, please please please leave a rating on your preferred podcast app! Gather by the Ghost Light Learn more about your ad choices. Visit megaphone.fm/adchoices

Sydney Skybetter sits down with artist Raja Feather Kelly to talk about his work in live performance. The two consider airport security and the end of the world, and Raja shares how his personal experiences and creative work shape one another. About Raja:  Choreographer/Director Raja Feather Kelly is the artistic director of dance-theatre-media company the feath3r theory (founded in 2009).  In 2018 the feath3r theory merged with New Brooklyn Theatre. Raja has been awarded a Creative Capital Award (2019), a National Dance Project Production Grant (2019), a Breakout Award from the Stage Directors and Choreographers Foundation (2018), Dance Magazine's inaugural Harkness Promise Award (2018), the Solange MacArthur Award for New Choreography (2016), and is a three-time Princess Grace Award winner (2017, 2018, 2019). He was born in Fort Hood, Texas and holds a B.A. in Dance and English from Connecticut College. Read the transcript, and find more resources in our archive: https://www.are.na/choreographicinterfaces/dwr-ep-10-code-switch-a-conversation-with-raja-feather-kelly Like, subscribe, and review here: https://podcasts.apple.com/us/podcast/dances-with-robots/id1715669152  The Dances with Robots Team Host: Sydney Skybetter Co-Host & Executive Producer: Ariane Michaud Archivist and Web Designer: Kate Gow Podcasting Consultant: Megan Hall Accessibility Consultant: Laurel Lawson Music: Kamala Sankaram Audio Production Consultant: Jim Moses Assistant Editor: Andrew Zukoski Student Associate: Rishika Kartik About CRCI The Conference for Research on Choreographic Interfaces (CRCI) explores the braid of choreography, computation and surveillance through an interdisciplinary lens. Find out more at www.choreographicinterfaces.org  Brown University's Department of Theatre Arts & Performance Studies' Conference for Research on Choreographic Interfaces thanks the Marshall Woods Lectureships Foundation of Fine Arts, the Brown Arts Institute, and the Alfred P. Sloan Foundation for their generous support of this project. The Brown Arts Institute and the Department of Theatre Arts and Performance Studies are part of the Perelman Arts District.  

“Dance Talk” ® with Joanne Carey and special guest, Dawn Atkins, principal dancer with Miami City Ballet.  In this episode of  “Dance Talk” ® with Joanne Carey,  join host Joanne Carey as she chats with Special Guest, Dawn Atkins, principal dancer with Miami City Ballet.  They chat about Dawn's recent appointment as principal dancer with Miami City Ballet and her upcoming season. Tune in and hear them share their thoughts on dancers as givers who touch the audience perhaps when they didn't even know they needed it. Dawn shares her desire to be someone positive in the room as well as her advice to dancers on the importance of developing their whole person, for that is the person audiences see on stage, not just the character you are portraying. Dawn Atkins  began her dance training in Rutland, Vermont and upon moving to Virginia, continued her dance training with The School of Richmond Ballet.  She attended North Carolina School of the Arts on scholarship, under the direction of Ethan Stiefel.  Dawn joined Boston Ballet School as a trainee in 2011 and Boston Ballet II in 2012. In 2013, she was a Princess Grace Award nominee and was promoted to Artist of the Company. Dawn was promoted to Second Soloist at Boston Ballet in 2019. She joined Miami City Ballet as soloist in 2021. Atkins was promoted to the rank of principal soloist in 2022. Follow on Instagram @dawnatkinshilty Find out more about Dawn Atkins and Miami City Ballet https://www.miamicityballet.org/portfolio/dawn-atkins ⁠ Follow Joanne Carey on Instagram @westfieldschoolofdance And follow  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. Tune in. Follow. Like us. And Share. Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Gabrielle Lamb is a choreographer and 2020 Guggenheim Fellow, is based in NYC, where she directs Pigeonwing Dance, described by The New Yorker as “eccentric…playful…curious”. Her work has also been presented by the American Ballet Theatre Incubator, the New York Choreographic Institute, the MIT Museum, BalletX, the Juilliard School, the Royal Winnipeg Ballet, Ballet Collective, Whim W'HIM, Jacob's Pillow, and Dance on Camera at Lincoln Center. She has won fellowships and competitions at Hubbard Street Dance Chicago, Milwaukee Ballet, and the Banff Centre, as well as the S&R Foundation's Washington Award and a Princess Grace Award. A native of Savannah, GA, she trained at the Boston Ballet School and was a longtime soloist at Les Grands Ballets Canadiens, later performing with Morphoses/The Wheeldon Company and Pontus Lidberg Dance in NYC. She has been lauded by DANCE Magazine as “a dancer of stunning clarity who illuminates the smallest details—qualities she brings to the dances she makes, too." www.pigeonwingdance.com 

Princess Grace Award winner Ashton Edwards was promoted to the corps at the Pacific Northwest Ballet in 2022. Ashton is challenging traditional gender roles at the professional level and shifting industry standards, paving the way for a new generation of dancers. Ashton recalls the first time they performed in the Balanchine style, the importance of meeting Peter Boal and joining PNB, and why Covid was the most consequential time in their training. Ashton also describes putting on pointe shoes and finding the right fit, the responsibility they feel to carry on the legacy of excellence in the field, and their hopes for the future of the ballet world.Check out Ashton Edwards on Instagram.Learn more about Pacific Northwest Ballet on Instagram and the web.Follow Moving Moments on Instagram.Follow Alicia on Instagram.You can find out more about Artful Narratives Media on Instagram or the web.The Moving Moments theme song was composed by Saul Guanipa for Videohelper.Moving Moments was co-created by Alicia Graf Mack, Jessica Handelman, and David Krauss.This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Thinking Cap Theatre's Artistic Director Nicole Stodard talks with Alice Reagan, Associate Professor of Professional Practice in Directing at Barnard College and a seasoned director of the plays of Maria Irene Fornes, about her directing practice and her current project, directing Fornes' play Evelyn Brown: A Diary at La Mama (May 19, 2023 - Jun 4, 2023, https://www.lamama.org/shows/evelyn-brown-a-diary-2023) ALICE REAGAN'S BIO Alice Reagan directs new plays, adapted classics, and plays by María Irene Fornés.  Recent directing credits: Pirandello Project at Barnard College, Measure for Measure at Shakespeare & Company, Cherry Orchard with Portland Experimental Theatre Ensemble, On Loop by Charly Evon Simpson with New Plays at Barnard, No Good Things Dwell in the Flesh by Christina Masciotti at Yocum Institute, Funnyhouse/Movie Star by Adrienne Kennedy at Barnard, Hir by Taylor Mac at Shakespeare & Company, Jeune Terre by Gab Reisman with New Plays at Barnard, Grounded by George Brant at Dobama Theatre, Jackie by Elfriede Jelinek at Boom Arts, Elliot, A Soldier's Fugue by Quiara Alegría Hudes at Profile Theatre, the musical Promenade by María Irene Fornés and Al Carmines at Barnard, Or, by Liz Duffy Adams at Shakespeare & Company, PHAETON (a diggle of a fragment) by Mac Wellman at Classic Stage Company, Enter THE NIGHT by María Irene Fornés with Portland Experimental Theatre Ensemble, Nomads by Julia Jarcho at Incubator Arts Project, I Came to Look for You on Tuesday by Chiori Miyagawa at La MaMa.   Nominations and awards: NYC Fringe First, Berkshire Theatre Awards, Cleveland Critics Circle.  Recipient of two Foundation of Contemporary Arts Grants, Princess Grace Award, and Princess Grace Special Project Grant.  Alum: Mabou Mines/SUITE Resident Artist Program, Soho Rep Writer/Director Lab, Women's Project Directors Lab, and the Drama League.  MA, Performance Studies: Tisch/NYU.  MFA, Directing: Columbia.  Associate Professor of Professional Practice at Barnard College.  www.alicereagan.com --- Support this podcast: https://podcasters.spotify.com/pod/show/thinking-cap-theatre/support

