Podcast appearances and mentions of Steven Hoggett

In the wake of President Trump's proposed film tariffs, Jake Kanter, International Investigations Editor at Deadline, discusses what the impact could be for the British film industry.Last week Moorcroft became the latest heritage ceramic company to close its doors in Stoke-On-Trent. Emma Bridgewater, founder of the eponymous ceramics company, and Alasdair Brooks from Re-Form Heritage, discuss the decline of pottery in The Potteries.A new genre-bending production of Hamlet created in collaboration with Thom Yorke from Radiohead has just opened at Factory International in Manchester. Co-directors Christine Jones and Steven Hoggett discuss their vision for Hamlet Hail to the Thief. When it opened in 2000, The Lowry in Salford was one of the many beneficiaries of cultural infrastructure funding from the Millennium Commission. Twenty five years on, its CEO, Julia Fawcett, joins Front Row to discuss the significance of this national funding programme.David Hockney and Vincent van Gogh have had the immersive art treatment. Now the National Portrait Gallery is using this approach for its collection in a new exhibition, Stories Brought To Life, that has just opened in MediaCity, Salford Quays. Art critic Laura Robertson gives her thoughts.Presenter: Nick Ahad Producer: Ekene Akalawu

Music by Stephen FlahertyLyrics by Lynn AhrensBook by Thomas Meehan & Sylvester StalloneDirected by Alex TimbersChoreography by Steven Hoggett & Kelly DevineStarring Andy Karl, Margo Seibert, Terence Archie, Danny Mastrogiorgio, Dakin Matthews & Jennifer MudgeOpened on Broadway March 13, 2014

Hello Again, as we're back with our last regular episode of the season, on A Beautiful Noise!  But this won't be a Song Sung Blue, so crack open some Red Red Wine and Play Me, as we talk through the latest entry in the list of bio jukebox musicals. -- Despite poor reviews from the critics, this show has been able to do quite well in the grosses, as you can see for yourself. We both loved the Bohemian Rhapsody movie, written by the same book writer as A Beautiful Noise. If you've managed to never have seen Shrek, this is how Christine was first introduced to I'm a Believer. Two of our favorite actors in this season's shows, Robyn Hurder and Clyde Alves, are actually married in real life! Crunchy Granola Suite was such a revelation that it was also used in the Bob Fosse-choreographed revue Dancin'. And you can compare that to the award-winning choreography by Steven Hoggett, as performed on the Macy's Thanksgiving Parade. Turns out, the Dodgers leaving Brooklyn really did have a profound impact on Neil Diamond. -- Music featured in this episode: A Beautiful Noise, The Neil Diamond Musical (Original Broadway Cast Recording) Apple Music / Spotify / Amazon Music — Follow us on Twitter and Instagram @BottomlessBway, our blog at https://bottomlessbway.home.blog/, or email us at bottomlessbway@gmail.com! You can also leave feedback in this 30-second survey.

Robert Burns is known as the national poet of Scotland, a trailblazer for his decision to write in Scots and a Scots dialect of English. But his journey to become a famous poet was not always easy. Actor and fellow Scotsman Alan Cumming brings the story of Burns to life in a new show of theater and dance called "Burn." Co-created by Steven Hoggett, "Burn" is running from September 20-25 at The Joyce Theater. Cumming joins us to discuss.

Steven Hoggett is an international Choreographer, Director and Movement Director. Recent Broadway credits include Harry Potter & the Cursed Child, Angels In America, The Crucible, Curious Incident of the Dog in the Night Time, The Last Ship, Rocky, The Glass Menagerie, Once, Peter & the Starcatcher and American Idiot. Off Broadway work includes Social! (Park Avenue Armory) Bacharach Reimagined (NYTW), Joan of Arc : Into the Fire (The Public) and Let The Right One In (St Anne's Warehouse.) At the Met his work includes Rigoletto. In the UK his work has appeared in the West End and the National Theatre with productions including The Ocean at the End of the Lane, The Light Princess, Pinocchio and Black Watch. Steven was co-founder of the ground breaking UK company Frantic Assembly. As Director Choreographer with the company he created over 20 shows including Peepshow, Othello, Beautiful Burnout, Lovesong, Stockholm and Little Dogs. Steven has worked extensively with recording artists bringing their work to the stage. This list includes David Byrne, Tori Amos, Burt Bacharach, Green Day, Sting, Nico Muhly, Imogen Heap, Phillip Glass and Olafur Arnalds. His extensive work choreographing music videos has seen him collaborate with artists such as Bright Light, Bright Light, Goldfrapp, Calvin Harris, Franz Ferdinand and Bat for Lashes. His film credits include Freak Show (Maven Pictures) and How To Train Your Dragon (Dreamworks) Host: Jamie Neale @jamienealejn Discussing rituals and habitual patterns in personal and work life. We ask questions about how to become more aware of one self and the world around us, how do we become 360 with ourselves? Host Instagram: @jamienealejn Podcast Instagram: @360_yourself Music from Electric Fruit Produced by Tom Dalby Composed by Toby Wright

