Podcasts about rebeck

What is central to my work is comedy. For me, there is a desperation in comedy that's very theatrical. And that you can ultimately get a play to a place where everybody wants to just kill themselves or they can tell a joke. So, to me, that's often where they often land. These are your choices: you can kill yourself or die or tell a joke. ~Theresa Rebeck Theresa Rebeck is a prolific and widely produced playwright, whose work can be seen and read throughout the United States and abroad. Last season, her fifth Broadway play premiered on Broadway, making Rebeck the most Broadway-produced female playwright of our time.

Today on the show we have Oscar® and two-time Emmy® Nominee Simon Kinberg.He has established himself as one of Hollywood's most prolific filmmakers, having written and produced projects for some of the most successful franchises in the modern era. His films have earned more than seven billion dollars worldwide. Kinberg graduated from Brown University and received his MFA from Columbia University Film School, where his thesis project was the original script, “Mr and Mrs Smith.” The film was released in 2005, starring Brad Pitt and Angelina Jolie.Upcoming, Kinberg will premiere his action spy film “The 355”, which will be released theatrically by Universal on January 7, 2022. Directed, co-written and produced by Kinberg, the film was one of the biggest deals out of the 2018 Cannes Film Festival and stars an ensemble of A-list actresses including Jessica Chastain, Lupita Nyong'o, Penelope Cruz, Diane Kruger and Fan Bingbing.A dream team of formidable female stars come together in a hard-driving original approach to the globe-trotting espionage genre in The 355.When a top-secret weapon falls into mercenary hands, wild card CIA agent Mason “Mace” Brown (Oscar®-nominated actress Jessica Chastain) will need to join forces with rival badass German agent Marie (Diane Kruger, In the Fade), former MI6 ally and cutting-edge computer specialist Khadijah (Oscar® winner Lupita Nyong'o), and skilled Colombian psychologist Graciela (Oscar® winner Penélope Cruz) on a lethal, breakneck mission to retrieve it, while also staying one-step ahead of a mysterious woman, Lin Mi Sheng (Bingbing Fan, X-Men: Days of Future Past), who is tracking their every move.As the action rockets around the globe from the cafes of Paris to the markets of Morocco to the opulent auction houses of Shanghai, the quartet of women will forge a tenuous loyalty that could protect the world—or get them killed. The film also stars Édgar Ramirez (The Girl on the Train) and Sebastian Stan (Avengers: Endgame).The 355 is directed by genre-defying filmmaker Simon Kinberg (writer-director-producer of Dark Phoenix, producer of Deadpool and The Martian and writer-producer of the X-Men films). The screenplay is by Theresa Rebeck (NBC's Smash, Trouble) and Kinberg, from a story by Rebeck. The 355, presented by Universal Pictures in association with FilmNation Entertainment, is produced by Chastain and Kelly Carmichael for Chastain's Freckle Films and by Kinberg for his Kinberg Genre Films. The film is executive produced by Richard Hewitt (Bohemian Rhapsody), Esmond Ren (Chinese Zodiac) and Wang Rui Huan.His original series “Invasion” premiered on Apple TV+ on October 22nd. He co-created the show with David Weil, serves as Executive Producer, and wrote or co-wrote 9 of its first 10 episodes. It is considered one of Apple's most ambitious series to date as it was filmed on 4 different continents. The show has already been renewed for a second season, which Kinberg is show running and Executive Producing again. He is also the Executive Producer of the upcoming show “Moonfall” for Amazon. Also upcoming, Kinberg produced the sequel to "Murder on the Orient Express,” “Death on The Nile,” directed by Kenneth Branagh and starring Gal Gadot, Armie Hammer, Annette Bening and another all-star cast. Needless to say this is one heck of an episode. Enjoy my conversation with Simon Kinberg.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Theresa Rebeck is a prolific and widely produced playwright, whose work has been staged across the globe. Her work on Broadway includes Bernhardt/Hamlet, Dead Accounts, Seminar, Mauritius and the upcoming play I Need That (starring Danny DeVito, premiering Fall 2023). Other notable plays include the New York Times Critics Pick Dig (which she also directs), currently playing at Primary Stages/59E59 Theaters; Mad House, which played a critically acclaimed world premiere on London's West End starring David Harbour and Bill Pullman; Seared (MCC), Downstairs (Primary Stages), The Scene, The Water's Edge, Loose Knit, The Family of Mann and Spike Heels (Second Stage), Bad Dates, The Butterfly Collection and Our House (Playwrights Horizons), The Understudy (Roundabout), View of the Dome (NYTW), What We're Up Against (Women's Project), Omnium Gatherum (Pulitzer Prize finalist). As a director, her work has been seen at The Alley Theatre (Houston), the REP Company (Delaware), Dorset Theatre Festival, the Orchard Project and the Folger Theatre. Major film and television projects include Trouble, with Anjelica Huston, Bill Pullman and David Morse (writer and director), “NYPD Blue,” the NBC series “Smash” (creator), the female spy thriller 355 (for Jessica Chastain's production company), and her most recent film Glimpse, available for streaming now. As a novelist, Rebeck's books include Three Girls and Their Brother and I'm Glad About You. Rebeck is the recipient of the William Inge New Voices Playwriting Award, the PEN/Laura Pels Foundation Award, and a Lilly Award. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode, Matt Tamanini is in conversation with the star of the recently extended Off-Broadway premiere of Theresa Rebeck’s new play “Dig,” Andrea Syglowski. “Dig” is presented by Primary Stages. Having starred in the world premiere of the show in 2019, Andrea discusses what goes into returning to a piece read more The post Special Episode: Andrea Syglowski on Rebeck’s Tragicomedy ‘Dig’ appeared first on BroadwayRadio.

Troy and I talk about the UWL Fishing Team along with early season bass fishing. We also discuss his tackle company T and T Tackle See omnystudio.com/listener for privacy information.