On today's episode of 'Conversations On Dance', we are joined by choreographer, Omar Román De Jesús. Omar takes us through his early training in Puerto Rico, the leap of faith he took in moving to New York City and how his humble early choreographic beginnings have led to a Princess Grace Award and commissions from world renowned companies. Omar's first work for Ballet Hispanico will premiere at New York City Center this summer, with performances running June 1st through the 3rd, on a program featuring additional works by Pedro Ruiz, Michelle Manzanales and William Forsythe. Tickets can be purchased at nycitycenter.org. THIS EPISODE'S SPONSORS:Ballet Bird is a streaming site designed by former Pacific Northwest Ballet principal dancer Julie Tobiason. Ballet Bird offers ballet classes for anyone at any level of training that you can do from the comfort of your home or studio. Ballet Bird is a great addition to your regular in-studio training too. Take advantage of the ten day free trial and use the discount code COD25 to get 25% off through June 30th 2023 at balletbird.com.Each year, The Clive & Valerie Barnes Foundation provides recognition, encouragement, and financial support to two talented young professionals, one in Dance and one in Theatre, thus, honoring the memory of the many years of critical work and the warm personal generosity of Clive Barnes and Valerie Taylor. This year's finalists have been nominated by the Foundation's 11-member Selection Committee comprised of arts journalists and accomplished professionals in each field. Finalists were selected based on live performances given in New York City between January and December of 2022. Winners in each category will be announced on May 22 at the 13th Annual Clive Barnes Awards at Florence Gould Hall in New York City. Guest presenters include Pam Tanowitz and Alex Sharp. For more information or to donate, visit cvbarnesfoundation.org/LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Thinking Cap Theatre's Artistic Director Nicole Stodard talks with celebrated director Stevie Walker-Webb about all things Fornes, including Stevie's direction of her adaptation of Calderon de la Barca's Life is a Dream at Baltimore Center Stage (May 4 - 21, 2023, https://www.centerstage.org). STEVIE WALKHER-WEBB'S BIO Stevie Walker-Webb is an Obie award winning Director, Playwright, and Cultural Worker who believes in the transformational power of art. He is the founder and Executive Director of HUNDREDS of THOUSANDS an arts and advocacy non-profit that makes visual the suffering and inhumane treatment of incarcerated mentally divergent people and the policies that adversely impact their lives. He is a recipient of the Princess Grace Award for Theatre, The Lily Award in honor of Lorraine Hansberry awarded by the Dramatists Guild of America, a 2050 Fellow at New York Theatre Workshop and a Wellspring Scholar. He's served as the Founding Artistic Director of the Jubilee Theatre in Waco, Texas and has created art and theatre in Madagascar, South Africa, Mexico, and across America. He's served as the Outreach Coordinator for Theatre of the Oppressed-NYC and holds an MFA from The New School, and a B.S. in Sociology from the University of North Texas. His work has been produced by: The Public Theater, American Civil Liberties Union, The New Group, Cherry Lane, Zara Aina, La Mama, Woolly Mammoth, Baltimore Center Stage, Lincoln Center, and Classic Stage.   Stevie is a regular professor and lecturer at NYU Tisch School of the arts where he teaches acting, ensemble work, and devised theatre. Currently he is a professor and Artist in Residence at Harvard University where he's teaching a series of courses aimed at “Decolonizing the Creative Process”. The Harvard lectures will culminate in a forthcoming book.Stevie has written and directed two films, We Got Out and the documentary Hundreds of Thousands.Notable Theatrical Productions: Ain't No Mo' written by Jordan E. Cooper at The Public Theater (2019), Associate Director for Shakespeare in the Park at The Public Theater Julius Caesar (2017) and Twelfth Night with Oskar Eustis and Shaina Taub (2018), One in Two by Donja Love at the Signature (2019), Black Odyssey by Marcus Gardley at Classic Stage (2023),   Stevie has served as a director for several Audible productions including, Wally Roux Phantom Mechanic written by Nick Carr and starring William Jackson Harper, Hop Tha A by James Anthony Tyler, and Brutal Imagination written by Cornelius Eady, starring Sally Murphy and Joe Morton.He's a contributing writer on The Ms. Pat Show a new breakout comedy streaming on BET+ and has been commissioned by The Mercury Store for a forthcoming play called Of Mercy And Madness. For more information about Stevie visit steviewalkerwebb.com Podcast Edited by Bree-Anna Obst. --- Support this podcast: https://podcasters.spotify.com/pod/show/thinking-cap-theatre/support

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. 

Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”www.marioalbertozambrano.comIG @juilliardschool IG @malberto777IG @thelitserieswww.thelitseries.comwww.juilliard.edu/dance/faculty/zambrano-mario-albertowww.creativeprocess.infowww.oneplanetpodcast.org

Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”www.marioalbertozambrano.comIG @juilliardschool IG @malberto777IG @thelitserieswww.thelitseries.comwww.juilliard.edu/dance/faculty/zambrano-mario-albertowww.creativeprocess.infowww.oneplanetpodcast.org

Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou

Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”www.marioalbertozambrano.comIG @juilliardschool IG @malberto777IG @thelitserieswww.thelitseries.comwww.juilliard.edu/dance/faculty/zambrano-mario-albertowww.creativeprocess.infowww.oneplanetpodcast.org

Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou

Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”www.marioalbertozambrano.comIG @juilliardschool IG @malberto777IG @thelitserieswww.thelitseries.comwww.juilliard.edu/dance/faculty/zambrano-mario-albertowww.creativeprocess.infowww.oneplanetpodcast.org

Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou

Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”www.marioalbertozambrano.comIG @juilliardschool IG @malberto777IG @thelitserieswww.thelitseries.comwww.juilliard.edu/dance/faculty/zambrano-mario-albertowww.creativeprocess.infowww.oneplanetpodcast.org

Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou

Today's guest is Shamel Pitts. Shamel is a dancer, choreographer, teacher, as well as performance, conceptual, and spoken word artist. Since 2019, he is the artistic director/founder of TRIBE, a New York-based multidisciplinary arts collective which was a 2020-21 Artist-In-Residence at 92Y Harkness Dance Center. Born in Brooklyn, New York, he started his professional dance career with Mikhail Baryshnikov's Hell's Kitchen Dance and BJM_Danse Montreal. Between 2009-2016, he was a company member of the Batsheva Dance Company, led by Ohad Naharin where he studied Gaga movement language, of which he is now a certified teacher. Since 2015, Shamel has created a triptych of award-winning multidisciplinary works known as “BLACK Series,” which has been performed and toured extensively to many festivals around the world. He is the recipient of a 2018 Princess Grace Award in Choreography, a 2019 NYSCA/NYFA Artist Fellowship Award winner in Choreography, and a 2020 Jacob's Pillow artist in residence, a 2020 Guggenheim Fellow, and the cast member of the 2021 Bessie Award-winning production of “The Motherboard Suite” at New York Live Arts.  For more on Shamel and this episode: Movers & Shapers: A Dance Podcast

Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou

Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou

Hello listeners! This week's guest on the show is MARGOT CONNOLLY! Margot Connolly is a playwright originally from Pleasantville, NY. Her plays include Belfast Kind (Winner, JPP's Jewish Playwriting Contest, Patty Abramson Prize Finalist), Quiz Out (Princess Grace Finalist, 2019 Kilroy's Honorable Mention), The Twitch (Princess Grace Finalist), and Tough. Her work has been produced and developed through Williamstown Theatre Festival, the Playwrights Center, the Drama League, the Jewish Plays Project, Repertory St. Louis, the American Academy of Dramatic Arts, Primary Stages and The Juilliard School, among others. She has an EST/Sloan commission, was a 2010-2011 Core Apprentice at the Playwrights Center and has been a finalist for the Jerome Fellowship, the Emerald Prize, and the Princess Grace Award. She received her BA from Bennington College and her MFA from the University of Iowa's Playwrights Workshop. She is a recent graduate of the Lila Acheson Wallace American Playwrights' Program at Juilliard. To learn more about Margot and her work, be sure to check out her website: https://writemargotwrite.weebly.com/about.html New Play Exchange: https://newplayexchange.org/users/3182/margot-connolly GLISTENS: Cho - Pachinko Sam - 13 Ukrainian guards on Snake Island Margot - Ukraine ________________________ Please support Beckett's Babies by reviewing, sharing an episode with your friends, or follow us on Instagram and Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting, and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com Theme Music: "Live Like the Kids" by Samuel Johnson, Laura Robertson, Luke O'Dea (APRA) --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support

Host Luisa Lyons chats with a leader in digital theatre, Jared Mezzocchi.  Topics include the intersection of theatre and film, how Jared's mom (who was also his 8th grade math teacher), helped him see the world through numbers and story-telling, we deep dive into the world of digital theatre - what it is, what should we do with it, and delve into Luisa's favorite question “what should we call it?!”Jared Mezzocchi is an Obie award winning director and multimedia designer, playwright, and actor. Mezzocchi's work spans the United States at notable theaters such as: The Kennedy Center, Arena Stage, Geffen Playhouse, Woolly Mammoth, Cornerstone, Portland Centerstage, South Coast Rep, HERE Arts, and 3LD. In 2016, he received The Lucille Lortel and Henry Hewes Award for his work in Qui Nguyen's Vietgone at the Manhattan Theatre Club. In December of 2020, The New York Times highlighted Jared on a list of the top 5 national artists making an impact during the pandemic. His work on Sarah Gancher's Russian Troll Farm, Caryl Churchill's What If If Then and his own work Someone Else's House was all praised for being some of the first digitally native successes for virtual theater. He is a two-time Macdowell Artist Fellow, a Princess Grace Award winner, Artistic Director of Andy's Summer Playhouse, and an Associate Professor at The University of Maryland. Learn more at www.jaredmezzocchi.com and follow on Twitter. Filmed Live Musicals is the most comprehensive online searchable database for musicals that have been filmed live on stage. Visit www.filmedlivemusicals.com to learn more. Follow us on Facebook and Twitter. You can also support the site at Patreon. Patrons get early access to content, no matter how much you pledge. Filmed Live Musicals is created by Luisa Lyons. Luisa is an Australian actor, writer, and musician. She holds a Masters in Music Theatre from London's Royal Central School of Speech and Drama and now lives, works, and plays in New York. Learn more at www.luisalyons.com or follow on Twitter, Instagram, and Facebook. Enjoyed this podcast? Leave a review and help spread the word!

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

In this episode, NCCAkron's Executive/Artistic Director, Christy Bolingbroke enters the 'studio' with Brooklyn New York based choreographer, Raja Feather Kelly. Raja is the artistic director of New Brooklyn Theatre and founder of the dance-theatre-media company the feath3r theory. He was born in Fort Hood, Texas and holds a B.A. in Dance and English from Connecticut College. He is a three-time Princess Grace Award winner (2017, 2018, 2019). Over the past decade he has created fifteen evening-length works for the feath3r theory, choreographed extensively for Off-Broadway theatre, and performed with Reggie Wilson/Fist and Heel Performance Group, David Dorfman Dance, Kyle Abraham | A.I.M, and zoe | juniper.http://thefeath3rtheory.com

This week's replay is so special because my guests were SO special. Welcome to the world of Jermaine Spivey and Spenser Theberg where good questions are met with GREAT answers. These humans bring so much thought into their words, movement, and world and I couldn't be happier that they are a part of my world! Quick Links: Watch Jermaine in Kid Pivots' Betroffenheit https://www.marquee.tv/watch/crystalpite-betroffenheit Revisit Episode 3 with Chloe Arnold: https://www.thedanawilson.com/podcast/ep-3-dance-lessons-are-life-lessons-with-chloe-arnold Amazon Shopping List: https://www.amazon.com/hz/wishlist/ls/208ZBEMH1NK8H?ref_=wl_share&_encoding=UTF8&tag=thedanawilson-20&linkCode=ur2&linkId=c3b3604249eb6e654753fedb0ccdc8e8&camp=1789&creative=9325 Transcript: Intro: This is words that move me. The podcast were movers and shakers. Like you get the information and inspiration. You need to navigate your creative career with clarity and confidence. I am your host master mover, Dana Wilson. And if you're someone that loves to learn, laugh and is looking to rewrite the starving artist story, then sit tight. But don't stop moving because you're in the right place. Dana: All right. All right. Hello everybody. And welcome to words that move me. I'm Dana. I am so jazzed about this episode, and I know that I always say that, but really this one is special. It is special because my guests are special, so special. It is special because I learned so much about myself, about my craft, about my relationship to the world that I'm living in right now. Um, and I also learned a lot more about audio editing. So here comes the heads up. The audio quality is not the greatest on this episode, but the, every other quality is the greatest. So this episode is my win for the week. Your turn, what's going well in your world. Let's see if I can keep tempo. Oh, don't don't don't don't don't don't don't don't don't do that. Don't don't boom, boom, boom, boom. Don't don't don't don't don't don't tell, don't do that. Don't tell him Five, six, seven, eight. Yes. Good for you. I'm so glad that you're winning. Keep it up and celebrate yourself. It's so important. Okay. Now I don't want to take too much more time before I invite you to the table. Well, the zoom, I guess, with my guests today, Spenser Theberge is originally from Portland, Julliard Grad danced for NDT two and NDT one that's Netherlands Dance Theater for you, non dance types. Um, the Forsythe company, he's the winner of the Princess Grace Award. He currently teaches for Cal arts. Um, but most importantly, I want to tell you that his choreography makes me weep tears of laughter and also tears of a very special brand of admiration. He is a truly special artist and I am so honored and flattered to call him to call both of these gentlemen, my friends. All right. So up next, we have the one and only Jermaine Spivey He is from Baltimore, also a Julliard grad. Also a Princess Grace winner also has danced for all of the, that I oogle and all of the companies

Award-winning filmmaker Iman Zawahry reveals the challenges and nuances of the culture of submitting to film festivals that she worked to overcome when she began sending her feature, Americanish, to festivals, the current state of hijabi female filmmaker representation, how her short films and the awards she won for them, including a Student Emmy and the Princess Grace Award, helped advance her career, and the advice she has for being authentic in your writing and art.

