Podcasts about shakespeare

Join us for Shakespeare Summer!On the last episode of the Read-Aloud Revival, we talked about why Shakespeare is not a school subject. I hope we were able to convince you!But if we know that Shakespeare isn't a school subject or an item on a checklist, how do we actually do it? And how do we make Shakespeare not just doable in our homeschools, but delightful?Today, we'll talk through a simple framework your family can use to experience one of the richest and most rewarding literary treasures in the world in a way that is absolutely magical and a whole lot of fun.I'm willing to bet that if you implement the framework that we discuss in this episode, you won't mistake Shakespeare for a school subject ever again!In this episode, you'll hear: Why we don't start teaching Shakespeare with the original textSimple, easy ways to build connections with Shakespeare's works and with each otherHow incorporating performance makes Shakespeare come alive for the whole familyLearn more about Sarah Mackenzie:Read-Aloud RevivalWaxwing BooksSubscribe to the NewsletterFind the rest of the show notes at: readaloudrevival.com/how-to-shakespeare

Acclaimed Canadian theatre maker Robert Lepage is back at the Stratford Festival with a new take on Shakespeare's “Macbeth.” This new production tells the same classic story of greed, betrayal and murder, but it's set during the brutal Quebec biker wars of the ‘90s. Robert joins Tom Power to talk about putting a new spin on this Shakespearean tragedy, his unique approach to theatre and his incredible decades-long career. If you're looking for more conversations about Canadian theatre, check out Tom's chat with esteemed stage actor Tom Rooney on what it takes to play a dog.

Host Jason Blitman talks to author S.A. Cosby (King of Ashes) about books that inspired Cosby early in his writing, the plot holes he found in fairy tales as a kid, his appreciation of Shakespeare's work, and his commitment to being an LGBTQIA+ ally. Jason is then joined by Guest Gay Reader, author and theatre producer Richie Jackson, who shares what he's been reading and reflects on the personal motivation behind writing Gay Like Me—a heartfelt legacy project intended as a guide and love letter to his son.S. A. Cosby is a New York Times bestselling writer from southeastern Virginia. He is the author of All the Sinners Bleed, which was on more than forty Best of the Year lists, including Barack Obama's, as well as Edgar Award finalist Razorblade Tears and Los Angeles Times Book Prize winner Blacktop Wasteland. He has also won the Anthony Award, ITW Thriller Award, Barry Award, Macavity Award, BCALA Award, and Audie Award and has been longlisted for the ALA Andrew Carnegie Medal for Excellence.Richie Jackson is the author of the best-selling book Gay Like Me published by HarperCollins. He is an award-winning Broadway, television, and film producer who produced the Tony Award-nominated Harvey Fierstein's Torch Song on Broadway and executive produced Showtime's Nurse Jackie (Emmy and Golden Globe nominee for “Best Comedy Series”) for seven seasons. His writing has appeared in O The Oprah Magazine, Out, Town & Country, and The Advocate. As an alumnus of NYU, he endows a program at his alma mater to train the next generation of LGBTQ+ activists called the Richie Jackson LGBTQ+ Service Fellows. He and his husband, Jordan Roth, were honored with The Trevor Project's Trevor Hero Award. They are the proud parents of two extraordinary sons. BOOK CLUB!Sign up for the Gays Reading Book Club HERE for only $1July Book: Disappoint Me by Nicola Dinan SUBSTACK!https://gaysreading.substack.com/ MERCH!http://gaysreading.printful.me PARTNERSHIP!Use code READING to get 15% off your madeleine order! https://cornbread26.com/ WATCH!https://youtube.com/@gaysreading FOLLOW!Instagram: @gaysreading | @jasonblitmanBluesky: @gaysreading | @jasonblitmanCONTACT!hello@gaysreading.com

Governor Newsom says President Trump is breaking the law by deploying soldiers on city streets in California - is he right? Our correspondent in Los Angeles reports on the clashes, both on the street and between different political players.Also in the programme: the US Ambassador to Israel Mike Huckabee suggests Muslim countries should give up some of their own land if they want to see a Palestinian State; and why we owe Shakespeare's revival to a group of well-to-do women in Georgian England.

