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7 episodes with Theresa Rebeck
2 episodes with Theresa Rebeck
2 episodes with Theresa Rebeck
2 episodes with Theresa Rebeck
2 episodes with Theresa Rebeck
2 episodes with Theresa Rebeck
2 episodes with Theresa Rebeck
3 episodes with Theresa Rebeck
2 episodes with Theresa Rebeck
In Episode 28, David and Mark-Eugene discuss the world of publishing and the unique feeling of truly finishing a show. Later, they welcome the brilliant Theresa Rebeck, who shares insights from her extraordinary and diverse writing career, filled with fascinating stories. To close the episode, David and Mark-Eugene tease the next installment—one that's all about you, the audience. Learn more about your ad choices. Visit megaphone.fm/adchoices
What is central to my work is comedy. For me, there is a desperation in comedy that's very theatrical. And that you can ultimately get a play to a place where everybody wants to just kill themselves or they can tell a joke. So, to me, that's often where they often land. These are your choices: you can kill yourself or die or tell a joke. ~Theresa Rebeck Theresa Rebeck is a prolific and widely produced playwright, whose work can be seen and read throughout the United States and abroad. Last season, her fifth Broadway play premiered on Broadway, making Rebeck the most Broadway-produced female playwright of our time.
theREP kicks off its 2024-25 season this month with “Seared” by Theresa Rebeck. Brilliant, hot-headed chef Harry scores a mention in a food magazine with his signature scallops, and his business partner Mike finally sees profits within reach. The only problem? Harry refuses to recreate his masterpiece for the masses. For an extra treat, scallops will be cooked live on stage each night.
"There are as many ways to live in this world as there are people in this world, and each on deserves a closer look"On today's episode, we're diving into the colorful world of Harriet The Spy (1996), the first film released as a Nickelodeon Movie, and a nostalgic gem that captured the hearts and imagination of so many young aspiring writers, and maybe just a few spies ;). This movie was written by Douglas Petrie and Theresa Rebeck; based off of the groundbreaking YA novel from 1964, and was directed by Bronwen Hughes.This movie stars Michelle Trachtenberg, Rosie O'Donnell, Vanessa Lee Chester, and Gregory SmithJoin me and my guest, Pickens Barringer, as we explore the adventures of Harriet M. Welsch, a budding spy whose curiosity and determination has lead her into some wild adventures and along the way, she learns some valuable and important life lessons. We'll discuss how the film came to be, the memorable performances, the themes that are shown throughout the film, and we even compare and contrast the movie and book!Whether you're revisiting this childhood favorite, or discovering it for the first time, this episode promises to be a great trip down memory lane!----Article Referenced:Which Is Why I Am A Spy: An Oral History Of ‘Harriet The Spy' by Chloe Schildhause, May 11th, 2016----Intro/Outro Music: "Phantom Fun" by Jonathan Boyle----Follow Pickens on InstagramFollow Cult Cinema Circle on Instagram, Twitter, and LetterboxdShow E-Mail: cultcinemacircle@gmail.com---- Hosted on Acast. See acast.com/privacy for more information.
Theresa Rebeck is a prolific and widely produced playwright, whose work has been staged across the globe. Her work on Broadway includes Bernhardt/Hamlet, Dead Accounts, Seminar, Mauritius and the upcoming play I Need That (starring Danny DeVito, premiering Fall 2023). Other notable plays include the New York Times Critics Pick Dig (which she also directs), currently playing at Primary Stages/59E59 Theaters; Mad House, which played a critically acclaimed world premiere on London's West End starring David Harbour and Bill Pullman; Seared (MCC), Downstairs (Primary Stages), The Scene, The Water's Edge, Loose Knit, The Family of Mann and Spike Heels (Second Stage), Bad Dates, The Butterfly Collection and Our House (Playwrights Horizons), The Understudy (Roundabout), View of the Dome (NYTW), What We're Up Against (Women's Project), Omnium Gatherum (Pulitzer Prize finalist). As a director, her work has been seen at The Alley Theatre (Houston), the REP Company (Delaware), Dorset Theatre Festival, the Orchard Project and the Folger Theatre. Major film and television projects include Trouble, with Anjelica Huston, Bill Pullman and David Morse (writer and director), “NYPD Blue,” the NBC series “Smash” (creator), the female spy thriller 355 (for Jessica Chastain's production company), and her most recent film Glimpse, available for streaming now. As a novelist, Rebeck's books include Three Girls and Their Brother and I'm Glad About You. Rebeck is the recipient of the William Inge New Voices Playwriting Award, the PEN/Laura Pels Foundation Award, and a Lilly Award. Learn more about your ad choices. Visit podcastchoices.com/adchoices
In this episode, we delve into the captivating world of Roundabout's "I NEED THAT" and explore the thought-provoking material penned by Theresa Rebeck. Join us as we embark on a lively discussion about the remarkable performances delivered by the talented cast, featuring Danny DeVito, Lucy DeVito, and Ray Anthony Thomas. Together, we unravel the play's profound exploration of trauma and its impact on our lives, while also discovering the transformative power of personal growth. And don't miss our intriguing final question, where we ponder what might unfold at the play's conclusion. Tune in and subscribe to our channel for all things theatre. Support the show If you liked this episode, don't forget to subscribe to this podcast and leave us a review. Share your thoughts with us on this episode below: On Instagram: @halfhourpodcast On TikTok: @halfhourpodcast On our website: www.twoworldsentertainmentllc.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Golden Globe winning actor Danny DeVito and his daughter Lucy DeVito are starring together in a new Broadway play! The DeVitos and playwright Theresa Rebeck join us to discuss their show, "I Need That," which follows the story of a man struggling with hoarding who must clean out his place... or face eviction. "I Need That" is on Broadway through Dec. 30th.
On this episode, Matt Tamanini is in conversation with the star of the recently extended Off-Broadway premiere of Theresa Rebeck’s new play “Dig,” Andrea Syglowski. “Dig” is presented by Primary Stages. Having starred in the world premiere of the show in 2019, Andrea discusses what goes into returning to a piece read more The post Special Episode: Andrea Syglowski on Rebeck’s Tragicomedy ‘Dig’ appeared first on BroadwayRadio.
Andrea Syglowski is a riveting actress who has thrived on stage in film and TV. Just a few of Andrea's credits include Pass Over, Halfway Bitches Go Straight to Heaven, Queens. Lost in Yonkers. Venus in Fur, A Doll's House and Dear Elizabeth. Andrea currently stars in the hit play Dig by Theresa Rebeck. Presented by Primary Stages, Dig is playing at 59e59 Theaters. This episode was recorded on October 3, 2023. Learn more about your ad choices. Visit megaphone.fm/adchoices
Producer-Director Casey Childs founded Primary Stages, a leading New York City Off-Broadway theater, in 1984. Primary Stages has produced over 175 new plays, giving playwrights the opportunities to see their new works staged, including: Christopher Durang, Tina Howe, John Patrick Shanley, Lee Blessing, David Ives, Donald Margulies, Theresa Rebeck, and A.R. Gurney among many others. Casey directed many of those productions for the company, as well as helming new plays at other Off-Broadway theaters. He served as the Artistic Program Director for the New Dramatists from 1982-1985 where he worked with numerous leading American playwrights in their early years.Casey's the recipient of the Carnegie Mellon University Commitment to New Playwrights Award, as well as the winner of two Emmy Awards and many nominations for his extensive work in television. He's a past Vice President of the Directors Guild of America and a past trustee of the National Association of Television Arts and Sciences. At Primary Stages Casey launched the Einhorn School of Performing Arts, the Fordham/Primary Stages MFA in Playwriting program, and the Primary Stages Off-Broadway Oral History Project, which has documented over 190 interviews with the leaders of the Off-Broadway movement. Casey's taught at many universities including Duke, Columbia and NYU, and he's currently an Associate Fellow at Grace Hopper College at Yale University.
In the fall and winter of 2021/2022 Laura Cahill taught screenwriting to 8 young acting students from Kyiv on Zoom in English. Their last class was February 6th, 2022. The war started 18 days later. Most of the students fled their homes. Laura reunited with her students and started teaching them playwriting. On May 1st, she started teaching a second playwriting class that had been advertised on a a Telegram channel for art programs for Ukrainian Youth. It was supposed to last four weeks. Most of those students were still in Ukraine, but some had fled. The May class went so well, they decided to keep going, so on June 1st, the two classes came together and formed Young Playwrights Ukraine. On July 24th, six months after the war started, they had a reading of 18 short works with professional actors on Zoom for an audience. The cast included noted actors David Morse, Cara Buono, Ann Dowd, Kevin Corrigan, Misha Brooks, Bridgette Lundy-Paine, Ivanna Sakhno, Stefanie Lavie Owens, Oona Laurence and others. The plays were subsequently produced by Orion Theater in Stockholm Sweden, directed by Lars Rudolfsson, who had been in the audience on July 24th. The plays opened on March 20th, 2023, to outstanding reviews and ran for 30 performances. Laura and ten of the playwrights met in person for the first time in Sweden for the opening night. The collection is soon to be published by Smith&Kraus Young Playwrights Ukraine continues to meet every Saturday and Sunday to write. They're currently working with professional mentors including Theresa Rebeck, Peter Hedges, Jacquelyn Reingold, Kate Robin, Alexis Scheer, as well as Will Arbery, Stephen Belber, Erin Cressida Wilson, Keith Bunin, Jessica Goldberg and Suzanne Heathecoate on a collection of ten minute plays that tell their stories of living with war. Aside from the mentors, they have special talks with professional artists like filmmaker Mary Harron, TV creator Michelle King, Juilliard professor Kathleen McNenny, casting director Rob Decina, Playwright/TV writer Aurin Squire and others. Writers and directors offering help with this project include Warren Leight, Matthew Carnahan, Mark Brokaw, Paul McCrane, Whitney White, Lila Neubauer and more. The Young Playwrights Ukraine Festival of Ten Minute Plays is set for August 20th on Zoom. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Rebecca Weiss is a casting director with McCorkle Casting, Ltd. in NYC. She discusses the role of the casting director, the relationship between casting directors with actors and theater companies, and what to keep in mind when auditioning. https://www.mccorklecasting.com/ This episode is sponsored by Harbinger Theater's production of "Dig" by Theresa Rebeck playing at Sand Lake Center for the Arts April 21st - April 30th 2023. Tickets are available at https://slca-ctp.org/circle-theatre-players-harbinger.../
Harbinger Theatre is back. In collaboration with Circle Theatre Players and Sand Lake Center for The Arts, they will put on a production of ‘Dig' by Theresa Rebeck, running from the 21 to the 30 of April.A dying plant shop in a dying neighborhood receives a visitor from the past: Megan, the neighborhood screw-up, who made a suicide attempt after a terrible tragedy. Roger, the store owner, wants nothing to do with this situation, but Megan is improbably clinging to life. Can a soul beyond saving be saved? A play about courage, redemption, and photosynthesis.Joining us this morning – we welcome: Patrick White – Harbinger Theatre co-founder and Director of “Dig” and Actors Laura Graver who plays Megan and Adam Coons who plays Roger.
