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"I really do believe that the arts are critical to how we move forward together, and live performance in particular, I think, is a way of us practicing how to move across our ideological boundaries and find one another and imagine these new worlds together and create together."Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(01:30) The Gift of Pause(04:19) Art as the Oldest Technology(07:12) Reimagining Lincoln Center(09:35) A Collective Caretaking(10:13) The Curiosity of Childhood(15:19) San Juan Hill and The Wall(17:57) globalFEST: Music and ConnectionEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
"I really do believe that the arts are critical to how we move forward together, and live performance in particular, I think, is a way of us practicing how to move across our ideological boundaries and find one another and imagine these new worlds together and create together."Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(00:00) Reimagining Lincoln Center(03:09) A Collective Caretaking(03:47) The Technology of Human Creation(04:20) The Curiosity of Childhood(09:25) San Juan Hill and The Wall(14:20) globalFEST: Music and Connection(16:06) The Gift of Pause(17:20) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“Lincoln Center is multiple stages. I think probably over three dozen stages across 16 acres. It is a vast canvas in and of itself. And then we have this beautiful plaza that leads to this beautiful campus, and that's the visual I think that most people have when they think of Lincoln Center is this beautiful fountain in the center and these three gorgeous buildings.It's New York's biggest plaza, and it feels very vibrant and beautiful. In the summer, we really take that plaza and we transform it into a dance floor. So this idea of also interrupting what people's notion of Lincoln Center is because it's a space that is very aspirational, which is a great thing.”Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(0:00) Reimagining Lincoln Center(2:27) Art and the Human Experience(4:40) The Curiosity of Childhood(5:44) Alvin Ailey and the Pivot(8:29) The Invisible Arts(9:06) The Power of Public Theater(17:03) Curation, Programming and the Art of Listening(23:42) San Juan Hill and The Wall(31:23) Art as the Oldest Technology(35:02) globalFEST: Music and Connection(38:20) Finding Universal Belonging(41:20) The Gift of Pause(54:27) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
"I really do believe that the arts are critical to how we move forward together, and live performance in particular, I think, is a way of us practicing how to move across our ideological boundaries and find one another and imagine these new worlds together and create together."Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(00:00) Reimagining Lincoln Center(03:09) A Collective Caretaking(03:47) The Technology of Human Creation(04:20) The Curiosity of Childhood(09:25) San Juan Hill and The Wall(14:20) globalFEST: Music and Connection(16:06) The Gift of Pause(17:20) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
"I really do believe that the arts are critical to how we move forward together, and live performance in particular, I think, is a way of us practicing how to move across our ideological boundaries and find one another and imagine these new worlds together and create together."Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(00:00) Reimagining Lincoln Center(03:09) A Collective Caretaking(03:47) The Technology of Human Creation(04:20) The Curiosity of Childhood(09:25) San Juan Hill and The Wall(14:20) globalFEST: Music and Connection(16:06) The Gift of Pause(17:20) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“Lincoln Center is multiple stages. I think probably over three dozen stages across 16 acres. It is a vast canvas in and of itself. And then we have this beautiful plaza that leads to this beautiful campus, and that's the visual I think that most people have when they think of Lincoln Center is this beautiful fountain in the center and these three gorgeous buildings.It's New York's biggest plaza, and it feels very vibrant and beautiful. In the summer, we really take that plaza and we transform it into a dance floor. So this idea of also interrupting what people's notion of Lincoln Center is because it's a space that is very aspirational, which is a great thing.”Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(0:00) Reimagining Lincoln Center(2:27) Art and the Human Experience(4:40) The Curiosity of Childhood(5:44) Alvin Ailey and the Pivot(8:29) The Invisible Arts(9:06) The Power of Public Theater(17:03) Curation, Programming and the Art of Listening(23:42) San Juan Hill and The Wall(31:23) Art as the Oldest Technology(35:02) globalFEST: Music and Connection(38:20) Finding Universal Belonging(41:20) The Gift of Pause(54:27) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“Lincoln Center is multiple stages. I think probably over three dozen stages across 16 acres. It is a vast canvas in and of itself. And then we have this beautiful plaza that leads to this beautiful campus, and that's the visual I think that most people have when they think of Lincoln Center is this beautiful fountain in the center and these three gorgeous buildings.It's New York's biggest plaza, and it feels very vibrant and beautiful. In the summer, we really take that plaza and we transform it into a dance floor. So this idea of also interrupting what people's notion of Lincoln Center is because it's a space that is very aspirational, which is a great thing.”Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(0:00) Reimagining Lincoln Center(2:27) Art and the Human Experience(4:40) The Curiosity of Childhood(5:44) Alvin Ailey and the Pivot(8:29) The Invisible Arts(9:06) The Power of Public Theater(17:03) Curation, Programming and the Art of Listening(23:42) San Juan Hill and The Wall(31:23) Art as the Oldest Technology(35:02) globalFEST: Music and Connection(38:20) Finding Universal Belonging(41:20) The Gift of Pause(54:27) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
The Creative Process in 10 minutes or less · Arts, Culture & Society
