Podcasts about single carrot theatre

It's time for another visit with Midday's theater critic, J. Wynn Rousuck, who joins us each week with her reviews of Maryland's regional stage. Today, she tells us about the new Spotlighters Theater production of [title of show]. The small-scale musical about two guys writing a musical was written, in fact, by those two guys: Jeff Bowen (music and lyrics) and Hunter Bell (book). Their self-referential play, which explores the creative and artistically transformative journey required to mount a stage musical, is directed by Stephen Foreman, with musical direction by Mandee Ferrier Roberts, and a four-member cast that includes Alex Gubler as Hunter, Nick Cherone as Jeff, Neva Sullivan as Heidi, and Natalie Stolurow as Susan. There have been some late changes to the play's production schedule. Spotlighters Theatre has announced that due to a number of positive COVID-19 tests among the cast & crew, its performances of [title of show] for Thur, Jan 26 through Sun, Jan 29 are CANCELED. Patrons with tickets for Sat, Jan 21, and for Jan 26, 27, 28 and 29, should check their email for a message from AHSpotlighters@gmail.com, with instructions for how to reschedule their tickets for a future performance of [title of show], or to convert their ticket purchase into a donation, a ticket credit, or to request a refund. [title of show] will be performed at Spotlighters Theatre from February 2-5. For more information, follow the theater link. ___________________________________________ Judy and Tom also discuss the announcements that two esteemed local theaters will be closing. Single Carrot Theatre, which has been an innovative force in Baltimore for the past 15 years, is canceling the one show left in its final season, but will continue its educational programs through the end of the academic year. Rep Stage, the professional theater-in-residence at Howard County Community College in Columbia, will be closing permanently after completing the two productions remaining in the current season.See omnystudio.com/listener for privacy information.

About the guestTina is a genderful interdisciplinary artist working in theatre and film. Their work often asks us to challenge our perception of Black history and embrace Black joy as a pivotal tool in the disruption of white supremacy. They're constantly inspired by the resilience of Black queer people and my hometown of Baltimore, MD. Tina currently serves as an ensemble member and the Director of Artistic and Community Partnerships at Single Carrot Theatre. As well as a core creator for Submersive Productions. Their film Breathing Black, a documentary that follows nine Black Baltimoreans as they find joy amidst the global COVID-19 Pandemic and a summer of reckoning with the continued genocide of the Black body is an official selection of the Columbia film festival and the Indianapolis Black Documentary film festival.About Single Carrot Theatre Single Carrot Theatre is an ensemble theatre company in Baltimore, Maryland, in the United States. The Company was founded in 2005 by students from the University of Colorado at Boulder. The company selected Baltimore, MD as the city to locate their theatre after a nationwide city search.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeSingle Carrot Theatre★ Support this podcast ★