Sets are essentially their own character on stage, and a strong design can elevate even the best production. Adam Coons has designed a great number of sets for community theaters in the Capital Region, and we chat with him about what goes into the design process and how to keep a set functional and safe. This episode is sponsored by Harbinger Theater's production of "Dig" by Theresa Rebeck playing at Sand Lake Center for the Arts April 21st - April 30th 2023. Tickets are available at https://slca-ctp.org/circle-theatre-players-harbinger-theatre-present-dig/
Catherine Glynn is artistic director of Audacious Raw Theater in Lanesboro. She was able to see a preview of the play that opens Commonweal Theatre's 35th season: “Bernhardt/Hamlet” by Theresa Rebeck. Glynn calls the play “a love letter to the theater and the art of collaboration.” The play is a work of historical fiction about actress Sarah Bernhardt, who was wildly celebrated in her time. Set in Paris in 1899, when Bernhardt's theater has become riddled by debt. In order to save it, she decides to play the lead role in “Hamlet.” All of Paris is up-in-arms over whether she can pull off a “pants role.” Bernhardt herself is daunted by Shakespeare's language. Glynn notes that this a perfect show to cap off Women's History Month, having been written, directed, costumed and sound-designed by women. Glynn says that the role of the famous actress is beautifully played by Commonweal company member Adrienne Sweeney, who herself is no stranger to playing roles originally written for men. Sweeney played Ebeneezer Scrooge in the theater's staging of “A Christmas Carol” in 2021. After final preview performances tonight and Friday, the show opens April 1 and runs through June 24. George Roberts, artistic director of Homewood Studios, recently attended the opening of a gallery exhibit at the new, nearby Northside Artspace Lofts. The building was designed as an affordable space for artists to live and work, complete with dance space and gallery. Roberts said he appreciated the variety of works in that gallery show, which is titled “Works in Progress.” The exhibit “speaks about supporting young and new artists to have a space to show their work. And it speaks about a place where more accomplished mid-career artists have a place to act as mentors,” says Roberts, adding that beginning works that “show promise” were happily positioned next to accomplished, finished works. The exhibit “Works in Progress” is on view through May 7. Roberts notes that, since the building is also residential, the doors are locked. But if you ring the doorbell to enter, the gallery is accessible and easy to find. Educator and art lover Kris Prince of Minneapolis plans to be at the Sundin Music Hall Friday evening to hear the Minneapolis Guitar Quartet perform in St. Paul. Prince calls the quartet “wonderful, entertaining” performers, and she loves the range of styles and sounds the four produce with their guitars. Their upcoming series of performances includes music from Spain, Finland and Macedonia; new arrangements of music by Bob Dylan, Nick Drake and Japanese jazz composer Hiromi Uehara. They will also perform a new, commissioned work by Twin Cities composer A.J. Isaacson-Zvidzwa. In addition to Friday evening's concert, founder Joseph Hagedorn, Maja Radovanlija, Ben Kunkel and Milena Petković will kick off a series of performances this spring. The Minneapolis Guitar Quartet will perform Sunday, April 2, at the Walker Community UMC; Thursday, April 13 at the White Bear Center for the Arts; and Saturday, April 29 at the Heart of the City Music Factory in Anoka.
Great performers, writers and directors emerge from the smallest of theatres — venues where new talent is nurtured and writers and performers are free to learn the ropes and take risks. Liz Jones AO has been making that kind of theatre happen at La Mama for over 50 years. Now she is passing the torch. Also, Stephen Sondheim and James Lapine's Tony Award-winning masterpiece Into the Woods returns to the Australian stage and we learn all about the legendary French actress Sarah Bernhardt who is being portrayed on the Melbourne Theatre Company stage by Kate Mulvany in the new play Bernhardt/Hamlet directed by Anne-Louise Sarks.
Great performers, writers and directors emerge from the smallest of theatres — venues where new talent is nurtured and writers and performers are free to learn the ropes and take risks. Liz Jones AO has been making that kind of theatre happen at La Mama for over 50 years. Now she is passing the torch.Also, Stephen Sondheim and James Lapine's Tony Award-winning masterpiece Into the Woods returns to the Australian stage and we learn all about the legendary French actress Sarah Bernhardt who is being portrayed on the Melbourne Theatre Company stage by Kate Mulvany in the new play Bernhardt/Hamlet directed by Anne-Louise Sarks.
The 17th century. The English Civil War. Whitehead, a man of letters, maker of lace, and self-described coward, is tasked with finding and arresting the colleague and rival alchemist who stole his master's papers. He enlists the aid of Cutler, a soldier who claims he can take them to a nearby alehouse, and two deserters, the wily Jacob and dull-minded Friend. Upon arriving at Cutler's destination – not the alehouse, but a wide open field strewn with hallucinogenic mushrooms, the group locates the alchemist, O'Neil. But instead of taking in his man, Whitehead, along with Jacob and Friend, find themselves O'Neil's prisoners. And as Whitehead becomes a literal tool in O'Neil's plot to seek out a deposit of gold in the field, this one-time familiar place quickly turns strange and otherworldly. Intro, Math Club, and Debate Society (spoiler-free) 0:00-20:20 Honor Roll and Detention (spoiler-heavy) 20:21-50:34 Superlatives (so. many. spoilers.) 50:35-1:05:17 Director Ben Wheatley Screenplay Amy Jump Featuring Julian Barratt, Peter Ferdinando, Richard Glover, Ryan Pope, Reece Shearsmith, Michael Smiley Bobby Frederick Tilley is a costume designer for theater, film, and TV. His theater credits include Be More Chill (Lyceum Theater, Broadway, Drama Desk nomination for Outstanding Costume Design, 2019 Theatre Fans Choice Award Best Costume Design); Bulldozer: The Legend of Robert Moses starring Constantine Maroulis; Hot Mess; The Legend of Georgia McBride; the World Premiere of Guards At The Taj (Henry Hewes Design Award nomination for Costume Design), The Loneliness Of The Long Distance Runner, and the World Premiere of Annie Baker's Body Awareness (Atlantic Theatre Company); Joe Iconis's Broadway Bounty Hunter starring Annie Golden; The Power of Duff (Geffen Playhouse); the World Premiere of Open House (Signature Theatre); the World Premiere of Stephen Karam's Sons of the Prophet (Roundabout); the World Premiere of All New People (2econd Stage); Thinner Than Water (LAByrinth Theater Company); the World Premiere of Annie Baker's The Aliens (Rattlestick); Nora and Delia Ephron's Love Loss and What I Wore (Westside Theater); and Lizzie Borden (The Living Theater, Drama Desk Award nomination for Outstanding Costume Design and Henry Hewes Design Award nomination for Costume Design). His costume designs for film and television include Hello, I Must Be Going, The Green, Four Lane Highway, Little Kings, Rubout, Robert Smigel's “TV Funhouse” for Comedy Central, “Manhattan Valley,” and “Once in a Lifetime.” With Laura Bauer, he worked on Woody Allen's Sweet and Lowdown, Peter Hedges' Pieces of April, Theresa Rebeck's Spinning Into Butter, and Tom Donaghy's Story of a Bad Boy. Our theme music is by Sir Cubworth, with embellishments by Edward Elgar. Music from “A Field in England” by Jim Williams. “Baloo My Boy” performed by Richard Glover. For more information on this film, the pod, essays from your hosts, and other assorted bric-a-brac, visit our website, scareupod.com. Please subscribe to this podcast via Apple or Google Podcasts, Stitcher, Spotify, or wherever you get your podcasts. If you like what you hear, please leave us a 5-star rating. Join our Facebook group. Follow us on Instagram. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Theresa Rebeck's audio play NIGHTWATCH is an imitative true-crime podcast examining the “facts” around a peculiar incident. A teenage girl witnesses a violent attack in the middle of the street. No one else seemed to see it, and the police failed to investigate. If a murder happens and only one person sees it - and that person is a teenage girl - is it real? But what if a true crime is a fake crime? What is truth and what is fake news in the world we live in? Intrepid public radio reporter Martina Diaz guides us through a maze of interviews with friends and skeptics on NIGHTWATCH. Learn more about your ad choices. Visit megaphone.fm/adchoices
When a top-secret weapon falls into mercenary hands, a wild card CIA agent joins forces with three international agents on a lethal mission to retrieve it, while staying a step ahead of a mysterious woman who's tracking their every move in this action thriller directed by Simon Kinberg. Co-Writer Theresa talks about transitioning from playwriting to screenwriting: "I think you really have to have tremendous respect for the form of a screenplay. It's different from theatre in that… language needs to do less. One of the things you have to figure out is how to deliver character and movement of emotion in gesture." Theresa goes on to discuss what it's been like for her working as a female writer: "I started at a different time where, as challenging as it can be to be a woman in this industry, it was considerably worse. You felt, a lot of times, that you didn't have any options, you just had to put up with it, and it was extraordinarily painful and spiritually challenging, and I feel like the consequences of that stay with you longer than you think they will." Don't forget to subscribe to the Write On Podcast on iTunes! Now available on Google Podcasts!