"I really do believe that the arts are critical to how we move forward together, and live performance in particular, I think, is a way of us practicing how to move across our ideological boundaries and find one another and imagine these new worlds together and create together."Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent sixteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(00:00) Reimagining Lincoln Center(03:09) A Collective Caretaking(03:47) The Technology of Human Creation(04:20) The Curiosity of Childhood(09:25) San Juan Hill and The Wall(14:20) globalFEST: Music and Connection(16:06) The Gift of Pause(17:20) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
"I really do believe that the arts are critical to how we move forward together, and live performance in particular, I think, is a way of us practicing how to move across our ideological boundaries and find one another and imagine these new worlds together and create together."Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(00:01) Art as the Oldest Technology(07:50) The Gift of Pause(09:55) Reimagining Lincoln Center(12:19) A Collective Caretaking(12:56) The Curiosity of Childhood(18:02) San Juan Hill and The Wall(20:39) globalFEST: Music and ConnectionEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“Lincoln Center is multiple stages. I think probably over three dozen stages across 16 acres. It is a vast canvas in and of itself. And then we have this beautiful plaza that leads to this beautiful campus, and that's the visual I think that most people have when they think of Lincoln Center is this beautiful fountain in the center and these three gorgeous buildings.It's New York's biggest plaza, and it feels very vibrant and beautiful. In the summer, we really take that plaza and we transform it into a dance floor. So this idea of also interrupting what people's notion of Lincoln Center is because it's a space that is very aspirational, which is a great thing.”Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent sixteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(0:00) Reimagining Lincoln Center(2:27) Art and the Human Experience(4:40) The Curiosity of Childhood(5:44) Alvin Ailey and the Pivot(8:29) The Invisible Arts(9:06) The Power of Public Theater(17:03) Curation, Programming and the Art of Listening(23:42) San Juan Hill and The Wall(31:23) Art as the Oldest Technology(35:02) globalFEST: Music and Connection(38:20) Finding Universal Belonging(41:20) The Gift of Pause(54:27) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“Lincoln Center is multiple stages. I think probably over three dozen stages across 16 acres. It is a vast canvas in and of itself. And then we have this beautiful plaza that leads to this beautiful campus, and that's the visual I think that most people have when they think of Lincoln Center is this beautiful fountain in the center and these three gorgeous buildings.It's New York's biggest plaza, and it feels very vibrant and beautiful. In the summer, we really take that plaza and we transform it into a dance floor. So this idea of also interrupting what people's notion of Lincoln Center is because it's a space that is very aspirational, which is a great thing.”Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(0:00) Reimagining Lincoln Center(2:27) Art and the Human Experience(4:40) The Curiosity of Childhood(5:44) Alvin Ailey and the Pivot(8:29) The Invisible Arts(9:06) The Power of Public Theater(17:03) Curation, Programming and the Art of Listening(23:42) San Juan Hill and The Wall(31:23) Art as the Oldest Technology(35:02) globalFEST: Music and Connection(38:20) Finding Universal Belonging(41:20) The Gift of Pause(54:27) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
"I really do believe that the arts are critical to how we move forward together, and live performance in particular, I think, is a way of us practicing how to move across our ideological boundaries and find one another and imagine these new worlds together and create together."Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent sixteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(00:00) Reimagining Lincoln Center(03:09) A Collective Caretaking(03:47) The Technology of Human Creation(04:20) The Curiosity of Childhood(09:25) San Juan Hill and The Wall(14:20) globalFEST: Music and Connection(16:06) The Gift of Pause(17:20) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
"I really do believe that the arts are critical to how we move forward together, and live performance in particular, I think, is a way of us practicing how to move across our ideological boundaries and find one another and imagine these new worlds together and create together."Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(00:00) Reimagining Lincoln Center(03:09) A Collective Caretaking(03:47) The Technology of Human Creation(04:20) The Curiosity of Childhood(09:25) San Juan Hill and The Wall(14:20) globalFEST: Music and Connection(16:06) The Gift of Pause(17:20) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
"I really do believe that the arts are critical to how we move forward together, and live performance in particular, I think, is a way of us practicing how to move across our ideological boundaries and find one another and imagine these new worlds together and create together."Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(00:00) Reimagining Lincoln Center(03:09) A Collective Caretaking(03:47) The Technology of Human Creation(04:20) The Curiosity of Childhood(09:25) San Juan Hill and The Wall(14:20) globalFEST: Music and Connection(16:06) The Gift of Pause(17:20) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
