English poet, playwright and actor
Billy and Adam rock. In this episode they try to name four rock and roll bands spiritually under the age of 35. Plus, the birth of The S.L.E.D. Society, brownouts in LA, magic and DJ'ing in Las Vegas, the legend of Shakespeare, a text from Marty and more! Theme: Send Medicine - Way to the Sea Follow Billy Scafuri: Twitter: @BillyScafuri // Instagram: @BillyScafuri Follow Adam Lustick: Twitter: @AdamLustick // Instagram: @AdamLustick See omnystudio.com/listener for privacy information.
We've talked a lot on this podcast about the selfie sermon: the kind of iPhone video native to Instagram influencers. Easily weaponized by conspiritualists, this sermon is equal parts intimate confessional, prophecy download, and motivational coaching, directly transmitted from your favorite self-anointed maverick expert. Social media seems perfectly designed for such hypnotic performances and spiritual darshans. But in the brick-and-mortar world, yoga teachers have long blurred the line between acting and teaching, space holding and theater, and ritual ceremony and fitness. If all the world's a stage, as Shakespeare had it, the wooden planks of the yoga studio—and the digital platforms built in ether—demand that teachers embrace a role, adopt a script, and sell a story to their audience. What we want to know is: where does the performance end and yoga begin, or perhaps more to the point, is there even a difference?Our guest host today is Jill Miller, who many listeners will know from her hugely influential body of work in yoga and movement as founder of Tune-Up Fitness. She's also a former actor, which played an important role in her transition to full-time yoga instructor. We're going to start today with an excerpt from her 2017 TED-style talk that she gave in Toronto titled, “Lights, Camera, Yoga."
Where we: Pick a full England XI's made up of right-backs Highlight some unusual s***housery Plug the holiday EPL get-together Do battle against my mum's picks for this week's games Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast/footyfromthefoot/id1486406462 Listen on Spotify: https://open.spotify.com/show/29suvn5FGvRSoCFbu7q5P9?si=lPdRkRnsTzKMJNhIRWCGAQ Listen on Google Podcasts: https://podcasts.google.com/feed/aHR0cDovL2ZlZWRzLnNvdW5kY2xvdWQuY29tL3VzZXJzL3NvdW5kY2xvdWQ6dXNlcnM6Njc2NjQ3MDE0L3NvdW5kcy5yc3M?sa=X&ved=0CBEQ27cFahcKEwiQzMOL0qzwAhUAAAAAHQAAAAAQAg Listen on Overcast: https://overcast.fm/itunes1486406462/footyfromthefoot Bluefoot Self-Isolation shirt and virtual tip jar www.bluefootbar.com Show Notes: EPL Holiday Drinks at Shakespeare's https://www.facebook.com/events/1063022331121811?acontext=%7B%22event_action_history%22%3A[%7B%22mechanism%22%3A%22group_featured_unit%22%2C%22surface%22%3A%22group%22%7D]%2C%22ref_notif_type%22%3Anull%7D https://twitter.com/i/status/1465029629098569739 Norway game goalie diving gets teammate sent off?!?!?!?! https://twitter.com/i/status/1464726271833870340 Deyverson dives after the ref pats him on the back?!?! Hawksbee & Jacobs Christmas Eve Special including yours truly at 1.13:51 https://podcasts.apple.com/us/podcast/christmas-eve-special-2020/id348889102?i=1000503422670
Episode 038: Macbeth by William Shakespeare Host: Douglas Schatz Guest: Professor Emma Smith The Play Podcast is a podcast dedicated to exploring the greatest new and classic plays. In each episode we choose a single play to talk about in depth with our expert guest. We discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. William Shakespeare's Macbeth is a tragedy of love, ambition and betrayal, propelled by relentless energy and shocking violence, and infused by an air of the supernatural. It has some of the most memorable scenes in all of theatre: the witches chanting over their cauldron, the ghost of the murdered Banquo haunting Macbeth, Lady Macbeth sleepwalking and wringing her bloodless hands. Professor Emma Smith from Hertford College, Oxford, joins us to explore Shakespeare's notorious ‘Scottish play'.
This week Adam is joined by Lauren Groff, whose latest novel Matrix an extraordinary story of transformation, visions, leaps of faith, vicious battles, friendship, and creativity, as well as — to cite USA Today — “a character study to rival Hilary Mantel's Thomas Cromwell”. Matrix is a true original, unlike any literary experience you will have this year, probably one of the many reasons for which it was selected as a finalist for the 2021 National Book Award. Buy Matrix here: https://shakespeareandcompany.com/I/9781785151910/matrix-the-new-york-times-bestseller Browse our online store here: https://shakespeareandcompany.com/15/online-store/16/bookstore Become a Friend of S&Co here: https:/.friendsofshakespeareandcompany.com * Seventeen-year-old Marie, too wild for courtly life, is thrown to the dogs one winter morning, expelled from the royal court to become the prioress of an abbey. Marie is strange - tall, a giantess, her elbows and knees stick out, ungainly. At first taken aback by life at the abbey, Marie finds purpose and passion among her mercurial sisters. Yet she deeply misses her secret lover Cecily and queen Eleanor. Born last in a long line of women warriors and crusaders, women who flew across the countryside with their sword fighting and dagger work, Marie decides to chart a bold new course for the women she now leads and protects. She will bring herself, and her sisters, out of the darkness, into riches and power. MATRIX is a bold vision of female love, devotion and desire from one of the most adventurous writers at work today. * Lauren Groff is a two-time National Book Award finalist and The New York Times–bestselling author of three novels, The Monsters of Templeton, Arcadia, and Fates and Furies, and the celebrated short story collections Delicate Edible Birds and Florida. She has won The Story Prize, the PEN/O. Henry Award, and been a finalist for the National Book Critics Circle Award. Her work regularly appears in The New Yorker, The Atlantic, and elsewhere, and she was named one of Granta's 2017 Best Young American Novelists. She lives in Gainesville, Florida, with her husband and sons. Adam Biles is Literary Director at Shakespeare and Company. Buy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-time Listen to Alex Freiman's Play It Gentle here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1
Cygnet Theatre was founded in Paris by an international group of theatre artists looking to create, develop, and perform plays in the classical repertoire. The company is run by a board of administration, and all members of the team serve a creative function vital to Cygnet Theatre's ability to thrive. Following the success of A Midsummer Night's Dream, the decision was made to form a company to produce high quality theatre in the heart of Paris. During the Summer Seasons, Cygnet performs in the beautiful Jardin des Arènes de Montmartre.Taylor Scott:Born and raised in Vancouver, I still struggle to name the surrounding mountains but can list the local theatres with ease. Theatre has always felt like a homecoming to me. After graduating with a BFA in Acting from the University of British Columbia in 2017, the heaviness of a four-year program left little room inside me for creative passion, s0 I did what seemed most logical at that moment… I ran away to Paris. Amidst the culture and chocolate crepes, I discovered it was possible to become a theatre artist on my own terms. Cygnet Theatre is the product of six like-minded individuals, all at different points in our artistic journeys, who came to that same realization. Our varied backgrounds and individual strengths challenge us daily, but ultimately they are also the steadfast foundation of a company that was unimaginable until my feet hit these cobblestone streets. Support the show (https://www.patreon.com/join/Laviecreative)
Brad Oscar is a double Tony Award nominee for his performances in the original Broadway productions of The Producers and Something Rotten!, opens this Sunday in the Broadway musical version of Mrs. Doubtfire, met Stephen Sondheim many times, and played Beadle Bamford in the 2017 off-Broadway production of Sweeney Todd set in an actual pie shop where the audience sat at tables and ate during the performance. Brad discusses Sondheim's legacy and work; his memories of seeing the original productions of Sweeney Todd, Sunday in the Park with George, and Merrily We Roll Along; how Sondheim has influenced multiple generations; the value of the accumulation of details; the breadth of Sondheim's impact and reach; and the similarities between Sondheim and Shakespeare. (Length 27:09) The post Remembering Stephen Sondheim appeared first on Reduced Shakespeare Company.
What do you get when you combine three acts of a tragedy, two acts of a pastoral romantic comedy, and a sprinkle of the supernatural on top for good measure? A problem play for the ages: The Winter's Tale. If it feels like we've been down this road before, it's because this late Romance borrows many of its themes from some of the great tragedies of Shakespeare's career, like Othello. Jealous husbands, chaste wives, and accusations of infidelity abound in the first half of the play. Then -- as we've seen very recently in Pericles -- we jump sixteen years into the future, following the fallout of Leontes' disastrous accusation of Hermione, the death of son Mamillius, and the banishment of the infant Perdita to discover that all may not be lost after all. This smash-cut tonal shift that leads us from wintry Sicilia to summer-time Bohemia and the introduction of a long-lost daughter and a marriage crisis that brings the destroyed family back together again, possibly with a little help from the gods, perhaps (shades of Macbeth, anyone?) But unlike Othello, Leontes is given this second chance to prove himself to his family and friends after the damage has been done because, unlike hero Pericles, Leontes has a lot of prove. And despite the magical overtones of the final climactic reunion, there is no shade thrown on witches here, unlike the Weird Sisters that haunt Macbeth. So what is Shakespeare playing at, mixing these old tropes to new effect? That's the focus of today's episode -- we hope you'll enjoy! Ancient Bickerings Who is the worst husband in all of Shakespeare? Notes: Reddit AITA post (which -- shockingly -- has been marked "No A-holes Here", which only goes to show that a) men are not okay and b) Reddit is the asshole of the internet.) Shout out to Shmoop for, once again, helping us with some background info and thematic points to hit
Join Kaitlyn and Lindsey as they talk about the future of the workplace and the STEM workforce. Expert guests, Dr. Vint Cerf, Vice President and Chief Internet Evangelist for Google, and Jennifer Anastasoff, Executive Director and Co-founder at Tech Talent Project, talk with the Tech Unmanned hosts about the nuances about the critical nature of the STEM workforce. Does DoD and the national security community have the authority, motivation, and development pipeline to sustain and engage a future STEM workforce? Hear what Vint and Jennifer have to say, as well as a wrap up from Lindsey and Kaitlyn breaking down the conversation further. References To Compete, Invest in People: Retaining the U.S. Defense Enterprise's Technical Workforce by Lindsey R. Sheppard, Morgan Dwyer, Melissa Dalton, and Angelina Hidalgo (https://www.csis.org/analysis/compete-invest-people-retaining-us-defense-enterprises-technical-workforce) National Security Commission on Artificial Intelligence Final Report (https://www.nscai.gov/wp-content/uploads/2021/03/Full-Report-Digital-1.pdf) Memos for a Tech Transition by the Tech Talent Project (https://techtalentproject.org/wp-content/uploads/2020/10/MemosForATechTransition_ExecutiveSummaries_TechTalentProject_10.16.20.pdf) Future of Defense Task Force Report (https://armedservices.house.gov/_cache/files/2/6/26129500-d208-47ba-a9f7-25a8f82828b0/424EB2008281A3C79BA8C7EA71890AE9.future-of-defense-task-force-report.pdf) Workforce Now by the Defense Innovation Board (https://media.defense.gov/2019/Oct/31/2002204196/-1/-1/0/WORKFORCE_NOW.PDF)
The electronic musician Kelly Lee Owens won this year's Welsh Music Prize for her album Inner Song. She tells Samira Ahmed about her inspiration - and her collaborations with John Cale, Björk and Michael Sheen. This evening theatres in the West End dim their lights in honour of the great composer and lyricist Stephen Sondheim, who wrote the words for the songs in West Side Story, and the musicals Sweeney Todd, Sunday in the Park with George, Company, Assassins, and more. From Front Row's archive we hear Sondheim himself talking about matching words to music, and his biographer, David Benedict, looks closely at one song, explaining how it demonstrates his remarkable skill. Throughout his life Rowan Williams, who was the Archbishop of Canterbury from 2002 until 2012, has written poetry. Now his previous collections have been gathered with new pieces in a single volume, his Collected Poems. He talks about his work, which ranges from poems inspired by the landscape of West Wales to a sequence of sonnets inspired by Shakespeare's plays, another commissioned to mark the fiftieth anniversary of the Aberfan disaster, and translations from German, Russian and Welsh and, his latest poem set in a vaccination centre in Splott. The nominees for this year's Turner Prize are all artists' collectives and Front Row has been hearing from them in the run up to the announcement of the winner. Tonight, we hear from Black Obsidian Sound System, a London based collective who use their sound system to organise events that connect communities. They tell Samira how their collective works and explain why being nominated for the UK's biggest art prize hasn't been a totally positive experience. Presenter: Samira Ahmed Producer: Julian May Production Co-ordinator: Lizzie Harris Photo: Kelly Lee Owens Photo credit: Sarah Stedeford
In this episode, Dinesh examines a series of high-profile trials, from Rittenhouse to Arbery to the Ghislaine Maxwell trial, to consider whether juries are somehow wiser and less divided than the population at large. Dinesh exposes how most of the 80,000 Afghans admitted to America were never properly vetted. Dinesh explains why Lincoln considered "Macbeth" to be Shakespeare's greatest work, because it explores a grave moral temptation felt by Lincoln himself. See omnystudio.com/listener for privacy information.