Claiming Dance as a part of my life In this Episode, we get an introduction to Dance Magazine's 25 Top Dancers to Watch List in 2016 dancer Tamisha Guy. A native of Trinidad and Tobago, she also won the 2016 Princess Grace Award, and in 2017, she was named one of the Best Dancer's of the Year by Dance Europe. Tamisha talks about her entry into dance world, her experience with injuries and her unusual form of cross training: boxing! Instagram: @tamishaguy

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

FRANCE-LUCE BENSON Playwright and Community Engagement Coordinator with The Fountain Theatre in Los Angeles. Named “Someone to Watch ” in 2019 by American Theatre magazine, she is a recipient of a Miranda Foundation grant (DETAINED), Alfred P. Sloan Foundation New Play Commission (DEVIL'S SALT), and a Princess Grace Award runner up (BOAT PEOPLE).   Additional honors include: Zoetrope Grand Prize (CAROLINE'S WEDDING); Dramatists Guild Fellow 2016-17, Sam French OOB Festival Winner, NNPN Award for Best Play, and three time Kilroy List Honorable Mention.  Residencies include Djerassi, the Camargo Foundation in France, and Instituto Sacatar in Bahia, Brazil. Her plays have had productions, workshops, and readings at Crossroads Theatre New Jersey, City Theatre of Miami, The Playwrights Center, Oregon Shakespeare Festival, City Theatre of Miami, Loyola Marymount University, Global Black Voices in London, and in New York The Lark, The Billy Holiday Theatre, and the Ensemble Studio Theatre where she is a company member. She's been published by Sam French and Routledge Press. She earned an MFA in Dramatic Writing from Carnegie Mellon University and a BA in Theatre from Florida International University. Teaching appointments include UCLA Extension, St. Johns University, Columbia University, Girl Be Heard, and P.S. Arts/Inside Out in L.A. She is a proud member of The Dramatists Guild, Inc.

We have an incredible guest for you today: Lanise Antoine Shelley!! I had the privilege of watching Lanise perform at Stratford Festival in Ontario, Canada years ago and have admired her work and journey ever since.    Lanise Antoine Shelley is a multi-passionate Haitian actress, director, playwright, podcast host and visual artist. You may know her from Chicago Fire, Chicago Med, Empire, Discovery World, and Stratford Shakespeare Festival's Macbeth HD.    She has had the immense pleasure of studying abroad six times while achieving a BFA from Cornish College of the Arts, MFA from ART/MXAT at Harvard University, certificate in classical theatre from the British American Drama Academy in Oxford, England. ​ Additionally, she was nominated for the Princess Grace Award, nominated for a Jeff award, nominated Best Leading Actress by the BTAA, and was Stratford Shakespeare Festival's Chicago Fellow 2016. As a director, she served as Victory Gardens Theater's Directors Inclusion Initiative Fellow 2019.    Learn how over the course of Lanise's prolific career many opportunities birthed out of intuitive pings, and how she routinely summoned the faith, took leaps and followed the calls along the way.    By the end of this episode, you will never show up to an audition without being donned in your finest attire!   You'll discover: How Lanise's vivid imagination as a child catapulted her into many artistic avenues Why Lanise prefers the terms intercountry, intercultural or interracial adoptee vs transracial  What Lanise encourages artists to do to allow themselves to absorb the world and apply it to their art Why Lanise dresses up for auditions (yes, you are Beautiful, Powerful, Gorgeous!) What artistic goal took her 9 years to manifest The 3 plays she performed in at Stratford Festival that blew her expectations  The biggest takeaways she got from studying at the Moscow Art Theatre  How she was inspired by a birth chart reading that ignited the trajectory of her podcast “When They Were Young” How she wrote and directed her play “Pretended” in quarantine Why Lanise is on a crusade to lift the fog and misconceptions on the fairytale centric qualities of adoption  How Lanise can talk so freely because of the healing work she has done    We explore all of this and SO much more!! Take a screenshot of this episode and tag @lantoines and @serabanda in your Instagram stories to let us know what you thought of this episode!   Lanise provides her own special #speechforthestage for us so be sure to stick to the end and incorporate these awesome trills into your routine.    Visit Lanise on facebook!   Check out Lanise's website!   Tune into When They Were Young: Amplifying Voices of Adoptees and check out @youngadoptee on Instagram!   Be sure to check out One Child Nation on Amazon.    Write me a wish letter and let me know what you want to discuss next! impulse@actortoartist.com   Join the International Ensemble on Instagram: @actortoartist   Grab my Free Energy Exercise to co-create your dream #actorslife!   Disclaimer: Your use of the content on this podcast, content on actortoartist.com, content on our social media or content from our email list is at your own risk. Actor to Artist does not guarantee any results from using this content and is for educational purposes only. It is your responsibility to do your own research, consult, and obtain a professional for your medical, psychological, legal, financial, health or other help that you may need for your situation.

Modern Houses in the Lush Green Savannah that Lies in the Shadow of the Volcano by Paul Hufker Directed by: Brett Sullivan Santry Featuring: Featuring: Cassidy Adkins, Ron Black, Larissa Jantonio, DeVaughn Robinson, and John Teresi Synopsis The edge of everything. Four western 20-somethings have come to this wild, unfettered place to “live life as it was meant to be lived.” They’d like to open a yoga studio for the women of the village. To help them. But there’s a chained elephant that desperately needs its own help, and are we sure the villagers are peaceful? Suddenly the earth is very dry, their money has run out, and their baby is missing. They are fored to hunt. Things here have quickly become dark and desperate. Can man outrun himself? Paul Hufker Biography Paul has been an AEA actor, playwright and director in NYC for over 13 years. He is a proud graduate of Brooklyn College’s MFA playwriting program, under Mac Wellman and Erin Courtney. Most recently, Paul became a resident playwright with the 29th St. Writing Collective, in NYC. In the spring of 2020 (just before COVID) Paul had his play Birthday in the Bronx premiere at The Tank Theatre (NYC.) Paul also recently worked with fashion designer and political activist Carla Fernandez, writing her London fashion show/protest piece, which debuted in London in 2018. Also in 2018, Paul worked with world-renowned visual artist Pedro Reyes, writing his Noam Chomsky-Inspired puppet play Manufacturing Mischief, which premiered in NYC and internationally, and was directed by Meghan Finn. In the fall of 2017, Paul wrote the script for Pedro Reyes’ massive art installation in Brooklyn entitled Doomocracy, also directed by Meghan Finn. He is a 2018 Eugene O’Neill Prize Semi-Finalist, a 2016 Great Plains Theatre Conference invited playwright, a 2015 and 2016 Himan Brown Award winner (through Brooklyn College), a 2016 O’Neill Conference semi-finalist, a 2016 American Theatre in Higher Education Excellence in Playwriting Award finalist, a 2015 Jerome Fellowship finalist, a 2014 Princess Grace Award semi-finalist, and a 2011 O’Neill Conference semi-finalist. His plays have been produced in NYC, throughout the US, and in Toronto, Canada, as well as at MIT, the Museo Jumex in Mexico City and the Serpentine Gallery in London. He is currently a full-time Teaching Instructor at Rutgers University, in their Writing Program, and a proud graduate of Webster University where he received his BFA in theatrical performance. Paul has upcoming projects with: The American Vicarious (workshop), The Bechdel Group (workshop), 12 Peers Theatre Company (podcast), the 29th St Playwrights’ Collective (reading) and Meghan Finn (short film), Artistic Director of The Tank, NYC.