"I really do believe that the arts are critical to how we move forward together, and live performance in particular, I think, is a way of us practicing how to move across our ideological boundaries and find one another and imagine these new worlds together and create together."Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(00:00) Reimagining Lincoln Center(03:09) A Collective Caretaking(03:47) The Technology of Human Creation(04:20) The Curiosity of Childhood(09:25) San Juan Hill and The Wall(14:20) globalFEST: Music and Connection(16:06) The Gift of Pause(17:20) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“Lincoln Center is multiple stages. I think probably over three dozen stages across 16 acres. It is a vast canvas in and of itself. And then we have this beautiful plaza that leads to this beautiful campus, and that's the visual I think that most people have when they think of Lincoln Center is this beautiful fountain in the center and these three gorgeous buildings.It's New York's biggest plaza, and it feels very vibrant and beautiful. In the summer, we really take that plaza and we transform it into a dance floor. So this idea of also interrupting what people's notion of Lincoln Center is because it's a space that is very aspirational, which is a great thing.”Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(0:00) Reimagining Lincoln Center(2:27) Art and the Human Experience(4:40) The Curiosity of Childhood(5:44) Alvin Ailey and the Pivot(8:29) The Invisible Arts(9:06) The Power of Public Theater(17:03) Curation, Programming and the Art of Listening(23:42) San Juan Hill and The Wall(31:23) Art as the Oldest Technology(35:02) globalFEST: Music and Connection(38:20) Finding Universal Belonging(41:20) The Gift of Pause(54:27) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
"I really do believe that the arts are critical to how we move forward together, and live performance in particular, I think, is a way of us practicing how to move across our ideological boundaries and find one another and imagine these new worlds together and create together."Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(00:00) Reimagining Lincoln Center(03:09) A Collective Caretaking(03:47) The Technology of Human Creation(04:20) The Curiosity of Childhood(09:25) San Juan Hill and The Wall(14:20) globalFEST: Music and Connection(16:06) The Gift of Pause(17:20) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
“Lincoln Center is multiple stages. I think probably over three dozen stages across 16 acres. It is a vast canvas in and of itself. And then we have this beautiful plaza that leads to this beautiful campus, and that's the visual I think that most people have when they think of Lincoln Center is this beautiful fountain in the center and these three gorgeous buildings.It's New York's biggest plaza, and it feels very vibrant and beautiful. In the summer, we really take that plaza and we transform it into a dance floor. So this idea of also interrupting what people's notion of Lincoln Center is because it's a space that is very aspirational, which is a great thing.”Shanta Thake is the Chief Artistic Officer at Lincoln Center for the Performing Arts—the nation's largest performing arts complex. Before stepping into this role, she spent nineteen years at The Public Theater, shaping the city's cultural landscape through Joe's Pub and expansive community initiatives. Today, she is tearing down walls—both the literal barriers separating Lincoln Center from its neighbors, and the figurative ones that dictate who belongs in our cultural spaces. She views the arts not as a luxury, but as essential civic infrastructure. We are pleased to have Shanta Thake to discuss her journey, the power of radical curation, and the future of public performance.(0:00) Reimagining Lincoln Center(2:27) Art and the Human Experience(4:40) The Curiosity of Childhood(5:44) Alvin Ailey and the Pivot(8:29) The Invisible Arts(9:06) The Power of Public Theater(17:03) Curation, Programming and the Art of Listening(23:42) San Juan Hill and The Wall(31:23) Art as the Oldest Technology(35:02) globalFEST: Music and Connection(38:20) Finding Universal Belonging(41:20) The Gift of Pause(54:27) A Collective CaretakingEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast
Breaking down the Broadway grosses and major theatre news Patreon: BroadwayRadiohttps://www.patreon.com/broadwayradio For a transcript of this episode, please email transcripts@broadwayradio.com and include the episode name. 1) Last week’s Broadway grosses:https://www.broadwayleague.com/research/grosses-broadway-nyc/ 2) Oskar Eustis to depart Public Theater in 2028https://www.nytimes.com/2026/07/22/theater/oskar-eustis-public-theater.html 3) Roundabout confirms Broadway, Off-Broadway dateshttps://deadline.com/2026/07/roundabout-full-monty-broadway-2026-2027-season-1236863055/ 4) Show and casting news ‘& read more
Jeff and Phil welcome actor, martial artist, and stuntman Brian Le of MartialClub, whose credits include Everything Everywhere All at Once, Paper Tigers, and this summer's gritty action thriller The Furious. He talks about his humble beginnings from watching kung fu flicks on bootleg VHS, to making YouTube videos with his brother Andy as self-taught action stars; getting to work with some of the world's best film fighters in The Furious -- and the steep learning curve of making action movies in Asia; and channeling his inner baby to play the unstoppable henchman Ho. Also: The Good, The Bad, and The WTF of making The Furious. This episode is sponsored by National Asian American Theatre Company's acclaimed production of HENRY VI: A Trilogy in Two Parts, which brings an all-AANHPI cast to The Public Theater for a decades-spanning saga of Joan of Arc, warring dukes, and the bloody birth of the War of the Roses. Performances from June 9 through July 19. Use code H6BC for $59 tickets!
Listen: Lauren Class Schneider talks with Jon Norman Schneider who plays Henry in “Henry VI” in National Asian American Theatre Company's production at The Public Theater. Production photos by HanJie ChowPhoto 1 – [Mia Katigbak and Jon Norman Schneider]Photo 2- [Jon Norman Schneider] “Class Notes” actively covers New York's current theater season on, read more
Jeff and Phil check in with Christine Chen, Executive Director of Asian Pacific Islander American Vote (APIAVote), and Karthick Ramakrishnan, Executive Director of AAPI Data, to get a pulse on the upcoming midterm elections. They discuss the challenges of voter engagement — including new and ongoing barriers to voting (and how you can take action); significant data trends across Asian American and Pacific Islander voter demographics; some of the urgent issues affecting AAPI voters; and key races to keep an eye on that could shape the future of our democracy. Also: The Good, The Bad, and The WTF of the upcoming midterm elections. This episode is sponsored by National Asian American Theatre Company's acclaimed production of HENRY VI: A Trilogy in Two Parts, which brings an all-AANHPI cast to The Public Theater for a decades-spanning saga of Joan of Arc, warring dukes, and the bloody birth of the War of the Roses. Performances from June 9 through July 19. Use code H6BC for $59 tickets!