Gwyneth Paltrow is an Academy Award-winning actress and wellness entrepreneur. Spanning a career over three decades, she is celebrated for her performances in critically acclaimed films such as Shakespeare in Love, The Talented Mr. Ripley, and also in her recurring role as Pepper Potts in the Marvel Cinematic Universe. Beyond acting, Paltrow is the founder and CEO of lifestyle brand Goop, and she has authored bestselling cookbooks including It's All Good and It's All Easy.  ------ Thank you to the sponsors that fuel our podcast and our team: LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Athletic Nicotine https://www.athleticnicotine.com/tetra Use code 'TETRA' ------ Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

In this College Deep Dive, MTCA Charlie Murphy chats with Jessica Boevers Bogart and Sydney Morton from University of Michigan. They chat about:  Showcase as human-first, not performance-perfect The myth of “best” auditions – it's all about breathing and presence Ego vs. confidence: What happens when you come from a big-name program Working faculty – the pros, cons, and what consistency really means If you have any questions about the college audition process, feel free to reach out at mailbag@mappingthecollegeaudition.com. If you're interested in working with MTCA for help with your individualized preparation for your College Audition journey, please check us out at mtca.com, or on Instagram or Facebook.  Follow Us!  Instagram: @mappingthecollegeaudition YouTube: @MTCA (Musical Theater College Auditions)  TikTok: @mtcollegeauditions  Charlie Murphy:@charmur7  About MTCA:  Musical Theater College Auditions (MTCA) is the leader in coaching acting and musical theater students through the college audition process and beyond with superlative results. MTCA has assembled a roster of expert artist-educators who can guide students artistically, organizationally, strategically, and psychologically through the competitive college audition process. MTCA provides the tools, resources, and expertise along with a vast and strong support system. They train the unique individual, empowering the artist to bring their true, authentic self to their work. MTCA believes that by helping students reveal their potential it allows each school to connect with those who are truly right for their programs, which in turn guides each student toward their best college fit.  About Charlie Murphy:  Charlie is a proud graduate of Carnegie Mellon University's BFA program. As an Actor he has performed with theaters such as: NY Public Theatre's “Shakespeare in the Park”, The Pearl Theatre Company, Hudson Valley Shakespeare Festival, Chautauqua Theatre Company, Kinetic Theatre Company, and the Shakespeare Theatre of DC. With MTCA [Musical Theater College Auditions -- mtca.nyc], he has been helping prospective theatre students through the college process for over 15 years. As a Teacher and Director, he is able to do a few of his favorite things in life: help students to find their authentic selves as artists, and then help them find their best fit for their collegiate journey. Through this podcast, he hopes to continue that work as well as help demystify this intricate process. This episode was produced by Meghan Cordier, Kelly Prendergast and Socials by Jordan Rice. Episode theme music is created by Will Reynolds with Additional Vocals from Elizabeth Stanley Learn more about your ad choices. Visit megaphone.fm/adchoices

“I can go anywhere I want, just not home” This week on AP Taylor Swift, we take on “my tears ricochet,” the gut-wrenching Track 5 from “Folklore”. From its funeral imagery to what it means for a tear to “ricochet,” we explore themes of grief, regret, and power dynamics. Whether this song is about romantic heartbreak, a friendship gone sour, or even a toxic job, we explore why this song resonates so deeply with so many, and what it means for each of us.   Subscribe to get new episode updates: aptaylorswift.substack.com/subscribe Stay up to date: www.aptaylorswift.com    Mentioned in this episode:  E67: Greek Mythology E54: Anniversary Episode E32: Love Story Deep Dive  The Little Book of Shakespeare's Insults: The Bard's Best Barbs Reputation album letter Jane Eyre   The Phantom of the Opera The Little Mermaid Harry Potter E56: Guest Episode - DJ Louie XIV  ***   Episode Highlights:  [01:09] Introducing “my tears ricochet” and our initial thoughts [07:25] “I didn't have it in myself to go with grace” [11:22] “Look at how my tears ricochet” [18:05] “You know I didn't want to have to haunt you” [25:23] “When I'd fight you used to tell me I was brave” [29:45] “And I can go anywhere I want, just not home” [37:15] “You had to kill me but it killed you just the same” [41:44] What might it mean for tears to ricochet? [45:24] The purpose of the song   Affiliate Codes:  Krowned Krystals - krownedkrystals.com use code APTS at checkout for 10% off!  Libro.fm - Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here tinyurl.com/aptslibro   ***   This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.  