Robert Winfree and Mark Radulich present their The 355 2022 Movie Review! The 355 (2022 Movie) is an American spy film directed by Simon Kinberg from a screenplay by Theresa Rebeck and Kinberg, and a story by Rebeck. The film stars Jessica Chastain, Penélope Cruz, Fan Bingbing, Diane Kruger, and Lupita Nyong'o as a group of international spies who must work together to stop a terrorist organization from starting World War III. Édgar Ramírez and Sebastian Stan also star. The title is derived from Agent 355, the codename of a female spy for the Patriots during the American Revolution. Grammarly Ad: 1:40:50 Amazon Music Ad: 1:18:20 For a 30 Day Free Trial of Amazon Music Unlimited head to http://getamazonmusic.com/w2mnetwork. Amazon Music is free. Amazon Music Unlimited is not. And for the Grammarly special offer, go to http://getgrammarly.com/w2mnetwork. Check us out on the player of your choice https://linktr.ee/markkind76 Also check out the W2M Network Discord https://discord.gg/fCYpG5dcT9
Robert Winfree and Mark Radulich present their The 355 2022 Movie Review! The 355 (2022 Movie) is an American spy film directed by Simon Kinberg from a screenplay by Theresa Rebeck and Kinberg, and a story by Rebeck. The film stars Jessica Chastain, Penélope Cruz, Fan Bingbing, Diane Kruger, and Lupita Nyong'o as a group of international spies who must work together to stop a terrorist organization from starting World War III. Édgar Ramírez and Sebastian Stan also star. The title is derived from Agent 355, the codename of a female spy for the Patriots during the American Revolution. Grammarly Ad: 1:40:50 Amazon Music Ad: 1:18:20 For a 30 Day Free Trial of Amazon Music Unlimited head to http://getamazonmusic.com/w2mnetwork. Amazon Music is free. Amazon Music Unlimited is not. And for the Grammarly special offer, go to http://getgrammarly.com/w2mnetwork. Check us out on the player of your choice https://linktr.ee/markkind76 Also check out the W2M Network Discord https://discord.gg/fCYpG5dcT9
Special guest Ally Johnson joins the show to talk all things The 355, Simon Kinberg's directorial follow-up after Dark Phoenix with Theresa Rebeck as his co-screenwriter. The new action spy film features a female-led ensemble: Jessica Chastain, Penélope Cruz, Lupita Nyong'o, Diane Kruger, and Fan Bingbing. Plus supporting turns from Sebastian Stan and Édgar Ramírez. Be sure to check out our written review of The 355here. Intro Music: “Piúma” by Chancla & Oaty. Links: Follow us on Twitter: Jon Negroni, Will Ashton Check out our Cinemaholics Merch! Leave us a voicemail using The “Swell” App. We post new prompts every week or so. Check out our Patreon to support Cinemaholics! Email your feedback to cinemaholicspodcast [at] gmail.com. Connect with Cinemaholics on Facebook and Twitter. Support our show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.
The 355 – Movie Review 122 Minutes, Rated PG-13 Written by Theresa Rebeck, Bek Smith, and Simon Kinberg Directed by Simon Kinberg **NOTE: You can read my preliminary thoughts, then […]
The incredibly generous and wholehearted Casting Director Alaine Alldaffer is my guest on today's episode of the Brian Breaks Character podcast. She's been casting theatre and television for over 25 years (peep her impressive bio below). And as a long-time champion for creatives everywhere, Alaine's actionable advice will appeal to you whether you're... ...a butcher ...a baker ...an actor ...a writer ...a director ...or all of the above (...you multi-hyphenate, you!) HERE'S A PEEK AT SOME OF THE JUICY TAKEAWAYS: Why you must define your success by your commitment to the work... that is, ONLY IF you want to have longevity in your career. How to use creativity in your theatre self-tape auditions so you stand out from the crowd (while also not making a fool of yourself) … oh, and the same rules apply for TV/film! How to future-pace your self-care so you're better able to be "onto the next thing" rather than wallow in disappointment. REAL TALK: Alaine's full-time gig is having collaborative conversations with writers, directors, artistic directors, designers, and actors, so don't be fooled by this *feel-good* episode. Alaine outlines a unique insider's take on the way back to live performance and the newest trends in successful self-tape auditions so you can get into those rooms whether you're a writer, a director, an actor, or... oh, you get the picture! Want the full tea on Alaine? Alaine Alldaffer received 12 Artios Award nominations, and 2 wins, for Excellence in Casting. For more than two decades, she's served as CD for Playwrights Horizons - casting over 100 productions, where her credits include GREY GARDENS (also for Broadway), CLYBOURNE PARK (also for Broadway), CIRCLE MIRROR TRANSFORMATION (Drama Desk and Obie Awards for Best Ensemble and an Artios Award for Casting), and THE FLICK (Playwrights Horizons and The Barrow Street Theatre). Television credits include ABC's THE KNIGHTS OF PROSPERITY with Sofia Vergara and Associate credits include NBC's ED and USA's MONK. Regional work includes Geffen Playhouse, Huntington Theatre, Arena Stage, Williamstown Theatre Festival, Seattle Rep, ACT, and Berkeley Rep. Notable productions include: DETROIT with David Schwimmer, RAPTURE BLISTER BURN, DEAD MAN'S CELLPHONE with Mary Louise Parker, EVERY TONGUE CONFESS with Phylicia Rashad, A LIFE with David Hyde Pierce, and BETHANY with America Ferrera (Women's Project Theater). And she's worked with some of the most notable contemporary playwrights: Annie Baker, Bruce Norris, Christopher Durang, Craig Lucas, Sarah Ruhl, Gina Gionfriddo, Lynn Nottage, Richard Nelson, Robert O'Hara, and Theresa Rebeck. Alaine's experience speaks for itself, but you should really hear her speak for herself. Thank you for tuning in to this episode of Brian Breaks Character! If you loved this episode, please subscribe and leave an honest review. Your review helps boost the show and gives us the chance to help more creatives get out of suffering for their art and into action. Be sure to leave your IG handle when you do so I can send a VIP episode to say thank you. Want to learn more? If you're an actor and your goal is to have a fabulous representation, come watch Make Agents Want You for free (https://www.makeagentswantyou.com). That way, you can get off the hamster wheel of reaching out and focus on the acting you were born to do. CONNECT WITH Alaine Website https://www.alainealldaffer.com/ Playwrights Horizons Soundstage Podcast https://www.playwrightshorizons.org/watch-listen/soundstage/ Subscribe To The Podcast Apple https://podcasts.apple.com/us/podcast/brian-breaks-character/id1570747490 Spotify https://open.spotify.com/show/2A0QC6RYtcULRMtbsIT3yq?si=xu3QstDpS9WkpoQwHVSueg&nd=1 Watch The Uncut Behind-the-scenes Video Of This Episode On Youtube: https://www.youtube.com/user/brianpatacca Need New Representation? Get In On This Free Training: https://makeagentswantyou.com Follow Me On Instagram For A First-look At Our Guests And Upcoming Episodes! https://www.instagram.com/briansaysthat Episode Transcript: https://brianbreakscharacter.s3.us-west-2.amazonaws.com/EP16+-+Alaine+Alldaffer+-+Transcript.pdf
Zoë Yeoman made her professional acting debut at the age of 16 at Kings Hall in Heidelberg, Germany, in a production of Godspell. Since then she's worked in almost every major market across the United States.A working actor and a member of Actor's Equity • SAG|AFTRA and at times Producer and Director, some of Zoë's favorite roles include Lisa Kron in Well with the Arizona Women's Theatre Company, Ruth Steiner in Donald Margulies' Collected Stories, Dr. Vivian Bearing in Wit, and as Haley Walker in Theresa Rebeck's Bad Dates, a role which she recently reprised at The Aux Dog Theatre, directed by Victoria Liberatori in Albuquerque, New Mexico.She originated the role of Margaret in James Riordon's award winning play, Apollo Redux, and played dual roles in the Washington, D.C. premiere of Emma's Child, for Horizons' Theater.On film, Zoë most has appeared in many short and feature films, The Five Cent Curve, by Brendan Hayward and in All About You, directed by auteur Christine Swanson. Starring roles include Vanessa in Carrots and Onions and K.K.Kettering in the short film, Creole Lady Angelle. She recently played a police captain in festival favorite, Raising Buchanan, written and directed by Bruce Dellis. Additionally, she waits for the release of M.E.C.C.A.-The Film.On Television, you've seen Zoë in episodes of Law & Order: Special Victims' Unit, David E. Kelley's The Practice; Strong Medicine, The Drew Carey Show and the ABC Sitcom, Rodney. She earned her Equity card with “the best understudy performance in 20 years” at the Kennedy Center/Eisenhower Theatre in Washington, D.C., during a run of The Magic Fire, produced in conjunction with and by the Oregon Shakespeare Festival, (directed by Libby Appel). Zoë's producing and directing credits include multiple One-Act plays, short films and theatrical productions for the Arizona Women's Theatre Company's, “Pandora Festival” and for Aux Dog Theatre's “Laughing Dog” 10-minute play festival.Zoë is the athletic type, enjoying every major sport; especially Baseball. She is an avid Golfer and has played courses from the Bay Area to Scottsdale, Arizona to Williamsburg, Virginia. Having learned to Ski in the Austrian Alps, she has skied the Alps of Europe and the Eastern and Western slopes of the United States. She also rides horses and recently gave up her beautiful APHA 16.2h gelding, “Zoë's Situation Comedy” (AKA “Rolling!”), so that he could have the life he deserves by trailering, mountain and streams rides through Flagstaff, AZ. An avid collector of antique furniture and 20th Century Modern Art, Zoë has visited most of the major museums and cathedrals of Europe, adding a few more during a past trip to Greece, Italy and Turkey.Her two Standard Poodles, Pale Ale, and Porter are the lights of her life. Her Shih Tzu, Barley Wine rounds out her beer-named Pups. She drives a 1977 Lincoln Continental Mark V among other things and looks forward to getting her '67 Honda CB-450 back on the road very shortly. A new bike was in the cards for her recent Birthday, but that plan was interrupted by the purchase of a home in Albuquerque, NM where she currently resides with her husband of almost 30 years, Daniel.Ms. Yeoman was on the Board of Directors and was very proudly, the first female Membership Chair of the Friars' Club of California and is a past president of the Arizona Women's Theatre Company. She's a member of the Santa Fe chapter of The Hamptons Table, belongs to the New Mexico Chapter of Women in Film and her on-going search for a theatre company to call home, continues. To reach out, please do so through the Contact page herein, or call her Agents, Katrina or Mina at South West Artist Group in New Mexico/Arizona or Linda Ryan at Cross Beam Talent, Atlanta, GA.