Listen: Lauren Class Schneider talks with Sally Shaw, who plays Polly in “GIRL,INTERRUPTED” at the Public Theater. Production photos by Joan Marcus Photo 1 – [Sally Shaw] Photo 2- [Sally Shaw, Juliana Canfield, King Princess, & Mia Pak] “Class Notes” actively covers New York's current theater season on, off, and off-off Broadway. read more
In this episode of The Truth In This Art, the guest is Jacob Ming-Trent!About Jacob Ming-Trent: Acclaimed performer, playwright, and one of American Theater's people to watch. A celebrated artist bringing his solo play, How Shakespeare Saved My Life, to Washington, DC's Folger Theater, and later to The Public Theater in New York with Red Bull producing.In our conversation, Ming-Trent walks through his journey from a rough childhood in an abusive home to moving to New York at seventeen—having been homeless the previous year and recently dropped out of high school. He recalls the pivotal moment Shakespeare entered his life: at six years old, his father, an English major, mentioned the Bard alongside Amiri Baraka. Years later, he accidentally walked into the wrong classroom and was asked to read a Shakespeare speech. "It felt like home to me," he says. "The words were big enough to give context to my emotions that were inside."He digs into the origins of How Shakespeare Saved My Life, a play that poured out of him unexpectedly while working on a different project. The solo show follows a kid with a tough childhood who discovers Shakespeare and tries to use it to navigate his world—sometimes it works, sometimes it fails. "It's a raucous ride, it's outrageous, it's funny, it's sad, and in the end we experience some black joy," Ming-Trent shares. We discuss his decision to leave theater at 35 after feeling treated like "an affirmative action hire," his pivot to television in LA, and how a call from director Saheem Ali brought him back to the stage to lead Shakespeare in the Park in Merry Wives—which ultimately led to writing this play. He reflects on the influence of figures like Biggie, Tupac, James Baldwin, and Basquiat—all artists trying to save their lives through their work. He also talks about audience interaction, the differences between performing in Berkeley and DC, and why vulnerability and fear are necessary parts of telling personal stories.Be sure to follow Jacob Ming-Trent and catch How Shakespeare Saved My Life, running until July 5th at Folger Theater (201 East Capitol Street SE, Washington, DC). Tickets start at $20. The play is also published by Bloomsbury Publishing. After DC, the show heads to The Public Theater in New York. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★
Jeff and Phil welcome Kevin Jeung, Chef of Research and Production at the legendary restaurant Noma -- named the World's Best Restaurant -- which is finishing up a 16-week residency in Los Angeles. He talks about neglecting to inform his parents when he dropped out of college to pursue cooking full time; the culinary experimentation (both failure and success, but mostly failure) that happens inside Noma's Fermentation Lab; and what the $1500 per seat menu actually looks and tastes like. Also: The Good, The Bad, and The WTF of doing a restaurant pop-up in Los Angeles. This episode is sponsored by National Asian American Theatre Company's acclaimed production of HENRY VI: A Trilogy in Two Parts, which brings an all-AANHPI cast to The Public Theater for a decades-spanning saga of Joan of Arc, warring dukes, and the bloody birth of the War of the Roses. Performances from June 9 through July 19. Use code H6BC for $59 tickets!
On this episode, we catch up on the latest Asian American book news and publishing announcements for our June 2026 mid-month check-isUpcoming books mentioned in our publishing news:Life Is a K Drama by Sherri Shepherd & Jayci LeeOphelia No. 23 by Saou IchikawaA Girl's Spine by Saou IchikawaBirchwood Prep #1: Lina's Secret by Mae RaespicioKapa Kuiki: My Hawaiian Quilt by Ilima Kahokuhealani Todd; illus. by Mae WaiteAll the Gardeners by Varsha Bajaj; illust. by Grace EastonShifu Mama by Roger Lam; illust. by Alina ChauBamboo Magic by Teresa Robeson; illust. by Wazza PinkKung Fu Crane Girl by Mia Wenjen; ilust. by debut artist Yujie HuangBoss Games by Kelly YangEight Little Hands by Hanh Bui; illust. By Kerisa GreeneFlickers of Hope by Hanh Bui; illust. By Kerisa GreeneBook news mentioned on this episode:Marjane Satrapi, author of Persepolis, dies at 56Taiwan Travelogue wins the 2026 International Booker PrizeBooks & Boba is a podcast dedicated to reading and featuring books by Asian and Asian American authorsSupport the Books & Boba Podcast by:Joining our Patreon to receive exclusive perksPurchasing books at our bookshopRocking our Books & Boba merchFollow our hosts:Reera Yoo (@reeraboo)Marvin Yueh (@marvinyueh)Follow us:InstagramTwitterGoodreadsFacebookThe Books & Boba June 2026 pick is The Chosen and the Beautiful by Nghi VoThis podcast is part of Potluck: An Asian American Podcast CollectiveMentioned in this episode:Don't miss an all AAPI production of HENRY VI: A Trilogy in Two Parts at The Public in NYCThe National Asian American Theatre Company's acclaimed production of HENRY VI: A TRILOGY IN TWO PARTS brings an all-AANHPI cast to The Public Theater for a decades-spanning saga of Joan of Arc, warring dukes, and the bloody birth of the War of the Roses. Adapted by Stephen Brown-Fried, this is Shakespeare like you've never experienced it. Part 1: Foreign Wars opens with a king dead, an infant on the throne, and a country already coming apart at the seams. Part 2: Civil Strife picks up nearly 30 years later...and the bloodbath is yet to come. Simmering feuds explode into the War of the Roses, and nothing will ever be the same. Performances from June 9 through July 19! Use code H6BC for $59 tickets!Henry VI at The Public with an all AAPI cast
On this episode we return to the mythical land of Philadelphia to check out the second season of the Hulu crime-comedy series Deli Boys! Picking up where season 1 left off with our favorite Pakistani-American failsons managing their late-father's criminal along with their hypercompetant auntie. This season introduces us to new characters and revisits old grudges, but does this second time around also bring us some good pop?What's Popping? - Cats: The Jellicle Ball, Widow's Peak, The World CupFollow our hosts:Marvin Yueh - @marvinyuehJess Ju - @jessjutweetsHanh Nguyen - @hanhonymousFollow the show and engage with us at @goodpopclubPart of the Potluck Podcast CollectiveProduced by HappyEcstatic MediaMentioned in this episode:Don't miss an all AAPI production of HENRY VI: A Trilogy in Two Parts at The Public in NYCThe National Asian American Theatre Company's acclaimed production of HENRY VI: A TRILOGY IN TWO PARTS brings an all-AANHPI cast to The Public Theater for a decades-spanning saga of Joan of Arc, warring dukes, and the bloody birth of the War of the Roses. Adapted by Stephen Brown-Fried, this is Shakespeare like you've never experienced it. Part 1: Foreign Wars opens with a king dead, an infant on the throne, and a country already coming apart at the seams. Part 2: Civil Strife picks up nearly 30 years later...and the bloodbath is yet to come. Simmering feuds explode into the War of the Roses, and nothing will ever be the same. Performances from June 9 through July 19! Use code H6BC for $59 tickets!Henry VI at The Public with an all AAPI cast