This is theater critic J. Wynn Rousuck with a special online review of Single Carrot Theatre's production of "Is Edward Snowden Single?"The show is being performed at the former Windup Space. "Is Edward Snowden Single?" is the only play I've ever seen where the actors tell the theatergoers they can use their cellphones at any time during the performance. That's the first indication that this play — written by Washington D.C. native Kate Cortesi — is a bit out of the norm. And it gets more out of the norm as it continues. The actresses who play the two lead characters also play a slew of other characters. At times they even play each other. This may be the playwright's way of showing that the protagonists — Mimi and April, roommates and best friends since college — are so close, each knows how the other thinks and acts. But “Is Edward Snowden Single?” isn't just a play about friendship, or just a play about two friends putting on a play, which is also what's going on. Thematically, Mimi and April tell us early on, this is a play about integrity. I'll let them explain. Here is a bit of dialogue between Meghan Stanton and Saraniya Tharmarajah as Mimi and April: MIMI (to the audience) How would you define integrity? (pause)(to April) See? No one knows. Should we tell a story about something nobody knows what it is? (to the audience) It means follow through. APRIL Totally, totally...except it's more like the opposite of that. Follow-through helps you achieve a goal and be a success. Integrity means doing the right thing even if it sets you back. (I guess integrity could mean “following through on being a good person.”) MIMI (That's what I meant. Follow-through of the soul.) APRIL (Cute.) Integrity is what you do when no one's looking. MIMI Okay. APRIL Or what you cop to when (re: the audience) everyone's looking. MIMI Yup. APRIL Integrity is honesty, moral uprightness. I think of it almost like areversing spell against vanity, exploitation, corruption, and greed. MIMI Hot. We are proud to present the story of... APRIL AND MIMI ...How Mimi learned that integrity... MIMI ...is important. APRIL ...exists. There's a third actor in the play, Parker Matthews, who portrays Edward Snowden, the NSA whistleblower. Snowden appears on live video that is projected on surfaces around the Windup Space. Initially, his image is projected on a rack of clothing; in a later scene, his face is projected on the face of a large teddy bear. Mimi appears to have no interest in politics or in Snowden, but watching a 2014 televised interview, she fantasizes that he begins to flirt with her. You can hear the change in actor Parker Matthews' voice, and her reaction to it: EDWARD SNOWDEN I was shocked that anyone in the UK government would go so far for so little. If the UK had been pursuing, say—(the magic is back) You, Mimi, then shoot, girl. I'd violate theGeneva Conventions, too. MIMI I'd violate all the conventions with you. EDWARD SNOWDEN That could get… unethical. MIMI I've got lots of secret intelligence if you've got the skills to— hack it. Romantic fantasy aside, the parallel that the playwright tries to establish between Mimi and Snowden is way out of proportion. Snowden released classified documents that revealed NSA infringement of privacy rights. He is still living in exile. Mimi works in a coffee shop and has evidence of repeated thefts from the cash register by an employee. Blowing the whistle will have some consequences for the employee. At most. No human rights violations, no huge, overriding political considerations. But while comparing Mimi to Snowden may be far-fetched, the play's innate theatricality is exactly the type of imaginative, wild-and-crazy stuff that Single Carrot does best. Director Alix Fenhagen takes the play's stage directions and adds her own wild-and-crazy touch. The script suggests that Snowden be played by a puppet. Instead, Fenhagen and video designer Sean Anthony Preston use live projections — a choice that is not only tougher technically, but also more in keeping with the real Snowden's motivation. Snowden acted out of concern over the abuse of individual privacy. Doing double duty as a cameraman, Parker Matthews spends a lot of the play running around the Windup Space with a video camera. At any moment, this cameraman might be filming/spying on anyone on stage — or in the audience. Under Fenhagen's direction, Meghan Stanton and Saraniya Tharmarajah handle the play's multi-casting with a switch of a prop or two, and a change of voice or posture. They frequently play several characters, of varying ages and genders, in a single short scene. There's thematic justification for multi-casting. Are any of us who we appear to be? And don't we all contain aspects of the people close to us? Despite Single Carrot's excellent work, “Is Edward Snowden Single?” can be confusing. The stage directions acknowledge that it may be — quote — “barely comprehensible.” It may — quote — “[leave] the audience behind.” The playwright's okay with that. Integrity, it seems, isn't just an issue for Snowden and Mimi; the play's structural integrity is also at issue. And yet, at Single Carrot, director Fenhagen and company almost make up for this with a strong dose of technical ingenuity and inventive artistry. “Single Carrot Theatre's production of “Is Edward Snowden Single?” continues at the Windup Space on North Avenue through March 12. The show is also available virtually. I'm Midday theater critic J. Wynn Rousuck. Thanks for listening! See omnystudio.com/listener for privacy information.

Big Joe Bandicoot set out on a mission to redeem Baltimore baseball. Instead, he created the most controversial team in Major League history, and curated the most chaotic night the spots world had ever seen: 50 Cent Beer Night. Then... he disappeared.Beneath the Headlines is sponsored by Single Carrot Theatre.