More of our illustrious neckbeard stories: https://studio.youtube.com/playlist/PLTz_vyR-zjcDHygJYV0UxvTwAa45zfLVWIt doesn't matter what your background is, you always need to treat people like people and not use them simply to get off. Neckbeards seem to learn this lesson particularly slow and it really does make my blood boil... So we must bring it to light so others don't suffer alone.YouTube: https://www.youtube.com/reddxyTwitch: https://www.twitch.tv/daytondoesDiscord: https://discord.gg/Sju7YckUWuPayPal: https://www.paypal.me/daytondoesPatreon: http://patreon.com/daytondoesTwitter: http://www.twitter.com/daytondoesFacebook: https://www.facebook.com/ReddXD/Teespring: https://teespring.com/stores/reddx

In this episode of Fresh Fiction's video book club, Samantha Tennant welcomes guest Eloisa James, a renowned author and Shakespeare professor. Eloisa shares insights about her recent summer in Italy, the inspiration behind her writing, and the process of blending her academic career with her passion for romance novels. She discusses the importance of setting and atmosphere in her work, the impact of family collaboration on her stories, particularly with her daughter's input, and the challenges of evolving her writing style to meet contemporary sensibilities. Eloisa also answers rapid-fire questions about her personal preferences and sheds light on her upcoming works and favorite literary influences.   00:00 Introduction and Welcome 00:19 Summer in Italy: A Rejuvenating Experience 01:18 Writing Process: Italy vs. New York 02:40 Balancing Teaching and Writing 05:16 Influence of Shakespeare on Romance Writing 07:36 Collaborating with Family on Writing 11:29 Adapting to Changing Reader Expectations 14:16 Maintaining the Essence of Romance 17:15 Escapism in Literature 18:33 Personal Stories of Comfort 19:18 Favorite Tropes in Romance 20:53 Fresh Fiction Facts: Rapid Fire Questions 21:06 Time Travel Preferences 21:53 Paranormal Genres and Favorites 22:40 Nostalgia and Disappointments 24:47 Field Trip Memories 25:43 TV Shows and Rewatching 28:15 Reading Habits and Recommendations 29:40 Connecting with Readers 31:06 Conclusion and Farewell Eloisa James: https://freshfiction.com/author.php?id=4755

From Michelangelo's David and Machiavelli's The Prince to the plays of Shakespeare, the Renaissance produced some of history's most astounding works of culture, art and innovation. But can focusing on these glittering creations obscure the messy and often violent reality of actually living through the era? Speaking to Ellie Cawthorne, Ada Palmer highlights the complexities of this so-called 'golden age' – including corrupt popes, devastating plagues and why Michelangelo hated painting. (Ad) Ada Palmer is the author of Inventing the Renaissance: Myths of a Golden Age (Bloomsbury, 2025). Buy it now from Waterstones: https://go.skimresources.com?id=71026X1535947&xcust=historyextra-social-histboty&xs=1&url=https%3A%2F%2Fwww.waterstones.com%2Fbook%2Finventing-the-renaissance%2Fada-palmer%2F9781035910120. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Correspondent Mo Rocca sits down with Pulitzer Prize-winning New York Times columnist Maureen Dowd at the Folger Shakespeare Library, in Washington, D.C., to talk about her fascination with the work of William Shakespeare, a fascination that began as a teenager with her crush on Hamlet. She also compares today's political figures to Shakespeare's characters and their use/abuse of power and the failures of leadership. "No one," she says, "knows more about power than Shakespeare." To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

William Wordsworth, Carol Ann Duffy… Tim Key. Just a few of the great poets this fair nation has produced. But there are two more names to add to the pantheon, two new kids on the block: Elis James and John Robins. Our heroes have picked up their pens (opened their laptops), unfurled their manuscripts (opened Word), and trawled their creative depths to write some verses that Shakespeare himself would be proud of. Why is poetry the order of the day you might be asking? Because the aforementioned Tim Key has unlocked the door to the house and made himself at home, that's why! Plus he's only gone and made a film which crucially John wasn't invited to the screening of. Elsewhere, there is newsworthy Cymru Connection to captivate people, but are they being entertained for all the wrong reasons? Also Dave's life has fallen apart because Hannah's gone to Ibiza. Tim's also in Saturday's Bureau de Change of the Mind if you want some bonus Key. That of course is only on the delectable BBC Sounds.If you want to get in touch then elisandjohn@bbc.co.uk is the means, as is 07974 293 022 on WhatsApp.