You may have heard of common superstitions like throwing salt over your shoulder when you spill some to ward off bad luck, or crossing your fingers when you tell a lie to prevent consequences of your transgression. These kinds of small acts to try and control or influence the spiritual realm around you were more than just common superstitions for the life of William Shakespeare. Even in Protestant England, where the monarchs like Elizabeth I and James I after her, were actively harsh against anything even suspected of being witchcraft, simultaneously operating in the households of families and property owners around England were those known as Cunning Folk. These people were witches, wizards, and magicians whose practices included mixing up specialty brews to cure someone of bewitchment, as well as practicing various kinds of miraculous healing. What's surprising about these cunning folk is not only that they were tolerated in a very anti-witchcraft society like Protestant England, but that they were rampant across England, to the point of being quite common and ordinary for Shakespeare's lifetime. Here today to explain what the cunning folk were, their place in society, and what kinds of magic they practiced is our guest and author of Cunning-Folk and the Production of Magical Artefacts Owen Davies.
The Guilty Feminist presented by Deborah Frances-White and Jessica FostekewEpisode 282: LGBTQI People in Ukraine with special guests Anna Sharyhina and Vira ChernyginaRecorded 16 November via Zoom. Released 29 November 2021.The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon.More about Deborah Frances-Whitehttps://deborahfrances-white.comhttps://twitter.com/DeborahFWhttps://www.virago.co.uk/the-guilty-feminist-bookMore about Jessica Fostekewhttps://twitter.com/jessicafostekewhttps://twitter.com/thehooveringpodMore about our guests and Sphere NGOhttps://www.amnesty.org.uk/spherehttps://www.youtube.com/watch?v=Z7RBsFAnnsIFor more information about this and other episodes…visit https://www.guiltyfeminist.comtweet us https://www.twitter.com/guiltfempodlike our Facebook page https://www.facebook.com/guiltyfeministcheck out our Instagram https://www.instagram.com/theguiltyfeministor join our mailing list http://www.eepurl.com/bRfSPTCome to a live recordingThe Guilty Feminist Stands Up. 30 November – 4 December, 9:30pm. https://sohotheatre.com/shows/deborah-frances-white-the-guilty-feminist-stands-up/Shakespeare's Globe. 12 December. 6:00pm. https://www.shakespearesglobe.com/whats-on/the-guilty-feminist-2021/Camp as Christmas. 16 December. 7:00pm. https://www.unionchapel.org.uk/venue/whats-on/the-guilty-feminist-presents-camp-as-christmasThank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist See acast.com/privacy for privacy and opt-out information.
Minute Forty-One: From Frosty Baby to "Tell me!” Joining us on the show to discuss frosty baby Loki and the Shakespearean argument between Odin and Loki is Austin Tichenor, creator of The Shakespeareance, co-artistic director of The Reduced Shakespeare Company and producer & host of the Reduced Shakespeare Company Podcast. In the forty-first minute of Kenneth Branagh's 2011 film Thor... We see elements of King Lear in here, but Austin also points out elements from Henry IV Parts I and II, particularly conflict between Hotspur and Prince Hal. There's certainly an element of big acting that works so well in Shakespearean heightened language, and we certainly see that when Loki screams “Tell me!” Austin calls it the intensity of intention, which we definitely see. When Odin told young Thor and young Loki about how they're both born to be kings but only one gets to be king, was he debating if he would tell Loki about his heritage? Being born to be king paired with identity is such a core part of Shakespeare's plays. Yet no one debates if this type of hereditary monarchy should still exist. Tom Hiddleston and Anthony Hopkins deliver such strong performances here. So at this point, where do Loki and Odin feel about who is next in line for the throne? Does Loki think this frost giant past has removed him from the line? Or is Loki thinking about the possibility of being king of Jotunheim, the place he just nearly destroyed with the raid? But Odin had to have seen what terrible king Thor would've made, right? That being said, do you give the throne to the god of mischief? There is a bit of Caliban from The Tempest in Loki too. We do talk about the frosty baby, at some point, right? How does Loki feel knowing that he was slaughtering Jotuns earlier? We bring in A Midsummer Night's Dream and Henry VI in as well. And Cymbeline too! How much of Odin rewriting his own history are we getting in this conversation? So much feels retconned. We finally talk about the frosty baby. We talk about the Loki baby, who starts as a frost baby and changes at the hands of Odin to normal looking. So that's his spell we guess? Was baby Loki abandoned? Left in a temple? A bit of both? Or is this all just from Odin's perspective? The lighting in this scene is stunning, as is the production design. Do the marks on the frosty baby change over time? The idea of masters of magic still confuses us – Odin's in this category now for sure. Does Loki know what he wants to hear from Odin? Odin freezes when Loki confronts him. Truth versus comfort. It's a tough line for a parent. From King Lear to Henry IV Parts I and II to The Tempest to Richard II, we cover all sorts of Shakespearean elements in this minute – plus a frosty baby – with Austin. Tune in! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Watch this film: iTunes • Amazon • Netflix • YouTube • Disney+ Join the conversation on Discord Script Transcript Trailer #1 Trailer #2 Poster artwork Original Material Austin Tichenor on Twitter The Shakespeareance on the web and on Instagram The Reduced Shakespeare Company on the web, Facebook, and Twitter The Hollow Crown Season One on iTunes, Amazon, or both seasons on JustWatch
This week Rob, Joe, and Nick have the incredible opportunity to sit down and interview the one and only Armin Shimerman. Known to DS9 fans as "Quark", Armin's career has spanned television, voice over work, the theater, and even the classroom. Join us as we talk to him about subjects ranging from Shakespeare, to DS9, and of course, pizza! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Bill Pullman's upbringing in rural Western New York prepared him for a multifaceted life, since he always had to keep his options open. So aside from being an actor, Bill's also been a theater teacher, a rancher, a fruit grower, even a traveling Shakespeare performer in Montana. Bill and Marc talk about how he incorporated dream analysis into his performances in both David Lynch's Lost Highway and his current show The Sinner, why Spaceballs was actually a great crash course in movie acting, and what's the root cause of the timeless Pullman-Paxton confusion. See omnystudio.com/listener for privacy information.
This week Ken welcomes writer and film critic Erik Childress to the show. Ken and Erik discuss Chicago, basically growing up in Shermer, Crime Story, John Hughes, Harry Caray, the curse of the Cubs, Dawson's Creek, the loudest voices today who are right wing careerless jerks, The Clinton Era and disgraced politicians, Kevin Williamson, Patrick Stewart in Old West King Lear "King of Texas", Scotland PA, the early 00s late 90s obsession with modern takes on Shakespeare, Wish Men, Ken being totally stumped by a show Erik remembers, Lethal Weapon 2, Popeye, anthologies, "from the producers of...", The Screen Actors' Guild Awards, UPN trying to be irreverent, Everybody Loves Raymond, laughing through The Great Depression, avoiding Mario Cuomo, My So-Called Life on MTV, the tragic Dawson's Creek finale, Buffy The Vampire Slayer, The Quick and the Dead, Vampires, Horror Directors' non-horror work, Spin City, Michael J Fox, Newsradio, Ryan Reynolds, Two Guys a Girl and a Pizza Place, Friends, falling asleep to Bound, Sarah Brightman, The Real World Boston, bowling night, Seinfeld, ER, Sterling K Brown, Christopher Darden: Actor, Heavy Tobin Bell, March Madness, Patton, sleeping to Hardcore, Millennium, Sabrina the Teenage Witch, tiny actors, being a film critic, Siskel & Ebert, and the very odd star rating system of TV Guide.
Season Three of Old-Time Radio Essentials is here! It's our premiere, and Pete's pick -- and he's bringing us a thrilling episode of The Columbia Shakespeare Cycle for us to enjoy and discuss. And since we're on the subject of discussion, we hope to determine whether this entry meets the following criteria: 1. Is it truly representative of that series? (Can anyone point to it and say, "Yes, that is what [NAME OF SERIES] was all about.") 2. Is it an episode worthy of inclusion in any and every OTR aficionado's private collection? So with this in mind, we three bring you, as our twenty-sixth number (but 1st official episode of S3), this episode of The Columbia Shakespeare Cycle - Twelfth Night, from 1937. We'll introduce the show, play it in its entirety, then discuss it at length. Thanks for joining us, and we hope you enjoy it! Please show your support of the podcast by doing any of the following! To comment on how we might improve OTR-E, or give suggestions for future discussions, please write to us at email@example.com . Put the word "Essentials" in the subject line. Your feedback means a lot to us! A review at iTunes or at your usual podcatcher would be appreciated. Next Month: Our 3rd Annual Christmas Special, featuring an episode of Rocky Fortune, starring Frank Sinatra! FIND THIS SHOW PLUS HUNDREDS OF OTHER WONDERFUL AUDIO DRAMAS AT www.mutualaudionetwork.com !
Old-Time Radio Essentials is back with episode 26, the Season 3 premiere! Pete, Paul and Dave present an installment of the 1937 Columbia Shakespeare Cycle, an adaptation of "Twelfth Night", starring, among others, Orson Welles. As well as a discussion of the pick, the boys talk about their activities during the hiatus; and Dave and Pete try to help Paul understand Shakespeare a little better. "Zounds" like fun, you say? Verily! Tuneth thou in and a merrie listen! Learn more about your ad choices. Visit megaphone.fm/adchoices
In our next episode we examine the history of Boston's Liberty Tree, including its origin story and how that story evolved over time depending on who was telling it. We have wonderfully spirited conversations with distinguished actor, singer, dancer, and educator, Mark Linehan and historian Maddie Webster, a Boston University PhD student in the American & New England Studies Program. Then, we seek to uncover what liberty and liberation means in the present day with activist and Applied theatre practitioner Catherine Hanna Schrock, the Co-founder and Director of Imagine Brave Spaces, a San Diego-based theater company who shares a spoken word piece she wrote about her company which also serves as a call to action in making liberation a reality for all. Mark Linehan is a Boston-based actor with extensive stage and dance experience. A native of Massachusetts, he has performed in theaters across New England as a professional singer, dancer and actor. Mark's specialty is musical theater, and he has also worked in children's theater, drama and film. Maddie Webster is a PhD candidate in the American & New England Studies Program, where she studies urban history and historic preservation with a focus on Boston. Her dissertation explores Black Bostonians' historic preservation efforts from the late nineteenth century onward, a story that comes into clearer focus by reframing what activities constitute preservation work. As a public historian, Maddie wants to collaborate with and bolster Boston's citizen historians. Her partnership with the Initiative on Cities stems from this same impulse to engage with the modern city—and its challenges and opportunities—with the lessons of history close at hand. Catherine Hanna Schrock is an Applied Theater Practitioner, which unites her roles as an educator, theatre artist, and community organizer. She designs creative programming that equips diverse communities to engage in complex dialogues toward social and community development. Special thank you to Mark, Maddie and Catherine for their time and inspiration. For more info: Boston Historical Tours: https://www.bostonhistoricaltours.org/#/ Imagine Brave Spaces: https://imaginebravespaces.com Tree Speech's host, Dori Robinson, is a director, playwright, dramaturg, and educator who seeks and develops projects that explore social consciousness, personal heritage, and the difference one individual can have on their own community. Some of her great loves include teaching, the Oxford comma, intersectional feminism, and traveling. With a Masters degree from NYU's Educational Theatre program, she continues to share her love of Shakespeare, new play development, political theatre, and gender in performance. Dori's original plays have been produced in New York, Chicago, and Boston. More information at https://www.dorirobinson.com This week's episode was recorded in Massachusetts on the native lands of the Wabanaki Confederacy, Pennacook, Massachusett, and Pawtucket people. Logo design by Mill Riot. Special thanks to the Western Avenue Lofts and Studios for all their support. Tree Speech is produced and co-written by Jonathan Zautner with Alight Theater Guild. The mission of the guild is to advance compelling theatrical endeavors that showcase the diversity of our ever-changing world in order to build strong artists whose work creates empathy, challenges the status quo and unites communities. For more information about our work and programs, please visit www.alighttheater.org. Learn more about the podcast at: www.treespeechpodcast.com, and IG: treespeechpodcast --- Send in a voice message: https://anchor.fm/treespeech/message
Shakespeare has been an obsession of extremist groups across the globe over the centuries. The Nazi Party held him up as a hero, while Osama Bin Laden condemned him as the ultimate symbol of the depraved west. Islam Issa speaks to Rhiannon Davies about the playwright's tangled relationship with terror.(Ad) Islam Issa is the author of Shakespeare and Terrorism (Routledge, 2021). Buy it now from Amazon:https://www.amazon.co.uk/Shakespeare-Terrorism-Spotlight-Islam-Issa/dp/0367334836/?tag=bbchistory045-21&ascsubtag=historyextra-social-viewingguide See acast.com/privacy for privacy and opt-out information.