It's time for another visit with Midday theater critic J. Wynn Rousuck, who joins Tom this week with her review of Single Carrot Theatre's production of Every Brilliant Thing, a solo show being performed outdoors in multiple neighborhood venues with a rotating cast of three SCT actors. Co-written in 2016 by British playwright Duncan MacMillan with Irish actor Jonny Donahoe, Every Brilliant Thing explores the lengths to which we'll go for those we love. Within the play's life-affirming and joyful storyline, audiences are asked to help tell a moving story of a young child's hopefulness and resilience, despite contending with an emotionally unstable mother. Co-directed by SCT's Paul Diem and ensemble co-founder and artistic director Genevieve De Mahy, the play features rotating performances by SCT ensemble members Matthew Shea, Lauren Erica Jackson and Meghan Stanton. SCT's fifteen performances of Every Brilliant Thing run through September 26th, during Suicide Prevention Month. To spotlight the issue and provide resources for those seeking assistance, SCT has partnered with three mental-health support organizations: the American Foundation for Suicide Prevention, On Our Own of Maryland and B'more Clubhouse. People in immediate need of help may also call the National Suicide Prevention Lifeline at 1-800-273-8255. For more information on Single Carrot Theatre's Every Brilliant Thing, click here. See omnystudio.com/listener for privacy information.

It's time for another visit with Midday theater critic J. Wynn Rousuck, who joins Tom this week with reviews of two new streaming productions by local theater companies. The first, from Bethesda-based Round House Theatre, is playwright Young Jean Lee's"We're Gonna Die." Directed by Paige Hernandez, is part one-woman stage play and part live-band rock concert that ponders the slings and arrows that befall us in life, and the resilience it takes to survive."We're Gonna Die" will be streaming on demand through July 11. Single Carrot Theatre's "I Hope This Finds You..." is described by the company as "a compilation of artistic experiences" that variously reflect on the pandemic's impact on cast members' lives this past year. The virtual production is being streamed in three "chapters": the first two are available now; the third chapter will be released on July 1. Each chapter includes a mix of "short films, artful meal-kits, mock podcasts, interactive exercise class and audio walking tours." "I Hope This Finds You..." is streaming to ticketed patrons through July 31. Follow the links above for more information on both productions.  See omnystudio.com/listener for privacy information.

As the COVID-19 pandemic continues to keep the nation's theaters shuttered and their stages dark, theater companies have kept busy developing and producing new plays for a variety of streamable, online platforms. Midday theater critic J. Wynn Rousuck joins us again today to spotlight a few of the best current offerings, from Single Carrot Theatre's we broke up to The Public Theater of New York's The Line... Other streaming productions Judy suggests checking out: Black Theater Network's Black Theater Week (July 27-31) May 22, 2020, a filmed docudrama directed by Arena Stage Artistic Director Molly Smith, which captures one day in the life of our region; Theatre Works' Shakespeare in Vegas; and D.C.-based Shakespeare Theater Company's Virtual Mock Trial, streaming July 24 & 25.

Last month, after Governor Hogan issued a stay-at-home order for Marylanders, theater companies had to cancel the live performances that are at the heart of their artform. But many of the 40+ theater groups in our area are pivoting to digital technology to stream performances directly onto computers and tablets and TV screens, and they’re devising other imaginative ways to keep their audiences engaged. Joining Tom on the line today is the award-winning Brooklyn-based actor and playwright Donnetta Lavinia Grays. She stars in the one-person play she wrote and video-produced with Baltimore Center Stage, called Where We Stand. The play is being streamed online to pay-what-you-can ticket buyers until April 26. Center Stage Artistic Director Stephanie Ybarra also joins Tom to discuss the theater company's innovative response to the pandemic shutdown, and its quick pivot to virtual audience engagements, including its multi-theater collaboration on Play At Home, in which playwrights (including Ms. Grays) were commissioned to write short, ten-minute plays that house-bound audiences can download, for free, to read or perform in their homes. Then, Tom talks with Genevieve de Mahy, founder and Artistic Director of Single Carrot Theatre, a company that intentionally left its theater home last year to seek novel venues and to engage in more educational and community-centered theater. Ms. DeMahy talks about the next installment in Single Carrot’s popular Flipside Series (which include its Cabarets and Drunk Classics), one-night-only events that de Mahy says "are fun...and embrace the unexpected." Tonight's event, called "Pajama Party! A Virtual Variety Show," takes place via Zoom at 8pm. For more info on the Single Carrot theater event, click here.