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - completes Siskoid's scene-by-scene deep dive into Shakespeare's masterwork, discussing the text, but also performance and staging through the lens of several films, television, comics and even a rock opera. In Act 5, Scene 2, Part 2, the tragedy resolves itself in a number of deaths. Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: https://fireandwaterpodcast.com Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with a clip from that film, starring Ray Fearon; the 1980 Hamlet, starring Derek Jacobi; and the 1996 Hamlet, starring Kenneth Branagh. Bonus clips: Hamlet 1996 by Kenneth Branagh, starring Derek Jacobi, Nicholas Farrel, and Julie Christie; Hamlet 1948 by Laurence Olivier, starring Laurence Olivier; Hamlet 1980 by Rodney Bennett, starring Patrick Stewart and Derek Jacobi; Hamlet 1990 by Franco Zeffirelli, starring Stephen Dillane; Hamlet 2000 by Michael Almereyda, starring Liev Schreiber and Robert MacNeil; Hamlet 2007 by Alexander Fodor, starring Katie Reddin-Clancy; "She'll Never Know" by Marillion; Hamlet 2009 by Gregory Doran, starring Patrick Stewart; In a Bleak Midwinter by Kenneth Branagh, starring Michael Maloney; and "Le duel", "La mort d'Hamlet" and "Le rideau tombe" by Johnny Hallyday. Leave a comment, I love to read!

Host Austin Tichenor returns to Chicago's Back Room Shakespeare Project to perform in their production of William Shakespeare's Coriolanus on June 16, 2025 at the Hideout, and he discusses with the show's captain and first mate Sam Pearson and Gage Wallace how this cast and crew came together to embody the Project's ethos of "Serious actors. No director. One rehearsal. In a bar." Building on co-founder Samuel Taylor's notion these productions are "bad ideas," Gage and Sam reveal the core values that guide every Project production; how modern bars most resemble Shakespeare's original rowdy playhouses; how "youthful arrogance" is just another word for "incredible generosity;" and how audiences continue to flock to BRSP productions because they know their presence is not simply important, it's required. (Length 20:20) (Logo art by Collin Quinn Rice.) The post Preparing For Coriolanus appeared first on Reduced Shakespeare Company.

Today on You vs. Victoria, meet Kelsey—who signed up after hearing yesterday’s game and came ready to win. With questions ranging from Shakespeare and space to Einstein and anatomy, the trivia heat was on. But the real debate? Would you rather sneeze glitter or burp confetti? Plus, things get unexpectedly weird when the team starts testing neck massagers... on their noses. It’s chaotic, it’s competitive, and it ends with Post Malone tickets! The ultimate trivia showdown from The Jubal Show! Think you’ve got the brains to take down Victoria? Listeners go head-to-head with her in a battle of wits, testing their knowledge on everything from pop culture to random facts. Will you come out on top, or will Victoria destroy you? Play along, laugh out loud, and see if you have what it takes to claim victory! ➡︎ Sign up to battle Victoria - https://thejubalshow.com This is just a tiny piece of The Jubal Show. You can find every podcast we have, including the full show every weekday right here…➡︎ https://thejubalshow.com/podcasts The Jubal Show is everywhere, and also these places: Website ➡︎ https://thejubalshow.com Instagram ➡︎ https://instagram.com/thejubalshow X/Twitter ➡︎ https://twitter.com/thejubalshow Tiktok ➡︎ https://www.tiktok.com/@the.jubal.show Facebook ➡︎ https://facebook.com/thejubalshow YouTube ➡︎ https://www.youtube.com/@JubalFresh Support the show: https://the-jubal-show.beehiiv.com/subscribeSee omnystudio.com/listener for privacy information.