Theresa Rebeck is a prolific and widely produced playwright, whose work can be seen and read throughout the United States and abroad. Her fourth Broadway play premiered on Broadway in 2018, making Rebeck the most Broadway-produced female playwright of our time. Other Broadway works include Dead Accounts; Seminar and Mauritius. Other notable NY and regional plays include: Seared (MCC), Downstairs (Primary Stages), The Scene, The Water's Edge, Loose Knit, The Family of Mann and Spike Heels (Second Stage), Bad Dates, The Butterfly Collection and Our House (Playwrights Horizons), The Understudy (Roundabout), View of the Dome (NYTW), What We're Up Against (Women's Project), Omnium Gatherum (Pulitzer Prize finalist). As a director, her work has been seen at The Alley Theatre (Houston), the REP Company (Delaware); Dorset Theatre Festival, the Orchard Project and the Folger Theatre. Major film and television projects include Trouble, starring Anjelica Huston, Bill Pullman and David Morse (writer and director), “NYPD Blue,” the NBC series “Smash” (creator), and the upcoming female spy thriller 355 (for Jessica Chastain's production company). As a novelist, Rebeck's books include Three Girls and Their Brother and I'm Glad About You. Rebeck is the recipient of the William Inge New Voices Playwriting Award, the PEN/Laura Pels Foundation Award, a Lilly Award and more. https://twitter.com/TheresaRebeck
Broadway's Andréa Burns is Baring It All with Call Me Adam about Bad Dates, In The Heights, On Your Feet!, working with Gloria Estefan, Lin-Manuel Miranda & so much more! Andréa Burns has lit up the Broadway stage for over two decades. Her credits include The Full Monty, In The Heights, On Your Feet! The Musical - The Story of Emilio and Gloria Estefan, & Beauty and the Beast. Andréa can currently be seen in George Street Playhouse's virtual production of Theresa Rebeck's Bad Dates, which streams through March 14. Click here for tickets! Connect with Andréa: Website Facebook Instagram Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, Alex, & The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Andréa: Andréa Burns received an Outer Critics Circle Award Nomination for her portrayal of "Gloria Fajardo" in Broadway’s On Your Feet! She is a winner of a Drama Desk Award for her creation of the role of "Daniela," the saucy hairdresser in Lin-Manuel Miranda's Tony Award-winning musical In The Heights. Andréa began her career touring the opera houses of Europe as Maria in West Side Story when she was 18 years old. She has appeared on Broadway as "Belle" in Disney's Beauty and the Best, as "Vicki Nichols" in The Full Monty, as "Googie Gomez" in The Ritz and has sung concerts at Carnegie Hall. Andréa starred opposite Nathan Lane on Broadway in the Lincoln Center production of The Nance which subsequently broadcast on PBS' Great Performances. Andréa was in the original company of Jason Robert Brown’s critically acclaimed Songs for a New World, the national tour of Parade (directed by Harold Prince) for which she received a Touring Broadway Awards nomination for Best Actress. Andréa has become one of the foremost interpreters of Jason Robert Brown's work. She was also selected by Stephen Sondheim to create the role of "Celeste" in his musical Saturday Night in its New York premiere. Andréa's debut solo album A Deeper Shade Of Red was described by Playbill as "superb on all counts.” “100 Stories," a single she co-wrote with her brother, music producer Mike Burns, rose to the #2 spot on the 2006 Billboard Hot Dance Club Play charts. A favorite at 54 Below Broadway Supper Club, Andréa performs her one woman show all over the world, which has been hailed by the New York Times as “ uproarious, ebullient and playful.” Television credits include Mad About You (Reboot), Jessica Jones, Kevin Can Wait, Blue Bloods, Law & Order: SVU, Rescue Me, The Electric Company (2009 TV Series) and Wonder Pets. Andréa can be heard on the original cast recordings of On Your Feet!, In The Heights, Songs for a New World, This Ordinary Thursday - The Songs of Georgia Stitt, Saturday Night, It’s Only Life, Dear Edwina, Shine, Broadway Bound, & Broadway Musicals of 1953. Andréa can be heard as the voice of Elaine Stritch in Alexandra Jacob’s new biography, Still Here - The Madcap, Nervy, Singular Life of Elaine Stritch. Andréa is married to director Peter Flynn. Their son, Hudson, is featured on the cover art of her solo album, A Deeper Shade of Red. Learn more about your ad choices. Visit megaphone.fm/adchoices
I hope you enjoy this episode with my friend and colleague Michael Alden as much as I did. Although his resume reads like a who’s who of the entertainment industry, I invited him to speak with me because I’ve had the great pleasure of knowing Michael on a personal level and wanted to offer you the chance to learn about someone who is not only a great proponent of the arts but a thoughtful human being who strives to live a meaningful life of purpose. I’m certain that you will enjoy the rare insights into his journey from inventory boy to vice president of post production at MGM and so much more!The episode was recorded on January 21st. Michael Alden is a Tony Award nominated Producer whose career spans live theatre, cinema and television. He has been represented in the West End with David Seidler’s original play The King’s Speech and Bat Boy The Musical. On Broadway: Come From Away (2017 Tony Nomination & Olivier Winner for Best Musical), Disgraced (2015 Tony Nomination for Best Play, 2013 Pulitzer Prize – Drama) Grey Gardens (2007 Tony Nomination for Best Musical) and Bridge & Tunnel (Special Tony Award).His off Broadway and regional works include Not That Jewish, Becoming Dr. Ruth, Admit One, the Brochu-Schalchlin musical The Last Session, Spalding Gray: Stories Left To Tell, the Los Angeles productions of Howard Crabtree’s When Pigs Fly, and Theresa Rebeck’s Bad Dates directed by Judith Ivey. Alden's film works include: Just Cause with Sean Connery, the fashion forward documentary UnZipped for Mirimax, Stephen Daldry’s The Hours, the multi-award winning feature comedy Kissing Jessica Stein and Ralph Ziman’s foreign feature film The Zookeeper starring Sam Neill.His current 2020/21 film production works include Ian Holt's supernatural thriller, Cursed and three feature-length documentaries, My Beautiful Stutter which follows five children from bullying to bravery, When Reagan Killed Roosevelt a film chronicling the formative years of famed rap group Public Enemy, and Just Say Yo! the never before told story of the rise of MTV Raps and their place in the rap revolution.