Today on the show we have Oscar® and two-time Emmy® Nominee Simon Kinberg. He has established himself as one of Hollywood's most prolific filmmakers, having written and produced projects for some of the most successful franchises in the modern era. His films have earned more than seven billion dollars worldwide.  Kinberg graduated from Brown University and received his MFA from Columbia University Film School, where his thesis project was the original script, “Mr and Mrs Smith.” The film was released in 2005, starring Brad Pitt and Angelina Jolie. Upcoming, Kinberg will premiere his action spy film “The 355”, which will be released theatrically by Universal on January 7, 2022. Directed, co-written and produced by Kinberg, the film was one of the biggest deals out of the 2018 Cannes Film Festival and stars an ensemble of A-list actresses including Jessica Chastain, Lupita Nyong'o, Penelope Cruz, Diane Kruger and Fan Bingbing. A dream team of formidable female stars come together in a hard-driving original approach to the globe-trotting espionage genre in The 355.When a top-secret weapon falls into mercenary hands, wild card CIA agent Mason “Mace” Brown (Oscar®-nominated actress Jessica Chastain) will need to join forces with rival badass German agent Marie (Diane Kruger, In the Fade), former MI6 ally and cutting-edge computer specialist Khadijah (Oscar® winner Lupita Nyong'o), and skilled Colombian psychologist Graciela (Oscar® winner Penélope Cruz) on a lethal, breakneck mission to retrieve it, while also staying one-step ahead of a mysterious woman, Lin Mi Sheng (Bingbing Fan, X-Men: Days of Future Past), who is tracking their every move.As the action rockets around the globe from the cafes of Paris to the markets of Morocco to the opulent auction houses of Shanghai, the quartet of women will forge a tenuous loyalty that could protect the world—or get them killed. The film also stars Édgar Ramirez (The Girl on the Train) and Sebastian Stan (Avengers: Endgame).The 355 is directed by genre-defying filmmaker Simon Kinberg (writer-director-producer of Dark Phoenix, producer of Deadpool and The Martian and writer-producer of the X-Men films). The screenplay is by Theresa Rebeck (NBC's Smash, Trouble) and Kinberg, from a story by Rebeck.The 355, presented by Universal Pictures in association with FilmNation Entertainment, is produced by Chastain and Kelly Carmichael for Chastain's Freckle Films and by Kinberg for his Kinberg Genre Films. The film is executive produced by Richard Hewitt (Bohemian Rhapsody), Esmond Ren (Chinese Zodiac) and Wang Rui Huan.His original series “Invasion” premiered on Apple TV+ on October 22nd. He co-created the show with David Weil, serves as Executive Producer, and wrote or co-wrote 9 of its first 10 episodes. It is considered one of Apple's most ambitious series to date as it was filmed on 4 different continents. The show has already been renewed for a second season, which Kinberg is show running and Executive Producing again. He is also the Executive Producer of the upcoming show “Moonfall” for Amazon. Also upcoming, Kinberg produced the sequel to "Murder on the Orient Express,” “Death on The Nile,” directed by Kenneth Branagh and starring Gal Gadot, Armie Hammer, Annette Bening and another all-star cast.Additionally, he is producing several projects for Netflix including “Lift” starring Kevin Hart with director F. Gary Gray, his original script "Here Comes the Flood" with Jason Bateman directing, "Endurance" with Camille Griffin directing, and “Pyros” with Reese Witherspoon starring and producing. Kinberg's latest spec “Wayland” will also begin production next year for Lionsgate, with Michael Showalter directing, and Jessica Chastain producing alongside Kinberg Kinberg will also be producing “The Running Man” at Paramount Pictures to be directed by Edgar Wright, “Artemis” to be directed by Oscar winners Chris Miller and Phil Lord and based on a book by the writer of “The Martian”, the remake of “The Dirty Dozen” at Warner Brothers with David Ayer writing and directing, “Starlight” at 20th Century Studios to be written and directed by Joe Cornish, “Death Notification Agency” at Amazon based on the novel of the same name, “Karma” at Sony Pictures, “Chairman Spaceman” at Fox Searchlight, to be directed by Oscar Winner Andrew Stanton, and an Untitled Action-Romance starring Idris Elba at Apple. Following almost a decade's worth of Marvel films, Kinberg will also write and produce “Battlestar Galactica” for Universal which will be his latest franchise universe. In 2006, he wrote “X-Men: The Last Stand,” which opened on Memorial Day to box office records and began his ongoing relationship with the franchise. In 2008, Kinberg wrote and produced Doug Liman's film “Jumper” for 20th Century Fox. In 2009, Kinberg co-wrote the film “Sherlock Holmes” starring Robert Downey Jr, directed by Guy Ritchie. The film received a Golden Globe for Best Actor and was nominated for two Academy Awards. In 2010, Kinberg established his production company Genre Films, with a first look deal at 20th Century Fox. Under this banner, he produced “X-Men: First Class,” executive produced “Abraham Lincoln: Vampire Hunter” and wrote and produced “This Means War.” In 2013, Kinberg produced “Elysium," which starred Matt Damon and Jodie Foster, directed by Neill Blomkamp. On Memorial Day of 2014, Fox released “X-Men: Days of Future Past," which Kinberg wrote and produced. The film opened number one at the box office, received critical acclaim and went on to gross more than $740 million worldwide. In 2015, Kinberg had four films in release. He re-teamed with Neill Blomkamp to produce “Chappie,” starring Hugh Jackman and Sharlto Copley. Kinberg produced Disney's Academy Award-nominated film “Cinderella," starring Cate Blanchett and directed by Kenneth Branagh.In addition, Kinberg was the co-writer and producer of “The Fantastic Four.” His final film of the year was “The Martian,” which he produced. The film, directed by Ridley Scott and starring Matt Damon, grossed more than $630 million worldwide, won two Golden Globes (including Best Picture) and was nominated for seven Academy Awards (including Best Picture). In 2016, Kinberg produced “Deadpool,” starring Ryan Reynolds. The film broke international and domestic records for box office, including becoming the highest-grossing R-rated film of all time globally. It went on to win two Critics Choice Awards (including Best Picture - Comedy) and receive two Golden Globe nominations (including Best Picture), a WGA nomination and a PGA nomination for Best Picture. That year, Kinberg also wrote and produced “X-Men: Apocalypse.” In 2017, he produced “Logan,” the final installment of the Wolverine franchise with Hugh Jackman. It was selected as the closing film of the Berlin Film Festival and opened #1 at the box office. It was named one of the ten best films of the year from the National Board of Review, garnered three Critics Choice Nominations and an Academy Award Nomination.Kinberg was also a producer on “Murder on the Orient Express,” directed by Kenneth Branagh, with Branagh starring alongside Johnny Depp, Michelle Pfeiffer, Penelope Cruz, Daisy Ridley, Judi Dench, and others. In 2018, Kinberg produced “Deadpool 2,” which matched the success of the first film. It was Kinberg's fourteenth film to open number one at the box office. In 2019, Kinberg made his directorial debut with “X-Men: Dark Phoenix,” which was released June 7. The film once again starred Jennifer Lawrence, Michael Fassbender, James McAvoy, Nicholas Hoult, Sophie Turner, with new addition Jessica Chastain. In television, he was the executive producer of “Designated Survivor,” starring Kiefer Sutherland on ABC and Netflix. He was also the executive producer of “Legion,” “Gifted,” and executive producer and co-creator with Jordan Peele of the remake of “The Twilight Zone” on CBS All Access.  Kinberg has served as a consultant on “Star Wars: Episode VII” and “Rogue One," and he was the creator and executive producer of the animated show “Star Wars: Rebels” on Disney networks. You can also watch Simon's Screenwriting Masterclass on The Dialogue Series on Indie Film Hustle TV.The Dialogue: Learning From the Masters is a groundbreaking interview series that goes behind the scenes of the fascinating craft of screenwriting. In these 70-90 minute in-depth discussions, more than two-dozen of today's most successful screenwriters share their work habits, methods, and inspirations, secrets of the trade, business advice, and eye-opening stories from life in the trenches of the film industry. Each screenwriter discusses his or her filmography in great detail and breaks down the mechanics of one favorite scene from their produced work.Needless to say this is one heck of an episode. Enjoy my conversation with Simon Kinberg.