1. Libby Larsen’s The Birth Project:https://libbylarsen.com/index.php?contentID=241&profileID=1662&startRange=02. Gilda Lyons’ Songs From the F Train:https://www.youtube.com/watch?v=9uAKuoUrHGc&feature=emb_logo3. Francesco Tristano's A Soft Shell Groove:https://open.spotify.com/track/2HmJC4u4U79EgXlI0yc73EYou can listen to these before or after the episode, or you can pause our podcast and go listen to each piece as we introduce them. Panelists:The vocal pop duo Outcalls has been dubbed the “electronic opera queens” of Baltimore. Led by Britt Olsen-Ecker and Melissa Wimbish, both classically trained musicians, Outcalls creates genre-defying pop music that counters the tired narratives pervading much of today’s popular songs. With compelling live shows that feature melodic and harmonic surprises, their voices can tickle your ear hairs one second and shake your teeth the next. Combining ethereal vocals with robust electronic rhythms, Outcalls has created their own genre: a sort of Baroque operatic indie-pop. Their masterful sopranos fuse into lush harmonies that lilt about energetic beats and linger in your ears long after they're gone. You can listen to Outcalls' music on Spotify, Apple Music, and outcalls.bandcamp.comHailed as a "renaissance woman" by Urbanite Magazine, Britt Olsen-Ecker has taken Baltimore and beyond by storm as a multi-talented performer and photographer. She has photographed over 1,000 faces from portraits to weddings to food all over the world. As a performer, Britt has been hailed by her "impressive" and "captivating" roles on stage both as an actor and singer. She has worked with several companies in Baltimore, including the Acme Corporation and Single Carrot Theatre. She recently appeared in the Baltimore Symphony Orchestra’s production of Hindemith’s “Sancta Susanna” as the maid, under the baton of Maestra Marin Alsop. She brought Libby Larsen’s The Birth Project.In the world-premiere of Josephine with UrbanArias, The Washington Post gushed, “... the afternoon belonged to Melissa Wimbish, who was creating the role of Josephine Baker ... Beautifully prepared, vocally stunning, and theatrically riveting, Wimbish effortlessly held the audience in her hand throughout this one-woman show.” Melissa made her Carnegie Hall solo recital debut as a result of winning the Grand Prize NATS Artist Award. Other career highlights include György Ligeti’s Mysteries of the Macabre with Baltimore Symphony, the world-premiere of Paul’s Case with UrbanArias at the Prototype Festival, and Carmina Burana with Washington Ballet. Melissa brought Gilda Lyons’ Songs From the F Train.More information at pauseandlisten.com. Pause and Listen was created by host John T.K. Scherch and co-creator/marketing manager Michele Mengel Scherch.

It's Thursday, and time to welcome theater critic J. Wynn Rousuck back with another of her weekly reviews of the Maryland stage. Because Midday was preempted today by special NPR programming, she joins Tom in this Web-only edition with her take on Safe Space, by award-winning playwright R. Eric Thomas. The production, by Single Carrot Theatre, is now on stage at Baltimore's Clifton Mansion. Safe Space is a Clue!-inspired farce that suggests that unlocking the past can be a dangerous thing. When white non-profit executive Helen discovers a locked door in the property she has inherited, black locksmith Courtney comes to her rescue, and that’s where the trouble begins. Add to the mix Charlotte, the ghost of a formerly enslaved person, and Ryan, Helen’s MAGA-loving brother, and contention in the house is about to boil over. Safe Space is directed by Ben Kleymeyer, with performances by Tina Canady as Charlotte/Hazzie, Dominic Gladden as Courtney, Alix Fenhagen as Helen, Aaron Hancock as Bill, Daniela Hernandez-Fujigaki as Nadeen and Matthew Shea as Ryan. The Single Carrot Theatre production of Safe Space continues at Baltimore's Clifton Mansion through Sunday, February 23. More info here.

It's time for another of theater critic J. Wynn Rousuck's weekly reviews of the Maryland stage. Today, she spotlights Mr. Wolf , a new production by Single Carrot Theatre being staged at the Rectory of St. John's Church at 3009 Greenmount Ave. in Waverly.Co-directed for Single Carrot by ensemble members Genevieve deMahy and Lauren Erica Jackson, the play by Rajiv Joseph explores the complex issues surrounding missing and abused children, and our definitions of family. Ensemble Member Paul Diem (as Michael) teams up with Zara Cojocaru (as Theresa), Phil Gallagher (as Mr. Wolf), Ama Brown (as Julie) and Elizabeth Darby (as Hana).Mr. Wolf by Single Carrot Theatre continues at the St. John's Church Rectory through Sunday, October 13. For ticket information, click here.