There is an exciting summer season of new plays at the Great Barrington Public Theater, featuring intimate human stories with global implications. The summer starts with "Fragments" by Jim Petosa which focuses on the AIDS pandemic in the 1980s, followed by "iBoss" by Thomas Kee which explores the use of AI, and ends with "Yellow 2.0 Wallpaper 2020" by Jennifer Maisel based on Charlotte Perkins Gilman's 1892 short story "The Yellow Wallpaper." We chat with co-artistic directors Jim Frangione and Judy Braha about the season and working with new plays. www.greatbarringtonpublictheater.org
On this episode, the Good Pop Crew checks out Hoppers, the newest Pixar film from We Bare Bears creator Daniel Chong, following a young (and angry Asian American) girl named Mabel Tanaka, who uses an experimental technology to transfer her mind into a mechanical beaver in order to infiltrate beaver society and save the glade behind her grandmother's house. What's Popping? - Teach You a Lesson, NBA Playoffs, Top ChefFollow our hosts:Marvin Yueh - @marvinyuehJess Ju - @jessjutweetsHanh Nguyen - @hanhonymousFollow the show and engage with us at @goodpopclubPart of the Potluck Podcast CollectiveProduced by HappyEcstatic MediaMentioned in this episode:Don't miss an all AAPI production of HENRY VI: A Trilogy in Two Parts at The Public in NYCThe National Asian American Theatre Company's acclaimed production of HENRY VI: A TRILOGY IN TWO PARTS brings an all-AANHPI cast to The Public Theater for a decades-spanning saga of Joan of Arc, warring dukes, and the bloody birth of the War of the Roses. Adapted by Stephen Brown-Fried, this is Shakespeare like you've never experienced it. Part 1: Foreign Wars opens with a king dead, an infant on the throne, and a country already coming apart at the seams. Part 2: Civil Strife picks up nearly 30 years later...and the bloodbath is yet to come. Simmering feuds explode into the War of the Roses, and nothing will ever be the same. Performances from June 9 through July 19! Use code H6BC for $59 tickets!Henry VI at The Public with an all AAPI cast
Join Adam Gidwitz for a special live performance of Grimm, Grimmer, Grimmest at Family Afternoon at the Delacorte in Central Park, NYC! On Sunday, June 14 at 4:00 PM ET, Adam will bring fairy tales to life in an interactive storytelling performance full of laugh-out-loud moments, surprising twists, and just the right amount of spooky. The event is free and open to families of all ages as part of The Public Theater's celebration of Shakespeare for the City and Free Shakespeare in the Park. No tickets required. Plus, the first 100 kids at the performance will receive a special gift bag. We hope to see you there! For more information, visit: tinyurl.com/FamilyAfternoon
During this livestream session US dialect coach Charley Layton will offer a comprehensive accent study for those actors looking to improve their skill with the non-regional US dialect (and a bit of UK), which is highly sought after for auditions, self-tapes, voiceover work and more. Charley will give advice and feedback to participants as well as insight into the linguistics and physiology involved. Charley Layton is a NYC-based dialect coach and faculty member of the Atlantic Acting School. Recent credits include: Tommy the Musical on Broadway (Nederlander Theatre): Beetlejuice (Regional Tour), Jersey Boys (New World Stages), Awake and Sing! (Public Theater), Travels With My Aunt (Clurman Theater), Sense of an Ending (59E59 Theaters), Film /TV: “Humor Me” (Shout! Studios) & Showtime's “Billions”BFA Drama NYUBA Linguistics Brooklyn College www.charleylayton.com
This summer, The New York Public Library is partnering with The Public Theater for a special book club event, taking place on August 17 at the Delacorte Theater in Central Park. Today on All Of It, Brian Jones, senior director of NYPL's Reading and Engagement department, announces the book club selection: The City We Became, by NK Jemisin. Photo by John Dillenbeck via Wikimedia Commons Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Robertz, Andreas www.deutschlandfunk.de, Kultur heute
What Gives Ana Navarro Hope Ana Navarro sits down with Brian Teta to address speculation about why she wasn't on the show Friday, setting the record straight. She weighs in on TSA workers finally being paid after 45 days of a government shutdown and shares why the situation struck such a nerve for her. Ana also talks about her experience seeing Mexican pop‑rock band Maná in concert and why the “No Kings” demonstrations in Miami and across the country are significant to her. She closes by taking us inside her night at the opening of the show 'Public Charge' at the Public Theater in New York. Learn more about your ad choices. Visit podcastchoices.com/adchoices
As the daughter of the renowned intellectual Edward Said, Najla Said discusses the unique pressures of navigating her family's legacy while forging her own creative voice in the shadow of his immense influence. The conversation explores her journey from attempting to assimilate into American culture as a youth to confronting her heritage during a pivotal trip to Palestine and Lebanon. Said details her entry into professional theater and the development of her acclaimed one-woman show, Palestine, which grew from an intimate journal entry. She also offers a personal perspective on her father's moral backbone, the impact of recent global events on her sense of safety in New York, and the evolution of her activism through new collaborative theater projects. The discussion touches on the enduring intimacy of her memoir, Looking for Palestine, and how sharing her inner monologue has helped her find a community based on genuine solidarity. 0:00 Introduction 1:37 Childhood Stories and Typewritten Plays 2:54 Growing Up in the Shadow of Intellectual Giants 7:23 The Weight of Family Legacy 10:00 Journaling and the Discovery of a Personal Voice 12:47 Acting, Identity, and Hollywood Reality Checks 20:36 Defining "Arab" through Theater 22:10 Navigating Identity Shifts: Lebanon, Palestine, and New York 33:32 Misunderstandings and the Moral Backbone of Edward Said 36:58 Current Work: Dialogue in a Time of Hostility 44:30 Erasing Legacy: Columbia University and Global Activism 47:40 Politics and Perception 52:14 Looking for Palestine: The Vulnerability of Memoir 56:56 Shedding the Need to Be Liked 58:07 Solidarity as the Greatest Expression of Love Najla Said is a Palestinian-Lebanese-American actress, playwright, author, and activist, recognized for her memoir Looking for Palestine: Growing Up Confused in an Arab-American Family (2013), which chronicles her struggles with cultural identity amid a privileged New York City upbringing as the daughter of prominent Palestinian intellectual Edward W. Said and his Lebanese-born wife Mariam Cortas Said. Said initially distanced herself from her Arab heritage, assimilating into American and Jewish social circles while attending elite institutions like Dalton School and Princeton University, before a transformative trip to the Middle East prompted her to embrace Palestinian roots more fully. Said's career spans theater and performance, including her solo show Palestine, which she has presented at over 25 high schools, colleges, and universities worldwide since its off-Broadway debut, addressing themes of diaspora, stereotyping, and Arab-American experiences. She has worked with New York institutions such as New York Theatre Workshop, The Public Theater, and Second Stage, and maintains affiliations like a "Usual Suspect" at NYTW. As an activist, Said advocates for Palestinian self-determination, drawing on her father's legacy of critiquing Western orientalism, though her public engagements, including support for campus protests, reflect a personal evolution from identity confusion to vocal solidarity with causes tied to her heritage. Connect with Najla Said