Terrie Samundra is a Director and Screenwriter whose debut feature KAALI KHUHI, a Netflix Original, was released internationally in October 2020. Samundra's short films ICE CREAM WALLAH, KUNJO and A SHORT TALE OF XUAN, have screened in film festivals internationally garnering accolades. She is a Sundance Institute Screenwriters Lab alumna, a SFFILM/Kenneth Rainin Screenwriting fellow and alumna of the Sundance Women in Film Finance Lab. She has written extensively with her creative partner David Walter Lech on the screenplays KAALI KHUHI, WOMAN ON THE HILL, BETAMAX, WESTERN INTERIOR SEAWAY,  and the episodic series THE BALLAD OF POOJA and THE BLOOD BELOW. She has also written a narrative adaptation of the D.A. Pennebaker and Chris Hegedus documentary, TOWN BLOODY HALL, and an adaptation of the one woman play by Actor-Creator Fawzia Mirza, entitled ME, MY MOM, & SHARMILA.  Samundra has taught screenwriting at San Francisco State University, is a mentor of the Qalambaaz Screenwriters Lab, and an arts instructor at Create Now, a program for at-risk youth in Los Angeles. Terrie is a National Geographic Grant recipient, a Princess Grace Award recipient, an active member of the Writer's Guild of America, and is represented by the Gersh Agency. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/adultingwell/support

Kathleen Collins said, “No one is going to mythologize my life. No one is going to refuse me the right to explore my experiences of life as normal experiences, neither outside nor inside.” — For Week 6 of Black Is Not A Genre, we’re talking magical realism with another landmark double-dip, featuring Kathleen Collins’ ethereal Black intellectual relationship drama Losing Ground (1982) and Kasi Lemmons’ dark, ancestral mystery, Eve’s Bayou (1997). Featured guest: Madeleine Hunt - Ehrlich is the writer and director on the feature film Madame Négritude - Her work has screened all over the world including at the Guggenheim Museum in New York and in Film Festivals such as Doclisboa, True / False, Images Film Festival, New Orleans Film Festival, and Blackstar Film Festival. She has been featured in Essence Magazine, Studio Museum’s Studio Magazine, ARC Magazine, BOMB Magazine, Guernica Magazine, Small Axe journal among others. She is the recipient of a 2020 SF Film Rainin Grant, a 2019 Rema Hort Mann Award, a 2019 UNDO fellowship and grant from Uniondocs / Just Films, a 2015 TFI Future Filmmaker Award and a 2014 Princess Grace Award in film. Her work has been recognized by the Time Inc. Black Girl Magic Emerging Director's series, the National Magazine (ELLIE) Awards and she has received grants from the National Black Programming Consortium and Glassbreaker Films. Madeleine has a degree in Film and Photography from Hampshire College and has an MFA in Film and Media Arts from Temple University.

In this episode, our hosts talk to two dope Philly ladies: one who feeds our bellies in all kinds of delicious ways and another who feeds our souls through the characters she plays.   Philly foodies know Talula’s. There’s Talula’s Table in Kennett Square and Talula’s Garden and Talula’s Daily in Philadelphia’s Washington Square neighborhood. That’s all thanks to West Chester’s own Aimee Olexy, who brings the deliciousness to each one ofthese places.   Next up: a conversation with a Lancaster-born, Philly-bred MC who is a Yale School of Drama graduate, recipient of the prestigious Princess Grace Award and Leonore Annenberg Fellowship for Performing Arts. Her name is Miriam A. Hyman. You know her from shows like Blue Bloods, Grey's Anatomy, NCIS, Orange is the New Black, Unbreakable Kimmy Schmidt, Master of None, Law & Order, The Wire and The Laundromat. She currently stars in season three of Showtime's The CHI and has a new album out under her MC moniker Robyn Hood. Among many things, Miriam dishes on her favorite Philly cheesesteak place: Dalessandro’s in Roxborough.

This episode explores movement through “movements”. We know that dance lessons are life lessons, but now we get to look at how an artistic partnership can mirror a romantic partnership and how dance can be a physical practice of empathy. Join Jermaine, Spenser on this BIG bite in Capital D Dance… and beyond. Show Notes Quick Links: Watch Jermaine in Kid Pivots’ Betroffenheit https://www.marquee.tv/watch/crystalpite-betroffenheit Revisit Episode 3 with Chloe Arnold: http://www.thedanawilson.com/podcast/ep-3-dance-lessons-are-life-lessons-with-chloe-arnold Amazon Shopping List: https://www.amazon.com/hz/wishlist/ls/208ZBEMH1NK8H?ref_=wl_share&_encoding=UTF8&tag=thedanawilson-20&linkCode=ur2&linkId=c3b3604249eb6e654753fedb0ccdc8e8&camp=1789&creative=9325 Transcript: Intro: This is words that move me. The podcast were movers and shakers. Like you get the information and inspiration. You need to navigate your creative career with clarity and confidence. I am your host master mover, Dana Wilson. And if you're someone that loves to learn, laugh and is looking to rewrite the starving artist story, then sit tight. But don't stop moving because you're in the right place. Dana: All right. All right. Hello everybody. And welcome to words that move me. I'm Dana. I am so jazzed about this episode, and I know that I always say that, but really this one is special. It is special because my guests are special, so special. It is special because I learned so much about myself, about my craft, about my relationship to the world that I'm living in right now. Um, and I also learned a lot more about audio editing. So here comes the heads up. The audio quality is not the greatest on this episode, but the, every other quality is the greatest. So this episode is my win for the week. Your turn, what's going well in your world. Let's see if I can keep tempo. Oh, don't don't don't don't don't don't don't don't don't do that. Don't don't boom, boom, boom, boom. Don't don't don't don't don't don't tell, don't do that. Don't tell him Five, six, seven, eight. Yes. Good for you. I'm so glad that you're winning. Keep it up and celebrate yourself. It's so important. Okay. Now I don't want to take too much more time before I invite you to the table. Well, the zoom, I guess, with my guests today, Spenser Theberge is originally from Portland, Julliard Grad danced for NDT two and NDT one that's Netherlands Dance Theater for you, non dance types. Um, the Forsythe company, he's the winner of the Princess Grace Award. He currently teaches for Cal arts. Um, but most importantly, I want to tell you that his choreography makes me weep tears of laughter and also tears of a very special brand of admiration. He is a truly special artist and I am so honored and flattered to call him to call both of these gentlemen, my friends. All right. So up next, we have the one and only

Damon Kiely is a professional director and writer, as well as a full time professor of directing and acting for DePaul's Theatre School. He has directed for Next Theatre, TimeLine Theatre Company, A Red Orchid Theatre, American Blues Theatre, Chicago Dramatists and Route 66. His world premiere adaptation of Thieves Like Us was produced by the House Theatre of Chicago and the Theatre School. He served as the Artistic Director of American Theater Company from 2002 to 2007.  Prior to moving back to Chicago he produced, directed and taught in New York City. In New York he directed for the Public Theatre, New York Theatre Workshop, the Ontological Theater, Adobe Theater Company, PS122, Ensemble Studio Theater and New Dramatists. Damon also served as the Artistic Director for Real Time Theater and was a Producing Director at the Ontological-Hysteric Theater as well as the Associate Artistic Director for the Children's Theater of Maine. He is a winner of the 2000-02 NEA/TCG Career Directing Program, the 2000 Drama League Fall Directing Program and the 1997 Princess Grace Award. He lives in Edgewater with his wife Jennifer and their children, Isabella and Fi​nnegan.