Dr. Brassel is known as the Jim Carrey of reading. Danny Brassell is America's Leading Reading Ambassador...who grew up hating reading. Do kids read more or less now? How do you get teens who don't read...to LOVE reading? Does the internet count? "Captain Underpants is the gateway drug to Shakespeare." Since 1996, Danny has taught at California State University. A tenured professor in the Teacher Education Department, he works with beginning teachers and administrators. He has taught courses in educational theory, reading, second language acquisition, and multiculturalism, and his popular live televised courses consistently earn raves from students and casual viewers alike for content presented in a “fun, meaningful and memorable” way. Danny helped coordinate alternative teaching credential programs that served over 4,000 teachers in 150 schools throughout 14 school districts serving over 400,000 students in the Los Angeles area. In addition, Danny taught international students English as a Second Language at the American Language Institute at the University of Southern California for a number of years, and he served as the founding director of Loyola Marymount University's MA program partnership with Teach for America. Before teaching at the university level, Danny was a teacher and tutor to pre-K – grade 12 students. Learn about him here: https://education.dannybrassell.com/about/ and thereadinghabit.com and https://readbetterin67steps.com/ or on Amazon...he's authored 16 books.
This episode is with the multi-talented B. Dave Walters! We talk about always doing multiple things at once, being a black belt in more than one martial art, touring with Evanescence as a bodyguard, being inspired by Shakespeare to become a writer, why he moved to LA, the process of writing D&D: A Darkened Wish, his upcoming documentary Dear America: From a Black Guy and so much more! Be sure to catch him as the DM on Invitation to Party: The Scoundrels of Waterdeep, Friday's at 3pm on G4TV! Follow B. Dave on Twitter/Instagram: @BDaveWalters Follow Brian on Twitter/Instagram: @JediBrian also at www.brianballance.com Follow The Interesting Podcast on Twitter: @PodOfInterest
‘Hamlet' and the 21st Academy Awards Link in bio… The Worthy family seeks revenge as we discuss Laurence Olivier's 1948 Shakespeare adaptation of ‘Hamlet'! We discuss the work of Shakespeare being adapted to film and whether to strongly diverge from the text or duplicate the words of the playwright. We even talk about our own experiences with Shakespeare and how we've changed as we've gotten older. Is Laurence Olivier's Hamlet the best adaptation of Shakespeare's work? We dive into the unique camerawork of the film and how the perspective of the camera guides us as if we were God. There's no way we can discuss Hamlet without honoring the great work in-front and behind the camera by Olivier as he guides us through this tragedy. The production design and costumes truly bring the color to this black and white adaptation of Shakespeare seminal work. If you like this episode and the show, please leave a review! It really does help us. Give us a follow on Instagram at WorthyPodcast and on Twitter @WorthyPod. Subscribe on Spotify, iTunes, or wherever you may get your podcasts!
Today, I am so happy to announce my episode with the amazing John Rubinstein. John is currently starring off-Broadway in the wonderful new production Morning's At Seven alongside Tony Roberts, Alley Mills, and more. You can buy tickets here: Morning's At Seven Tune in today to hear him tell some of the stories of his legendary career, including playing “Soliloquy" for John Raitt, watching rehearsals of Funny Girl, advice from Laurence Olivier, early Shakespeare roles, a late night visit from Bob Fosse, how he almost got Cabaret—twice, what it was like to return to Pippin in 2013, and his advice for everyone else who plays the role. His wisdom and charm are part of what has made him one of theater's top stars from the 1970s to today.
Oh, look! I decided to do a holiday replay anyway. ;) Eddie Louise, writer of the Sage and Savant audio drama podcast, has lived one of the most fascinating creative journeys I've ever heard. She has followed her curiosity from the libraries of Wyoming to undergraduate studies in Edinburgh and back to California, and absolutely none of it has happened in the way anyone is told a life story is “supposed” to unfold. We talk about her first adventures with Shakespeare, the unexpected detour in high school, how she got to Edinburgh, and, of course, the genesis of Sage and Savant. There's a lot here about daring to take chances and step out of the cave our society tends to want to tell us is the only safe place to be. If you're feeling stuck in your own creative process, I made the Creative Tune-Up just for you. It'll help you get moving again quickly, and it's fun! Check out the show notes at fycuriosity.com, and join the conversation on Facebook, Instagram, and Twitter! I also post pretty regularly on TikTok, and you can also listen on YouTube.
This week Adam is joined by poets Richard Barnett and Luke Kennard. Richard Barnet's WHEREVER WE ARE WHEN WE COME TO THE END is an imagining of the experience of the young Ludwig Wittgenstein in the First World War, recounted in the same austere and succinct statements as the philosopher's Tractatus Logico Philosophicus, the initial notes for which were taken during the conflict. The result is an affecting examination of love, duty and violence that had such a strong impact on me that it sent me back to investigate Wittgenstein's writing with fresh eyes. Sarah Bakewell called WHEREVER WE ARE WHEN WE COME TO THE END “ingenious, devastating and filled with emotional riches.” Luke Kennard's NOTES ON THE SONNETS, revisits Shakespeare's poetry in a chain of prose poems set in a British house party. The party is a contradictory beast—at once crushingly dull yet flecked with the absurd, at once sprawling yet intensely claustrophobic. Kennard's poems embody these contradictions too, they somehow manage to be superficial yet profound, charmingly insolent yet glacially serious, knowingly pretentious yet deeply insecure and self-critical, and they take in almost every subject under the stars. NOTES ON THE SONNETS was a Poetry Book Society recommendation, and recently won the Forward Prize for Best Collection 2021. Buy WHEREVER WE ARE WHEN WE COME TO THE END here: https://shakespeareandcompany.com/I/9781912436583/wherever-we-are-when-we-come-to-the-end Buy NOTES ON THE SONNETS here: https://shakespeareandcompany.com/I/9781908058812/notes-on-the-sonnets Browse our online store here: https://shakespeareandcompany.com/15/online-store/16/bookstore Become a Friend of S&Co here: https:/.friendsofshakespeareandcompany.com * Richard Barnett is a poet and historian. He taught the history of science and medicine at Cambridge, UCL, and Oxford for more than a decade, and his history books include Medical London, a BBC Radio 4 Book of the Week, and The Sick Rose, an international bestseller. His ﬁrst poetry collection Seahouses was published by Valley Press in 2015, and was short-listed for the Poetry Business Prize. His next poetry publication was Wherever We Are When We Come to the End, a poetic experiment digging into the form and language of Wittgenstein's Tractatus, published in May 2021. Luke Kennard has published five collections of poetry. He won an Eric Gregory Award in 2005 and was shortlisted for the Forward Prize for Best Collection in 2007. He lectures at the University of Birmingham. In 2014 he was selected by the Poetry Book Society as one of the Next Generation Poets. His debut novel, The Transition, is published in 2017 by Fourth Estate. Adam Biles is Literary Director at Shakespeare and Company. Buy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-time Listen to Alex Freiman's Play It Gentle here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1
Mark welcomes Sabrina Santoro back to the show so they can rewind and revisit the wild, gritty, colorful world of Baz Luhrmann's 1996 adaptation of Romeo + Juliet for its 25th anniversary this month. It was Shakespeare for the MTV crowd, as boring old people said at the time, and us kids who wanted to be so cool and moody ate it up! From Leo's iconic hair in his eyes and Hawaiian shirts to Claire's ugly cries and Paul Rudd barely aging in over two decades, to that very memorable soundtrack, we have lots to discuss!
Let's play 21 questions? This is a special episode Sloots! There has been an INFLUX of advice needed from you guys so Sofia wanted to take some time to really help you guys out. Even though she needs all the help she can get, but that is NOT the point. What's the phrase? “Do as I say, not as I do” - pretty sure Shakespeare said that. Anyway, before saving our Sloots, Sofia gives a little update about the current state of her life, and Alex gives a little update about the current state of her vagina. All imperative information as we prepare for Turkey day. A lot of vital advice was given in today's episode so open up your ears hearts and whatever other orifice you may possess and listen up! PSA: NEW HOLIDAY MERCH DROP ON BLACK FRIDAY, 11/26/21 and 25% OFF ALL PREVIOUSLY RELEASED ITEMS!! HAPPY SHOPPING SLOOTS! Follow Sofia on Instagram and Twitter @SofiaFranklyn Find merch HERE: https://sofiafranklyn.com/ Episode promo codes: Dipsea: http://dipseastories.com/SOFIA for 30 days FREE access Manscaped : http://manscaped.com/SOFIA for 20% off and free shipping! Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week on “The Learning Curve,” co-hosts Gerard Robinson and Cara Candal talk with Nicholas Basbanes, author of the 2020 literary biography, Cross of Snow: A Life of Henry Wadsworth Longfellow. He shares why poetry – from the Epic of Gilgamesh and Homer to Dante, Shakespeare, Longfellow, Emily Dickinson, and Langston Hughes – may well be the […]
Tracing more than two centuries of history, Shakespeare in Montana: Big Sky Country's Love Affair with the World's Most Famous Writer (University of New Mexico Press, 2020) uncovers a vast array of different voices that capture the state's love affair with the world's most famous writer. From mountain men, pioneers, and itinerant acting companies in mining camps to women's clubs at the turn of the twentieth century and the contemporary popularity of Shakespeare in the Parks throughout Montana, the book chronicles the stories of residents across this incredible western state who have been attracted to the words and works of Shakespeare. Gretchen Minton explores this unique relationship found in the Treasure State and provides considerable insight into the myriad places and times in which Shakespeare's words have been heard and discussed. By revealing what Shakespeare has meant to the people of Montana, Minton offers us a better understanding of the state's citizens and history while providing a key perspective on Shakespeare's enduring global influence. Gretchen Minton is a Professor of English at Montana State University in Bozeman, MT. Troy A. Hallsell is the 341st Missile Wing Historian at Malmstrom AFB, MT. The opinions expressed in this podcast do not represent the 341st Missile Wing, United States Air Force, and the Department of Defense. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Tracing more than two centuries of history, Shakespeare in Montana: Big Sky Country's Love Affair with the World's Most Famous Writer (University of New Mexico Press, 2020) uncovers a vast array of different voices that capture the state's love affair with the world's most famous writer. From mountain men, pioneers, and itinerant acting companies in mining camps to women's clubs at the turn of the twentieth century and the contemporary popularity of Shakespeare in the Parks throughout Montana, the book chronicles the stories of residents across this incredible western state who have been attracted to the words and works of Shakespeare. Gretchen Minton explores this unique relationship found in the Treasure State and provides considerable insight into the myriad places and times in which Shakespeare's words have been heard and discussed. By revealing what Shakespeare has meant to the people of Montana, Minton offers us a better understanding of the state's citizens and history while providing a key perspective on Shakespeare's enduring global influence. Gretchen Minton is a Professor of English at Montana State University in Bozeman, MT. Troy A. Hallsell is the 341st Missile Wing Historian at Malmstrom AFB, MT. The opinions expressed in this podcast do not represent the 341st Missile Wing, United States Air Force, and the Department of Defense. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
Tracing more than two centuries of history, Shakespeare in Montana: Big Sky Country's Love Affair with the World's Most Famous Writer (University of New Mexico Press, 2020) uncovers a vast array of different voices that capture the state's love affair with the world's most famous writer. From mountain men, pioneers, and itinerant acting companies in mining camps to women's clubs at the turn of the twentieth century and the contemporary popularity of Shakespeare in the Parks throughout Montana, the book chronicles the stories of residents across this incredible western state who have been attracted to the words and works of Shakespeare. Gretchen Minton explores this unique relationship found in the Treasure State and provides considerable insight into the myriad places and times in which Shakespeare's words have been heard and discussed. By revealing what Shakespeare has meant to the people of Montana, Minton offers us a better understanding of the state's citizens and history while providing a key perspective on Shakespeare's enduring global influence. Gretchen Minton is a Professor of English at Montana State University in Bozeman, MT. Troy A. Hallsell is the 341st Missile Wing Historian at Malmstrom AFB, MT. The opinions expressed in this podcast do not represent the 341st Missile Wing, United States Air Force, and the Department of Defense. 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
In recognition of the National Day of Mourning/Thanksgiving holiday in the United States, we are exploring how the "Age of Exploration" and Colonial Imagination in Early Modern England influenced Shakespeare's works--specifically The Tempest. Shakespeare Anyone? is created and produced by Korey Leigh Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com Works referenced: Singh, Jyotsna G. “Historical Contexts 1: Shakespeare and the Colonial Imagination.” Shakespeare and Postcolonial Theory, The Arden Shakespeare, Bloomsbury Publishing, London, 2020, pp. 23–39.