Creative attempts to track down a suspect by taking advantage of Philadelphia's time travelling ways are met with unexpected revelations. Gage continues to defend Shakespeare's innocence while Jessica tries to keep the trio's focus more on the crime and less on bickering.

Rafe looks at what means mean and why they are not all they might be cracked up to be.  Along the way we hear stories about Zach's youth, about Amazon's call centers, about support sets and mass functions, about Carl Jung, and Hamlet and Horatio, and we come to the conclusion that indeed there are more things in heaven and earth than are dreamt of in philosophy.  As such, be wary of systems that ignore the fundamental components of humanity.*****As always, you can reach the Buf at bufnagle@bufnagle.com*****As you know, this is an independent podcast so your hosts also carry all the expenses of running this podcast. As such, some of you have asked how you can help out. Well, here's the answer: support us on Buy Me a Coffee:https://buymeacoffee.com/bufnagleOn this page, you can do a really nice thing like send us a couple dollars to help cover the cost of recording and hosting and microphones and research and all that. Any little bit really helps! Thank you in advance!!!

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

Shakespeare wrote his play Hamlet in the early 1600s and by the late 1600s, well after the death of William Shakespeare in 1616, playing troupes are taking plays including Shakespeare's Hamlet and other works by early modern playwrights, and turning them into performance adaptations using a new medium---specifically, they're using puppets. Puppetry, marionettes, and glove puppets perform miniature versions of their human like counterparts as a popular form of theater entertainment for the 17th century. Our guest this week, Tiffany Stern, recently gave a lecture at the University of Birmingham, outlining how the examination of these puppet performances and how exploring the puppets themselves, like one that survives from the 17th century puppet named Amleto, suspiciously similar to the name Hamlet, can not only shed light on stereotypes that carry over from Shakespeare's lifetime, but these puppets also influence how we understand what it means to be a storyteller.  Hosted on Acast. See acast.com/privacy for more information.

Articles featured in this episode: “As spring weather arrives, EMU police chief encourages participating in Eagle Alerts" - Israel Shriki "Shakespeare gets a makeover in gender-bent "The Taming of the Shrew" - Gray Connor 'Review: 'You' brings Joe Goldberg to his end in final season" - Mariam Fakhreddine "Michigan Student Action holds know your rights event on protesting" - Quanzelle Wyatt "Local Artist of the Month: Madison Cantrell vends at Ypsi Pride 2025" - Carol Detary

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

The tell-alls continue! Kody does his best Shakespeare impression and has system failure TWICE as he's caught in his own lies. Janelle is fine with kissing, sort of. There's a supercut of Christine and David making out. And Robyn is just... just about what you'd expect, honestly.Enjoy this podcast ad-free, along with monthly bonus podcasts ⁠⁠⁠⁠on Patreon or the Faculty Lounge on Apple Podcasts!Follow TSWP on Facebook ⁠⁠⁠⁠right here and join the Facebook group!Follow TSWP on Instagram and TikTok!Intro/outro music by ⁠⁠There Will Be Fireworks⁠, used with permission. Hosted on Acast. See acast.com/privacy for more information.

Vous aimez La Traque, le podcast Bababam Originals ? Vous allez adorer nos autres créations originales ! Aujourd'hui, on vous invite à découvrir A la folie pas du tout, le podcast qui vous plonge dans les histoires d'amours les plus marquantes. Bonne écoute ! C'est une histoire de coup de foudre et de sacrifice. Roméo et Juliette, les célèbres personnages de l'œuvre de Shakespeare, ont été érigés comme l'emblème de l'Amour avec un grand A. Mais entre les conflits familiaux, le sang versé, et la mort comme seule issue… Quand on creuse un peu, peut-on vraiment parler d'un coupe de foudre ? L'histoire d'amour des deux ados est-elle vraiment un modèle aujourd'hui ? Un podcast Bababam Originals Un podcast enregistré dans les studios de Bababam Ecriture : Lucie Kervern Voix : François Marion, Lucrèce Sassella Réalisation : Célia Brondeau Learn more about your ad choices. Visit megaphone.fm/adchoices