Robert Winfree and Mark Radulich present their The 355 2022 Movie Review! The 355 (2022 Movie) is an American spy film directed by Simon Kinberg from a screenplay by Theresa Rebeck and Kinberg, and a story by Rebeck. The film stars Jessica Chastain, Penélope Cruz, Fan Bingbing, Diane Kruger, and Lupita Nyong'o as a group of international spies who must work together to stop a terrorist organization from starting World War III. Édgar Ramírez and Sebastian Stan also star. The title is derived from Agent 355, the codename of a female spy for the Patriots during the American Revolution. Grammarly Ad: 1:40:50 Amazon Music Ad: 1:18:20 For a 30 Day Free Trial of Amazon Music Unlimited head to http://getamazonmusic.com/w2mnetwork. Amazon Music is free. Amazon Music Unlimited is not. And for the Grammarly special offer, go to http://getgrammarly.com/w2mnetwork. Check us out on the player of your choice https://linktr.ee/markkind76 Also check out the W2M Network Discord https://discord.gg/fCYpG5dcT9

Robert Winfree and Mark Radulich present their The 355 2022 Movie Review! The 355 (2022 Movie) is an American spy film directed by Simon Kinberg from a screenplay by Theresa Rebeck and Kinberg, and a story by Rebeck. The film stars Jessica Chastain, Penélope Cruz, Fan Bingbing, Diane Kruger, and Lupita Nyong'o as a group of international spies who must work together to stop a terrorist organization from starting World War III. Édgar Ramírez and Sebastian Stan also star. The title is derived from Agent 355, the codename of a female spy for the Patriots during the American Revolution. Grammarly Ad: 1:40:50 Amazon Music Ad: 1:18:20 For a 30 Day Free Trial of Amazon Music Unlimited head to http://getamazonmusic.com/w2mnetwork. Amazon Music is free. Amazon Music Unlimited is not. And for the Grammarly special offer, go to http://getgrammarly.com/w2mnetwork. Check us out on the player of your choice https://linktr.ee/markkind76 Also check out the W2M Network Discord https://discord.gg/fCYpG5dcT9