On today's show, guest host Bert Zipperer is in conversation with scholar Gianni Cicali about the famous children's play Pinocchio and how it speaks to the vital importance of the arts during times of national crisis, from the 1930s to today. Next month marks the 200th birthday of Pinocchio's creator, Carlo Collodi. They discuss the 1930s Federal Theater Project production of Pinocchio. The play was produced by Yasha Frank with the children theater division of the WPA. The program employed people who were unemployed during the Great Depression and offered low-cost tickets so more people could access the theater. The FTP production of Pinocchio played nationwide for two years and on Broadway until June 1939 when Congress and the House Unamerican Activities Committee killed the production. Gianni Cicali is a specialist in the history of Italian theater (Renaissance, Baroque and 18th-century). He holds an Italian “laurea vecchio ordinamento” (M.A. equivalent) and doctoral degrees from both Italy (Università di Firenze) and Canada (University of Toronto). His interests focus on Italian theater, opera and culture from the 15th to the 18th century; Renaissance and Baroque religious theater; cinema; migrations to the Americas of Italian theater professionals (19th-century New Orleans). Featured image: of a photo from the Federal Theatre Project's production of Pinocchio via Library of Congress. Did you enjoy this story? Your funding makes great, local journalism like this possible. Donate hereThe post Public Theater in Times of National Crisis appeared first on WORT-FM 89.9.
“Takes All Kinds”—An American Public Affairs Discussion and Demonstration of Journalistic Theatre Actor and playwright Dan Hoyle and his director, celebrated director/actor Aldo Billingslea, provide an inside look at the creation of their widely acclaimed new solo performance piece “Takes All Kinds.” Dan's blog reminds the viewer that ”I'll be disappearing into these different characters and stories and you'll be glad to journey there with me. They've been traveling with me these last couple years. I think they'll stay with you too.” With “Takes All Kinds,” Hoyle and Billingslea use journalistic theater and embodied storytelling to portray powerful, funny and complex people caught in the social and political currents roiling our society. They create portraits of everyday Americans through moving and funny true stories of American democracy: school board showdowns in Florida, grassroots organizers in Atlanta, barber shops in Las Vegas, deprogrammers of violent extremists in Missouri and more. In this mostly offstage oriented “talk-back” presentation, listeners and observers will have an opportunity to explore with Hoyle and Billingslea how thousands of hours go into a little over an hour show. The artists' view reveals (somewhat) the amazing mystery of live transformative theatrical narrative that has everyone laughing and pin-drop listening with the next moment. And always has the audience talking as they depart. Yes—it's about politics, but could experiencing public affairs embodied theatre journalism bring people something they needed more than they realized? “Stunning…something almost supernatural happens,” according to the San Francisco Chronicle. Currently based at the Marsh Theatre, “Takes All Kinds” has toured elsewhere in California plus New York City, Charleston and Chicago, and will be heading to Idaho, Florida and more in 2026. About the Speakers Oakland-based Dan Hoyle is an actor and writer whose immersion research theater work has been hailed as "riveting, funny and poignant" (The New York Times) and "hilarious, moving and very necessary" (Salon). His solo shows, all originated at The Marsh in San Francisco, have played across the country at The Public Theater, Culture Project, Baltimore Center Stage, Berkeley Rep, Cleveland Playhouse, Mosaic Theater Company, Oregon Shakespeare Festival, Portland Center Stage, Playmakers Rep, Painted Bride, Pure Theater and abroad in India, Ireland, Wales, Mexico, Canada and Nigeria. Aldo Billingslea (director) is a professor of theater at Santa Clara University (SCU). SCU's associate provost for diversity and inclusion, and served as the vice president of the 100 Black Men of Silicon Valley; he's a board member of TheatreWorks Silicon Valley, theatre program director for The222.org in Healdsburg, California.As an academic, he is a professor of American theatre from the Black perspective, acting styles, Shakespeare, and seminars on August Wilson. Billingslea is a lifelong professional actor featured in more than two dozen Shakespeare plays, productions of August Wilson's Gem of the Ocean, Ma Rainey's Black Bottom, and Fences, Arthur Miller's Death of a Salesman, Tennessee Williams' A Streetcar Named Desire, and Lorraine Hansberry's The Sign in Sydney Bernstein's Window. He also worked at the American Conservatory Theater, the Aurora Theater, California Shakespeare Theater, Lorraine Hansberry Theater, and the Marin Shakespeare Theater. An Arts Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. Organizer: Anne W. Smith Learn more about your ad choices. Visit megaphone.fm/adchoices
"Antigone" is a classic play many students read in high school or college. Playwright Anna Ziegler has written a new play inspired by her experience reading "Antigone" growing up, "Antigone (This Play I Read in High School)," running at The Public Theater through March 29. Zieglier discusses her production alongside actors Celia Keenan-Bolger (chorus) and Tony Shaloub (Creon). Photo credit: Joan Marcus
What happens when you step away from the path everyone expects you to follow? Actress Laura Sohn returns to Reppin for a powerful conversation about redefining success, owning your identity, and finding belonging on your own terms. Laura broke out globally on the hit NBC drama The Blacklist, and has appeared across television in NCIS and God Friended Me. Her work spans network television and the New York stage—always bringing depth, nuance, and authenticity to the stories she tells. But this conversation goes beyond the highlight reel. Laura opens up about the pressure so many of us feel—from family, culture, and society—to chase a very specific definition of success. In her twenties, she made the bold decision to step back from a hit show and ask a bigger question: What actually matters? What followed was a period of reflection, humility, and growth. It's an honest conversation about curiosity, culture, family, and the courage it takes to stop proving yourself—and start owning who you are. Laura is also currently starring in the New York play JESA at The Public Theater. JESA follows four Korean American sisters who reunite to perform their father's ancestral ritual honoring the dead. What begins as a ceremony quickly erupts into sibling clashes, humor, and the messy truth about what holds people together. If you've ever: questioned your path felt caught between cultures or wondered where you truly belong this conversation will resonate.