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

NBN host Hollay Ghadery speaks with author and actor Melia McClure about her novel, All The World's a Wonder (Radiant Press, 2023). A playwright possessed by her muses, an actress desperate to succeed, and a doctor haunted by a lost love. Three people cross time and space to meet through the playwright's bizarre creative process: to create, the playwright must become her characters; to tell her tragic story, the actress must speak from the grave; to heal his harrowing past, the doctor must surrender to his patient - the playwright. About Melia McClure: Melia McClure is the author of the novel The Delphi Room and continues to delve into the eccentric as a writer, editor, and actor. As an actor, she has traversed a range of realms, from a turn as Juliet in an abridged collage of Shakespeare's classic to the sci-fi universe of Stargate Atlantis. Melia studied writing at The Writer's Studio at Simon Fraser University, and her fiction was shortlisted for a CBC Literary Award. Born in Vancouver, she has since travelled the world in search of the ever-shapeshifting muse Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

NBN host Hollay Ghadery speaks with author and actor Melia McClure about her novel, All The World's a Wonder (Radiant Press, 2023). A playwright possessed by her muses, an actress desperate to succeed, and a doctor haunted by a lost love. Three people cross time and space to meet through the playwright's bizarre creative process: to create, the playwright must become her characters; to tell her tragic story, the actress must speak from the grave; to heal his harrowing past, the doctor must surrender to his patient - the playwright. About Melia McClure: Melia McClure is the author of the novel The Delphi Room and continues to delve into the eccentric as a writer, editor, and actor. As an actor, she has traversed a range of realms, from a turn as Juliet in an abridged collage of Shakespeare's classic to the sci-fi universe of Stargate Atlantis. Melia studied writing at The Writer's Studio at Simon Fraser University, and her fiction was shortlisted for a CBC Literary Award. Born in Vancouver, she has since travelled the world in search of the ever-shapeshifting muse Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Matthew Yipchuck from Teacup for One joins the pod this week, so you know we are going to talk about cats, Shakespeare or the Wizard of Oz! We'll take door number three please! With the opening of Epic Universe, fans are already speculating on Universal's future, with it's hottest IP, “Wicked” looking for somewhere to lay down roots (or crash its house….). Tinker J and Matt, unpack all the rumors and speculate about a Wicked Land, where it could go, what it could be and what is its signature attraction!And while they're at it, the gang talks park news about the new Disney Villains show at Hollywood Studios and the Rivers of America closure!So get ready for an episode that defies gravity, and it's all coming your way on this week's episode of the We Like Theme Parks Podcast on the Chip and Co. Podcast Network!Go to www.welikethemeparks.com for more episodes, more fun and all our amazing sponsors!

Dr. Srikumar Rao shares profound insights on presence, purpose, and perspective. Drawing from Shakespeare and Einstein, he explores how embracing uncertainty in relationships and viewing the universe as a benevolent force can transform your life. Learn powerful mental models to deepen connection, enhance gratitude, and shift your mindset toward joy and resilience. A thought-provoking journey into conscious living.Source: The 28th IMC - Srikumar RaoHosted by Sean CroxtonFollow me on Instagram Check out the NEW Black Excellence Daily podcast, available on Apple Podcasts, Spotify, Pandora, and Amazon.

From Star Trek to Shakespeare and Afrofuturism This week, the SyFy Sistas sit down with the incomparable Conrad Coates—the actor behind Admiral Terral on Star Trek: Discovery, and a true force in the worlds of theatre, teaching, and Afrofuturistic storytelling. In this wide-ranging conversation, we explore: His experience portraying Admiral Terral, and what it means to lead in the Star Trek universe His extensive work with Shakespeare, including performances at the Stratford Festival of Canada, where he portrayed roles such as Prince Escalus in Romeo and Juliet and various characters in As You Like It His role as an educator and mentor, shaping the next generation of performers How Afrofuturism informs his worldview and creative work—blending history, imagination, and liberation Conrad Coates is a storyteller, a leader, and a teacher who bridges worlds—from the 23rd century to the Elizabethan stage. This one's for the thinkers, the dreamers, and the future-builders.