Today on the show we have Oscar® and two-time Emmy® Nominee Simon Kinberg. He has established himself as one of Hollywood's most prolific filmmakers, having written and produced projects for some of the most successful franchises in the modern era. His films have earned more than seven billion dollars worldwide.  Kinberg graduated from Brown University and received his MFA from Columbia University Film School, where his thesis project was the original script, “Mr and Mrs Smith.” The film was released in 2005, starring Brad Pitt and Angelina Jolie. Upcoming, Kinberg will premiere his action spy film “The 355”, which will be released theatrically by Universal on January 7, 2022. Directed, co-written and produced by Kinberg, the film was one of the biggest deals out of the 2018 Cannes Film Festival and stars an ensemble of A-list actresses including Jessica Chastain, Lupita Nyong'o, Penelope Cruz, Diane Kruger and Fan Bingbing. A dream team of formidable female stars come together in a hard-driving original approach to the globe-trotting espionage genre in The 355.When a top-secret weapon falls into mercenary hands, wild card CIA agent Mason “Mace” Brown (Oscar®-nominated actress Jessica Chastain) will need to join forces with rival badass German agent Marie (Diane Kruger, In the Fade), former MI6 ally and cutting-edge computer specialist Khadijah (Oscar® winner Lupita Nyong'o), and skilled Colombian psychologist Graciela (Oscar® winner Penélope Cruz) on a lethal, breakneck mission to retrieve it, while also staying one-step ahead of a mysterious woman, Lin Mi Sheng (Bingbing Fan, X-Men: Days of Future Past), who is tracking their every move.As the action rockets around the globe from the cafes of Paris to the markets of Morocco to the opulent auction houses of Shanghai, the quartet of women will forge a tenuous loyalty that could protect the world—or get them killed. The film also stars Édgar Ramirez (The Girl on the Train) and Sebastian Stan (Avengers: Endgame).The 355 is directed by genre-defying filmmaker Simon Kinberg (writer-director-producer of Dark Phoenix, producer of Deadpool and The Martian and writer-producer of the X-Men films). The screenplay is by Theresa Rebeck (NBC's Smash, Trouble) and Kinberg, from a story by Rebeck.The 355, presented by Universal Pictures in association with FilmNation Entertainment, is produced by Chastain and Kelly Carmichael for Chastain's Freckle Films and by Kinberg for his Kinberg Genre Films. The film is executive produced by Richard Hewitt (Bohemian Rhapsody), Esmond Ren (Chinese Zodiac) and Wang Rui Huan.His original series “Invasion” premiered on Apple TV+ on October 22nd. He co-created the show with David Weil, serves as Executive Producer, and wrote or co-wrote 9 of its first 10 episodes. It is considered one of Apple's most ambitious series to date as it was filmed on 4 different continents. The show has already been renewed for a second season, which Kinberg is show running and Executive Producing again. He is also the Executive Producer of the upcoming show “Moonfall” for Amazon. Also upcoming, Kinberg produced the sequel to "Murder on the Orient Express,” “Death on The Nile,” directed by Kenneth Branagh and starring Gal Gadot, Armie Hammer, Annette Bening and another all-star cast.Additionally, he is producing several projects for Netflix including “Lift” starring Kevin Hart with director F. Gary Gray, his original script "Here Comes the Flood" with Jason Bateman directing, "Endurance" with Camille Griffin directing, and “Pyros” with Reese Witherspoon starring and producing. Kinberg's latest spec “Wayland” will also begin production next year for Lionsgate, with Michael Showalter directing, and Jessica Chastain producing alongside Kinberg Kinberg will also be producing “The Running Man” at Paramount Pictures to be directed by Edgar Wright, “Artemis” to be directed by Oscar winners Chris Miller and Phil Lord and based on a book by the writer of “The Martian”, the remake of “The Dirty Dozen” at Warner Brothers with David Ayer writing and directing, “Starlight” at 20th Century Studios to be written and directed by Joe Cornish, “Death Notification Agency” at Amazon based on the novel of the same name, “Karma” at Sony Pictures, “Chairman Spaceman” at Fox Searchlight, to be directed by Oscar Winner Andrew Stanton, and an Untitled Action-Romance starring Idris Elba at Apple. Following almost a decade's worth of Marvel films, Kinberg will also write and produce “Battlestar Galactica” for Universal which will be his latest franchise universe. In 2006, he wrote “X-Men: The Last Stand,” which opened on Memorial Day to box office records and began his ongoing relationship with the franchise. In 2008, Kinberg wrote and produced Doug Liman's film “Jumper” for 20th Century Fox. In 2009, Kinberg co-wrote the film “Sherlock Holmes” starring Robert Downey Jr, directed by Guy Ritchie. The film received a Golden Globe for Best Actor and was nominated for two Academy Awards. In 2010, Kinberg established his production company Genre Films, with a first look deal at 20th Century Fox. Under this banner, he produced “X-Men: First Class,” executive produced “Abraham Lincoln: Vampire Hunter” and wrote and produced “This Means War.” In 2013, Kinberg produced “Elysium," which starred Matt Damon and Jodie Foster, directed by Neill Blomkamp. On Memorial Day of 2014, Fox released “X-Men: Days of Future Past," which Kinberg wrote and produced. The film opened number one at the box office, received critical acclaim and went on to gross more than $740 million worldwide. In 2015, Kinberg had four films in release. He re-teamed with Neill Blomkamp to produce “Chappie,” starring Hugh Jackman and Sharlto Copley. Kinberg produced Disney's Academy Award-nominated film “Cinderella," starring Cate Blanchett and directed by Kenneth Branagh.In addition, Kinberg was the co-writer and producer of “The Fantastic Four.” His final film of the year was “The Martian,” which he produced. The film, directed by Ridley Scott and starring Matt Damon, grossed more than $630 million worldwide, won two Golden Globes (including Best Picture) and was nominated for seven Academy Awards (including Best Picture). In 2016, Kinberg produced “Deadpool,” starring Ryan Reynolds. The film broke international and domestic records for box office, including becoming the highest-grossing R-rated film of all time globally. It went on to win two Critics Choice Awards (including Best Picture - Comedy) and receive two Golden Globe nominations (including Best Picture), a WGA nomination and a PGA nomination for Best Picture. That year, Kinberg also wrote and produced “X-Men: Apocalypse.” In 2017, he produced “Logan,” the final installment of the Wolverine franchise with Hugh Jackman. It was selected as the closing film of the Berlin Film Festival and opened #1 at the box office. It was named one of the ten best films of the year from the National Board of Review, garnered three Critics Choice Nominations and an Academy Award Nomination.Kinberg was also a producer on “Murder on the Orient Express,” directed by Kenneth Branagh, with Branagh starring alongside Johnny Depp, Michelle Pfeiffer, Penelope Cruz, Daisy Ridley, Judi Dench, and others. In 2018, Kinberg produced “Deadpool 2,” which matched the success of the first film. It was Kinberg's fourteenth film to open number one at the box office. In 2019, Kinberg made his directorial debut with “X-Men: Dark Phoenix,” which was released June 7. The film once again starred Jennifer Lawrence, Michael Fassbender, James McAvoy, Nicholas Hoult, Sophie Turner, with new addition Jessica Chastain. In television, he was the executive producer of “Designated Survivor,” starring Kiefer Sutherland on ABC and Netflix. He was also the executive producer of “Legion,” “Gifted,” and executive producer and co-creator with Jordan Peele of the remake of “The Twilight Zone” on CBS All Access.  Kinberg has served as a consultant on “Star Wars: Episode VII” and “Rogue One," and he was the creator and executive producer of the animated show “Star Wars: Rebels” on Disney networks. You can also watch Simon's Screenwriting Masterclass on The Dialogue Series on Indie Film Hustle TV.The Dialogue: Learning From the Masters is a groundbreaking interview series that goes behind the scenes of the fascinating craft of screenwriting. In these 70-90 minute in-depth discussions, more than two-dozen of today's most successful screenwriters share their work habits, methods, and inspirations, secrets of the trade, business advice, and eye-opening stories from life in the trenches of the film industry. Each screenwriter discusses his or her filmography in great detail and breaks down the mechanics of one favorite scene from their produced work.Needless to say this is one heck of an episode. Enjoy my conversation with Simon Kinberg.

Our 45th Season opens with ‘A Gentleman's Guide to Love and Murder' and we have the stars and the director in the house! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Talking today with Troy Rebeck with the UW-La Crosse Fishing Team and owner of T&T Tackle.  See omnystudio.com/listener for privacy information.

Theresa Rebeck is a prolific and widely produced playwright, whose work can be seen and read throughout the United States and abroad. Her fourth Broadway play premiered on Broadway in 2018, making Rebeck the most Broadway-produced female playwright of our time. Other Broadway works include Dead Accounts; Seminar and Mauritius. Other notable NY and regional plays include: Seared (MCC), Downstairs (Primary Stages), The Scene, The Water's Edge, Loose Knit, The Family of Mann and Spike Heels (Second Stage), Bad Dates, The Butterfly Collection and Our House (Playwrights Horizons), The Understudy (Roundabout), View of the Dome (NYTW), What We're Up Against (Women's Project), Omnium Gatherum (Pulitzer Prize finalist). As a director, her work has been seen at The Alley Theatre (Houston), the REP Company (Delaware); Dorset Theatre Festival, the Orchard Project and the Folger Theatre. Major film and television projects include Trouble, starring Anjelica Huston, Bill Pullman and David Morse (writer and director), “NYPD Blue,” the NBC series “Smash” (creator), and the upcoming female spy thriller 355 (for Jessica Chastain's production company). As a novelist, Rebeck's books include Three Girls and Their Brother and I'm Glad About You. Rebeck is the recipient of the William Inge New Voices Playwriting Award, the PEN/Laura Pels Foundation Award, a Lilly Award and more. https://twitter.com/TheresaRebeck