Today, I'm thrilled to announce two Backstage Babble shorts: conversations with legendary artists that, for whatever reason, didn't last as long as full episodes. For this special episode, it is an honor to welcome producer and theater owner Rocco Landesman, and Tony winner Tony Shalhoub, who is currently starring in Antigone (This Play I Read in High School) at the Public Theater. Don't miss these fascinating talks with two of Broadway's most brilliant minds.
Azriél Patricia. Azriél is a New York–based actress, singer, writer, and founder, and a self-reclaimed Nepo Baby. A graduate of NYU Tisch, she has appeared on Younger, High Maintenance, and Crashing, and held a recurring role on Katy Keene as one-third of Josie and the Pussycats. On stage, her work includes Notes From the Field (A.R.T., Second Stage, and the Notes from the Field adaptation), plus workshops/readings including Hell's Kitchen at The Public Theater, Iron John, and The Angelmakers. Beyond stage and screen, Azriél has built a thriving social media community for her sharp, cheeky take on Nepo Babies, creating content rooted in self-discovery and radical authenticity. She's the creator of an original series loosely based on her life, titled (No) Sex and the City, and the founder of SEELAH™, an artist-first visual media platform and cultural institution. https://www.instagram.com/azrielpatricia/ https://www.instagram.com/seelahsanctuary/ https://linktr.ee/Azrielpatricia?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGn_6hUkw4PORN5QR7rRMBKh-DvM8VN42qOoT1g_WhHyJZ9XOw9_OwQUwYs6Qw_aem_q4LLWRxuZuRASuZcnVrqzQ
Whitney White is a theatrical powerhouse. A director, writer, actor, and musician, White's work has been seen on Broadway, Off Broadway, and at major institutions including The Public Theater, the Brooklyn Academy of Music, and, most recently, the Royal Shakespeare Company. Her projects include Jaja's African Hair Braiding, The Last Five Years, Macbeth in Stride, and By The Queen, which was featured in the Folger's 2025 Reading Room Festival. In this episode, White discusses All Is But Fantasy, her four-play musical cycle created for the RSC, where it's now receiving its world premiere. The high-energy, gig-theater show investigates Shakespeare's women and ambition, focusing on Lady Macbeth, Emilia, Juliet, and Richard III. Each piece combines performance with original music, using sound and rhythm as a way into the text and as a tool for rethinking these characters whose inner lives are often cut short or overlooked. White reflects on why Shakespeare's women so often meet tragic ends, how those stories continue to feel familiar, and what it means to keep staging them now. She considers the ways that music, performance, and adaptation can help us better understand Shakespeare today. From the Shakespeare Unlimited podcast. Published February 10, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica, with Garland Scott serving as executive producer. It was edited by Gail Kern Paster. Technical support was provided by Melvin Rickarby in Stratford, England, and Voice Trax West in Studio City, California. Web production was handled by Paola García Acuña. Transcripts are edited by Leonor Fernandez. Final mixing services were provided by Clean Cuts at Three Seas, Inc. Whitney White is an Obie and Lily Award-winning and Tony Award-nominated director, actor, and musician, celebrated for her bold, innovative storytelling across both Broadway and off-Broadway. She recently received the Drama League's 2025 Founders Award for Excellence in Directing and an Obie Award for Sustained Achievement in Directing. All Is But Fantasy, White's four-part musical exploration of Shakespeare's women and ambition, commissioned by the Royal Shakespeare Company, marks her RSC debut as a writer, director, and actor. The two-part high-energy gig theater show is receiving its world premiere at The Other Place in Stratford-upon-Avon in January and February 2026. White's other directing credits on Broadway include The Last Five Years and Jaja's African Hair Braiding, off-Broadway credits include Liberation, Walden, Jordan's, Soft, On Sugarland, What to Send Up When It Goes Down, Our Dear Drug Lord, and For All the Women Who Thought They Were Mad. She recently opened Saturday Church, a new musical featuring songs by Sia and Honey Dijon at New York Theatre Workshop. She also created Macbeth In Stride at Brooklyn Academy of Music, writing the book, music and lyrics. Additional directing work includes The Secret Life of Bees, By The Queen, The Spectacularly Lamentable Trial of Miz Martha Washington, A Human Being of a Sort, An Iliad, The Amen Corner, Othello, Canyon, and Jump. On screen, White has appeared in Ocean's Eight, Single Drunk Female, Louie, and The Playboy Club, and she contributed as a writer to Boots Riley's acclaimed series I'm A Virgo for Prime Video.
