Podcasts about sdcf executive director david diamond

Arthur Penn: In 2002, Arthur Penn sat down for a One-on-One conversation with SDCF Executive Director David Diamond to discuss his triple-threat career in theatre, television and film. He tells the story of his launch into theatre from the army, followed by an early career in TV and the Actors Studio. He talks about his relationship with Bill Gibson which launched two of his biggest successes: The Miracle Worker and Two for the Seesaw, and shares humorous anecdotes about working with Lillian Hellman, Sammy Davis, Jr., George C. Scott, Henry Fonda and the geneses of The Golden Boy, Wait Until Dark, Sly Fox and his film The Left-Handed Gun. Mr. Penn discusses his approach to directing, the importance of casting and his embrace of Stanislavsky's Method for both theatre and film. Other topics include the shrinking audience for theatre today, the self-serving nature of Hollywood, and his early inspirations in Elia Kazan and the Group Theatre. Mr. Penn's positive attitude about both the highs and lows of his career is inspiring, and this ninety-minute discussion with the legendary director should not be missed. Originally recorded - April 1, 2002. Running Time - 1:20:04 © 2002 SDCF

Austin Pendleton: Renowned stage and film actor and Tony nominated stage director Austin Pendleton made time for an interview in April of 1999 with former SDCF Executive Director David Diamond. This 90 minute discussion features the always candid Pendleton discussing his life in the theatre. The conversation begins with an explanation of his origins in directing. From his 1st experience directing his mother in a community theatre production of The Glass Menagerie in his hometown of Warren, Ohio to a successful production of Tartuffe at the Williamstown Theatre Festival which landed him on Broadway, he recounts the steps which led him to develop the director’s craft. He reminisces on mentors Jerome Robbins, Bill Ball, Bob Lewis and others, crediting their influence on his early directing career. The discussion then turns toward his acting and how his life as a performer informs his process as a director, admitting he "used to be a very difficult actor before [he] started directing." This discussion covers a career that spans four decades and includes stories of his best and worst memories of working on the stage. Whether directing Elizabeth Taylor, developing new work with Michael Weller, or acting for greats like Jerome Robbins and Mike Nichols, Pendleton's story is one of a truly gifted theatre professional. Originally recorded - April 27, 1999. Running Time - 1:30:40 ©1999 SDCF

In 2002, Arthur Penn sat down for a One-on-One conversation with SDCF Executive Director David Diamond to discuss his triple-threat career in theatre, television and film. He tells the story of his launch into theatre from the army, followed by an early career in TV and the Actors Studio. He talks about his relationship with Bill Gibson which launched two of his biggest successes: "The Miracle Worker" and "Two for the Seesaw", and shares humorous anecdotes about working with Lillian Hellman, Sammy Davis, Jr., George C. Scott, Henry Fonda and the geneses of "The Golden Boy", "Wait Until Dark", "Sly Fox" and his film "The Left-Handed Gun". Mr. Penn discusses his approach to directing, the importance of casting and his embrace of Stanislavsky's Method for both theatre and film. Other topics include the shrinking audience for theatre today, the self-serving nature of Hollywood, and his early inspirations in Elia Kazan and the Group Theatre. Mr. Penn's positive attitude about both the highs and lows of his career is inspiring, and this ninety-minute discussion with the legendary director should not be missed.

Renowned stage and film actor and Tony nominated stage director Austin Pendleton made time for an interview in April of 1999 with former SDCF Executive Director David Diamond. This 90 minute discussion features the always candid Pendleton discussing his life in the theatre. The conversation begins with an explanation of his origins in directing. From his 1st experience directing his mother in a community theatre production of "The Glass Menagerie" in his hometown of Warren, Ohio to a successful production of "Tartuffe" at the Williamstown Theatre Festival which landed him on Broadway, he recounts the steps which led him to develop the directors craft. He reminisces on mentors Jerome Robbins, Bill Ball, Bob Lewis and others, crediting their influence on his early directing career. The discussion then turns toward his acting and how his life as a performer informs his process as a director, admitting he "used to be a very difficult actor before [he] started directing." This discussion covers a career that spans four decades and includes stories of his best and worst memories of working on the stage. Whether directing Elizabeth Taylor, developing new work with Michael Weller, or acting for greats like Jerome Robbins and Mike Nichols, Pendleton's story is one of a truly gifted theatre professional.

Off-Off Broadway pioneer Ellen Stewart gave a candid interview to SDCF Executive Director David Diamond for a packed audience of theatre artists at ArtsConnection on June 13, 1994. The central focus of the interview is her founding and continued artistic leadership of La MaMa Experimental Theatre Club. She begins at the beginning, explaining the origins of the institution and the impetus behind its creation. Ms. Stewart reminisces on her early funding efforts for the company - by selling her fashion designs on Fifth Avenue as the first African American designer to work for Saks. She covers the struggle to produce the work of marginalized artists in the early 60's, her confrontations with city officials and landlords and the emergence of her organization as a "Theatre Club". Ellen then guides the audience through the inspiring history of LaMaMa's international experience, both working abroad and supporting international artists' work in the U.S. She confides that LaMaMa's first international expeditions were to services the careers of American playwrights; to expose their work to a more willing European audience who might positively review the productions. LaMaMa continues to work internationally as a result of the "give and take" mentality developed by the institution's commitment to producing work that is "more universal in their appeal". This fascinating interview concludes with Ms. Stewart looking ahead, expounding on what she sees for the future of LaMaMa and its cadre artists and resident companies.