Many of us have holiday traditions: we trim trees, spin dreidels, trick-or-treat, set off fireworks, and host parties. People had holiday traditions in Shakespeare's time too: they crossdressed, roleplayed, acted in amateur theatricals, fought, ate pancakes, and watched cockfights. If you're thinking some of those holiday traditions sound familiar from Shakespeare's plays… well, you're right. Dr. Erika T. Lin studies holidays in early modern England. Some of them, like Christmas and Easter, are still big dates on today's calendars, while others, like Martlemas, Shrovetide, Midsummer, or The May, are less familiar. Lin talks with Barbara Bogaev about how people celebrated and how they might have felt about Shakespeare's plays in a period when the line between holiday festivity and theater wasn't quite so clear. Dr. Erika T. Lin is an Associate Professor of Theatre and Performance at CUNY Graduate Center in New York. You can find her writing on Elizabethan festivals and holidays in a couple of places. Her article “Popular Festivity and the Early Modern Stage: The Case of George a Greene,” appeared in Theatre Journal in 2009. Her chapter entitled “Festivity” appeared in the 2013 book Early Modern Theatricality, edited by Henry S. Turner and published by Oxford University Press. From the Shakespeare Unlimited podcast. Published November 23, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Revels, Dances, Masques, and Merry Hours,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California, and Josh Wilcox at Brooklyn Podcasting Studio.
Amanda Drinkall plays Desdemona in Othello, The Tragedy of the Moor of Venice, at the Court Theater in Chicago – and, as it happens, she's also played Desdemona before with the Back Room Shakespeare Project. Amanda discusses the differences between the two productions and reveals why she continues to be drawn to the role; the appeal of approaching the text irreverently; the advantages of intimacy; further attempts to make #TheatreInTheSurround happen; the question of whether Desdemona is a victim; how we see her through Othello's eyes; how Desdemona is like other Shakespeare heroines like Juliet and Viola; and the importance of grounding tragedy in fierce love. (Length 17:25) (PICTURED: Kelvin Roston, Jr. and Amanda Drinkall in the Court Theatre production of Othello, The Tragedy of the Moor of Venice, directed by Charles Newell and Gabrielle Randle-Bent. Photo by Michael Brosilow.) The post Amanda Drinkall's Desdemona(s) appeared first on Reduced Shakespeare Company.
William Shakespeare is the greatest writer in history, and Hamlet is his greatest work. In Hamlet, Shakespeare gave us one of the first modern characters in literature. We are invited into the mind of Hamlet, to see how he thinks and acts in the face of love, grief, and revenge. It is a work of deep psychological complexity, and has inspired many writers to explore and reveal the inner lives of their characters. Part of what keeps Hamlet alive is its delicate balance of textured specificity and capacious vagueness. It is specific enough for Hamlet to feel real while also inviting endless interpretations. Michael Dobson is the director of the Shakespeare Institute in Stratford-upon-Avon. He is the author of “Cutting, interruption, and the end of Hamlet” See more information on our website, WritLarge.fm. Follow us on Twitter @WritLargePod.
“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info
Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info
Welcome back to the Dogtrack, Greyhounds! In this episode Marisa, Christian, and Brett discuss Season 2, Episode 2: Lavender.We chat about how it feels to see some of our favorite characters drifting out to sea, discuss the return of prodigal son Jamie Tartt, and touch on the overarching themes of vulnerability and fraught paternal relationships this season. We also take some time to think about Dr. Sharon's journey and how she'll grow throughout the season.We get into the incredible visual FX efforts that went into making Soccer Saturday happen, and of course chat about the Sex Pistols, Queen, Cheers, and unearth even more Shakespeare references in this packed episode!Full show notes and transcript will be available at www.tedlassopod.com soon.Richmond Til We Die is a conversation about the Apple TV+ show Ted Lasso, where we explore the characters, their relationships to each other, and how they're able to make us laugh until we can hardly breathe one moment and then feel with the deepest parts of our hearts the next. When you're here, you're a Greyhound!
Intro: buzzsaws and clean slates, rage, Where the Wild Things AreLet Me Run This By You: MoneyInterview: We talk to Carole Schweid about Juilliard, Phoebe Brand, John Lehne, Michael Brand, Midnight Cowboy, musical comedy performance, open dance calls, starring in the original cast of A Chorus Line, Bob Fosse, Pat Birch, Martha Graham, Minnie's Boys, Mervyn Nelson, playing Fastrada in the first national tour of Pippin, being a lone wolf in theatre, Lewis J. Stadlen, doing West Side Story at Bucks County Playhouse, Shelly Winters, Mary Hinkson, Nellie Forbush in South Pacific, playing Tzeitel in Fiddler on the Roof, Peppermint Lounge, Nick Dante, Michael Bennett, Marvin Hamlisch, Public Theater, Gerry Schoenfeld, The Shubert, the wish for a job vs. the real experience of working, Theda Bara & The Frontier Rabbi, Agnes de Mille, Play With Your Food, Staged Reading Magic, Albert Hague.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina Pulice.1 (11s):We went to theater school together. We survived it, but we didn't quite understand it. 20 years later,2 (16s):We're digging deep talking to our guests about their experiences and trying to make sense1 (20s):If at all we survived theater school and you will too. Are we famous yet? As more space is actually a huge thing.2 (36s):Yeah. I have to apologize for the sound of buzz saws. What is going to be going the whole time I'm talking, doing well, you1 (50s):Took some trees down, right.2 (53s):You know, that's how it started. Yeah. It started with actually, you know, it all was a surprise to me, basically one we've been talking about taking down all the trees in the front of our house. And one day Aaron said, they're coming tomorrow to take down the trees. And I'm like, how much did that cost? Because you know, taking down trees is usually really expensive. And so he says, well, he's going to do everything in the front for whatever. It was $5,000.1 (1m 22s):Yeah. She was pretty good for more than one tree. Cause one tree we had removed was $5,000 at my mom's.2 (1m 28s):Well, and it's not like they have to extract the whole tree. It's just, you know, just chopping it down. Like it's not, I don't know if it's different when they have to take out the, yeah,1 (1m 38s):I think it is when they have to take the stump out the roots and all that.2 (1m 43s):So that was fine. Although I did think to myself, Hmm. We have $5,000 to spend and this is what we're spending it on.1 (1m 54s):I've been there. Oh, I've been there2 (1m 56s):So the morning, but I'm letting it go. And so the morning comes and he tells me to go outside so we can talk about the trees and, and, and I, anyway, we, we designate some trees and they're all in the lower part of the front of our house.1 (2m 10s):Yes. You, and by the way, for people that don't know, like you have a lot of land for, for, for, for not being in the super super country, you have a lot of courage. I mean, you got a lot of trees.2 (2m 21s):Well, yeah, we have an acre and it's a lot of trees and it's a lot of junk trees. What they call junk trees. Because the idea here is once upon a time, when everybody got their heat from wood, you had to have fast growing trees. So it's these skinny trees. Yeah. Anyway, so I thought we were sort of on the same page about what we were going down. This is where I'm getting with this. And I had a couple of meetings yesterday and I was hearing the sound pretty close, but it wasn't until I looked outside that I saw, they took everything out.2 (3m 1s):The, every living thing out in the, in the front, in front of our house, including the only tree I was really attached to was I have a beautiful lilac tree.1 (3m 14s):Okay. Oh shit. And everything out.2 (3m 21s):What's that? Why they1 (3m 22s):Take everything out? Is that the plant? I think,2 (3m 25s):I think what happened was for the first couple of days, the boss was here. And then I think yesterday, the boss was like, you guys just go and finish up. And I don't know that anyway, you know what, I'm just choosing it to be, I'm choosing to look at it like, okay, well we're getting to start over and it can be exactly how we want it to be. So yeah,1 (3m 45s):That is a great attitude because there's nothing you can do you really do about it? Absolutely. Zero. You can do about threes coming out.2 (3m 53s):The only bummer is that it sounds like buzz saws all day at my house and at my neighbor's house, I'm sure they're annoyed with us too. Well,1 (4m 2s):What are you going to put? It is. Okay. So, so, okay. The good, that's the sort of wonky news, but what the good news is, what are you going to put in? Like, is there going to be a whole new,2 (4m 12s):I think it's just going to GRA, I mean, I think it's just going to be grass, which is fine. I mean, my thing was actually, it does a little bit of a metaphor because when we first moved here, we loved how quiet and private and everything is. And part of why everything feels very private at our house is there's trees and bushes blocking our view of anything. I mean, all we can see is trees and bushes when we're laying on the front, which for a while seemed cozy. And then it started to seem like annoying that we could never see. And actually there's kind of a really beautiful view of the mountains behind us. So our mountains Hills.1 (4m 51s):Yeah. But I mean, small mountains, like small2 (4m 53s):Mountains. Yeah. So I realized that it does coincide with our psychological spelunking and trying to just be like more open about everything. Like totally. You know what I mean? Like this is just be open to people seeing our house. This is open to seeing out and let's have, and actually my kids were kind of like, oh, but it's just also open and we don't have any privacy. And I'm like, yeah, well you have your room and bathroom. I mean, there's, there's places to go if you don't want people to, to see you, but let's just be open.1 (5m 31s):There's like a whole, yeah. It's a great metaphor for being visible. Like I am all about lately. I have found a lot of comfort and refuge in the truth of the matter, even if it's not pretty, even if I don't actually like it. So like getting the facts of the matter and also sharing the, of the matter without a judgment. So I appreciate this, like wanting to be seen and then letting go of what people make of that, whether your house is this way or that way, or the neighbors think this or that, I'm also the, I I'm all about it.1 (6m 15s):I'm like, you know, this is, there's something about transparency. That's very comforting for me. It's also scary because people don't like it when they can see, or they can say whatever they want, but the hiding, I think I'm pretty convinced hiding from myself and from others leads to trouble.2 (6m 37s):It leads to trouble. And any time you're having to kind of keep track of what you're, you know, being open about and what you're not, and what you've said, you know, it just it's like it's T it's listen. If I only have a certain amount of real estate in my mind, I really don't want to allocate any of it too. Right. Hiding something and trying to remember. Right.1 (7m 1s):And it's interesting, the more that we do this podcast, the more I see that, like, you know what I thought gene, I thought when we're dead, this podcast is going to remain. And then our children's children's children. I mean, I don't have kids, but my nieces and nephew and your children's children's children will have a record of this. And, and I'd rather it be a record of the truth, the truth and transparency, then some show about pretending. So I think it's going to be good for them to be able to look back and be like, for me, it's like the, my crazy aunt, like, what was she doing? And what did she think? And, and, oh my God, it's a record of the times too.1 (7m 43s):Yeah.2 (7m 43s):I think about that kind of a lot. And I think about, of course I say all this and my kids are probably like going to be, have no interests unless the, until they get to a certain age, I mean, I'll put it to you this way. If I could listen to a podcast of my mother in her, you know, in the time that I don't really the time of life, certainly before I was born, but in my life where I still didn't see her as a person until, you know, I'd love to just things like what her voice sounded like then, and that kind of thing. I mean, it's interesting.1 (8m 16s):I have nothing of my mom, like we have a very few, it was interesting because we didn't, you know, we, there was not a lot of video of my mother and today's actually the 10th anniversary of her passing.2 (8m 28s):Oh, wow. Wow. That's hard.1 (8m 31s):It is hard. You know, it is hard. And I'm working through, I started therapy with a new therapist, like a regular LCSW lady. Who's not because my last guy was an Orthodox Jewish man who wanted me to have children. Like it was a whole new, I just got involved in all the Shannon Diego's of like weirdness. I attracted that weirdest and whatever. So this lady is like a legit, you know, therapist. And they only bummer is, and I totally understand she's on zoom, but like, I I'm so sick of like, I would love to be in a room with a therapist, but I get it. She's in, she's an older lady, which is also great. I was so sick of having like 28 year old therapists.1 (9m 13s):Yeah,2 (9m 13s):Yeah, yeah. For sure.1 (9m 16s):I don't even seem right. Unless clients are like, you know, fit seven to 17. So anyway, so, but all this to say about my mom, I was thinking about it and I think what's harder than right. My mom's death right now is that there's I just, you know, and this is something I wanted to bring up with you is just like, I have a lot of rage that's coming up lately about my childhood and we weren't allowed to feel rage. And my mom was the only one allowed to feel rage. And so this rage mixed with perimenopause slash menopause. I mean, like I still get a period, but like, it's, it's a matter of time before that's over.1 (9m 58s):So, but the rage, so I guess, right. I get, you know, people like to talk about rage as some or anger as