Stephanie Klapper is a New York based Casting Director who has been in the business for 25 plus years. Her work is frequently seen on Broadway, Off-Broadway, regionally, internationally, on television, and film. Projects she has cast have won numerous awards including the Tony, OBIES, Drama Desk, Pulitzer Prize, Sundance Audience Award, Cannes Prize Du Publique, Comic Con and Artios. Stephanie, along with her incredible casting team, comprise Stephanie Klapper Casting, an Independent Casting Group who is known for their limitless imagination and creativity and for their work on a wide range of projects all over the country and the world.Frequent and longtime collaborators include Primary Stages, Mint Theater Company, NY Classical Theatre, american vicarious, The Peccadillo, Voyage Theatre, Masterworks, Resonance Ensemble, Hudson Valley Shakespeare Company, Capital Repertory Theatre, Cincinnati Playhouse, Actors Theatre of Louisville, Adirondack Theatre Festival, Ford’s Theatre, Kansas City Rep, The New Theatre, The Philadelphia Orchestra, as well as many more in New York, the regions, and internationally. Recent projects include: The Night of the Iguana (La Femme Theatre Productions); Chekhov/Tolstoy Love Stories (Mint); Sideways, the Experience (Peccadillo); A Sign of the Times (Off-Broadway); The 24-Hour Plays on Broadway Gala Celebrating Kathy Bates; Paradise Lost (FPA/Directors Company); Miss America’s Ugly Daughter (Off-Broadway); Grace, a song cycle (Actor’s Theatre of Louisville); Once on this Island (Cincinnati Playhouse/Actor’s Theatre); The Hope Hypothesis (Voyage Theatre Co.); The Importance of Being Earnest (NY Classical); Hamlet (Utah Shakespeare Festival); Daniel’s Husband (Penguin Rep/Primary Stages); Actually We’re F**ked (Cherry Lane Theatre); A Letter to Harvey Milk (Off-Broadway); Pride and Prejudice (Kate Hamill)(Hudson Valley Shakespeare Festival/Primary Stages); Candide, Westside Story and Bernstein’s Mass (Philadelphia Orchestra). Select Recent Broadway includes: Bronx Bombers; A Christmas Story, the Musical; Dividing the Estate; It Ain’t Nothin’ But the Blues.Select Film/TV credits: Netuser (with Denis O’Hare); Epiphany V; Theresa Rebeck’s Poor Behavior; Stag; Alice Jacobs is Dead (Adrienne Barbeau); The Feast of the Goat (Isabella Rossellini); Uncertain Terms; Altamont Now!; Sidewalk Stories; Roberta; Eve Ensler’s One Billion Rising, the video; webisode: Battery Park; Parking Lot Chronicles; Highlights of a Mom’s Life. Television: Lazytown.Ms. Klapper is a graduate of Manhattan’s famed Music and Art High School and SUNY College at Purchase. She is a frequent guest teacher and lecturer at many colleges and universities including: New York University (The New Studio on Broadway), Drew, UNCSA, USC, Oklahoma University, Ohio University, Kenyon College, University of Michigan, UMKC, Florida State University (Asolo), Skidmore College, Penn State, SUNY Purchase, SUNY New Paltz, Indiana University, UNC Chapel Hill, New York Conservatory of the Dramatic Arts, and the Tepper Semester through Syracuse University, where she is also a mentor to students interested in pursuing work in the casting profession. Ms. Klapper is passionate about working with creative teams to develop new work and expand the scope of established work. In addition to casting and teaching, Ms. Klapper is a member of the New York Board of the Casting Society of America, Casting Society Cares, and New York Women in Film. She is passionate about continuing to expand and champion diversity, equity, equality and inclusion in the business. She loves working with emerging artists to help them develop their careers.
Wendi and Dfernando's nineteenth episode and their guest interview is 3-time Emmy Award winning actress, producer and author Patricia Heaton. Patricia Heaton is a multiple Emmy Award-winning actress who has played not one, but two beloved TV moms. Perhaps best known for her role as Debra Barone on the classic CBS series EVERYBODY LOVES RAYMOND, she won two Emmy Awards for the role and was nominated seven times. In addition to her Emmy wins, Heaton is also the recipient of the Best Comedy Actress Award from the Viewers for Quality Television, a SAG Award, and three SAG nominations in the Best Actress category for her role in the comedy. She then starred in the ABC comedy series THE MIDDLE as Frankie Heck, a mom trying to find balance between her family and careerfamily and career in the Midwest. The show ran from 2009 to 2018. She was seen most recently on the CBS comedy CAROL’S SECOND ACT. While studying acting in New York City with drama teacher William Esper, Heaton made her Broadway debut in the 1987 gospel musical DON'T GET GOD STARTED. Heaton returned to the New York stage in 2006, where she garnered praise for her role as "Stella" in the Second Stage production of THE SCENE by Theresa Rebeck and received a Lortel Award nomination for her performance.While in New York in the late 80s, Heaton and her fellow acting colleagues formed Stage Three, an acting company that produced plays Off-Broadway. They took one production, THE JOHNSTOWN VINDICATOR to Los Angeles, where Heaton’s Semperformance caught the eyes of casting directors which led to her career on television.Heaton went on to portray the producer/daughter in the television series ROOM FOR TWO (1992). Her additional television credits include a starring role in the series SOMEONE LIKE ME (1994), a regular role in WOMEN OF THE HOUSE (1995), and a recurring role on THIRTYSOMETHING (1987). She also starred in the highly rated television movie MIRACLE IN THE WOODS (1997), with Della Reese.In 2001, Heaton co-founded FourBoys Entertainment, a production company that she runs with her husband, actor/director/producer David Hunt. The company produced the Sony Pictures feature comedy MOM'S NIGHT OUT and TNT's production of THE ENGAGEMENT RING, both of which starred Heaton. In addition, she starred in Hallmark Hall of Fame's FRONT OF THE CLASS. Her other credits include the TNT/Neil Simon production of THE GOODBYE GIRL, Sony Pictures' animated THE STAR, and ABC's THE PATH TO 9/11. FourBoys' additional projects include THE CHRISTMAS HEART for the Hallmark Channel, the documentary feature film THE BITUMINOUS COAL QUEENS OF PENNSYLVANIA for Netflix, and the critically acclaimed film AMAZING GRACE, in conjunction with Bristol Bay Productions. FourBoys Entertainment partnered on the web series VERSAILLES for MyDamnChannel.com, which Heaton appeared in, and which was co-created, produced, and directed by Hunt.Her feature film credits include MEMOIRS OF AN INVISIBLE MAN, BEETHOVEN, THE NEW AGE, SPACE JAM, the animated THE STAR and MOM'S NIGHT OUT. On the Emmy Award-winning Food Network series PATRICIA HEATON PARTIES, she drew inspiration from her family and travels and invited the audience in while she served up incredible party-friendly foods for her co-stars, friends and family. She brought that same sensibility to print with her first cookbook, PATRICIA HEATON'S FOOD FOR FAMILY & FRIENDS and in May 2019, Heaton launched her homewares line, Patricia Heaton Home, with Walmart.In addition to her acting and producing credits, Heaton is a best selling author whose book MOTHERHOOD AND HOLLYWOOD - HOW TO GET A JOB LIKE MINE appeared on the New York Times best seller list. Sometimes funny, sometimes touching, the book is a collection of essay's chronicling Heaton's childhood, years of struggle as an aspiring actress, her success on a wildly popular series, and how she balances her career and family. Her latest book YOUR SECOND ACT - INSPIRING STORIES OF REINVENTION is filled with light-hearted anecdotes and pragmatic steps to help you discover your own path. YOUR SECOND ACT shows us that midlife doesn’t have to be about crisis when you focus on the opportunity. After all, it’s never too late, or too early to stage your second act!A committed philanthropist, Heaton is the founding member of World Vision's Celebrity Ambassador Network. She has travelled to Rwanda, Zambia, and Syria with the humanitarian organization, which focuses on conducting relief, development and advocacy activities in its work with children, families, and their communities in nearly 100 countries.A mother of four sons, Heaton lives with her husband, David Hunt, in Los Angeles.And on Episode 19, Wendi and Dfernando remember TV legend Regis Philbin, and Wendi gives us an update from her final installment of those cryotherapy sessions.Follow us on our Instagram: Wendi McLendon-CoveyDfernando ZarembaGENERATION RIPE... and our guest Patricia Heaton and her TwitterClick below to purchase Patricia Heaton’s books:MOTHERHOOD AND HOLLYWOOD - HOW TO GET A JOB LIKE MINEPATRICIA HEATON'S FOOD FOR FAMILY & FRIENDSYOUR SECOND ACT - INSPIRING STORIES OF REINVENTIONRemember to subscribe, rate & leave a review for GENERATION RIPEVisit Dfernando Zaremba's website: dfernandozaremba.com
Conversations with Judy Greer on December 10, 2012. Moderated by Richard Ridge, Broadway World. Judy Greer consistently captivates both critics and audiences with her engaging performances. She is one of the most prolific actresses of her time, appearing in 80 roles across film and television to date. She is currently making her Broadway debut alongside Katie Holmes and Norbert Leo Butz in the Broadway show "Dead Accounts" by Theresa Rebeck. "Dead Accounts"is the story of a brother, a sister, and a surprise reunion that turns their family upside down. A $27 million secret proves that the truth can be complicated. Greer is also currently starring in her own Yahoo! series called "Reluctantly Healthy," which she started in December of 2011. Each week this webisode gives special tips and advice on how to stay healthy while on-the go, working long hours, and traveling away from home. Greer just wrapped production on the remake of the 1976 film, "Carrie," directed by Kimberly Peirce. She will star as Miss Desjardin, the gym teacher, alongside Chloe Grace Moretz and Julianne More. She will also return voicing 'Cheryl' on the fourth season of FX's animated hit series "Archer," which became an instant cult classic after its television debut in 2010. The show comes back this January. She's also currently in production on "Arrested Development" in which she is reprising her role as Kitty Sanchez, George Bluth's (Jeffrey Tambor) assistant/girlfriend, in the fourth season. Greer was most recently seen in Alexander Payne's "The Descendants" opposite George Clooney. The Academy Award® nominated film centers around attorney 'Matt King' (Clooney), who learns, after his wife suffers a boating accident and winds up in a coma, that she'd been having an affair with local real estate broker 'Brian Speer' (Matthew Lillard). Greer has received critical acclaim for her supporting role in the film, garnering solo nominations from both the Satellite Awards and the Denver Film Critics Society, in addition to being nominated as part of the ensemble cast for a Gotham Award, a Screen Actors Guild Award, and a Broadcast Film Critics Association Critics Choice Award. This year, Greer has also starred opposite Ed Helms, Jason Segel, and Susan Sarandon in "Jeff, Who Lives at Home" for directors Jay and Mark Duplass. Greer will then be seen in screenwriter Robbie Fox's "Playing the Field," for director Gabriele Muccino opposite Gerard Butler, Jessica Biel, Uma Thurman, Dennis Quaid, and Catherine Zeta Jones. In the comedy, which follows former professional athlete George' (Butler) after he agrees to coach his son's soccer team only to find himself fending off the romantic advances of his players' mothers, Greer stars as recent divorcee Barb,' one of George's' many pursuers. FilmDistrict will release the film December 25, 2012.