From Star Trek to Shakespeare and Afrofuturism This week, the SyFy Sistas sit down with the incomparable Conrad Coates—the actor behind Admiral Terral on Star Trek: Discovery, and a true force in the worlds of theatre, teaching, and Afrofuturistic storytelling. In this wide-ranging conversation, we explore: His experience portraying Admiral Terral, and what it means to lead in the Star Trek universe His extensive work with Shakespeare, including performances at the Stratford Festival of Canada, where he portrayed roles such as Prince Escalus in Romeo and Juliet and various characters in As You Like It His role as an educator and mentor, shaping the next generation of performers How Afrofuturism informs his worldview and creative work—blending history, imagination, and liberation Conrad Coates is a storyteller, a leader, and a teacher who bridges worlds—from the 23rd century to the Elizabethan stage. This one's for the thinkers, the dreamers, and the future-builders.

Writer and journalist Ron Chernow feels very warmly about anyone who has won the Mark Twain Award for American Humor, including our friend Conan. Ron sits down with Conan for a deep dive into the life of Mark Twain, touching on Twain's mercurial personality, his affinity for oddball inventions, the unique relationship he shared with his wife, his obsession with Shakespeare's true authorship, and much more. Check out Mark Twain by Ron Chernow here. For Conan videos, tour dates and more visit TeamCoco.com.Got a question for Conan? Call our voicemail: (669) 587-2847. Get access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using this show link: https://siriusxm.com/conan.

Shakespeare is now a towering figure of global theatre. But in the 1590s, he was just an up-and-coming young playwright, trying to scratch out a living in Shoreditch's emerging theatre scene. Daniel Swift revisits this early stage of the Bard's career in his new book The Dream Factory, linking it with the story of a long-lost Shoreditch playhouse simply called 'The Theatre'. Speaking to Ellie Cawthorne, Daniel reveals what it would have been like to see one of Shakespeare's original productions, and how he may have been inspired by a terrible play called Hamlet. (Ad) Daniel Swift is the author of The Dream Factory: London's First Playhouse and the Making of William Shakespeare (Yale University Press, 2025). Buy it now from Waterstones: https://go.skimresources.com?id=71026X1535947&xcust=historyextra-social-histboty&xs=1&url=https%3A%2F%2Fwww.waterstones.com%2Fbook%2Fthe-dream-factory%2Fdaniel-swift%2F%2F9780300263541. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Merriam-Webster's Word of the Day for June 5, 2025 is: sea change • SEE-CHAYNJ • noun Sea change refers to a big and sudden change or transformation. // The early 2000s witnessed a sea change in public opinion about smoking in public places. See the entry > Examples: “Over the course of my grandmother's lifetime, gender expectations for women underwent a sea change. My grandmother ended up pursuing an education and becoming a doctor, leading an independent life that made her mother proud.” — Wendy Chen, LitHub.com, 20 May 2024 Did you know? In The Tempest, William Shakespeare's final play, sea change refers to a change brought about by the sea: the sprite Ariel, who aims to make Ferdinand believe that his father the king has perished in a shipwreck, sings within earshot of the prince, “Full fathom five thy father lies...; / Nothing of him that doth fade / But doth suffer a sea-change / into something rich and strange.” This is the original, now-archaic meaning of sea change. Today the term is used for a distinctive change or transformation. Long after sea change gained this figurative meaning, however, writers continued to allude to Shakespeare's literal one; Charles Dickens, Henry David Thoreau, and P.G. Wodehouse all used the term as an object of the verb suffer, but now a sea change is just as likely to be undergone or experienced.

Trigger Warning: This episode contains detailed discussions of child sexual abuse, rape, trauma, and the failures of the justice system.In this powerful and deeply affecting conversation, Neige Sinno speaks with Adam Biles about her landmark book Sad Tiger, recently published in English in a luminous translation by Natasha Lehrer. A searing literary interrogation of the years of abuse Sinno suffered at the hands of her stepfather, Sad Tiger explores the limits of testimony, the insufficiencies of language, and the deep societal denial that silences victims. Sinno reflects on the ethics and formal challenges of writing about trauma, the intellectual and emotional paradoxes of bearing witness, and how literary form can both expose and protect. The conversation touches on Nabokov's Lolita, the myth of the “monster,” and how society colludes in refusing to see evil when it wears a familiar face. Courageous, lucid, and unflinching, Sinno's presence and insights make this an unforgettable episode.Buy Sad Tiger: https://www.shakespeareandcompany.com/books/sad-tigerNeige Sinno is a French writer who has studied American literature in the United States and Mexico, and worked as a translator and literature professor. She is the author of two previous books, Le Camion and La Vie des rats. Born in France, she has lived in Mexico for the past 20 years. Her 2023 book, Triste tigre, won several of France's top literary prizes and became the publishing sensation of the year. It will be published in English as Sad Tiger by Seven Stories, in a translation by Natasha Lehrer.Adam Biles is Literary Director at Shakespeare and Company.Listen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Hosted on Acast. See acast.com/privacy for more information.