On this week’s episode, recorded April 21st 2020, we are pleased to welcome Tamisha Guy. Tamisha is a native of Trinidad and Tobago, and came with her family to the United States when she was eight years old. She was named one of Dance Europe’s Best Dancers of the Year in 2017, was featured in the segment “Spotlight on Success” in Dance Informa Magazine, and in 2016 she made Dance Magazine’ Top 25 To Watch list as well as winning the 2016 Princess Grace Award. Tamisha has danced for the Martha Graham Dance Company and is currently a member of Kyle Abraham’s company Abraham In Motion. She is one of the most exciting, acclaimed contemporary dancers working today and we are so excited to have her on the show to talk about: Why she took a gap year before going to SUNY Purchase (and how she used her time away from dance) The importance of managing your personal finances and not getting bogged down by the “starving artist mentality” The joys of collaborating with choreographers to create meaningful, fulfilling work --- For more information, as well as any links, see the blog post for this episode: https://www.margaretmullin.com/episodes/episode-21-tamisha-guy Tamisha Guy: https://www.tamishaguy.com/ https://www.instagram.com/tamishaguy Follow Beyond The Barre: https://www.instagram.com/beyondthebarrepodcast/ Host: Margaret Mullin http://www.margaretmullin.com/ https://www.instagram.com/margaretmullin/ Producer: Sarena Fishman Jimenez http://www.sarenafishman.com/ http://instagram.com/sarenafishman Music: William Lin-Yee https://soundcloud.com/williamlinyee

Jocelyn Suzanne Kuritsky is an actor, theatre producer, and "a creative" – who has appeared in over 20 NYC productions and performed in DC at the Arena Stage, The Kennedy Center and Theatre Alliance. She is a three-time Princess Grace Award nominated performer, and co-founder of the Woodshed Collective – an immersive theatre that has won mega awards. Jocelyn is also the co-creator of The Muse Project, dedicated to empowering women theater actors. And -- by her own description -- Jocelyn is a flitting flirt – See acast.com/privacy for privacy and opt-out information.

Princess Grace Award winning choreographer and former Batsheva dancer Shamel Pitts discusses Black Series, which explores the "colorfulness of blackness." The trilogy includes BLACK BOX, BLACK VELVET, and BLACK HOLE. UnSequenced is a podcast in which we discover the stories and emotions behind the movement. Each episode dives deep into the creative process with a choreographer, documenting what compels them as an artist, what drives their artistic decisions for a particular work, and what unexpected things come up along the way.

Christine Shevchenko, Principal, American Ballet Theatre shares her journey from Ukraine to the States, becoming the youngest recipient of the Princess Grace Award, rising through the ranks of ABT from corps de ballet to soloist and being promoted to principal. Listen to Christine talk about her love of ABT inspired by ballet greats Dame Alicia Markova and Mikhail Baryshnikov. She also gives an insight into life as a principal dancer, her approach to preparing for new roles, how to maintain her body and prevent injuries; plus how she relaxes outside of the studio (ps it includes cakes and cookies!). Christine talks about preparing for a busy season with Giselle, Swan Lake and Theme and Variations (check dates and programme) and shares her advice for aspiring dancers. Following Christine on IG. PRESS PLAY! https://djwpodcasts.s3-eu-west-1.amazonaws.com/1wwwod/Christine2.mp3 Also available on Apple Podcasts, Spotify, Google Podcasts and with other podcasts providers! Christine Shevchenko. Photo by NYCDanceProject Ken Browar and Deborah Ory Christine Shevchenko. Photo by Rod Brayman

This week's CitySpeaks podcast features Pittsburgh City Theatre's Director of New Play Development, Clare Drobot, in conversation with director Michael John Garcés and playwright James McManus.   Michael John Garcés has been an ensemble member at Cornerstone since 2006, where he's written plays including Magic Fruit, the "bridge" project of the multi-year Hunger Cycle which brought together the many communities of the cycle; Consequence, out of story circles with students, teachers, administrators and parents in South Kern County; Los Illegals, created in residence with communities of day laborers and domestic workers; and The Forked Path, a collaboration with Stut Theatre and the Van der Hoeven Kliniek in the Netherlands, which was performed at the Net Even Anders Festival in Utrecht and The International Community Arts Festival in Rotterdam. Directing credits at other theaters include Wrestling Jerusalem by Aaron Davidman (premiere at Intersection for the Arts; other productions include The Guthrie Theatre, Cleveland Public Theatre and Mosaic Theatre), The Arsonists by Max Frisch (Woolly Mammoth Theatre Company), District Merchants by Aaron Posner (The Folger Theatre), and Seven Spots on the Sun by Martín Zimmerman (The Theatre @ Boston Court). Michael is a recipient of the Rockwood Arts and Culture Fellowship, the Princess Grace Statue, the Alan Schneider Director Award, a TCG/New Generations Grant, the Non-Profit Excellence Award from the Center of Non-Profit Management, is a Southern California Leadership Network Fellow and a proud alumnus of New Dramatists. He serves as vice president of the executive board of SDC, the theatrical union for stage directors and choreographers.   James McManus is the author of ten plays, which have been developed and performed at La Jolla Playhouse, Cornerstone Theater Company, Labyrinth Theater Company, The Road Theatre, Dell’Arte International, Working Theater, Apothecary Theatre Company, The Clockwork Theatre, Glass Umbrella Creative (Sydney), Revolt Theatre (Melbourne), New Dramatists, The Kennedy Center, Round House Theatre, Pittsburgh Playwrights Theatre Company, The Edinburgh Festival Fringe, Barebones Productions, Irish Repertory Theatre, Son of Semele, The Side Project Theatre Company, The Lark Play Development Center and the August Wilson Center for African American Culture. James was the recipient of the Princess Grace Award in Playwriting for Cherry Smoke, which is published by Samuel French. He has also received the Helen Merrill Playwriting Award and is a proud alumnist of New Dramatists.   Thanks for listening to Pittsburgh City Theatre's CitySpeaks podcast.    Get tickets here: https://citytheatrecompany.org/   Listen to more City Speaks here: https://postindustrial.com/

Donna Lynne Champlin is best known as “Paula Proctor” on The CW’s, Emmy award-winning “Crazy Ex-Girlfriend (for which she won the Gracie Award). Additional film and television: “Law & Order,” “Submissions Only,” “The Good Wife,” “Birdman,” “Younger,” “Downsizing,” “Another Period” and “Yes, God, Yes.” Broadway: “James Joyce’s The Dead,” “By Jeeves,” “Hollywood Arms,” “Sweeney Todd” and “Billy Elliot: The Musical.” Off-Broadway includes: Transport Group’s “First Lady Suite,” “Almost, Maine” and “The Dark at the Top of the Stairs” (OBIE Award), “Working” (Drama Desk Award), “The Qualms” and Shakespeare in the Park’s “As You Like It” and “The Taming of the Shrew.” A Princess Grace Award winner, Champlin appears on numerous recordings as a vocalist (including “Sweeney Todd,” “My Life With Albertine” and her solo album “Old Friends”) and as a voiceover artist (Disney’s “Star Vs The Forces of Evil,” “Poetic License”). Upcoming: The NETFLIX movie, “Feel the Beat.” JONES.SHOW is a weekly podcast featuring host Randall Kenneth Jones (author, speaker, and creative consultant) and announcer Susan C. Bennett (the original voice of Siri). Donna Lynne Champlin’s Social Media Twitter: https://twitter.com/DLChamplin Instagram: https://www.instagram.com/donna_lynne_champlin Facebook: https://www.facebook.com/DonnaLynneChamplin/ Jones.Show’s Social Media Join us in the Jones.Show Lounge on Facebook Twitter (Randy): https://twitter.com/randallkjones Instagram (Randy): https://www.instagram.com/randallkennethjones/ Facebook (Randy): https://www.facebook.com/mindzoo/ LinkedIn (Randy): https://www.linkedin.com/in/randallkennethjones/ Web: RandallKennethJones.com Twitter (Susan): https://twitter.com/SiriouslySusan Instagram (Susan): https://www.instagram.com/siriouslysusan/ Facebook (Susan): https://www.facebook.com/siriouslysusan/ LinkedIn (Susan): https://www.linkedin.com/in/susan-bennett-8607312/ Web: SusanCBennett.com www.Jones.Show