Midday theater critic J. Wynn Rousuck joins us today for her annual Preview of the new theater season. From the off-Broadway hit Miss You Like Hell that will be coming soon to both Baltimore Center Stage and Olney Theatre Center, to the touring productions of the multiple Tony and Grammy Award-winning Broadway musicals Dear Evan Hansen and The Band's Visit, which will be making stops at Baltimore's Hippodrome Theatre this coming spring, we'll get a glimpse of the great entertainment in store for the region's theater-goers. Judy also spotlights some changes in local theater venues, including Single Carrot Theatre's new self-imposed itinerant status as a more community-focused company, and Everyman Theatre's new Upstairs Theatre, a 210-seat performance space that will open in March 2020. The new room will offer what the folks at ET describe as ----a more intimate experience, while upholding Everyman’s steadfast commitment to high-quality professional theatre.----Everyman’s Resident Scenic Designer Daniel Ettinger has created an immersive, semi-circular space—pictured at right—complete with a three-quarter thrust stage to help draw the audience into the plays' dynamics. The mini-amphitheater-style space features excellent sightlines, comfortable seats, and no seat farther than 6 rows from the stage.

Midday on the Arts continues with a conversation about the future of the Single Carrot Theater. Last January, the 12 year-old Baltimore company announced that next month, it will leave the theater it’s called home since 2014. The final performances in their Remington space takes place this weekend. That show is called Pink Milk, by the trans woman playwright Ariel Zetina. It’s based on the life of the mathematician Alan Turing. (Midday’s theater critic J. Wynn Rousuck reviewed the play on our show last week.)Pink Milk is pretty typical of the kind of offering we’ve come to expect from Single Carrot, in that it is a regional premiere of an experimental play that one would be unlikely to encounter anywhere else. It is also the only play the company, now in its 12th season, has produced this year. Joining Tom to discuss the big changes ahead for the company are Genevieve De Mahy, the founding Artistic Director of Single Carrot, and Alix Fenhagen, who is serving as the company’s Interim Managing Director.

It's Thursday, and time for another of Midday theater critic J. Wynn Rousuck's weekly reviews of the Maryland stage. This week, she spotlights the regional premier of playwright Ariel Zetina's Pink Milk, staged by Single Carrot Theatre as the last production in its Remington home. (Single Carrot's founding Artistic Director Genevieve de Mahy and interim Managing Director Alix Fenhagen will be Tom's guests on Midday next Friday, May 17 .to discuss the Company's upcoming transitions.)Directed by Single Carrot ensemble member Ben Kleymeyer, Pink Milk is an unorthodox , imaginitive and highly empathetic exploration of the mind of British mathematician and famed World War II codebreaker, Alan Turing, starring Mohammad R. Suaidi as Alan, with Isaiah Harvey as Christopher, and Lauren Jackson as The Inanimate Objects.Pink Milk continues at Single Carrot Theatre through May 19.

Hola Digheads, on this week's episode, Josh and Umar sit down with their comedian buddy Jessica Murphy Garrett!  We talk to Jess about her parents, helping to found Single Carrot Theatre, comedy, and her preference for "wet towels." Follow the podcast and Josh Kuderna, on Facebook, Twitter, and Instagram! Josh - @JoshKuderna on Twitter and @JoshKuderna on Instagram The Pod - @DigSeshPod on Twitter The Pod's Facebook page - Dig Sesh on Facebook Thanks for listening, all! Do the pod a favor and rate and review the pod on Apple Podcasts, Google Play Music, Laughable, Stitcher, & Spotify plz!