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Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.08.31.255141v1?rss=1 Authors: Shinohara, M., Kanekiyo, T., Tachibana, M., Kurti, A., Shinohara, M., Fu, Y., Zhao, J., Han, X., Sullivan, P., Rebeck, W., Fryer, J. D., Heckman, M., Bu, G. Abstract: Objective: Although apolipoprotein E (APOE) allele associates with longevity, its mechanism is not understood. The protective effects of APOE2 and the deleterious effects of APOE4 on Alzheimer's disease (AD) risk may confound APOE effects on longevity. Methods: We analyzed a large number of subjects from the National Alzheimer's Coordinating Center (NACC), and animal models expressing human apoE isoforms in the absence of AD. Results: Clinically, the APOE2 allele was associated with longer lifespan, while APOE4 associated with shorter lifespan, compared to the common APOE3 allele. This effect was also seen irrespective of clinical AD status, and in subjects with little amyloid pathology or after adjustment for AD-related pathologies. In animal studies, apoE2-TR mice also exhibited longer lifespan, while apoE4 showed some trends of shorter lifespan. Notably, old apoE2-TR mice kept activity measured by open field assay, associated with longer lifespan. Evidence of preserved activity in APOE2 carrier was also obtained in clinical records. In animal studies, higher levels of apoE2 in brain and plasma were correlated with activity. Moreover, lower levels of total cholesterol in the brain and higher levels of high-density lipoprotein cholesterol and triglycerides in the plasma of apoE2-TR mice were associated with apoE levels and more activity. Interpretation: APOE2 can contribute to longevity independent of AD. Preserved activity would be an early-observable feature of apoE2-mediated longevity, where higher levels of apoE2 and its-associated lipid metabolism might be involved. Copy rights belong to original authors. Visit the link for more info

Nick Cordero Dies At 41 From Coronavirus Complications; Reviewing “Hamilton,” Other Streaming Theatre; Harris, Rebeck in Red Bull Festival “Today on Broadway” is a daily, Monday through Friday, podcast hitting the top theatre headlines of the day. Any and all feedback is appreciated:  Ashley Steves ashley@broadwayradio.com | @NoThisIsAshleyJames Marino james@broadwayradio.com read more

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.05.11.089383v1?rss=1 Authors: Jiang, X., Howard, J. H., Rebeck, G. W., Turner, R. S. Abstract: Spatial inhibition of return (IOR) refers to the phenomenon by which individuals are slower to respond to stimuli appearing at a previously cued location compared to un-cued locations. Here we provide evidence supporting that spatial IOR is mildly impaired in individuals with mild cognitive impairment (MCI) or mild Alzheimer's disease (AD), and the impairment is readily detectable using a novel double cue paradigm. Furthermore, reduced spatial IOR in high-risk healthy older individuals is associated with reduced memory and other neurocognitive task performance, suggesting that the novel double cue spatial IOR paradigm may be useful in detecting MCI and early AD. Copy rights belong to original authors. Visit the link for more info

"Bombshell” premiered on May 14, 2012. Rebeck stans rejoice: this finale episode was written by show creator Theresa Rebeck. It was also directed by Michael Morris, who last directed episode 3 of the series. The viewership was up by about a quarter million viewers this week, ending the season with a triumphant 5.96 million! Yay! No covers this week! Instead, rounding out the season was all music by Marc Shaiman and Scott Whitman. Just like last week, we had various snippets of the Bombshell songs, but most notably were a fully-staged production number (complete with Ivy cutaways) of “I Never Met a Wolf Who Didn’t Love to Howl,” and the thrilling last-minute finale of Don’t Forget Me, sung by season 1’s understudy-turned-leading lady Karen Cartwright. It’s 15 minutes til places and the theatre is buzzing. Tom and Julia are feverishly finishing rewrites to give to their new Marilyn. But who is it? Karen or Ivy? We are transported twelve hours earlier, where Derek, Eileen, Tom and Julia are arguing about how to move forward now that Rebecca has left the production. But in Derek’s mind he continues to see Karen as his Marilyn, so he makes the decision to put Ms. Cartwright on as Ms. Monroe.  The day is spent putting Karen into the show, altering costumes and updating her on rewrites. And as the rehearsal progresses, Karen proves herself adept at the part. But even while she is being put in there are whispers that Ivy already knows most of the show, most notably from Ms. Lynn herself.  When Ivy confronts Derek about why it wasn’t her, he finally admits to her that he’s always seen Karen as Marilyn in her head. She’s not the only one who is #TeamIvy; Even Eileen is pushing Derek to put Ivy on. When Karen learns that Ivy and Dev hooked up she takes her wig off and goes missing. Ivy goes as far as getting into Marilyn’s costumes but Derek gets Karen to channel her personal angst into the role and get back into rehearsal.  And with that we are back at the evening preview with Karen shining as Marilyn Monroe, debuting Tom and Julia’s new ending to the show, a stirring ballad called “Don’t Forget Me.” Learn more about your ad choices. Visit megaphone.fm/adchoices

“The Coup” premiered on March 26, 2012. It was directed by Paris Barclay, and written by show creator Theresa Rebeck. This is the first episode Ms. Rebeck has been credited with writing since episode 3. Upon premiere, the episode was viewed by 6.14 million, which is down .42 million from the week before. It just keeps going down… This is the first episode where there is zero music by Marc Shaiman and Scott Whitman, which makes sense since the workshop’s over. Instead, we have the original song “Touch Me” written by Ryan Tedder of OneRepublic and Bonnie McKee, and two covers of Bob Marley’s “Three Little Birds” and Sly and the Family Stone’s “Dance to the Music.” After the Bombshell workshop, everyone is asking if the musical is dead. Well, Ivy is at least - driving herself crazy on a stationary bicycle. In addition, Derek and Ivy are taking a bit of a break so her inside track on the progression of Bombshell is moot. Derek meets with Karen to tell her that “they” are talking to a new songwriter, a new approach and a new song “and they need her to sing it.” The catch? Tom and Julia can not know. But they do know! Because assistant Ellis and producer Eileen are now BFFs and Ellis now seems to have a full time gig as a professional snoop. Karen is concerned about aligning herself with Derek but agrees to meet him at a dockside in Queens. The dockside ends up being a Brooklyn warehouse where Ryan Tedder of One Republic is working on, which involves Karen singing “‘touch me’ to a bunch of dancers.” Sam and the ensemblists of Bombshell *finally* get Ivy out of the gym by taking to Brooklyn Bowl. Bobby the soothsayer laments “they pay us nothing for those things and then as soon as it’s over no one calls and then we end up prowling around trying to figure out what’s going on. We did all that work for free, basically, and then we have no rights to even ask a question.” The result is what is perhaps the most realistic exchange of the television series thus far: Jessica: “I hate the theatre.” Bobby: “I hate the theatre.” Ivy: “I love the theatre.” Which turns into a bowling lane dance party, jumping off of the furniture, and grapevining down the bowling lane. Ivy catches Ellis on one of his snooping missions, where he lets on the Karen and Derek are working together. She replies, “Oh if they’re going to replace me with a star that’s bad enough but Karen Cartwright is a nobody.” Bobby meets up with Karen under the guise of catching up since the workshop, but what he’s really doing over beers is getting the dirt on Karen’s secret project.  The secret project ends up being a choreographed performance of “Touch Me” a Marilyn-inspired techno song staged on a rotating bed with satin sheets. Needless to say it doesn’t go over well with Tom and Julia, with both of them feeling betrayed by Derek and Eileen going behind their backs. But when the creative team finally comes together, Eileen tells them that the Marilyn musical now needs a star to move forward. Learn more about your ad choices. Visit megaphone.fm/adchoices