Kaitlin Hopkins is an award-winning actress, director, and educator and has worked in theater, film and television for over 30 years. In 2009 she created the BFA Musical Theatre program at Texas State University, recently named one of the top 10 musical theatre programs in the nation. As an entrepreneur, she is the Co-Founder of Living Mental Wellness, which is a holistic evidence-based company that offers educational programs to enhance mental wellness for performing artists through an integrated scientific life skills model. In addition, Hopkins is the proud creator and president of Fontus Green Apple Dry Throat Lozenges, in partnership with Ocu-soft, a multi-million dollar pharmaceutical company. Fontus is the official lozenge of Hamilton the musical, and many other Broadway shows and national touring companies, and is the lozenge of choice for many performing artists including Kristin Chenoweth, Ariana Grande, Jennifer Hudson and Julie Andrews. As an educator, she received the 2016 Presidential Award for Excellence in Teaching from Texas State University and was recognized by Broadway Dreams Foundation as an innovative voice in education, and one of the 6 top women educators in the performing arts. In 2012, in collaboration with the ProJazz Institute Hopkins created and launched the first musical theater-training program in Chile. Her recent TEDx Talk on the importance of mental wellness education for students, along with her research and curriculum-based mental wellness training program for performing artists at Texas State has garnered international attention. As an actress her Broadway credits include: Noises Off, Anything Goes with Patti LuPone and originating the role of “Mama Who” in How The Grinch Stole Christmas. Hopkins has a half dozen cast album credits to her name and has originated multiple roles off-Broadway including: Bat Boy-the Musical for which she received a Drama Desk and Ovation award nominations, Bare: A Pop Opera, The Great American Trailer Park Musical, and Nicky Silver’s Beautiful Child. National tours include originating the roles of “Diane” in Disney’s On The Record, and “Margorie” in Dirty Dancing, and originating the role of “Tiffany” in the international tour of the John Adam opera I Was Looking at the Ceiling and Then I Saw the Sky directed by Peter Sellars. Hopkins has appeared in over 50 television shows including Star Trek- Deep Space Nine, Star Trek Voyager, JAG, Law and Order, Law and Order SVU, Law and Order CI, Rescue Me, Spin City and three years on Another World as Dr. Kelsey Harrison. She has appeared in 11 feature films including The Nanny Diaries, Confessions of a Shopaholic, Crocodile Dundee in Los Angeles and How To Kill Your Neighbor’s Dog with Kenneth Branagh. As a director, writer, producer her production of The World According to Snoopy, which made its world premiere at Texas State, and its regional premiers at Theatre Under The Stars, and Theatre Aspen, has been licensed by Tams Witmark . Other producing credits include producing radio plays and musicals for LA Theatre Works-The Plays the Thing Series and for The Pet Shop (Animal Planet Network) hosted by comedian Andy Kindler. As a director, favorite credits include: The Boch and Harnick Revue To Life!, which she co-conceived with Tony award winner Robert L. Freedman, The Two Orphans by Theresa Rebeck, and Collision Course by Jim Price (The Lark Play Development Center, NY). She is a member of the Playwright and Director's Workshop at The Actors Studio in New York. Kaitlin’s directing credits at Texas State University include: The Hunchback of Notre Dame, RENT, Anything Goes, Urinetown, Hair, All Shook Up, Oklahoma!, The Wild Party, A Little Princess (world premiere), and Bat Boy-The Musical. Her productions at Texas State have been recognized with numerous awards by the Austin Critics' Table Awards. In this episode, NYC-based actress and host Maggie Bera chats with Kaitlin about how COVID-19 will impact the future of college auditions. To join the Actor Aesthetic Alliance Facebook group, click here. Spread love and don't forget to rate, review and subscribe to the Actor Aesthetic Podcast on iTunes, Google, Stitcher, or your favorite podcast app. Visit actoraesthetic.com for more info. Follow Maggie Bera on social media Instagram: @actoraesthetic Facebook: www.facebook.com/ActorAesthetic/ Email: maggie@actoraesthetic.com
Join us in our first episode as we discuss Bernhardt/Hamlet by Theresa Rebeck. Follow Avant-Bard on Twitter, Facebook, and Instagram. Support the show on Patreon!
The Friends recorded on June 23 where they discussed the news that Broadway will not be back until January 2021 (at least). They also went into a deep dive on 2666 by Seth Bockley and Robert Falls—a five-hour play adaptation of the Roberto Bolaño novel, that is currently available to stream for free at the Goodman Theatre's website. Then they hop on a Zoom call with Raúl Esparza, where Jose manages to hide his excitement and act like a professional. The four-time Tony nominee has been doing a lot of virtual theatrical experiences, including hosting the Stephen Sondheim birthday special, Take Me to the World, and doing a monologue from his kitchen. Esparza talks about getting type-casted and how he hopes the theater of the future will be cheaper. This weekend, he will be doing a live reading of the comedy Tartuffe, produced by Molière in the Park. Here are links to things that Friends talked about in this episode. 2666 at the Goodman Theatre The Guardian: "Barcelona opera reopens with performance for more than 2000 potted plants" Kotaku: "Pokémon Plush Toys Gather To Watch Korean Baseball" Broadway News: "Broadway shows expected to remain closed through early January" Tartuffe from Moliere in the Park Seared by Theresa Rebeck at MCC Theater. Raúl Esparza doing a 24-Hour Play monologue Take Me to the World: Stephen Sondheim's 90th Birthday Celebration Lindsay Mendez's Tony Awards acceptance speech Mixed Blessings at the Coconut Grove Playhouse Support the show (https://www.patreon.com/tokentheatrefriends?fan_landing=true) Learn more about your ad choices. Visit megaphone.fm/adchoices
Alaine Alldaffer | Casting Director at Playwrights HorizonsAlaine Alldaffer has cast theatre and television for over [25] years. She has received 12 Artios Award Nominations, and 2 wins, for Excellence in Casting. Alaine proudly serves as Casting Director for Playwrights Horizons, a position she has held for more than two decades, casting well over 100 productions throughout her tenure and working with some of the most respected playwrights in the industry including Billy Porter, Annie Baker, Bruce Norris, Christopher Durang, Craig Lucas, Sarah Ruhl, Gina Gionfriddo, Lynn Nottage, Richard Nelson, Robert O'Hara, Danai Gurina, Dominique Morisseau, Heidi Schreck and Theresa Rebeck.Playwrights Horizons casting credits include: A STRANGE LOOP (Pulitzer Prize for Drama 2020), HEROES OF THE FOURTH TURNING (Lortel award for best play) GREY GARDENS with Christine Ebersole (also cast the Broadway transfer); CLYBOURNE PARK with Jeremy Shamos, Annie Parisse and Frank Wood (also cast the Broadway transfer); LOG CABIN by Jordan Harrison with Jesse Tyler Ferguson directed by Pam McKinnon. CIRCLE MIRROR TRANSFORMATION with Reed Birney, Tracee Chimo, Peter Friedman, Deirdre O'Connell and Heidi Schreck (Drama Desk and Obie Awards for Best Ensemble as well as an Artios Award for Casting); THE FLICK with Louisa Krause, Matthew Maher and Aaron Clifton Moten; DETROIT with David Schwimmer, Amy Ryan and John Cullum; RAPTURE BLISTER BURN with Amy Brenneman; DEAD MAN'S CELL PHONE with Mary Louise Parker and RODNEY'S WIFE with David Strathairn and Jessica Chastain. A LIFE with David Hyde Pierce.Other casting credits include: BETHANY with America Ferrera (Women's Project Theater) and EVERY TONGUE CONFESS with Phylicia Rashad.Film and Television credits include: "Ed" for NBC and "Monk" for USA., "Buddy and Grace" directed by Claudia Meyers. In addition to her work with Playwrights Horizons, Alaine also casts for regional theaters including The Huntington Theatre in Boston, The Alley Theatre in Houston, Arena Stage and Studio Theatre in DC, Williamstown Theatre Festival, Seattle Rep., ACT, Berkeley Rep., and People's Light Theatre in Philadelphia, Two Rivers in NJ, Old Globe San Diego and the Goodman in Chicago.She is also a popular acting teacher, teaching acting classes at Columbia, NYU, The New School and Rutgers. Not to mention sold out acting workshops in New York City and around the country.