something we need to process and we need to do this and that, but the truth of the matter is since we're being transparent, like rage can be really scary. Like sometimes the rage, I feel, it's not like I'm going to do anything. Why wonky? I hope, but it's more like a, I don't know what to do with it. That is my, and I was talking in therapy about that. Like, I'm not actually sure. Practically when the feelings come up, what to do with rage. And I feel like it speaks to in our culture of like, we're all about now, this sort of like, we talk about this fake positivity and shit like that.1 (10m 41s):And also like embracing all your feelings, but there's not really practical things that we learn what to do when you feel like you're going to take your laptop and literally take it and throw it across the room and then go to jail. Like you, you. So I have to like look up things on the internet with literally like what to do with my rage.2 (11m 1s):I think that's why that's part of my attraction to reality. Television shows is a, is a performance of rage. That's that I wouldn't do just because I don't think I could tolerate the consequences. I mean, an upwards interpretation is, oh, it's not my value, but it's really just like, I don't think I can manage the content of the consequences. I'm totally at having all these blown up1 (11m 30s):And people mad at me and legal consequences. I can't,2 (11m 35s):It's something very gratifying about watching people just give in to all of their rage impulses and it's yeah. I, it it's, it may be particularly true for women, but I think it's really just true for everybody that there's very few rage outlets, although I guess actually maybe sports. Well, when it turns, when it turns sideways, then that's also not acceptable.1 (12m 3s):Yeah. I mean, and maybe that's why I love all this true crime is like, these people act out their rage, but like lately to be honest, the true crime hasn't been doing it for me. It's interesting. That is interesting. Yeah. It's sort of like, well, I've watched so much of it that like now I'm watching stuff in different languages, true crime. And I'll start again. No, no, just stories. I haven't all been the only stories that I haven't heard really, really are the ones from other countries now. So I'm watching like, like true crime in new, in Delhi.2 (12m 42s):Do you need your fix? I actually was listening to some podcasts that I listened to. There's always an ad and it's exactly about this. It's like, we love true crime, but we've heard every story we know about every grisly murder, you know, detail. And it was touting itself as a podcast of, for next time I listened to it. I'll note the name of it so I can share it with you. You know, about this crimes. You haven't heard about1 (13m 9s):T the thing is a lot of them now, because I'm becoming more of a kind of sewer. Like a lot of it is just shittily made. So like the, the they're subtitled and dubbed in India, like India. So you've got like the, the they're speaking another language and then they're and if they don't match, so then I'm like, well, who's right. Like, is it the dubbing that's right. Or the subtitles that are right. And, and actually the words matter because I'm a writer. So it was like one anyway, it's poorly done is what I'm saying in my mind. And so it sort of scraped scraping the bottom of the barrel. It's like deli 9 1 1. I swear to God. That's what it, and, and it's, and also it's, it's horrifying because the, you know, the legal systems everywhere fucked, but India has quite a system.2 (13m 57s):I think that to the rage, like, tell me more about what comes up for you with rage and where you,1 (14m 6s):Yeah. Okay. So some of it is physiological, like where I feel literally like, and I think this is what my doctor's talking about. The menopause symptoms. I literally feel like a gnashing, my teeth. Like, I feel a tenseness in my jaw. Like, that's literally that. And she's like, that could also be your heart medication. So talk to your heart doctor. I mean, we're checking out all the things, but like, but it's tension. That's what it really feels like in my body is like tight tension where I feel earth like that. If I had to put a sound effect to it, it's like, ah, so I, I feel that is the first symptom of my rage. And then I feel like, and, and I say out loud, sometimes I hate my life.1 (14m 54s):That's what I say. And that is something I have never allowed myself to say before. Like I, I think unconsciously, I always told myself, like, you just, you have to be grateful and you know, those are the messages we receive, but sometimes life just fucking sucks. And sometimes my life, I just, I just can't stand. And, and in moments, you know, I never loved myself. So it's mostly a physical symptom followed by this is intolerable, what someone is doing. Sometimes my dog or my husband, but even, even if the coworking space, you know, like the lady was talking too loud and I was like, oh my God, this is intolerable.1 (15m 34s):She has to shut up. So agitation, that's what it is. And, and then it passes when I, if I, if I can say, oh my gosh, I am so fricking in Rouge right now. Then it passes.2 (15m 52s):Yeah. Well, it, it kind of sounds like from, from you and probably for most people, the only real option is to turn it in on yourself, you know, like you're not going to put it elsewhere. So you've, you know, you have, which is, so I guess maybe it's okay if you turn it on yourself, if you're doing, if you're working, if you're doing it with acceptance, which is the thing I'm gathering from you, as opposed to stewing and festering. And1 (16m 21s):I mean, it becomes, it's interesting. Yes, it is. So it's like, so red, hot, and so sudden, almost that the only thing I can do is say, okay, this is actually happening. Like, I can't pretend this isn't happening. I, it I'm like physically clenching my fists. And then I, yeah, there is a level of acceptance. I don't get panicked anymore. Now that I, that something is wrong. I just say, oh, this is rage. I name it. I'm like, I feel enraged and white, hot rage, and then it, and then it, and then I say, that's what this is.1 (17m 3s):I don't know why. I don't know where it's coming from. Right. In this moment. It's not proportionate to the lady, like literally talking on the phone at my coworking space that she's not shouting. So it's not that. And I don't want to miss that. I'm not like I can't fool myself to think that it's really, that lady's problem. That I feel like throwing my laptop at her head. And then, and then it passes. But, but, but it is, it is more and more. And, and I think a lot of it, not a lot of it, but you know, my doctor really does think that it's, it's hormonal. A lot of it just doesn't help the matter. I mean, it's not like, oh, great. It's hormonal. Everything's fine. But it, it does help to make me feel a little less bonkers.2 (17m 45s):Maybe you should have like a, a whole rage. Like what, like a rate. Well, first I was thinking you should have a range outfit. Like, oh, for me, if I, I noticed I pee in the winter anyway, I pick like my meanest boots and my leather jacket. When I'm feeling, you know, maybe say maybe kind of a rage outfit, when did Pierce?1 (18m 9s):No, I, I scratched myself in my sleep. Oh no, it's okay. It happens all the time. I do it in my sleep. It's a thing that it's like a little skin tag that I need to get removed. It's2 (18m 23s):So you could have a rage outfit and then you could have a rage playlist, And then you might even have like rage props. I'm just trying to think about a way that your ma you, you could write because if, if how you process something is artistically creatively, then maybe you needed a creative outlet that's specifically for, for race.1 (18m 48s):Yeah. And you know, the, I, I love that. And now I'm thinking about like, as a kid, we, because we, anger was so off limits to us. I used to violently chew gum. Like I would chew on the gum. That was a way, and my mom did the same thing, even though she also got her rage out, but it was like, you know, when people violently chew on their gum, like that was a way I could get my aggression out. That's so sad that that's like the only way.2 (19m 16s):Well, I mean, you find it wherever you can find me. It's like water looking for whatever that expression is, right? Yeah. Huh. Well, I have to get more in touch with my rage because I I'm told that I seem angry a lot.1 (19m 33s):You do.2 (19m 35s):I, I do get told that, but, but that sucks for me because I feel like I'm not expressing my anger and I'm, but I'm not. So I'm not, and I'm being seen as angry at certain times. So that means I didn't even get the benefit of like letting out the anger that somebody is.1 (19m 56s):Right. You didn't even get to act out the anger. It's like, yeah. So for me, miles tells me that all the time, like, he's like, you seem really in couples therapy. Also, I have to admit yesterday was a big day. We had couples therapy on zoom. Then I had individual therapy. And in between I had all kinds of like, just stuff happening. So, but yeah, I'm told I a miles is like, you seem so angry and he's not wrong. And, and we take it out on the people that we live in a two by four apartment with. So I also feel like this office space is helping with that, but yeah, I dunno, I'm going to have to keep exploring my, my rage and that's what it is.1 (20m 37s):And also it is like, I am the character in where the wild things are that kid, that is what I feel like. And it feels it's like the perfect cause he wants to gnash his teeth and, and he does, and a thrash, thrash, thrashing mash, or the words 2 (21m 6s):Let me run this by you that I wanted to do when we're going to talk to Molly that we didn't get to do. And it was based on made, you know, and just about money and, and wondering like what your relationship is right now with money. And also, but when were you at your lowest with money? What do you remember as being your lowest moment? Sure, sure. With money with money.1 (21m 40s):Okay. I have moments of what first comes to mind was when right. I was at DePaul. So it's an apropos in college and there was obviously a sense. I had a sense of lack, always, even though based on whatever, but it was phone. Somehow my accounts were always negative, right? Like, and I would call the number, the banking number, incessantly to check, and it would always be negative. So I have this panic thoughts about that. Like being a time of like, and that's not the only time that happened like that.1 (22m 23s):Where, what is the feeling? The feeling was that, and this was in college where it started to happen, where I felt like there's never enough. No, one's going to help me. I'm irresponsible with money. Was the message I told myself and I probably was, I was in college, but I can't handle money. And literally that, that panic was also, I mean, it was true. I had no money, but my parents would have backed me, probably helped me out, but I was too scared to ask for help. So that's like, that's when, when you asked that question, that's where I go.1 (23m 4s):But, but that's also a college kind of me. So like in terms of an adult, me, that's a really great, great question. My lowest, I don't know. What about you?2 (23m 22s):Well, I've got a lot of Loma Loehmann's moments with money when I was in high school. The thing was, I lost my wallet all the time.1 (23m 35s):Oh, I remember this. I remember you talking about,2 (23m 38s):Yeah, that'd be still lose stuff all the time. That actually started at a young age with, you know, my mom would, she, my mom was really into jewelry and she would buy me destroyed. And there's nothing wrong with the fact that she brought me jewelry, but I lost it. You know, she buy me nice gold jewelry1 (23m 59s):Because she likes nice things. That's right. Yeah.2 (24m 4s):In college it was pretty bad. And the first time it was pretty bad. I had to move back in with my mom because I couldn't afford rent. And then the second time I just, I re I really, if I had more bravery, I probably would have signed up to be one of those girls in the back of the Chicago reader. Like, I, I, I just figured what ha how literally, how else? Because I had a job, but I only worked however much I could work given the fact that we were in rehearsals and like busy all day, so I never could make enough money. And then I just, I think I always have had a dysfunctional relationship with money.1 (24m 51s):Wait a minute, but I have to interrupt. Why, why didn't our parents fucking help us? Okay. Look, I know I sound like a spoiled asshole brat, but like, when I think of the anxiety that we were going through and I know your mom did, so I'm not going to talk shit about your mom or anything, but I'm just saying like, why did we feel so alone in this when we were so young, this is not right.2 (25m 11s):Yeah. Well, my mom did help me out as much as she possibly could, but I think part of it too, my dad certainly didn't think it was that. I mean, when my mom was 18 and my dad was 19, they bought a house and had a baby. So I think part of it is, has been like, what's the matter with you? Cause I didn't go to college, you know, that's the other thing. So, so then when I, then I had a period for like 10 years where I always had three jobs, me two, what1 (25m 46s):Did you have enough then? I mean like, could you make rapid enough?2 (25m 49s):I had enough then yeah, I had enough then. But then when Aaron decided he wants to go to medical school, it was really on me to, to bring in the income. I mean, his parents always gave him money. They helped, it was a lot more. I mean, and actually it's why he became a therapist because I thought, well, we're going to be living with no income because he's going to be a student. Right. So I better giddy up and get a job. So the whole time I was in social work school, I was bartending. I remember that. And then I went quickly into private practice so that I could make money.2 (26m 29s):And it turned out to be, it turned out to backfire on me. Tell1 (26m 35s):Me, tell me, tell me more.2 (26m 37s):It backfired in two ways. Number one, I was, I shouldn't have been operating a private practice without my LCSW. I had my MSW and I was working at the time in a psych hospital. And all of the psychiatrist said, you should start your private practice. You should start your private practice. And I remember saying at the beginning, I don't know if I'm allowed to oh yes, yes. You definitely can. I know tons of MSWs into plenty of people and it's true. I don't know if it's still true now in New York, but