Linda the Stage Manager is in the house! This week Ann Harada is in tech with Damian and Anne. You Might Know Her From Smash, Avenue Q, Seussical the Musical, Feel, Cinderella, Admissions, and Les Misérables. We get into growing up in Hawaii (and going to high school with Barack Obama), navigating the business as an Asian American character actress, plus EGOT stuff and the kindness and kookiness that comes with having Fran Drescher play your mom. And of course Theresa Rebeck and Bombshell til the cows come home. Thank you, five! Follow us on social media @damianbellino || @rodemanne Discussed this week Anjelica Huston article (Vulture) Maggie Smith in A German Life Ann’s IMDB || IBDB St. Louis style pizza Provel cheese (swiss, white cheddar, provolone) Dropping Gumballs on Luke Wilson (Robert Ackerman) directed by → Theresa Rebeck Smash Smash controversy: (Rebeck fired) (romance between co-stars) (brilliant recaps) Seussical  (Eric Idle, Andrea Martin, David Shiner) other Cat in the Hats (Cathy Rigby, Rosie O’Donnell) Avenue Q wins Best Musical (“It Sucks to be Me” at the 58th Annual Tony Awards) Harada as Christmas Eve in “Everyone’s a Little Bit Racist” from Avenue Q Robert Lopez (double EGOTer) Punahou High School (Barack Obama also attended) Flower Drum Song (Rodgers & Hammerstein) Mrs Potts Feel (dir:Matt Mahurin) ft Billy Baldwin Mary Testa and Jackie Hoffman Played The Hawaii Chair in House of Cards (Chapter 48) Lindsay Price in Lipstick Jungle Cashmere Mafia (starring Lucy Liu fyi) Kim Raver, Brooke Shields, Lindsay Price Cinderella on Bway (Harriet Harris & Peter Bartlett) Stepsister’s Lament Sherri Shepherd, NeNe Leakes, Fran Drescher and coffee enemas (not an endorsement) (living) EGOTers: Whoopi Goldberg, Rita Moreno, Andrew Lloyd Webber, Jonathan Tunick, Scott Rudin, Mel Brooks,Tim Rice (John Legend doesn’t get to participate in this game, too sexy) Admission with Tina Fey (we refer to it as Admissions once or twice, oops) Bert Lahr story from Bossypants Ann Harada’s essay: Acting While Asian

President Daryl Rebeck of Lexagene Hldgs Inc. (OTCQB: LXXGF)(TSX.v: LXG) joins the show to discuss developing a commercialized and easy to use genetic analyzer for use in multiple markets. # biotechnology company # easy-to-use # food safety # fully automated # genetic analyzer # human origin # pathogen # pharmaceutical companies # returning results in about 1 hour, sensitivity # specificity # veterinary diagnostics markets