Ben Mehl is most recognized for his role as Dante on the hit Netflix show "You." Other TV credits include "The Good Wife," "Supernatural Investigator" and films like "My Christmas Guide" and "Viral Beauty." On stage he has performed with The Public Theater and Williamstown Theatre Festival. He's also a passionate acting teacher and volunteer at the 52nd Street Project. On this episode he tells us the story of finding out he had Stargardt disease, coming to the decision to go ahead with his dream of being an actor despite being legally blind, and the piece of advice a teacher gave him that miraculously made this mountain much easier to climb. Plus we talk about why telling the truth in your life fuels your acting, how teaching has informed his craft, the importance of "trusting the work that you're doing," and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. Follow Back To One on Instagram
Today, I'm thrilled to announce my interview with Tony-winning director Julie Taymor. Tune in to hear some of the stories of her legendary career, including the visual motif of circles in THE LION KING, adapting the plot of the film, exploring artifice in THE TEMPEST on stage and on screen, working with Kathryn Hunter on A MIDSUMMER NIGHT'S DREAM, practicing mask work in auditions, how studying myths in college influenced her later work, her pioneering work on the film FRIDA, why Shakespeare's dialogue is inherently visual, creating a new form of theater in Korea, finding ideographs for every production she directs, bringing THE HAGGADAH to life at the Public Theater, collaborating with Elliott Goldenthal, combining opera and musical theater in JUAN DARIEN, finding a visual take on M. BUTTERFLY, changing the ending of GROUNDED, her opera debut with OEDIPUS, honing her craft in Paris, Indonesia, and Japan, the modern relevance of SPIDER MAN: TURN OFF THE DARK, her new musical THE GRAND DELUSION, and so much more. Don't miss this fascinating conversation with a true visionary.
Kate Baldwin has a way of looking at the industry that is both deeply grounded and incredibly refreshing. She opens up about her approach to playing Roxie Hart in Chicago, describing her version of the character as a "Bad Nellie Forbush" who is just trying to survive. She also shares the fantastic story of how wearing the "wrong" dress to her Hello, Dolly! audition ended up being the perfect choice for Jerry Zaks and helped her find the spine of Irene Molloy. We also dig into the shifts in her personal life and career philosophy since 2020. Kate speaks candidly about letting go of the pressure to be a crossover star in TV and film and instead embracing her true love for musical theater, which she affectionately calls the "Island of Misfit Toys." From the lessons she learned growing up in Wisconsin to the joy of throwing big parties just because she can, this conversation is a celebration of finding out what actually matters to you. Kate Baldwin is a two-time Tony Award nominee for her performances in Finian's Rainbow and Hello, Dolly!, roles that also earned her Drama Desk and Outer Critics Circle Award nominations. Her extensive Broadway career includes starring roles in Big Fish, The Full Monty, Wonderful Town, and Thoroughly Modern Millie. Off-Broadway, she received Drama Desk nominations for her work in Giant at The Public Theater and John & Jen with the Keen Company, as well as a Lucille Lortel nomination for Superhero at Second Stage. She most recently starred as Roxie Hart in Chicago. Connect with Kate: Instagram: @realkatebaldwin Web: kate-baldwin.com Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: Patreon.com/TheTheatrePodcast Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices
AMY LANDECKER is a dynamic actress and filmmaker known for her captivating performances across both comedy and drama in film and television. Amy made her debut as a writer, producer, director and star with For Worse, a feature film that premiered to great acclaim at the 2025 SXSW film festival. The hilarious and poignant romantic comedy focuses on a newly divorced sober mom who goes to a wedding with a much younger date and behaves like a drunk 25-year-old bridesmaid trying to keep up. Amy's previous film work includes Tommy Dorfman's directorial debut I Wish You All the Best (SXSW2024), Shell, Missing—the sequel to the hit Searching—and I Love My Dad (SXSW 2023), in which she stars alongside Patton Oswalt. Her impressive filmography also includes standout roles in S#!%House, the 2020 SXSW Grand Jury Prize winner, Power on Netflix, opposite Jamie Foxx and Joseph Gordon-Levitt, A Kid Like Jake, Beatriz at Dinner, and the Coen Brothers' Best Picture Nominee, A Serious Man. Recently, she starred alongside Bryan Cranston in Showtime's "Your Honor" and appeared in BJ Novak's "The Premise." Previous television credits include "Gaslit," alongside Julia Roberts, the HBO Max series Minx and the Emmy Award winning “Curb Your Enthusiasm.” She is also widely recognized for her role in the critically acclaimed "Transparent," which spanned five seasons and garnered a SAG nomination, and for her powerful performance in "The Handmaid's Tale," for which she appeared in multiple seasons, as well as numerous animated series including “The Croods: Family Tree,” “Q- Force,” “Troll Hunters,” “In The Know” and “Batman: The Long Halloween.” She can next be seen in “The Testaments,” Hulu's follow up series to “The Handmaid's Tale.” Amy began her career acting and directing in Chicago theater at companies like The Goodman, Steppenwolf Theatre and A Red Orchid. Amy was brought to NYC with a Goodman Theater production of Rebecca Gilman's Blue Surge at The Public Theater. She remained in NYC and began a thriving on-camera career with her first job as a guest star on “Law and Order SVU,” where she recently returned for an unforgettable guest appearance in 2025. Learn more about your ad choices. Visit podcastchoices.com/adchoices
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