Our theater critic J. Wynn Rousuck joins us today for another of her weekly reviews of the region's theater offerings. Today, she's spotlighting the world premiere of a new adaptation of the J.M.Barrie classic, Peter Pan, ​now on stage at Baltimore's Single Carrot Theatre.Billed officially as Peter Pan: Wendy, Peter. Peter, Wendy, the play is a ----re-imagining---- of Barrie's beloved 1904 stage fantasy about identity, growing up and belonging. It retains the original's iconic characters, from Peter and Wendy and the Darling family dog Nana, to Captain Hook and Tiger Lily. But Playwright Joshua Conkel, working in collaboration with Baltimore’s LGBTQ residents and service organizations, has updated the Barrie original to include contemporary conversations about gender, sexuality, and performative identity, and to embrace queer culture. Barrie's nostalgic Neverland is transformed, as the program states, ----from a distant fantasy to a modern safe-haven for those who have been rejected and devalued, a stronghold against normalcy and a place where Peter and his Lost Boys can finally be themselves.----Tristan Powell directs Peter Pan at Single Carrot with a cast that features Tina Canady as Wendy/Peter, and Single Carrot Ensemble member Ben Kleymeyer as Peter/Wendy.Peter Pan continues at Single Carrot Theatre through Sunday, May 20.

It's Thursday, and that means our peripatetic theater critic, J. Wynn Rousuck, is back in Studio A with a review of one of the region's many thespian offerings. This week, Judy joins Tom in a conversation about Lear, a new production of a 2010 play by Young Jean Lee, now on stage at Single Carrot Theatre.An artful weave of Elizabethan and modern pop cultures, Lear is a riff, of sorts, on Shakespeare's tragedy, ----King Lear,---- that shows how dysfunctional, selfish and self-absorbed children can still wreak havoc on their elders -- and themselves.

This week we had a great interview with Hungarian director Martin Boross who is bringing a very interesting type of theatre here to Baltimore! The show is called Promenade and it will be at Single Carrot Theatre in June! Episode 37 with Martin Boross of Stereo Akt and Genevieve de Mahy of Single Carrot Theatre about their upcoming unique immersive theatre collaboration Promenade: Baltimore. We talked with Martin and Genevieve about how this collaboration came to be, Stereo AKT's background, all the details about Promenade and much more. Enjoy!

Episode 18 with Genevieve de Mahy Artistic Director of Single Carrot Theatre is live now! We had a wonderful conversation about the founding of Single Carrot, why they chose Baltimore, their many projects and much more! Enjoy!

It's the third episode of Single Carrot Theatre's new podcast, Freshly Observed!  This month, host Genevieve de Mahy talks to Deanna Haggag, director of The Contemporary about work, community, and what it means to invest in the arts.         The post 03- Deanna Haggag, Director of The Contemporary appeared first on Single Carrot Theatre.

It’s the third episode of Single Carrot Theatre’s new podcast, Freshly Observed!  This month, host Genevieve de Mahy talks to Deanna Haggag, director of The Contemporary about work, community, and what it means to invest in the arts.         The post 03- Deanna Haggag, Director of The Contemporary appeared first on Single Carrot Theatre.

It's the second episode of Single Carrot Theatre's new podcast, Freshly Observed!  This month, host Genevieve de Mahy conducts a phone interview with Carrot and director of Social Creatures Kellie Mecleary about the show, the process, and life at SCT.  Episode 2: October 2014 Social Creatures Director Kellie Mecleary   The post 02 – SOCIAL CREATURES Director Kellie Mecleary appeared first on Single Carrot Theatre.

It’s the second episode of Single Carrot Theatre’s new podcast, Freshly Observed!  This month, host Genevieve de Mahy conducts a phone interview with Carrot and director of Social Creatures Kellie Mecleary about the show, the process, and life at SCT.  Episode 2: October 2014 Social Creatures Director Kellie Mecleary   The post 02 – SOCIAL CREATURES Director Kellie Mecleary appeared first on Single Carrot Theatre.

It’s the first episode of Single Carrot Theatre’s new podcast, Freshly Observed!  This month, host Genevieve de Mahy conducts a phone interview with playwright (and teacher) Shawn Reddy, and gets some insight into his process in writing White Suit Science, which SCT has produced as a Featured Second Series Show, running through this weekend.   Episode 1: […] The post 01 – White Suit Science Playwright Shawn Reddy appeared first on Single Carrot Theatre.

It’s the first episode of Single Carrot Theatre’s new podcast, Freshly Observed!  This month, host Genevieve de Mahy conducts a phone interview with playwright (and teacher) Shawn Reddy, and gets some insight into his process in writing White Suit Science, which SCT has produced as a Featured Second Series Show, running through this weekend.   Episode 1: […] The post 01 – White Suit Science Playwright Shawn Reddy appeared first on Single Carrot Theatre.