On this episode your co-host Martheya interviews Kyle Abraham’s Abraham In Motion, Dancer and Rehearsal Director Tamisha Guy. Tamisha Guy a native of Trinidad and Tobago, began her formal dance training at Ballet Tech, the New York City Public School for Dance under the direction of Eliot Feld. Later she attended Fiorello H. LaGuardia High School, and SUNY Purchase College as a double major in dance and arts management. She has completed summer programs with Complexions Contemporary Ballet, Springboard Danse Montreal, and Nathan Trice and performed works by William Forsythe, Pam Tanowitz, Loni Landon, Mark Morris, and Martha Graham etc. In 2013 Guy graduated with honors from SUNY Purchase College and joined the Martha Graham Company shortly after. In 2016 Guy was selected as one of Dance Magazine' Top 25 to Watch and she also received the 2016 Princess Grace Award. Tamisha joined A.I.M in 2014. On this episode, we talk about auditions, using social media as a platform to offer encouragement, podcast recommendations, scheduling tips, saying ‘No’ to avoid burnout, going behind the screen of Merce Cunningham Night of 100 Solos Facebook Livestream, and using the digital space to create more of an audience for dance.

Highlights from the first 3 episodes of the season. Each week, Cheeyang sits down with an Asian or Asian-American artist working in the New York Theatre scene and excavates their life story — how they grew up, as well as projects they've worked on and upcoming work that we should anticipate. Guests (in order of appearance): 1: Kuhoo Verma (Octet); 2: Desdemona Chiang (2019 Princess Grace Award); and 3: David Park (Red Roses Green Gold). Full transcript available. IG: @eastsidestorypod / @cheeyangmusic

COMMUNICATE YOUR VISION. Being an effective leader is difficult. Some do it through fear. Some do it through understanding. And others lead with love. You could be super demanding and scary and get what you want. But is that the kind of life you want to lead? Probably not. Often, leading in a way where you understand other people’s concerns will be the most beneficial to you. There’s a lot you can learn from others. Ask yourself: how can you bring people together in a way that satisfies their needs as well as your own? For this Five Minute Friday, I revisited a conversation I had with the legendary director Jon Chu where he shared how he communicates his vision on set. Jon Chu directed the films Crazy Rich Asians, Step Up 2: The Streets, Step Up 3D, and Justin Bieber: Never Say Never. Jon graduated from the USC School of Cinema-Television where he won the Princess Grace Award, the Dore Schary Award presented by the Anti-Defamation League, the Jack Nicholson directing award, and was recognized as an honoree for the IFP/West program Project: Involve. Learn how to enlist others in your vision and lead with love on Episode 805. In This Episode You Will Learn: The kind of leader Jon wants to be (1:00) The importance of synergy in creativity (1:30) The most important thing Jon has learned about communicating his vision (1:45) How to talk to people who have concerns about your vision (2:30) If you enjoyed this episode check out the show notes and more at http://lewishowes.com/810 and follow at instagram.com/lewishowes.

MEET PAIGE FRASER PAIGE FRASER, originally from the Bronx, NY is a young dancer of color who is breaking boundaries and paving her own road. As a child she trained at Ballet Atlantic Academy under the direction of Leslie Otto. She went on to continue training at Professional Performing Arts High School which had a dance program tied to the Ailey School. Throughout her training Ms. Fraser attended many summer intensives all as a scholarship recipient; ABT, DTH, Complexions, Jacobs Pillow, and The Juilliard School. In 2008 Ms. Fraser attended Dominican University/Alonzo King’s Lines Ballet and later transferred/graduated Cum Laude from Fordham University/Alvin Ailey BFA in 2012. Ms. Fraser was a member of Ailey II for the 2011-2013 seasons under the artistic direction of Sylvia Waters and Troy Powell. While in AileyII she traveled both domestically and internationally. In 2013 Ms. Fraser became a founding dancer of Visceral Dance Chicago where she danced for 6 seasons. She has been a guest artist with Deeply Rooted Dance Theatre, Ruth Page Civic Ballet, and Randy Duncan’s highly acclaimed finale for Dance For Life Chicago (2014-2016). She appeared in Beyonce’s “Bow Down” 2013 tour opener and in V Magazine’s holiday video featuring model Chanel Iman. Ms. Fraser has been featured in Dance Magazine, Dance Teacher, Essence, Lucky, and graced the 2016 cover of both Revolution Dancewear and Streetwise Chicago. Paige has received a steady stream of recognition over the last few years; from winning a Princess Grace Award, to Dance Magazine’s 25 To Watch, and landing an international commercial with Intel as well as a segment on ESPN Latin America. As a Scoliosis advocate who faced the prospect of surgery at an early age that might have ended her dream of becoming a professional dancer, Paige embraces what she has overcome to raise awareness about pursuing dreams and overcoming challenges. Her story was recently featured by ELLE “The Movement Series. Ms. Fraser performed at the FOCOS 10th Anniversary in honor of Mayor Bloomberg and his daughter who is a Scoliosis survivor. She is the founder of The Paige Fraser Foundation, a non- profit that aims to bring awareness to dancers with or without disabilities and provide a safe space for them to reach their full potential. EXTRAS: https://www.instagram.com/lovingthispaige/ (https://www.instagram.com/lovingthispaige/) https://twitter.com/lovingthispaige (https://twitter.com/lovingthispaige) www.paigefraser.net (http://www.paigefraser.net) https://www.thepaigefraserfoundation.org/ (https://www.thepaigefraserfoundation.org/) SUPPORT THE PODCAST AND GET GREAT CBD OIL! If you’re looking for a high-quality CBD Oil click on the link and try out zilis. I’ve been using them for a few weeks and I’m sleeping better and have less joint pain. Zilis CBD Oil (https://shop.zilis.com/#/shop/from/7143366) This podcast is brought to you by Audible. I have used Audible for years, and I love audiobooks. Click on the link to get a 30-day free trial, complete with a credit for a free audiobook download Audible.com (http://www.audibletrial.com/Yuri)

Jami Brandli is an award-winning playwright based in Los Angeles and a faculty member in Lesley University's MFA in Creative Writing program. In this episode she discusses "making it" as a playwright, writing strong female characters and her trilogy based on Greek mythology with Emily Earle, Lesley's social media specialist. Jami’s plays include Technicolor Life, S.O.E., M-Theory, ¡SOLDADERA!, Sisters Three, Through the Eye of a Needle, Medusa’s Song, O: A Rhapsody in Divorce and BLISS (or Emily Post is Dead!) which was named in The Kilroys Top 46 List in 2014. Her work has been produced/developed at New Dramatists, WordBRIDGE, The Lark, New York Theatre Workshop, Great Plains Theatre Conference, Launch Pad, The Antaeus Company, Chalk REP, The Road, among other venues. Current 2018-2019 Humanitas Prize PLAY LA playwright. Winner of John Gassner Memorial Playwriting Award, Holland New Voices Award and Aurora Theatre Company's GAP Prize. Technicolor Life premiered at REP Stage as part of the 2015 Women’s Voices Theater Festival and recently received its Australian premiere at The Depot Theatre. In 2018, BLISS (or Emily Post is Dead!) receives a joint-world premiere with Moxie Theatre (San Diego) and Promethean Theatre (Chicago), ending with Moving Arts’ production this fall at Atwater Village Theatre in Los Angeles (LA Time’s Critic’s Choice). Sisters Three will receive its world premiere with The Inkwell Theater (Los Angeles) in December, and Through the Eye of a Needle also received its world premiere at The Road Theatre (Los Angeles) this past spring. She’s been a finalist for the 2016 PEN Literary Award for Drama, Playwrights’ Center Core Writer Fellowship, Princess Grace Award, O'Neill National Playwrights Conference and the Disney ABC TV Fellowship and was also nominated for the Susan Smith Blackburn Award. Her short works are published with TCG and Smith & Kraus. A proud member of the Playwrights Union, the Antaeus Playwrights Lab, and The Dramatist Guild, Jami teaches dramatic writing at Lesley University's low-residency MFA program. She is represented by the Robert A Freedman Agency and Gramercy Park Entertainment. For more information, visit our show notes.