at that time you could walk around and see plenty of nameplates for offices where somebody in private practice and that just have an MSW.2 (27m 18s):They just had to have a supervisor1 (27m 19s):Or something.2 (27m 22s):I don't know. Okay. I dunno. Right. So that ended up coming to haunt me when a disgruntled patient. And they're all disgruntled in some way, a family who actually had been swindled by a con artist, like they, they were a blue blood, rich ass family and they got swindled by a con artist. And so they were talking about rage. They had a lot of rage about that. When this guy who was paying for his daughter's treatment, didn't think it was going where, you know, he wanted it to right.2 (28m 4s):He started pushing back about the fee and then he was submitting to his insurance company and they were not reimbursing because I didn't have the LCSW. So then he reported me to the New York state office of professional discipline or1 (28m 21s):Whatever yeah.2 (28m 21s):Regulation or whatever. Yeah. And I ha I had to go through a whole thing. I had to have a lawyer and I had to go, yeah, yeah. It was a nightmare. It was a complete and total nightmare. And I, and I said nothing, but like, yeah, I did that. I did do that. And I did it because I needed to make the money. I mean, in some ways I don't regret it because I did it worked for the time that it worked. And then by the time it stopped working, I was ready to leave private practice anyway. Oh my God. Yeah. But then it also backfired because we were taking in this money, which we desperately needed living in New York city with two kids.2 (29m 3s):And, and we were, we were spending it all and not hold withholding any for taxes. So then that started, that started, that started almost 10 year saga of just, I mean, I, it's embarrassing to even say how much money we've paid in just in fees, compounded fees. Nope. I'm sure. In the last 10 years we've given the government a million dollars.1 (29m 29s):That sounds, that sounds about right. And you know, I think the thing with money too, is the amount of forgiveness I've need to muster up for the financial decisions that I have made. So one of them that I'm super embarrassed about is that, and I, and I hear you when it's like, yeah, I, it, it's embarrassing. I, I, when I did my solo show, I inherited the year that my mom died. My great aunt also died, who I very barely knew. And I inherited like, like a lot of money. Well, to me, a lot, like 50 grand from her, and I spent 15,000 on a publicist for my solo show that did nothing.1 (30m 14s):So I was swindled. Oh,2 (30m 17s):I'm so sorry to hear that. That really did nothing.1 (30m 22s):I could have done it all on my own. I could have done it all on my own, on drugs, in a coma. Do you know what I'm saying? Like, like, come on. So I have done made some questionable decisions. I did the best we did the best we could with, with the information that we all had at the time. I would never make that decision. I wouldn't, I will never make that mistake again. So yeah. Money is very, very, obviously this is so like kind of obvious to say, but it is, it is. So it is a way in which we really, really use it to either prize or shame ourselves. Right. And, and, and w I do it either way, like I do it.1 (31m 2s):Oh, I'm so fancy. I inherited this dough. And then I also do it. It's that thing that they talk about in program, which is like, you're the worm, but you're the best worm for the festival, special worms. And like, you're not a worker among workers. I'm just like the best idiot out there. It's like,2 (31m 18s):Dude. Yeah. And you're making me realize that money might be the only very quantifiable way of understanding your psychology list. The money is like, understanding your psychology through math. It's going okay. If you're a person like me who gets offered a credit card at age 20 totally signs up and, and immediately maxes it out at whatever, to get 27% interest rate. So whatever little thousand dollars of clothes I got, I probably paid $10 for it. And for the longest time. So, so that's me being afraid of the truth of my financial situation, being unwilling to sacrifice, having, you know, whatever, cute clothes being about the immediate gratification of it all and not thinking longterm.2 (32m 15s):Yeah.1 (32m 16s):Okay. Well, not asking for help either. Like, like, I don't know who I'd asked, but someone had to know more than me. I didn't ask my parents. They didn't really know what was happening at, or that just was their generation of like, not teaching us about money. It was sort of like, good luck. Get it together. We got it together. You get it together. Okay. Fine. But like unwillingness and fear to ask, to be taught something about money. Like, I didn't know, Jack shit about credit or interest Jack shit.2 (32m 46s):Yeah. And I recently realized that I'm basically redoing that with my kids, because we supposedly have this allowance. Only one of my kids ever remembers to ask for it because you know, only one of my kids is very, you know, very interested in money, but like, in a way I can understand why the others don't because it's like, well, anytime they want something, I pay for it. I never say sometimes I'll say recently, I've gotten better about saying, if we're going to go back to school shopping I'll especially if the oldest one, I'll say, this is your budget. If you, if you spend it all on one pair of sneakers, then I hope you're okay with your sweat pants that don't fit and wear them everyday for the rest of the school year.2 (33m 31s):Right. But it's, we've, we've just been extremely inconsistent in tying, like, for example, chores to your allowance,1 (33m 42s):It's fucking miserable and hard. And I have trouble doing that for myself. I wouldn't be able to do that for my children. If I had children, I can't not give the dog people food. What are you talking about? How am I going to bring it? Doesn't shock me. We didn't learn the skills and I'm not blaming. I mean, I'm blaming, of course my parents, but I'm also just saying, it's just the facts. If we're going to be that in the truth, like, I didn't learn, I didn't educate myself and nobody educated me. So I'm really learning through trial and error. Mostly error, how to be okay with money. And it is you're right. Like finances, romance, and finance teach us the most about our psychology.2 (34m 24s):Yeah. Yeah. Romance finance. I love that. 1 (34m 28s):I think that my boss at Lutheran social services to say all the time, finance and romance, romance, and finance, that's what all these addictions are about is that's how you see them. I'm like, she's right. I mean, she was, I liked her. She was bonkers, but I liked her. She said some good. She, she also is famous for saying, and she didn't say it, but she would always quote, the, no one gets out of here alive. You know, none of us getting out of here life, we might as well start2 (34m 54s):. Well, today on the podcast, we were talking to Carol Schweid and original cast member of the original production of a chorus line on Broadway. She's got great stories to tell she's a fascinating person. And I think you're going to really enjoy this conversation with Carol Schweid. Exactly. Carol shrine. Congratulations. You survived theater school. I did. You did.2 (35m 34s):And where did you go to theater school. Okay. First of all,3 (35m 38s):Let me just take my coffee, my extra coffee off of the stove and put it on my table. Cause it's gonna burn because we don't want that.4 (35m 51s):Okay. You're I am looking for a cop. If you have one, you know, this is ridiculous.3 (36m 2s):Hi there. Hi. This is a riot that you talk about surviving theater school. I think it's great. Okay. So this is working, right? You can hear me. Yeah, no, totally. A hundred percent. So this is my, I started college at Boston university. I was an acting major, which I loved. I really did, but I, what I loved more than anything was I loved the history of the theater. We had a great professor who told the tales of the gladiators and the, you know, the gladiators on the island and the fighting, and then the island, the survivors, and then the island would slowly sink into the water.3 (36m 45s):What is this? What did I miss? It was the early history of the theater. It was starting on the church steps. It was, you know, the second, whatever all of that history was, I found it really interesting. I also loved the station shop crew stuff. I liked learning about lighting. I was terrible at it. I, you know, I would fall off ladder, but I, I, I enjoyed the backstage stuff as much as I enjoy. I just, I liked it. I, we did the rose tattoo and my, and my first job was to take care of the goat. I was on the prop crew.3 (37m 28s):I took care of the goat. Was it a stuffed goat? No, it was a real goat. Wow. What can I tell you? The rose tattoo. There's a goat in the play. I didn't realize you could have livestock and colleges, college, whatever it was. I look like I have jaundice with is that something's wrong with the light jump I sent you stop your, where is the microphone part of your, do you want me to hold it up better? Because when you move, it hits your shirt and it makes like a scratching, right? That's right. I'll do it this way. I won't move around. When you look tan, you look, you don't like jaundice at all. Okay. Well then that's all right. Good. Thanks. Were the goat handlers.3 (38m 8s):Good to talk to you. I mean, that was, and I didn't mind, I didn't mind being an usher. All of those things, you know, I remember somebody sitting us down and saying, you're you are the first person. The audience we'll meet tonight as an usher. I took all of the stuff I did, but the acting business was very confusing to me. I didn't quite know. I had done a lot of theater and dancing and been in the shows and stuff, but I really, I was a little more of a dancer than an actor. I'd taken class in the city. I'd followed some cute guy from summer camp to his acting class. But half the time, I honestly didn't understand a word.3 (38m 48s):Anybody said, I just, nobody does. I really didn't get it so much at the time I loved it, but I didn't always get it. And for some reason, and I have no idea where this, why this happened. I had a boyfriend in summer stock whose mother worked at Barnard and her best friend was a woman named Martha Hill. Martha Hill ran the dance department at a school called Julliard. Nope. I had no idea. Cool. Just a little, nothing school. This is back in the day. It's a long time ago. It was just a plain old school. It wasn't like a school, you know, where you bow down. And I really was a very good dancer and always loved dancing.3 (39m 33s):You know, I've been dancing since I'm like a kid, a little five or six or whatever. So I was a little disenchanted with my successes at Boston U even though I had friends, I was having a great time. I mean, Boston in the late sixties was amazingly fun, but I felt like I wasn't getting it. I mean, it wasn't a school that was cutting people. Thank God, because that would have been torture. I don't know how anybody survives that, but I audition for this dance department in this school called Juilliard and got in and then told my parents that I was going to change colleges. I remember making up a dance in the basement of my dorm in Boston.3 (40m 17s):Cause you had a sort of take class and then you had to show something that you should have made up. And somebody else from college was leaving school to come to New York to be a singer. So we decided we were going to be roommates. And then we had a summer stock. Somebody at BU started some summer theaters. So I had a job or two, I think I had some friends from there. So I ended up moving, changing colleges and going to Juilliard. And I spent three years there. I was a modern dancer major. So we had the Limone company, including Jose Lamone wow teachers and the Graham company.3 (40m 59s):I mean, Martha, Martha Graham did not teach, but her company did as a winter and Helen, I was Helen McGee. One of the, they were maniacs. I mean, they're, they're like gods and goddesses and their whole life is about dance. And I was one of those demonstrators for her eight o'clock beginning class, my third year of school. I mean, I, it was all about technique. We had amazing ballet teachers. We had Fiorella Keane who, I mean, Anthony tutor taught class there and he was Anthony. I mean, so I got a out of being at that school that I have never lost. I mean, I can, I'm making up the answers for high school kids now really.3 (41m 42s):I'm just finishing up a production of grease, which is really kind of boring, but whatever I liked Greece, tell me more. Yeah. It's okay. If you hear it enough, you really get sick of it. Well, that's true. Yeah. I mean high school kids doing high school kids is like, Jesus, God, you just want to slit your throat. The moodiness when it comes to the girls. I mean, I love them. I really love them. I love the guys because puppies, they fall all over each other and they're fabulous, but that's a lie anyway. So I did something that I don't know why I did it and how it worked out. That way I left. I had a very best friend in college that was, you know, and I came to New York and made, made and shared an apartment with this slightly crazy woman.3 (42m 32s):And a year later I got myself a studio apartment on west end avenue and 71st street. And my mom co-signed the lease. And I spent three years dancing, honestly dancing almost every day. I wanted to take sights singing, but they wouldn't let me because I was in the dance department. And I didn't know, you could advocate for that. Sure. I didn't know. You could take classes at Columbia. I mean, who had time anyway, but was it a three-year program? It was a four year program, but I had taken a music class at BU that was like music appreciation one. Yeah. And for whatever reason, they gave me credit for that.3 (43m 14s):So I had a full year credit. Yep. Three years of Juilliard where I really worked my tail off. What's weird about it is that I am, you know, just a plain old Jewish girl from New Jersey, you know, a middle-class Jewish girlfriend. And to, to think that I could have a profession where people don't talk and don't eat, which is what the answers do is a riot to me. Yeah. Yeah. It's an absolute riot because you know, I mean, that should be basically the manual for dancers. Don't talk, don't eat, but I always knew that I was heading to Broadway. I really have always wanted to do that.3 (43m 55s):And I, and, and w was not really ever in question that I would, I