Donna welcomes comic genius Beth Leavel, brilliant playwright Theresa Rebeck and maestro music supervisor and philanthropist Mary-Mitchell Campbell to Sardis. These powerhouse women lunch while lost in riveting insider conversation about their careers and their lives. Triple theatre Tony winner Beth Leavel was most recently seen on Broadway in "The Prom". Other unforgettable roles include: the title role in "The Drowsy Chaperone", Florence Greenberg in "Baby It's You", Mrs. June Adams in "Bandstand" and Emily in "Elf". Renown playwright Theresa Rebeck's most recent work, "Seared Ends", played Off-Broadway in 2019. She has been celebrated for her Broadway plays "Bernhardt/Hamlet", "Dead Accounts", "Seminar" and "Mauritius". Mary-Mitchell Campbell is unstoppable as a brilliant artist and formidable philanthropist for her organization ASTEP. Her Broadway work as Musical Director, Supervisor, Arranger... includes: "The Prom", "Mean Girls", "Finding Neverland", "The Addams Family" and the 2006 "Company". Produced by Dori Berinstein and Alan Seales, music composed by Matthew Sklar. Part of the Broadway Podcast Network. Every episode is recorded live at the legendary Sardi's restaurant, 234 W 44th St, New York, NY 10036. Thank you so very much to Max Klimavicius, Sean Ricketts, Beth Shafeman and the entire Sardi's family for your tremendous kindness and delicious cuisine! Learn more about your ad choices. Visit megaphone.fm/adchoices
"Bombshell” premiered on May 14, 2012. Rebeck stans rejoice: this finale episode was written by show creator Theresa Rebeck. It was also directed by Michael Morris, who last directed episode 3 of the series. The viewership was up by about a quarter million viewers this week, ending the season with a triumphant 5.96 million! Yay! No covers this week! Instead, rounding out the season was all music by Marc Shaiman and Scott Whitman. Just like last week, we had various snippets of the Bombshell songs, but most notably were a fully-staged production number (complete with Ivy cutaways) of “I Never Met a Wolf Who Didn’t Love to Howl,” and the thrilling last-minute finale of Don’t Forget Me, sung by season 1’s understudy-turned-leading lady Karen Cartwright. It’s 15 minutes til places and the theatre is buzzing. Tom and Julia are feverishly finishing rewrites to give to their new Marilyn. But who is it? Karen or Ivy? We are transported twelve hours earlier, where Derek, Eileen, Tom and Julia are arguing about how to move forward now that Rebecca has left the production. But in Derek’s mind he continues to see Karen as his Marilyn, so he makes the decision to put Ms. Cartwright on as Ms. Monroe. The day is spent putting Karen into the show, altering costumes and updating her on rewrites. And as the rehearsal progresses, Karen proves herself adept at the part. But even while she is being put in there are whispers that Ivy already knows most of the show, most notably from Ms. Lynn herself. When Ivy confronts Derek about why it wasn’t her, he finally admits to her that he’s always seen Karen as Marilyn in her head. She’s not the only one who is #TeamIvy; Even Eileen is pushing Derek to put Ivy on. When Karen learns that Ivy and Dev hooked up she takes her wig off and goes missing. Ivy goes as far as getting into Marilyn’s costumes but Derek gets Karen to channel her personal angst into the role and get back into rehearsal. And with that we are back at the evening preview with Karen shining as Marilyn Monroe, debuting Tom and Julia’s new ending to the show, a stirring ballad called “Don’t Forget Me.” Learn more about your ad choices. Visit megaphone.fm/adchoices
“Publicity” premiered on April 23rd, 2012. It marks the return of our original team from the pilot and first few episodes of the series: Theresa Rebeck and Michael Mayer, who respectively wrote and directed this episode. The viewership was up this episode! Yay! Premiering to 6.01 million viewers, about sixty thousand more than last week!! Gotta be that Bollywood promo, right? There were three featured songs this episode, which may have been my favorite episode soundtrack of the season. One cover of “Run” by Snow Patrol, and two original songs: the Bollywood-inspired original “A Thousand and One Nights” and shadow Marilyn’s ballad of “Secondhand White Baby-Grand,” both written by Marc Shaiman and Scot Whitman. Derek calls Karen into rehearsal early to ask her to continue looking over the leading lady material, saying “I think you’d make a brilliant Marilyn.” Rebecca invites Karen to go out together in order for Ms. Duvall to “check out the competition.” When Karen slays Snow Patrol’s “Run,” Rebecca tells her “You are not an understudy, you are a star!” But Rebecca Duvall continues to give notes on the Bombshell script and score, including to ut one of the show’s only romantic duets “Mr. and Mrs. Smith.” When Tom and Julia write a new song called “Second Hand White Baby Brand,” Rebecca says it should be given to one of Marilyn’s “shadow selves”: Karen! Rebecca continues to ingratiate herself with the company, making smoothies with Linda the stage manager, and becoming BFFs with Karen - taking her clubbing and giving her designer clothing. Everyone’s having dinner dates: Ivy at drinks with Sam and Tom, Eileen and her bartender boyfriend out at BAM, and Karen out to Indian food with Dev and Rebecca, who end up passive-aggressively arguing about what Karen wants her future to look like. In her mind, Karen transports herself to multicultural Bollywood where Dev and Karen challenge each other to prove their love is longer than “A Thousand And One Nights.” The number features 30 dancers including current Broadway performers Ericka Hunter, Nina Lafarga, Nathan Lucrezio and Katie Webber. The fantasy sequence is performed in an Indian wedding venue as scores of multicultural dancers in tunics and saris pitch their thumbs and middle fingers together and push flexed hands towards the corners of the room. In curtained corners of the hall, Rebecca, Tom, Eileen, Julia and the rest of our leading players pose in tableaus that reflect the song’s quandaries. Back in reality, Julia’s missing son turns out to be sleeping on a friends’ floor, but the search for him causes Julia and her husband to come back together. Her son’s return also brings Tom and Sam together, cementing their budding relationship with a sweet and subtle kiss. Ivy watches Ellis relegated to making Rebecca Duvall’s smoothies, and concocts a plan to get both Rebecca and Karen in trouble by feeding them misinformation about the rehearsal schedule. When Rebecca returns 15 minutes late from a 10 minute break, Derek lambasts her. But when Karen doesn’t return to rehearsal at all, Derek gives Karen’s new song to Ivy. Ivy crushes her first run of “Second Hand Baby Grand,” which includes staging that rolls Rebecca Duvall upstage as Ivy’s Shadow Self takes downstage center. But the moment the company applauds Ivy for her spectacular performance, Rebecca tells the room that she thinks Marilyn should sing the song. Learn more about your ad choices. Visit megaphone.fm/adchoices
We're Back! Thanks for your patience during our brief New Year hiatus.In this episode we explore MCC's production of Theresa Rebeck's "Seared". In another installment of our 'Did You Make The Right Call?' series, The Critic correctly remembers that Moritz won a Tony, Easy goes on way too long, and we introduce a new feature to the bloopers. Enjoy!Please please reconsider your use of this Google Doc with opening and closing dates: https://bit.ly/2YAKIEY
Our real life friend and very real life Tony winner Annaleigh Ashford is joining us on the show today and we are pleased as punch. You Might Know Her From Kinky Boots, Masters of Sex, Sunday in the Park with George, American Crime Story, Unbelievable, You Can’t Take It with You, Late Night, and Second Act. Annaleigh talks to us about her eventual variety show, joining the Ryan Murphy universe to play Paula Jones, and what it’s like working opposite huge stars like Jake Gylenhaal and Jennifer Lopez. Omigod, you guys, it’s Annaleigh Ashford! Follow us on social media: @damianbellino || @rodemanne Discussed this week: Julia Roberts reviews for Three Days of Rain (Richard Greenberg) Aniston Dumplin’ Tina and Bette l word Lindsay and Melanie Queer as Folk Variety shows : Rosie O’Donnell’s; Martin Short and Maya Rudolph’s, Judy Garland’s; Carol Burnett’s The Chipmunk Adventure John Mulaney’s Sack Lunch Bunch Paula Jones in new Ryan Murphy American Crime Story Sunday in the Park with George starting Jake Gyllenhaal Microbiome Lo and Selena Gomez in Second Act BFFs J Lo & Leah Remini Charlene Yi’s Instagram (recreating J. Lo’s posts) Unbelievable Kavanaugh hearings Rapes in Golden, Colorado Bad Education with Alison Janney Hugh Jackman Ramona Singer and Turtle Time Only scared of Bernadette Peters & Angela Lansbury Rent with MJ Rodriguez as Angel (Annaleigh’s “Over the Moon”) Betty on Masters of Sex Sarah Silverman played Annaleigh’s girlfriend on Masters of Sex Annaleigh in Woody Allen movie, A Rainy Day in New York Won her Tony for You Can’t Take It With You with James Earl Jones & Elizabeth Ashley Legally Blonde broadway Annaleigh in Sex and the City movie with Bridget Everett The Rocky Horror Picture Show Live “Personality dialysis” Doing the Tin Man in The Wiz (MIscast) Dream roles: Charity in Sweet Charity, Mrs Lovett, Martha in Who’s Afraid of Viriginia Woolf Husband is Joe Tapper Correction: Jason Robards was married to Lauren Bacall and Colleen Dewhurst was married to George C. Scott Bobby Cannavale & Rose Byrne Plays a Youtuber in Late Night Kinky Boots - character Lauren is a real Annaleigh Hamilton controversy for actors to get paid for workshop contributions Sarah Jessica Parker originated Sylvia. Annaleigh starred in Broadway revival with Matthew Broderick “Dumb Hotel”=Lily St. Regis in Annie Getting fired from Banana Schpeel Annaleigh in Smash pilot. Director, Michael Mayer used her “book” Beloved creator of Smash greatest show on earth: Theresa Rebeck
Today on The Neil Haley Show, The Total Tutor Neil Haley will interview Skylar Astin of NBC's ZOEY"S EXTRAORDINARY PLAYLIST. Skylar Astin plays Max in NBC's new midseason drama “Zoey's Extraordinary Playlist.” Astin's turn in the “Pitch Perfect” franchise is the role for which he is likely best known. He has created a number of diverse and notable roles in other films, including starring opposite Miles Teller in the comedy “21 and Over,” “Taking Woodstock” for director Ang Lee and the Sundance entry “Hamlet 2,” as well as “Flock of Dudes,” “Cavemen” and the Disney animated film “Wreck It Ralph.” He currently can be seen with Steve Coogan in Frank Coraci's comedy “Hot Air” and the upcoming psychological thriller “Ghosts of War.” On the TV side, Astin co-starred opposite Golden Globe winner Rachel Bloom in the final season of “Crazy Ex-Girlfriend.” Prior to that, Astin Skylar was cast alongside Nick Nolte in the Golden Globe-nominated dark comedy “Graves.” Other TV roles include “Ground Floor,” “Girls,” “Halt and Catch Fire,” “House” and “Love Bites.” A native New Yorker, Astin's first break came in the 2006 stage production of “Spring Awakening,” which went on to win eight Tony Awards. He played Tony in “West Side Story” at Carnegie Hall and co-starred in Encore's production of Kurt Vonnegut's “God Bless You, Mr. Rosewater.” He was last seen in Pulitzer Prize nominee Theresa Rebeck's play “What We're Up Against.”