Dive into a deep and rich conversation with Camille A. Brown. In addition to being the choreographer of the current Broadway revival of Once on the Island, and NBC's Jesus Christ Superstar Live, Camille is the founding artistic director of Camille A. Brown & Dancers. She is a four-time Princess Grace Award winner, a Ford Foundation Art of Change Fellow, Jacob’s Pillow Dance Award winner, Guggenheim Fellowship recipient, and TED Fellow, among others. Her work has been commissioned by the Alvin Ailey American Dance Theater, Broadway theaters, and other prominent institutions. On this episode we discuss Camille's training, what she looks for in a dancer, and the challenges and blessings of creating work that dives deep into the heart and soul of America's history. Facebook and Instagram - @bwaydancelab #bwaydancelab BDL Website: www.broadwaydancelab.org Camille A. Brown Website: www.camilleabrown.org

Gemma Freitas shares her story growing up in Buffalo, NY and wanting to become a professional dancer when her aesthetic didn't show people it was possible. She speaks on her love for dance, auditioning for Juilliard, the challenges of injuries, how her faith keeps her going and accomplishing her dreams.  She takes you through many process's as a dancer in college and in a professional company. LIFE-CHANGING! Gina Pero Website Premier Dance Network

Margaret Mullin is from Tucson, Arizona. She studied on scholarship at Ballet Arts Tucson with Mary-Beth Cabana and at Pacific Northwest Ballet School, and attended summer courses at Ballet Tucson, and Pacific Northwest Ballet School. Margaret was the recipient of a Thurber Scholarship Award in 2003 and 2004, the 2007 Founding Director Scholarship Award from Angela Whitehill of Burklyn Ballet, and a 2011 Princess Grace Award recipient. Margaret joined Pacific Northwest Ballet as an apprentice in 2008. She was promoted to corps de ballet in 2009 and soloist in 2014. Margaret has choreographed works for Pacific Northwest Ballet’s Choreographers’ Showcase and Next Step performances. In 2012, she choreographed her first ballet, Lost in Light, for the Company. She has also choreographed works, performed as a guest artist, and served as guest teacher for Ballet Tucson and Ballet Arts School in Tucson. Margaret has recently teamed up with Balancing Pointe's previous guest Nel Shelby to produce an amazing film called "No Dominion" which will celebrate the remarkable life the late Ian Horvath, dance champion and AIDS activist.   No Dominion kickstarter campaign link Pacific Northwest Ballet website Margaret Mullin instagram Margaret Mullin twitter Balancing Pointe Facebook Page Twitter - Balancing Pointe Balancing Pointe instagram  

We speak with Kimberly Bautista, a Los Angeles-based Colombian and Irish-American filmmaker. Kimberly was a Princess Grace Award recipient in 2008 and a Latino Producers Academy Fellow in 2010. She was also the recipient of the prestigious yearlong Latino Artists Mentorship from the National Association of Latino Independent Producers (NALIP) in 2010. Kimberly’s debut feature-length documentary film, JUSTICE FOR MY SISTER, received the 2012 HBO-NALIP Documentary Cash Award.

Two-time Peabody Award-winning, three time DuPont Award winner and seven-time Emmy winner, filmmaker New York by Ric Burns and the youngest female principal dancer currently on The American Ballet Theatre's roster, 28 year old Isabella Boylston join Halli at her table on The Halli Casser-Jayne Show, to talk about the 75th anniversary of The American Ballet Theatre and Burns' new film The American Ballet Theatre : A History.Best known for his series, New York: A Documentary Film, which premiered nationally on PBS, @Ric BurnsRic Burns has been writing, directing and producing historical documentaries for over 20 years, since his collaboration on the celebrated PBS series The Civil War, which he produced with his brother Ken and co-wrote with Geoffrey C. Ward. Since founding Steeplechase Films in 1989, he has directed some of the most distinguished programs in the award-winning public television series, American Experience, including Coney Island, The Donner Party, The Way West, and Ansel Adam.Isabella Boylston was born in Sun Valley, Idaho and started taking dance classes at the age of 3. She studied ballet at the Academy of Colorado Ballet and at Harid Conservatory. When she was 14, she won the gold medal at the Youth American Grand Prix competition. At the age of 17, she was spotted by the director of the prestigious ABT studio company and invited to come to New York City and begin a career at American Ballet Theatre. She was promoted to soloist in 2011 and principal dancer in 2014. She is the recipient of the Clive Barnes Award, the Princess Grace Award, and the Annenberg Fellowship. She has appeared as a guest star with companies around the world including the National Ballet of China.A look at The American Ballet Theatre: A History through the lens of award-winning filmmaker Ric Burns and prima ballerina Isabella Boylston on The Halli Casser-Jayne Show. For more informations visit http://goo.gl/tMuVJc

Laurel Keen was a Principal dancer for nearly a decade with Alonzo King LINES, a contemporary ballet company based in San Francisco. In her years with the company, Laurel originated 21 roles, was featured on the cover of Pointe Magazine and earned the prestigious Princess Grace Award. In describing what makes her an exceptional artist, Alonzo King once said,"Her clarity is like calligraphy carved in steel...her faultless honesty and sincerity... her ability to be rather than do." Laurel grew up in Minneapolis where she began her training at Minnesota Dance Theatre, studying there from the age of seven until she reached high school. During this time, she also received training from the School of American Ballet, Dance Aspen, and Pacific Northwest Ballet School (PNBS). She moved to Seattle and continued with PNBS as a professional division student. Laurel was able to perform and tour with the company, dancing in several Balanchine works. Upon completing her training with PNBS, Laurel returned to Minneapolis and to the Minnesota Dance Theater as a company member. In 2002, she joined Alonzo King LINES Ballet in San Francisco. In 2006, her fifth season with LINES, Laurel received a Princess Grace Award, one of only six dancers that year to receive the award. As an additional honor, the Dance Panel voted to recognize Laurel with the Princess Grace Foundation-USA's Chris Hellman Dance Award. This award, endowed by Prima Ballerina Chris Hellman and her husband, F. Warren Hellman, represents the panel's high regard for a dancer's work and dedication to dance.  

Christine Shevchenko was born in Odessa, Ukraine where she was chosen to train in rhythmic gymnastics and ballet at an Olympic School. At the age of eight, she moved to the United States and trained for nine years at Pennsylvania Ballet's Rock School. In 2002 she was invited to perform with International Ballet Theatre Company's "Stars of Kirov, Bolshoi and Ukrainian Ballet" in Annapolis, Maryland. In 2003, Shevchenko became the youngest recipient of the Princess Grace Award. Other awards include the Bronze Medal in the USA International Ballet Competition in Jackson, Mississippi, 2005 Gold Medal and Title of Laureate at the Moscow International Ballet Competition. She joined American Ballet Theatre as an apprentice in December 2007 and the corps de ballet in June 2008.