Julie and Casey sit down with theatrical casting director (and Tiktok rock star) Kate Lumpkin, to talk about the stories we tell and why we tell them, changing the jargon that creates unhealthy power structures, how authenticity happens in front of an audience, and burning our old ideas of “type” to the ground . . . both inside and outside of the theater world. Prepare for the dropping of many, many mics. TOP TAKEAWAYS: Kate's background in anthropology and folklore provides one of the major lenses for her work: how stories shape and change the world.  “We hear this mythos that there are only seven stories and we keep repeating them and refreshing them and re-illuminating them […] but what I find fascinating is how we’ve taken those core hero stories and TRANSFORMED them over time, and the potential we have to continue to transform them if we change the gatekeepers of who allows us to tell what stories.” The power of words and the problem with jargon: A phrase consistently used in the theater world is to refer to the casting director and creative team as “the other side of the table” . . . which, inherently creates a divide (and a power imbalance) in what ideally should be a space of play and collaboration. On being "Publicly Personal”—when people walk into the audition space that Kate creates, they know who she is, they know what she stands for, they know that she’s there to listen and be their champion without judgement. On the surface, a casting director’s job is to “acquire talent for a production” . . . but in addition to her job getting to know the immense talent pool of actors out there, Kate also finds herself being part therapist, politician, director, HR person, and explorer.  Type came out of the studio system in Hollywood, and was a way to essentially commodify an actor’s personal brand into something audiences would come back again and again to see . . . but where type has landed is “what do (mostly) white men find attractive/witty/sexy/charismatic” and what they can imagine someone with your body doing onstage. Rather than an actor trying to identify their “type” (fitting into someone else’s narrow box), she’d love them to think about their through line as a person: how does that expression of self affect what stories you want to tell and what point of view that their life’s journey allows them to bring to a role/story (of which your body is certainly a part . . . but not the whole). What is your Point of View? The moments in your life that have made you YOU + the code that you live by (what you stand for, what you would fight for, what you believe in) + how you filter those things out of your body and into the world (how you express yourself). Authenticity and performativity are NOT antithetical . . . because everything we do is in concert with other humans. We are always performing. So, how do we curate an authentic self that shows up? First of all: YOU are the arbiter of your own authenticity. Secondly: it requires self-reflection (those moments than shift your POV happen all the time). We have to check in with that, and we have to not judge the previous versions of our authentic selves. And . . . do the work. Stay curious. Learn about yourself. Go to therapy. Do the work. Things look performative when we try desperately to adhere to an external standard (what is popular, what is “successful”) rather than doing the inner work. On that “thing” that certain people walk into a room with (charisma, confidence, whatever you want to call it) — it comes from having done that inner work on knowing who you are . . . and bringing it into the room with no apology or need for permission or validation. When you have that, you don’t have to even talk about it or “show it off” . . . you just ARE. Kate considers her Meisner training “a two year professional certificate in listening.” Because this type of training is about listening and repeating, listening and repeating, listening and repeating, you not only learn to hear what’s being said, you learn to observe what’s underneath. In addition, Meisner requires that you get comfortable with discomfort, including the messier parts of ourselves. If we learn to sit with our own “messy uglies” and have compassion for those parts in other people, we could really change everything. DO NOT MISS Kate’s Big 5 question answers. LESSON: Getting out of the “prove yourself” mindset and walking into the room with power. Kate Lumpkin (she/her) is the Founder of and Lead Casting Director at Kate Lumpkin Casting, CSA. Collectively, as a casting professional, she has worked on over 40 TV/Film productions and 80 theatrical productions in New York City and across the USA including shows at The Kennedy Center, The Actors Theatre of Louisville, The A.R.T, NYTW, and many others. Kate teaches workshops in New York and at numerous Colleges and Universities. She is a private coach to clients all around the world. Kate is also the host of Broadway WELLness for Playbill.  Selected casting credits include: New York Theatre: OSCAR @ The Crown, We Are Here (dir. Steven Hoggett), Medusa, We Are The Tigers, Safeword, Afterglow, Cleopatra, The Bad Years, Eco Village, A Complicated Woman, Boarders, Between The Bars, Unraveled, Letters to the President, Reunion '69, Single Rider, Diaspora, The Other Side of Paradise, Counting Sheep, Sitting Bull's Last Waltz, The Excavation of Mary Anning, Agent 355, Emma: A New Musical, Love In Hate Nation, Five Points, Hart Island, Eastbound, Interstate, Honey Dipped Apocalypse Girls, Fefu and Her Friends. National Tour: Bandstand (1st National Tour). Regional Theatre: Endlings at American Repertory Theater, West Side Story at The Kennedy Center, On The Town at The Kennedy Center, Beau at The Adirondack Theatre Festival, Evocation to Visible Appearance at Actors Theatre of Louisville, We Are Here at The Cosmopolitan of Las Vegas, Opium at The Cosmopolitan of Las Vegas , A Christmas Carol 18', 19' at Actors Theatre of Louisville, Reunion '69 & Reunion '85 at the Newman Center. For more information, please visit kate-lumpkin.com. @katelumpkin Interview intro and outro music: "Elevator Heart," music by Julia Meinwald, lyrics by Sara Cooper, from the musical Elevator Heart, music by Amy Burgess and Julia Meinwald, book and lyrics by Sara Cooper