Victoria A. Rebeck, of the Minnesota Area of the United Methodist Church, describes how clergywomen can revitalize the church while serving as elders and deacons. (VOICED BY PROFESSIONAL TALENT) FULL TRANSCRIPT 0:01        When women come together there's nothing we cannot do. Welcome to the WellSprings Journal Podcast, where you will hear from women who have been called by God into lives to speak grace and compassion, that share pain and anger, and that dance life's joys and laughter. Inspiration to call forth your creative spirit awaits. Listen now. 0:34        Breaking Ranks: Women Elders and Women Deacons in Ministry Partnership, by Victoria A. Rebeck, Minnesota Annual Conference 0:43        Scripture tells us that loving God entails loving neighbor. Piety that does not include advocacy for the marginalized and compassion for the suffering is no piety at all. “Is this not the fast I choose,” we read in Isaiah 58:6-7, “to loose the bonds of injustice, / to undo the thongs of the yoke, / to let the oppressed go free, / and to break every yoke / . . . to share your bread with the hungry, / and bring the homeless poor into your house . . . ?” The United Methodist Church’s ordering of clergy into two distinct orders, deacon and elder, represents this inseparable combination. Elders lead the people in piety: ordering the life of the church and making sure that God’s people receive sacraments. Deacons connect piety with compassion and justice for neighbors, leading God’s people into ministry outside the walls of the church. When deacons and elders collaborate, the fullness of the church’s ministry is represented and led, in the equal and united manner that is reinforced throughout Scripture. 1:51        Evolution of the Diaconate The partnership style of leadership originated in the church’s first centuries. The earliest leadership offices in the church were bishop and deacon, says James Monroe Barnett in The Diaconate: A Full and Equal Order. Bishops oversaw churches, much like pastors. Deacons led those congregations in ministry to those in need—partners in leading the people in love of God and neighbor. “To think of subordination to the bishops… is largely to forget the character of the Church of the late New Testament period,” Barnett says. However, by the end of the fourth century, the church began adopting the hierarchical forms of civic society, the Roman Empire. The diaconate was reduced to a step up in the clergy hierarchy. The days of equality among clergy and laity faded. This pattern persisted in The United Methodist Church until 1996. Denominations that did not retain some form of clergy diaconate eventually recreated it in various lay forms. In Protestant churches, it is mostly women who have retained the purpose of diakonia, rebirthing this ancient Christian office as a central expression of Christian ministry. 3:12        Even John Wesley promoted the role of deaconess, though I have found no references to its being an official role. In a Nov. 5, 1788, letter to Adam Clarke, John Wesley recommends that Mrs. Clarke “fulfill the office of a deaconess.” Without a record of a description of the deaconess’s function, we can only speculate. We might guess that it entailed service and leadership, perhaps among the women faithful. Luther, Zwingli, and Calvin called for renewal of the deacon as minister among the poor. Theodor Fliedner and his wife, Friederike Münster, led the formation of a deaconess community through the founding of a motherhouse in Kaiserswerth, Germany, in 1836. Living in community, the deaconesses focused on community ministries, particularly health care. Such vocational opportunities for women grew during the industrial era of the late nineteenth century, along with urbanization and immigration in England and North America. The United Methodist lay deaconesses (and their spiritual brothers, the home missioners) are heirs to this movement. The United Methodist Church developed the office of lay worker in 1968, which comprised, to a significant extent, congregational directors of Christian education. In 1976, the lay worker was succeeded by the diaconal minister. (Despite an effort to unite the different forms into one diaconia, deaconesses remained separate.) Ordained clergy were predominantly male; many women who were called to congregational leadership found access via the role of Christian educator. Thus, the ministries of compassion, justice, and empowerment of laypeople became the women’s work of the church. “Men’s work” — congregational and denominational leadership as the pastor—enjoyed greater respect in a patriarchal, hierarchal church. Women with the call to order the life of the church were often blocked from ordination, or even licensing. The ordained diaconate was mostly reserved for men, a pastoral role and transitional step toward elder. 5:29        Full Clergy Status In 1996, The United Methodist Church followed ecumenical partners and evolved in its understanding of diaconia by forming a full and equal clergy order of deacon. No longer elders-in-the-making, deacons in The United Methodist Church are now more like deacons from the second through seventh centuries, who “oversaw the pastoral care of the Church… were administrators of the Church’s charities… were assistants of its bishops, often succeeding them in office… had a major role in the Church’s liturgies… were the great symbol of the servant ministry to which the Church has been called by Christ.” The 1996 General Conference chose to discontinue the commissioning of new diaconal ministers. Current diaconal ministers (some of whom may have been lay workers) had the opportunity to transition to the ordained office of deacon. However, the language of the Discipline makes clear that deacon is not simply a new name for lay worker or diaconal minister. Deacons fulfill servant ministry in the world and lead the Church in relating the gathered life of Christians to their ministries in the world, interrelating worship in the gathered community with service to God in world. Deacons give leadership in the Church’s life in teaching and proclaiming the World; in contributing to worship, and in assisting the elders in administering the sacraments of baptism and the Lord’s Supper; in forming and nurturing disciples; in conducting marriages and burying the dead; in embodying the church’s mission to the world, and in leading congregations in interpreting the needs, concerns, and hopes of the world. 7:18        For many deacons, “forming and nurturing disciples” means serving in congregational staff positions as Christian educators, children’s and youth ministers, pastoral-care providers, and family or age-group ministry leaders. As United Methodist congregations shrink and can afford to employ fewer people, particularly clergy, deacons’ ministry in The United Methodist Church is increasingly a ministry outside the walls of the church. Deacons serve as truck-stop chaplains, prison ministers, directors of peace-and-justice ministries and compassion organizations, to name only few. The diaconate was and is most of all ministry of “interrelating worship in the gathering community with service of God in the world.” Ecumenically and around the world, diakonia takes lay and clergy forms. Among the churches that have non-transitioning (not a step toward presbyter or priest) deacons are the Methodist Church in Britain, the Methodist Church of Southern Africa, the Roman Catholic Church, the Anglican Church of Canada and the Episcopal Church. United Methodist deacons are active in the United States and Europe. The Lutheran communion churches have active lay orders of diaconia. 8:36        Obstacles to Partnership Full-member clergy deacons strengthen The United Methodist Church. However, the evolution from lay worker to diaconal minister to deacon has put United Methodist clergywomen at odds with one another. Many women who found leadership opportunities as committed and trained lay Christian educators eventually discerned the call to the ordained diaconate. Other women who heard the call to the pastorate slowly but persistently pursued ordination as elders and eventually gained full clergy rights for women (1956). Unfortunately — having worked hard for recognition as ordained, full clergy members — some of those early pioneering women elders look on their sisters who pursued Christian education (or other age-group leadership) as having made a lesser choice. This attitude pits women clergy leaders against women clergy leaders. It is a capitulation to patriarchal hierarchy. It takes away the very respect for clergywomen’s leadership that the pioneering women elders worked to obtain. It also devalues Christian education and other deacon ministries. At the time of this publication, The United Methodist Church in the U.S. is wringing its hands over the aging of the church membership and the dearth of young adults in congregations. If we truly value young people, we would consider Christian education and youth ministry among the most important ministries the church undertakes. 10:15     Further, many young people report that the church fails to attract them because they are more interested in healing brokenness and injustice in the world than they are in sitting on committees, often the church’s first choice for engaging laypeople. Given that the deacons are to “relate the gathered life of Christians to their ministries in the world,” deacons are particularly well positioned to engage young adults in Christian discipleship. This is particularly true of deacons serving appointments in congregational outreach, as mission coordinators for conferences or jurisdictions, and for those leading social-service agencies beyond the local church (and in secondary appointment to congregations). For example, the Rev. Donnie Shumate Mitchem’s primary appointment is as a school psychologist in Western North Carolina. She also leads the parishioners in her secondary appointment to pack book bags for children of limited means, clean classrooms, and pray for students and teachers. The Rev. Scott Parrish, mission specialist for Connectional Ministries for the North Georgia Conference and a mission strategist for General Board of Global Ministries, explicitly guides churches to help young adults to find their place in the United Methodist global mission movement. 11:40     Embracing the Both/And of Clergy Partnership Women elders and women deacons have an opportunity to lead the church away from hierarchical patterns and back to the organic, horizontal understanding of the whole church’s ministry. This includes leading laypeople back into active discipleship that includes both piety and compassionate action. When asked the most important commandment, Jesus said, “‘You shall love the Lord your God with all your heart, and with all your soul, and with all your mind.’… And a second is like it: ‘You shall love your neighbor as yourself.’ On these two commandments hang all the law and the prophets” (Matthew 22:37-40). The ministries of the elder and deacon embody these two commandments. To paraphrase Isaiah, this is the piety God chooses: both the spiritual development that takes place in worship and the active, selfless service that takes place outside the church’s walls. Women clergy can revitalize ministry in The United Methodist Church by restoring the mutually empowering, mutually serving discipleship described in the Gospels and epistles. Not everyone has the same gifts; and, through practice of the varying gifts and passions, the realm of God is built. 13:00     United Methodist clergywomen — deacons and elders — across the international connection can strengthen the United Methodist witness in the world by supporting and advocating for each other’s ministries. On an international scale, this entails learning about each other’s cultural contexts. The careerism that has crept into ministry in the United States may not be the practice in other nations. The role of women in society varies from culture to culture as well. As United Methodist clergywomen learn one another’s contexts, hopes, and callings, they can work toward rebirthing in The United Methodist Church an understanding of ministry as mutual and empowering of all the baptized. The Rev. Doris Dalton is a deacon in the Eastern Pennsylvania Conference who has served in partnership ministries with elders in both primary (district office) and secondary (church start) appointments. “I have found that successful partnerships between deacons and elders require the following factors: alignment of calling and vision, establishing communication agreements, understanding and respecting roles, and knowing thyself, she says in her blog post “How deacons and elders can partner in ministry.” Dalton encourages elders and deacons to engage in intentional conversation on deepening ministry partnerships between deacons and elders. “Many elders are reluctant to engage in a deacon-elder partnership because the details and responsibilities can seem daunting,” she observes. “Demythologizing assumptions and sharing concrete details can provide for a smoother beginning to ministry partnerships.” 14:49     Elders can start by sharpening their understanding of the historic ministry of the deacon. Margaret Ann Crain’s book The United Methodist Deacon is a good start. Women elders in a conference might demonstrate genuine interest and respect by inviting deacons, including those appointed beyond the local church, to join them in discussing ministry challenges. Elders may discover deacons who are doing exciting, innovative ministry and who can enhance the elders’ congregational ministry through training or secondary appointment. Deacons should step up in leadership and not wait to be noticed. Volunteer for ministry discernment events, lay ministry trainings, annual conference leadership, and more. Devise ways to share your ministry expertise across the district or conference. Raise your profile through leadership. Build relationships among elders, help them perceive the deacon/elder ministry wholeness, and propose partnerships (including short-term ones). Perpetuating the hierarchical ranking of ministry we inherited from a patriarchal church continues to hold back all women as well as the gospel’s countercultural ordering of ministry. Women clergy have the perspective and perhaps the working preferences to renew the church through egalitarian ministry partnerships — if we have the courage to do so. 16:18     Thank you for listening to the WellSprings Journal podcast. Be sure to visit WellSpringsJournal.org to find more resources for the journey.  