somehow assumed if I worked hard and figured it out enough, I would find my way to working on Broadway. And I, and I made the right choice in the sense of switching colleges. Because in the seventies, if you look at your list of Broadway shows, all the directors were choreographers. They were all dancers, all of them Fauci, Michael Bennett champion, all of them. So I started working when I got out of school, you know, it was, and I had already done a couple of summers of summer stock and I did a summer Bushkill pencil, you know, these ridiculous, stupid theaters all over, but it was a blast.3 (44m 36s):It was fun. Where, what was your first job out of school? I was still, I was in school and it was the Mount Suttington Playhouse, which was like a tin shell in Connecticut. And I think it was still in college. Cause two guys from school had opened this theater at the skiing place, but it wasn't skiing. Then it was a sh it was like a tin shell. So couldn't really do a show when it was raining very well. And I believe it was stopped the world. I want to get off and I can still remember the Alto harmony to some of the songs. So you okay. Wait, so you don't consider, you didn't consider yourself a, an actor or did you?3 (45m 20s):Well, I did, but I think what happened was I had to audition for something. It'd be you like, they had grad programs and it wasn't that I was unsuccessful there, but somebody came and I didn't get cast. I didn't get hired. And I didn't understand, you know, like they give you all these acting exercises. We do sense memory. Well, I didn't know they were exercises. I didn't, they were they're like plea aids. Right. They're like learning things. I took this all very seriously. I would stand in a room and try to feel it was like that song from chorus line, you know, try to feel the emotion, feel the, yeah, yeah, yeah, yeah.3 (46m 5s):I did all of that. I didn't really understand the simple, what am I want here? And what's in my way of trying to get it. Yeah. It took me so long to find teachers that I really could understand and make me a better actor. So when did you find them? When did you start to find them? Oh, that's interesting. Well, I found a couple of good teachers in New York. I mean, honestly there was a woman named Mary Tarsa who had been in the group theater and an older lady. I mean, it's a long time ago anyway, you know, but I remember sitting in her class and she would talk about using imagery and th and I started to sort of understand a little bit, which is amazing to me because after I moved to Westport and I met, do you know the name Phoebe brand?3 (46m 58s):Yeah. Phoebe brand was in our theater workshop. Oh, taught a class. She was already up in her eighties and she taught a class, a Shakespeare class on Sunday mornings. And all of a sudden these things that I didn't understand from decades before. Hmm. It sort of pulled it all together. But for me, I went, I was in California after I got married and moved to LA for a couple of years, found a teacher named John LAN and Lee H N E and two years in his class. I started to really understand how to do it. And then when I came back to New York, he sent me to Michael Howard and Michael Howard, Michael Howard was a great teacher for me.3 (47m 44s):He's still a great, I don't know if he's still around if he's teaching or not, but he was a wonderful teacher. And I started to understand how to do it. Was Len the, did he teach the method or what was yes, he was, he was an actor studio teacher. And I started to understand about being present on the stage and being able to deal with people. All of it, it just changed dramatically. I mean, I started to understand what this was about and seeing other good actors and chipping away at it and finding people to rehearse with. And1 (48m 22s):You, you, from what I know, and what I'm gathering is that once you graduated Juilliard, you were cast in New York.3 (48m 30s):Well, you know, I did get my very, my V I I've. I mean, I, I remember going to see midnight cowboy, which was about the same time as I got out of college. And I remember going into a terrible panic of, oh my God. I mean, really scared about all of it. And I, I went, I joined a class that a friend of mine, somebody told me about this class, you know, I always follow somebody to a class. I'm always, I have good friends. And I, somebody says, oh, I love this guy come to class and I'd show up.3 (49m 12s):And this was a musical comedy singing class, kind of where there were writers in the class and actors in the class. And the writers in the class would work on a musical that they didn't have permission for. It wasn't like they were, we were doing this for money or for, for future. So my friend who I became friends with wrote her musical version of barefoot in the park and which has never been done, but I remember I was in it and this guy was in it. And we, it was the kind of a class where it was a very warm, funny group, funny group of wacko theater people. And I would go to open calls and I'd usually go to open dance calls because that was a door for me.3 (49m 59s):And also I used to have to sneak out of Jew, not sneak necessarily, but essentially sneak out to take my singing lessons. And I took singing lessons every, you know, every week for years, for three years, I would, you know, and I, and I was not really, I don't think a very good singer, but I became a good singer. I would sneak out of school and go to an acting class. I don't even know when I started that, but I know that I would find the time to do it and then talk about acting and find a teacher so that when I would audition for a musical and I would get through the dancing. Usually if I got through the first cut, I would make it to the end. I wouldn't always get the job, but if I made it through that first horrible, random cut, you know, where there's 200 people in your dancing across the stage and it's yes, no, yes, no.3 (50m 47s):Is it really?1 (50m 48s):Because I'm not a dancer. So I never had this. I, when my agents are like, oh, there's an open dance call. I'm like, ah, that's you sent the wrong person, the email. So it's really like that, like in, in chorus line where they say, you know,3 (51m 1s):Oh yeah. It's like all that jazz. It's really like that.2 (51m 6s):Wait, I have a question. I want to hear the re the rest of that. But I, I just, I've never asked anybody. What's the biggest difference between the people who got cut immediately. I mean, was it training or were there people that, in other words, were there people who were just walking in off the street with no training trying to audition? Yeah,1 (51m 29s):No, truly an open call.3 (51m 31s):No. And sometimes these were equity calls. Cause I, I, I did get my equity card on a summer. That one summer I worked for a non-union, you know, we were in either Bushkill Pennsylvania or Southern Eaton Connecticut, or I did a couple of those summers. And then the next summer, the choreographer from that show had an equity job. And he hired like three of us from our non-unions summer stock, because we were good enough. And1 (52m 4s):So when you went to these open calls, everyone, there was a bad-ass dancer. No one, there was like,3 (52m 10s):That's not true. That's not true. There were all different levels of dancers, but it was also a look await, you know, it was always, I was always like seven pounds overweight. It was like, the torture is thing of weight does enough to put anybody over the edge1 (52m 26s):That they literally3 (52m 27s):Weigh you, Carol. Oh God. No. Oh, but it's so look, and I will tell you there's one. There was one time when I remember auditioning for above Fossey show and there were a lot of people on the stage and we were whatever we were doing. And then at 1.3 Fossey dancers, it was their turn. And these three gals, okay. Their hair was perfect. Their makeup was fabulous. They had a little necklace, they had a black leotards, you know, cut up high, but not out of control. Good tights, no, no runs, nice shoes, nails done.3 (53m 7s):And they were fantastic. They were clean. They were technically, and we all sort of went, oh fuck.1 (53m 16s):Right.3 (53m 18s):Right. And I have friends who became Fossey dancers. I mean, I worked for Bob, but I have friends who did a lot of shows him. And they had that same experience where they saw other people, the way it should be. And then they would go back a month later and get the job because they knew what it took. It was all about knowing what it takes. But the thing about having studied acting and having slowly studied singing is that in the world of musical theater, I was ahead of the game because there's not that much time. So you have to be willing to spend all of your time.3 (54m 0s):Right.1 (54m 1s):There are some people I'm assuming Carol, that could dance wonderfully, but couldn't do the singing and the acting part. And that's where you were like, that's the triple threat newness of it all is like, you could do3 (54m 12s):Well, I could do them better than a lot of people. And I certainly could sing well, and I had, I could sing a short song and I knew that you sing a short song. I knew that you'd probably do an uptempo, you know? And also I tend to be a little angry when I go into an audition. It's like, why do I fuck? Do I have to audition? I better, duh. So I needed to find things that allowed me to be a little angry so I could be myself. And I could also be a little funny if I could figure out how to do that. So all of these things worked in my favor. And then of course, like everybody else in her, a lot of people, pat Birch, who was a choreographer, she had like a gazillion shows running, including Greece on Broadway. And now over here, I don't know if she did grease, but she did over here.3 (54m 55s):She did. She was very prolific choreographer. She had been a Martha Graham dancer and she had taught a couple of classes at Julliard. And when it came to my auditioning for her, she needed girls who could dance like boys. She didn't need tall leggy, chorus girls. We were doing the show she was working on, was a show called Minnie's boys. And it was a show about the Marx brothers and the last number of the show. We were all the whole chorus was dressed up like different Marx brothers. And she needed girls who could be low to the ground, who can, you could turn who and I was the right person.3 (55m 36s):And I remember being in that class, that wonderful musical theater class with a teacher named Mervin Nelson, who was just a great older guy who kind of worked in the business. I remember I had to go to my callback. I went to my class and the callback was at night. And I remember him walking me to the door, putting his arm around me and saying, go get the job. And if you don't get this one, we'll get you. The next one1 (56m 4s):That makes me want to3 (56m 4s):Cry. Well, it made me feel like part of the family, cause we all want to be part of that theater family. And so I tend to do that when I'm with an actor, who's going to go get a job or go get, you know, you want to feel like it's possible. Yeah. You feel like you can, you deserve it.1 (56m 29s):You said, you mentioned briefly that you worked for Bob3 (56m 32s):Fossey. I did.1 (56m 35s):Oh my gosh. Did you turn into one of those ladies that looked like a bossy dancer too? Like, did you then show up to those auditions? Like, oh3 (56m 43s):No, I don't think I, I couldn't, I didn't, I could not get into a chorus of Bob Fossey, but I did get to play for strata in Pippin in the, in the, in the first national tour. And he, Bob was the, he was the director and I, I knew I was the right person for that job. It was also a funny, kind of lovely circumstances that I was in some off-Broadway an off-Broadway show that had started as an awful off, off of a, that, that Bubba, that moved to an off-Broadway theater. I got some excellent reviews. And I think the day the review came out was the day I had my audition for Bob Fossey.3 (57m 24s):So I, and I played it. I had talked to people who knew him. I talked to, you know, I, I knew that I, I don't know, I just, I, I had done some work and I just, I don't know the right person at the right time, somebody, he needed it. That part required a good dancer. Who could, I don't know how I got the part. I just,1 (57m 57s):I'm kind of getting the impression that we're talking about being a strong dancer.3 (58m 0s):Well, let's strong dancer. And also being able to, being able to talk and sing was really the key. I'm not sure that I certainly, as a young person, I, I didn't do nearly as much comedy as I did when I got a little older, but, and also there were a lot of divisions. You sort of either did musicals or you did straight plays and it was hard to get into an audition even for a straight play. And the truth is I think that a lot of us who thought we were better than we were as you get better, you see when you really, wasn't a very strong actor.1 (58m 43s):Right. But there's something about that. What I'm noticing and what you're talking about is like, there's something about the confidence that you had by maybe thinking that you might've been a little better than you were that actually behooves young actors and performers that, you know, cause when Gina and I talked to these people were like, oh my God, they have a healthy ego, which actually helps them to not give up as where I was like, I'm terrible. I'm giving up at the first hour.3 (59m 9s):Exactly. Right. Right. And, and it, and it goes back and forth. It's like a CSO one day, you feel like, oh yeah, I'm good at this. I can walk it. I get, I'm like, I'm okay with this. And the next day you just to hide under the bed, I think that's sort of the way it goes. I didn't know that people who worked on Broadway even then all had coaches and teachers and support systems and you know, being kind of a little more of a lone Wolf, which I was, and still fight against in a way I come against that a lot, for whatever reasons, you know, whatever it doesn't work, what to be a lone Wolf.3 (59m 54s):Yeah. Yeah. You can't do this alone. You can't do it without a support system. It's just too hard because when I actually had the best opportunity I had, which was being part of a chorus line, it was harder than I thought to just be normal, come up with a good performance every night, you know, it was up and down and loaded and that you lost your voice and had nobody to talk to because you couldn't talk anyway. And we didn't have the internet yet. You know, there was so many, it was so much pressure and so much, and I hadn't really figured out