"'The course of true love never did run smooth'—A Hartfield edition of Shakespeare would have a long note on that passage.” —EmmaShakespeare's influence on Jane Austen can be seen throughout her novels and letters. She quotes him, mimics him, and echoes him in fascinating ways. In this episode, Professor Mary Floyd-Wilson helps us unpack and examine the many parallels between these two pillars of English literature. Mary Floyd-Wilson is the Mann Distinguished Professor of English and Comparative Literature at the University of North Carolina at Chapel Hill. She specializes in Shakespeare and early modern literature, with works including English Ethnicity and Race in Early Modern Drama and Occult Knowledge, Science, and Gender on the Shakespearean Stage. Recently, she received the George H. Johnson Prize for Distinguished Achievement from the Institute for the Arts and Humanities. For a transcript and show notes, visit https://jasna.org/austen/podcast/ep24/.*********Visit our website: www.jasna.orgFollow us on Instagram and FacebookSubscribe to the podcast on our YouTube channelEmail: podcast@jasna.org

William Shakespeare is perhaps the world's most famous writer. But, he might not have been remembered at all without his friends. After his death in 1616, Shakespeare's friends preserved his work, immortalizing his plays and sonnets, and his reputation. This is what the play, “The Book of Will” is all about. And Fred Pitts portrays one of those friends. 

Everyone could use a little help from their friends… even Shakespeare! Today, Actor Fred Pitts from “The Book of Will.” Then, middle school kids talk to a billionaire. And, short stories that really pack a punch. It's a collection from New Arrivals, our pocket sized book tour.

Oskar Eustis is a theater director, dramaturg, and the current Artistic Director of the renowned Public Theater in New York City. Throughout his career, Oskar Eustis has been dedicated to making the theater more accessible, uplifting new voices in playwriting, and the development of new plays in addition to directing and producing the classics. Among the productions he has helped bring to life are “Angels in America” and the Tony-winning “Hamilton”. Oskar Eustis has worked as a director, dramaturg, and artistic director for theaters around the United States. He has also produced and directed Shakespeare productions nationwide, notably The Public Theater’s annual (and free) Shakespeare in the Park at the Delacorte Theater in Central Park. He is a professor of dramatic writing and arts and public policy at New York University and has held professorships at UCLA, Middlebury College and Brown University, where he founded and chaired the Trinity Rep/Brown University consortium for professional theater training.See omnystudio.com/listener for privacy information.

In Shakespeare's time, the actresses were boys—and for the most celebrated of them, fame came early but could end abruptly with a voice change. In this episode, author Nicole Galland joins us to talk about the world of boy players, young apprentices who performed women's roles onstage in England before 1660. Galland's novel, Boy, follows one of these real-life members of Shakespeare's company, Alexander “Sander Cooke,” and his fictional best friend, Joan, a fiercely curious young woman who disguises herself as a boy to pursue knowledge. Drawing inspiration from Shakespeare's cross-dressing heroines, Galland explores the freedoms and risks of reinventing gender roles in Elizabethan England. Figures like Francis Bacon appear in the novel as part of the broader web of power and political intrigue that shapes Joan and Sander's world. Through these connections, Galland brings Shakespeare's theatrical world to life and the people navigating its stage. Nicole Galland is the author of the historical novels I, Iago; Godiva; Crossed; Revenge of the Rose; and The Fool's Tale; as well as the contemporary romantic comedies On the Same Page and Stepdog, and the New York Times bestselling near-future thriller The Rise and Fall of D.O.D.O. (with Neal Stephenson). From the Shakespeare Unlimited podcast. Published June 3, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.