HAPPY 10th ANNIVERSARY AMERICAN IDIOT!!! Because we're a super topical news podcast we thought we'd bring you an interview with one of the OG cast members of American Idiot, Ben Thompson. OBVIOUSLY we asked him months ago and this week worked out... that's how we roll.. EITHER WAY we are so stoked that he is here with us. We nerd out about Steven Hoggett and Tom Kitt, the Broadway show softball league, and bad audition stories. Ben and Dan worked together on Waitress for over a year where Ben was the longest running Earl in the history of Waitress on Broadway. Ben has been seen in a million cool things including Matilda, Waitress, Holler If You Hear Me, the Original Company of American Idiot on Broadway, Carrie, and the off-Broadway production of Rent. Stay healthy and sane friends. Sending love to Nick Cordero and his family right now. 

Margaret Throsby in conversation with Steven Hoggett, Movement Director, on the magic of live theatre.

"Harry Potter and the Cursed Child" director John Tiffany and movement director Steven Hoggett discuss creating the blockbuster show with playwright John Thorne and J.K. Rowling. Gordon Cox of Variety co-hosts with Susan Haskins.

On this week's episode, Josh and Lyndsay dive deep into the current drama happening in Brattleboro, Vermont with the New England Center for Circus Arts. They also discuss Cirque Du Soleil's acquisition of Blue Man Group, a new show from Spiegelworld and Steven Hoggett, Hideaway Circus's new show in Las Vegas: Miss Behave Game Show, and the changing demographics within the American circus community. If you like the episode, please rate the podcast iTunes and share it with you friends. Have a great week!

On this week's episode, Josh and Lyndsay dive deep into the current drama happening in Brattleboro, Vermont withthe New England Center for Circus Arts. They also discuss Cirque Du Soleil's acquisition of Blue Man Group, a new show from Spiegelworld and Steven Hoggett, Hideaway Circus's new show in Las Vegas: Miss Behave Game Show, and the changing demographics within the American circus community. If you like the episode, please rate the podcast iTunes and share it with you friends. Have a great week!

Celebrating the final week of performances in the West End, this exclusive platform brings together the original Olivier and Tony Award®-winning creative team of The Curious Incident of the Dog in the Night-Time, including the director Marianne Elliott, playwright, Simon Stephens, Lighting Designer, Paule Constable, Designer, Bunny Christie, Video Designer, Finn Ross, Movement directors: Scott Graham and Steven Hoggett, Sound Designer Ian Dickinson and composer Adrian Sutton.