Novelist, screenwriter and Pulitzer-nominated playwright Theresa Rebeck is a woman of many hats - the latest of which is the director of the independent ensemble comedy Trouble. A film with modest ambitions but no small amount of charm, its tale of a small-town sibling rivalry is bolstered by tremendous performances from a more-than-qualified cast (Anjelica Huston, Bill Pullman, David Morse, Julia Stiles, Brian D'arcy James, the list goes on).  For this special minisode of the podcast, Clint sat down for a phone interview with Rebeck to talk about the prevailing themes of her works, working with such an overqualified cast, and the intimate appeal of rural America. Take a listen! (Thanks to our sponsor Overcast, part of the Chicago Podcast Coop!)

Episode 12 Dr. Rebeck is a Diplomate of the American Board of School Neuropsychology and will be discussing this topic! #psychedpodcast Presentation: https://drive.google.com/file/d/0B7JkmPE1QnD6dHpsMmJMZGJZaEE/view?usp=sharing Resources Drive: https://drive.google.com/folderview?id=0B7JkmPE1QnD6SUJSNHo0NERJWFU&usp=sharing http://schoolneuropsych.com “If a child doesn’t know how to read, we teach. If a child doesn’t know how to swim, we teach. If a child doesn’t know how to multiply, we… Continue reading Episode 12 – Executive Functioning with Dr. Rebeck

Episode 14 Dr. Rebeck continues his presentation on executive functioning. Participate live with #psychedpodcast  and through the FB page https://www.facebook.com/School-Psyched-Podcast-1494498527497140/?ref=aymt_homepage_panel book referenced in podcast: Helping Children Learn: Intervention Handouts for Use in School and at Home http://www.amazon.com/Helping-Children-Learn-Intervention-Handouts/dp/1557666466 #psychedpodcast Presentation: https://drive.google.com/file/d/0B7JkmPE1QnD6dHpsMmJMZGJZaEE/view?usp=sharing Resources Drive: https://drive.google.com/folderview?id=0B7JkmPE1QnD6SUJSNHo0NERJWFU&usp=sharing https://www.facebook.com/School-Psyched-Podcast-1494498527497140/timeline/ https://plus.google.com/communities/107500016711274208603

It has been said that there is nothing less dramatic or more lacking in entertainment value than watching a writer write. In the clever comedy-drama ‘Seminar,’ presented at Wells Fargo Center by Left Edge Theatre, playwright Theresa Rebeck—the mastermind behind such stage hits at The Scene and television’s Smash—deftly transports her patented hard-edge comedy style from the worlds of stage-and-screen to the land of the literarily engaged. By never showing us a writer in the act of writing, but rather showing us a quartet of authors in the act of defending and describing their work, Rebeck shows them at the vulnerable core of who they are. And it’s a blast. Mostly. If anyone could really determine a great novel or a lousy novel by just reading the first who pages, then maybe I should only be watching the first ten minutes of a play before rendering my own opinion as to its overall worth. That’s not possible, of course, and for a playwright as adept as Rebeck to take such lazy shortcuts, actually showing us people in the act of recognizing a literary work’s excellence by it’s first several paragraphs, is disappointing. Thankfully, the value of ‘Seminar’ lies in its entirety, not in one or two false moments, and on the whole, ‘Seminar’ is outstanding. “Don’t defend yourself,” intones Leonard, early in the play. Played by actor Ron Severdia with a mix of weary resignation, playful, grinning antagonism, and vicious, sociopathic bloodlust, Leonard is an esteemed author-turned-teacher-for-hire, and he doesn’t like it when a writer defends herself after he’s criticized her. “If you’re defending yourself,” he tells a whole group of young writers he is in the middle of eviscerating, “then you’re not listening.” Directed by Argo Thompson with a strong ear for the rapidly shifting rhythms of intellectual debate and literary double-speak—though with a conspicuous tendency to have his entire cast perform facing and rarely to each other—Seminar follows a bunch of would-be writers who pay a Leonard $5000 apiece to give them a private class, “critiquing” their writing—and everything else about them. Rose Roberts, as the Jane Austen-loving Kate—who rents the New York apartment where the classes take place—is at the top of her game, and as her variously talented classmates, Jacob de Heer, Devon McConnell, and Veronica Valencia give strong, appealing performances in a play in which every character has something great to do, alternately required to be torn apart, or to learn the fine art of tearing apart others. As Leonard gleefully pronounces, “Writers, in their natural state, are as civilized as feral cats.” This entertaining exploration of artistic egos under pressure is a bit over-cooked at times, but on the whole is as deliciously fierce, ferocious and funny as a pack of wild animals. And like a wild animal, it doesn’t always behave itself. “Seminar” runs Friday through Sunday through November 28, at Wells Fargo Center for the Performing Arts, presented by Left Edge Theatre. www.leftedgetheatre.com

Playwright Theresa Rebeck and director Doug Hughes: plus playwright/performer Charles Busch are the guests Hughes and Rebeck discuss their new play, Mauritius; also Busch on the Off Broadway revival -in which he stars - of his Play Die Mommie Die!