how to create that support system up for myself.3 (1h 0m 42s):And it was harder, harder than it needed to be. Did you ultimately find it with the cast? No. Oh, not really where they mean, oh, none of the cast was fine. It wasn't that anybody was mean it's that I didn't take care of myself and I didn't know how I was supposed to take care of my shirt. How old were you when you were cast in a chorus line? 27? Maybe I was, I was young and, but I wasn't that young. I just, but it wasn't that C w it was a strange situation to, I was, I had already had one Broadway show, so I had done, and then I had gone out of town to bucks county Playhouse.3 (1h 1m 25s):And did west side story Romeo was your first Broadway show. I'm sorry. It was called Minnie's boys. Oh, that was it. That was my, I did. And it was a show about the Marx brothers. Right. And I don't know if you know who Louis. We would probably do Louis Stadol and Louis J Staglin who works with, he works with Nathan Lane a lot. Oh yeah. Yeah. He's like second bun and he's incredibly talented. He played Groucho. Okay. We were all 25 years old. We were kids. We were right out of college. And the weirdest part of all was that the mother was played by Shelley winters. And this was a musical. What a weird you've really. Okay. So then you went onto chorus line.3 (1h 2m 6s):Well then, well then in between that, this is like, you know, then, then I went out of town to bucks county. I love being in bucks county for a year. We did west side story. We did Romeo and Juliet during the week. We do them together, one in the morning, one in the afternoon for high school kids. And then on the weekends, we do one of the, and I was the only person in the cast who liked dancing at 10 o'clock in the morning. You know, I didn't mind doing west side at 10 in the morning. I'd been up at eight, being a demonstrator for Mary Hinkson, teaching people how to do a contraction. So I didn't care. I love working in the daytime. That's what I play with your food is such a nice success. My lunchtime theaters here, I get tired at night.3 (1h 2m 47s):I don't know.2 (1h 2m 49s):Most people do wait. So was the, was the audition process for chorus line?3 (1h 2m 56s):I have a great story. I can tell you what my story is. Okay. So I, I was in, I don't know what I was doing. I had done a lot of off-Broadway work. I had been doing, I had been working a lot. And then of course there were the year where I didn't work. And then I went off to south North Carolina and played Nellie Forbush in south Pacific, in the dinner theater for three months. And I loved that. Actually, I think it was one of those times I had a job and a boyfriend and it was like a relief. It was wonderful to have like a life and then do the show at night. You know, I, I enjoyed that a lot and I didn't, you know, it was a big part and I didn't panic about seeing it.3 (1h 3m 37s):And it was just, I learned a lot from doing a part like that. I was doing Fiddler on the roof at a dinner theater in New Jersey, down the street from where my folks lived. And occasionally my mom would stop by her rehearsal and watch the wedding scene. Honest to God. I'm not kidding. She's like, Carol, you ever gonna get married? Are you ever gonna? Okay. So I'm doing Fiddler on the roof, in New Jersey. And there's a guy in the cast, one of the bottle dancers who were dropping off at night on 55th street, because he's working on this little musical about dancers and he would bring in monologues and he'd asked me to read them at rehearsal because he wanted to hear them out loud.3 (1h 4m 25s):And there was some stuff about this place to ever hear the peppermint lounge back in the studio. Right. It was a disco thing, but it was also a place where there was something. I remember one the couch girls, girls who would just lie on the couches and the guys, I mean really crazy stuff that did not make it into the show, but some interesting stuff. And I was playing the eldest daughter sidle, and it's a terrific part for me. So I was good. Yeah. And Nick knew I was a dancer. Anyway, this little show called the chorus line was in its workshop. Second workshop. They had already done the I, cause I was not a Michael Bennett dancer. I didn't, you know, I, I, I had auditioned for my goal once for the tour of two for the Seesaw.3 (1h 5m 10s):And it was the leading part and I didn't get it. I auditioned, I sang and I read and I read and I sang and I didn't get the part. And I came home and I was like in hysterics for like five days. I just, you know, I, I didn't get the part year and a half later, I'm doing Fiddler on the roof with Nick, Dante in New Jersey. And somebody leaves the second workshop and Nick brings up my name because there's a job all of a sudden to cover, to be in the opening and to cover a couple of parts next, bring up my name. And Michael Bennett says, wait a minute. I know her. I know she's an actress and she's a singer. Can she dance?3 (1h 5m 52s):So I showed up the next morning and I danced for 10 minutes and I got the job. I mean, I think, wow. Yeah. That's a great story.2 (1h 6m 1s):No. So that means you didn't have to participate in3 (1h 6m 4s):Callbacks or nothing. Oh, I started that day. I mean, honestly, it was Fiddler on the roof, you know what, I don't remember whether, how it went. Cause we were already in performance tour or something, you know, I, I it's a long time ago, so I don't really remember, but I know that this particular story is the absolute truth. That's fantastic. That2 (1h 6m 27s):Was it a hit right away3 (1h 6m 29s):Chorus line. Well, it wasn't, we were in previews. I'm no, we weren't even previous the second workshop, which means it was still being figured out. And when I came to the first rehearsal and sat and watched what was going on, I could not believe what I was seeing because the truth of what was happening on stage and the way it was being built was astounding. It was absolutely astounding because something about it was so bizarre. Oh. And also, also Marvin Hamlisch was the rehearsal pianist on Minnie's boys.3 (1h 7m 10s):Wow. So I knew him a little bit, not well, you know, but he was the rehearsal pianist that nobody would listen to a show about the Marx brothers, Marvin would say, wait, this is the Marx brothers. You got to have a naked girl running out of the orchestra pit. You gotta, you gotta, and of course, nobody would listen to him. Wait a minute, just turn this off, stop, stop, turn off. Sorry. So I couldn't get over what I was seeing. And I, I knew from the beginning, of course, I think most of us did that. Something very, very unique was going on and it was always changing. Like Donna McKechnie came in late at the audition, all dressed up in like a fur thing.3 (1h 7m 56s):And it was like, I'm sorry, I'm late. I'm sorry. I'm late. And then Zach says, would you put on dance clothes? And she said, no, no, wait a minute. Anyway, you couldn't help. But know sort of, you just kind of put,2 (1h 8m 8s):I mean, I remember seeing it when I was a kid and not, not being able to relate as an actor, but now that I think back, it just must've felt so gratifying to be seen for all of the, you know, because like we w the Joe Montana episode, we3 (1h 8m 28s):Haven't listened to yet, but I'm looking forward to2 (1h 8m 30s):It here today. But he was saying, I love3 (1h 8m 33s):Him2 (1h 8m 34s):For you. You were saying that when he won the Tony and everybody would say, well, it's like to win the Tony, what's it? Like he said, it's like, you won the lottery, but you been buying tickets for 15 years. You know, that's the part of acting that people now, I think it's a pretty common knowledge that it's really difficult to be an actor, but I don't know how Hmm, how known that was then. And it just, must've been so gratifying for all of those people. I mean, who are living in their real life? The story of that musical. Yeah.3 (1h 9m 9s):I think that that's true. And also, I mean, it really did come out of people's experiences. Those stories are so, so to be part of something like that, and down at the public theater, which of course it was a vol place to be, you know, you, you knew that Meryl Streep was walking down the hallway and you knew that. I mean, talk about confidence. I mean, I don't know if you've read her new book, no book about her. No, it's worth the time I listened to it. Actually, I didn't read it. I listened to, it's quite wonderful because you see a very confident person who's working on creating who she is.1 (1h 9m 47s):Do you feel, I feel like you have a really strong sense of confidence about yourself too. Where did that come from? Would you agree? First of all, that you have, it sounds like you had some comps, some real chutzpah as a youngster and maybe now as well. Where'd that come from3 (1h 10m 5s):Beats me. I have it now because I, I, I, I've had a lot of, a lot of experience. And I, I think that, that, I, I think I know a lot about this, but I don't know that I had it. The trick was to have this kind of confidence when it really matters. Yes. And I think I had it, like if I was in an off-Broadway show, I could say, I don't think that's good enough. Could you restage this blah, blah, blah. Or if I'm in North Carolina, I'm not, I think we need to dah, dah, dah, dah, dah. But when it comes down to the real nitty gritty of standing up for yourself, when it really, really matters, boy, that's harder than it looks.3 (1h 10m 51s):You know, even things like, I mean, my character, when I eventually took over the role of Miralis, which I under, you know, I was we've covered all these parts. There were nine of us. We sang in the little booth in the wings. We had microphones and little headsets. And the coolest part of all was Jerry Schoenfeld, who was the chairman of the Schubert organization would bring any visiting dignitary who was visiting the city that he was showing around his theaters. He would bring them into our little booth. And then we would watch the show from stage left in our little booth while we're singing, give me the ball, give him the ball. Cause half the dancers on the stage, cause stop singing because they had a solo coming up.3 (1h 11m 31s):So, you know, singing in a musical is not easy. You know, there's a lot of pressure and you got to hit high notes and you, you know, you just wake up in the middle of the night going torture, torture, and you have to work through that and finally go, fuck it. You know, fuck it. I don't care what I weigh. Fuck it. I don't care if I, if I can't hit the high note, but it, it takes a long time to get there. You know, I see people who do this all the time. I don't know how they live. I don't know how they sleep at night. There's no wonder people like to hire singers who have graduated from programs where they really understand their voice, know how to protect that, which you don't, you know, you have to learn, you have to learn how to really take.3 (1h 12m 24s):That's why, you know, it's wondering about ballet companies now have misuses and we didn't have any of that. You were hanging out there alone. I felt maybe I'm wrong, but that's how I felt. And if I was vulnerable or if I didn't feel well, and I was like, oh, what am I going to do? I can't tell anybo
The Guilty Feminist presented by Deborah Frances-White and Jen BristerEpisode 281: Food Glorious Food with special guest Katy Wix and music from Sophie JamiesonRecorded 25 October at Kings Place in London. Released 22 November 2021.The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon.Big Speeches booking now: https://guiltyfeminist.com/big-speechesMore about Deborah Frances-Whitehttps://deborahfrances-white.comhttps://twitter.com/DeborahFWhttps://www.virago.co.uk/the-guilty-feminist-bookMore about Jen Bristerhttps://twitter.com/jenbristerhttp://www.jenbrister.co.ukMore about Katy Wixhttps://twitter.com/WixKatyPre-order Delicacy http://smarturl.it/KatyWixDelicacyhttps://www.channel4.com/programmes/stath-lets-flatsMore about Sophie Jamiesonhttps://twitter.com/sophie_j_musichttps://ampl.ink/aZnG0For more information about this and other episodes…visit https://www.guiltyfeminist.comus https://www.twitter.com/guiltfempodlike our Facebook page https://www.facebook.com/guiltyfeministcheck out our Instagram https://www.instagram.com/theguiltyfeministor join our mailing list http://www.eepurl.com/bRfSPTCome to a live recordingWork in Progress at the Camden Head. 1:00pm on Saturday 27 November. 3:00pm on Sunday 28 November. https://listings.camdencomedyclub.com/The Guilty Feminist Stands Up. 30 November – 4 December, 9:30pm. https://sohotheatre.com/shows/deborah-frances-white-the-guilty-feminist-stands-up/Shakespeare's Globe. 12 December. 6:00pm. https://www.shakespearesglobe.com/whats-on/the-guilty-feminist-2021/Camp as Christmas. 16 December. 7:00pm. https://www.unionchapel.org.uk/venue/whats-on/the-guilty-feminist-presents-camp-as-christmasThank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist See acast.com/privacy for privacy and opt-out information.
On today's episode, Jill is joined by Chloe Gong to discuss her new book Our Violent Ends, the sequel to her bestselling debut These Violent Delights. Chloe discusses the inspiration for setting the book in 1920s Shanghai, what it was like writing a book while still an undergrad student, and her love for Shakespeare. Today's episode is sponsored by Headspace. Visit Headspace.com/PBN for a free one-month trial Learn more about your ad choices. Visit megaphone.fm/adchoices
It's a good day for cooking! First up: Scott Carter, author of the play Discord: The Gospel According to Thomas Jefferson, Charles Dickens, and Count Leo Tolstoy, joins Jacke for a look at the gospel as updated by Leo Tolstoy. Then novelist Laurie Frankel (author of One Two Three) stops by for a special Shakespeare game. Hope you enjoy! Help support the show at patreon.com/literature or historyofliterature.com/shop. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kenneth Branagh had a lot on his mind when making the movie Belfast, a film based on his own childhood. He thought mostly about loss. Loss of family, loss of where you come from, loss of innocence. As Kenneth tells Marc, he's been thinking about loss a lot lately and figuring out how to strike a balance between heartbreaking and heartwarming. Marc and Kenneth also talk about the importance of visiting the graves of people you admire, what discovering Shakespeare did for Kenneth at a young age, why he might be ready to play King Lear, and why he worries about something actors call The Bleed. See omnystudio.com/listener for privacy information.