“Talking about music is like dancing about architecture” is a problematic statement: not just because nobody can agree on who came up with it, but because dancing about architecture doesn’t seem particularly far-fetched. Talking about dance, however – that’s really difficult. How do you put a wordless form of communication into words? Audio describer Alice Sanders and choreographer Steven Hoggett take the issue for a twirl. There is more about this episode at http://theallusionist.org/dance. Say hello at http://twitter.com/allusionistshow and http://facebook.com/allusionistshow. The Allusionist is a proud member of http://Radiotopia.fm for http://PRX.org.

One on One with Steven Hoggett: On July 13, 2013, Stage Directors and Choreographer Foundation hosted a One-on-One Conversation with acclaimed Director, Choreographer, and Movement Director Steven Hoggett (Blackwatch, Peter and the Starcatcher, Once), discussing his artistic vision, career trajectory, and rehearsal processes. Moderated by Ryan Donovan, the conversation explores Steven's journey from his beginnings as a self-sustaining artist in Wales with Frantic Assembly to his big-budget ventures on Broadway and around the world. Listen to him discuss his choreographic process of fusing his concept with his actors' natural instincts to create choreography in a highly organic manner. This focused discussion will enlighten the listener on staging musical transitions, influences - both budgetary and spatial - on artistic freedom, the unique aspects of the American theatre industry, and the necessity of deep collaboration when creating theater and its educational benefits. This is an insightful conversation with an artist who thrives on exploration and collaboration.Originally recorded - July 13, 2013. Running Time - 1:19:02 © 2013 SDCF

When it comes to the songs of Burt Bacharach, you know more than you think you do. Bacharach, best known for his collaborations with lyricist Hal David, has written in a style that is very much a hybrid of pop, jazz and his own unique touch. His songs have surprising chord progressions and even more surprising rhythmic changes and yet they’re real pop tunes — catchy and sing-along-able. For the movies, Bacharach and David wrote the theme from “Alfie” and “Raindrops Keep Fallin’ On My Head” for “Butch Cassidy and the Sundance Kid.” For Broadway, they wrote the score of Promises, Promises, which includes “I Say a Little Prayer for You” and “I’ll Never Fall in Love Again,” two songs that were big hits for singer Dionne Warwick. In all, Bacharach has placed 73 songs in Billboard magazine’s Top 40 music chart. We told you that you know more Bacharach than you think. But can the quirky, catchy songs of Bacharach be refreshed for a new generation? That’s a question posed in the new off-Broadway musical What’s It All About? Bacharach Reimagined. The show, conceived by Kyle Riabko and David Lane Seltzer, and starring Riabko and a half-dozen other singer-instrumentalists, is directed by Steven Hoggett in a production at New York Theatre Workshop. New York Times theater critic Charles Isherwood shares his impressions.

On July 13, 2013, Stage Directors and Choreographers Foundation hosted a One-on-One Conversation with acclaimed Director, Choreographer, and Movement Director Steven Hoggett ("Blackwatch", "Peter and the Starcatcher", "Once") discussing his artistic vision, career trajectory, and rehearsal processes. Moderated by Ryan Donovan, the conversation explores Steven’s journey from his beginning as a self-sustaining artist in Wales with Frantic Assembly to his big-budget ventures on Broadway and around the world. Topics discussed include staging musical transitions, budgetary and spatial influences on artistic freedom, the unique aspects of the American theatre industry, and the value of deep collaboration when creating theater.

TravCast is the Writer's Podcast from the Traverse, Scotland’s New Writing Theatre. Associate Director, Hamish Pirie, interviews well known playwrights whose work features in the year round programme at the Traverse. In this episode, Hamish Speaks to Rob Drummond. Rob is a writer, performer and director from Glasgow. His theatre credits include Sixteen (Arches Theatre Festival), Hunter (National Theatre of Scotland and Frantic Assembly, directed by John Tiffany and Steven Hoggett), Post Show (Arches Live!) Allotment (Govan Shopping Centre, NTS new work), Mr Write (Tron Theatre and the National Theatre of Scotland), Top Table (Oran Mor). In 2011 Rob wrote, performed and directed his critically acclaimed show Rob Drummond: Wrestling (The Arches, winner of a Vital Spark Award) for which he trained as a professional wrestler. His dark comedy Top Table appeared at Oran Mor last year. Bullet Catch enjoyed critical acclaim and a sold out run as part of the Traverse Theatre’s Festival 2012 programme Original music by James Iremonger www.jamesiremonger.co.uk Produced and engineered by Cian O Siochain