“The Coup” premiered on March 26, 2012. It was directed by Paris Barclay, and written by show creator Theresa Rebeck. This is the first episode Ms. Rebeck has been credited with writing since episode 3. Upon premiere, the episode was viewed by 6.14 million, which is down .42 million from the week before. It just keeps going down… This is the first episode where there is zero music by Marc Shaiman and Scott Whitman, which makes sense since the workshop’s over. Instead, we have the original song “Touch Me” written by Ryan Tedder of OneRepublic and Bonnie McKee, and two covers of Bob Marley’s “Three Little Birds” and Sly and the Family Stone’s “Dance to the Music.” After the Bombshell workshop, everyone is asking if the musical is dead. Well, Ivy is at least - driving herself crazy on a stationary bicycle. In addition, Derek and Ivy are taking a bit of a break so her inside track on the progression of Bombshell is moot. Derek meets with Karen to tell her that “they” are talking to a new songwriter, a new approach and a new song “and they need her to sing it.” The catch? Tom and Julia can not know. But they do know! Because assistant Ellis and producer Eileen are now BFFs and Ellis now seems to have a full time gig as a professional snoop. Karen is concerned about aligning herself with Derek but agrees to meet him at a dockside in Queens. The dockside ends up being a Brooklyn warehouse where Ryan Tedder of One Republic is working on, which involves Karen singing “‘touch me’ to a bunch of dancers.” Sam and the ensemblists of Bombshell *finally* get Ivy out of the gym by taking to Brooklyn Bowl. Bobby the soothsayer laments “they pay us nothing for those things and then as soon as it’s over no one calls and then we end up prowling around trying to figure out what’s going on. We did all that work for free, basically, and then we have no rights to even ask a question.” The result is what is perhaps the most realistic exchange of the television series thus far: Jessica: “I hate the theatre.” Bobby: “I hate the theatre.” Ivy: “I love the theatre.” Which turns into a bowling lane dance party, jumping off of the furniture, and grapevining down the bowling lane. Ivy catches Ellis on one of his snooping missions, where he lets on the Karen and Derek are working together. She replies, “Oh if they’re going to replace me with a star that’s bad enough but Karen Cartwright is a nobody.” Bobby meets up with Karen under the guise of catching up since the workshop, but what he’s really doing over beers is getting the dirt on Karen’s secret project. The secret project ends up being a choreographed performance of “Touch Me” a Marilyn-inspired techno song staged on a rotating bed with satin sheets. Needless to say it doesn’t go over well with Tom and Julia, with both of them feeling betrayed by Derek and Eileen going behind their backs. But when the creative team finally comes together, Eileen tells them that the Marilyn musical now needs a star to move forward. Learn more about your ad choices. Visit megaphone.fm/adchoices
In our final episode of the season playwright Leah Nanako Winkler tells Christine about a 3Views, a new initiative to invite more voices into theater criticism. Later freelance critic and journalist Jose Solís and playwright, screenwriter, and novelist Theresa Rebeck talk about Jose’s first love- theater criticism and why boiling everything to thumbs up or down is damaging to the industry. This episode features Leah Nanako Winkler (God Said This, Season 2 New Amsterdam on NBC) Jose Solís (TCG’s Token Theatre Friends) and Theresa Rebeck (MCC’s Seared, Bernhardt/Hamlet) The Dramatist Presents: Talkback is a production of The Dramatists Guild of America and BOOM Integrated . This episode was produced by Sarah Storm, Amy VonMacek, Christine Toy Johnson, directed by Sarah Storm, and edited by Jenn Grossman and Clint Rhodes of John Marshall Media. It was recorded by Eric Dabdoub for JMM. Special thanks to Tina Fallon, Ralph Sevush, David Faux, Tari Stratton, Adrien Glover, Robin Lai, and John Marshall Cheary.
“The Cost of Art” premiered on February 27, 2012, and was the first episode in the series NOT written and directed by show creator Theresa Rebeck and Michael Mayer. The episode was written by David Marshall Grant, and directed by Michael Morris. At premiere, the episode was viewed live by 6.6 million, but including DVR recording, was viewed by a total of 9.05 million viewers. There was a lot of music in this episode: Two original songs (History is Made at Night and I Never Met a Wolf Who Didn’t Love to Howl), two snippets of original songs (20th Century Fox Mambo from last ep, and preview of Let’s Be Bad from the next episode), and two covers (Buble’s Haven't Met you Yet and Adele’s Rumor Has It). The workshop of Bombshell has begun! Michael Swift is in, Julia is avoiding Ellis, and all seems right in the world. We also meet two icons of the Smash Universe. Linda, America's Favorite Stage Manager, played by Ann Harada, and Bobby, the snarky chorus boy everyone loves to loves, played by Wes Taylor. Ivy enters the rehearsal room to riot, if somewhat random applause from her castmates and Derek gives us the rundown: the workshop is primarily for the ensemble, only some numbers will be staged, some costumes but “basically it’s up to you to sell it.” However, Eileen Rand doesn’t have the $200,000 she needs to finance this workshop. Turns out her soon-to-be-ex-husband Jerry is keeping her from accessing all but $8,000. So she tries to sell a prized Degas sketch hanging in her office to make it happen, but even that it is Jerry’s name. Karen keeps getting cut from numbers, thanks to sly comments from Ivy. She confides in Jessica, who along with Sue and Bobby, take shipping for LaDuca, new dance clothes and an “intervention.” Which is Chinese food, Marie Kando-ing her closet and performing a dance from routine from their snap and booty shake “dance class.” Everyone ends up at a party for Lyle West at Derek’s house, which of course has a casual grand piano, a drum set and a saxophonist. Eileen has brought the Degas with her which she offers in exchange for points - IF the show is any good. So there’s an impromptu performance of Bombshell which is enough for Lyle to chip in the $200k. Learn more about your ad choices. Visit megaphone.fm/adchoices
The most Broadway-produced female playwright of our time and playwright of MCC's Seared; Other works: Bernhardt/Hamlet, Dead Accounts,Downstairs (Primary Stages), Omnium Gatherum (Pulitzer Prize Finalist).
On this week's show, Jamie, Rob, and Jennifer chat with playwright Theresa Rebeck about her smashing new play, “Seared” at MCC Theater. Theresa was also the creator of the television show “Smash”, and is the award winning playwright of “Mauritius”, “Bernhardt / Hamlet”, “Seminar”, and “Dead Accounts” on Broadway, and “Omnium Gatherum”, “A View of the Dome” Off-Broadway. We discuss all things food, the challenges of cooking on stage, the secrets of mac & cheese and butter, and get some insight into her writing process. A bit later, Rob gives a look into other shows that feature cooking on stage. This week's music: “Overture” from “Company, 2018 London Cast Recording”, and “Food Glorious Food”, from “Oliver!, 1994 London Palladium Cast Recording”. Find us on Twitter & Instagram: @fabulousinvalid Facebook: www.facebook.com/fabulousinvalid Rob's reviews: www.stageleft.nyc Email us at: info@fabulousinvalid.com Jamie Du Mont Twitter: @jamiedumont Instagram: @troutinnyc Rob Russo Twitter/Instagram: @StageLeft_NYC Jennifer Simard Twitter: @SimardJennifer Instagram: @thejennifersimard Learn more about your ad choices. Visit megaphone.fm/adchoices
“Enter Mr. DiMaggio” premiered on February 20, 2012. It was written by Theresa Rebeck, and directed by Michael Mayer. It’s only three weeks until rehearsals begin for the workshop of the new Broadway-bound musical Bombshell. However, other than a great idea (that may or may not have been stolen from composer Tom Hewitt’s assistant Ellis) the writing team only have eight songs and half a book ready to go. Up and upcoming ensemblist Ivy Lynn wonders if the only reason Derek gave her the part for the workshop is because she slept with them. He doesn’t seem to give her any reason to think otherwise, spending his energy on courting Karen for a role in the ensemble. Meanwhile, the creative team hunts for the rest of the workshop’s cast. They think they’ve found their leading man Joe DiMaggio in Michael Swift, played by Will Chase. Since he is offer only, Eileen and Derek scout him out at an off- off- Broadway Show. But it turns out Michael Swift has a past with our lyricist Julia Houston - they had an affair five years ago! Karen’s parents are worried about her (still) but she stands up to them, saying “being in the chorus of a workshop is so much bigger than many people get to do.” Dennis tells Tom that Derek and Ivy are dating. Julia confides in Tom about her affair, which Ellis overhears. But Ellis is making his own mistakes, stealing Julia’s notebook of ideas for Bombshell as well as sleeping with his friend/roommate/girlfriend Condola Rashad. Learn more about your ad choices. Visit megaphone.fm/adchoices
Episode 2 is titled, “The Callback,” and it premiered on February 13th, 2012. It was written by Theresa Rebeck, and directed by Michael Mayer, both of whom also wrote and directed the pilot. The episode begins with the Bombshell creative team mulling over they are #TeamIvy or #TeamKaren. Tom and Julia are playing with the show’s structure, moving songs around, as director Derek takes Karen and Ivy through dance auditions. Tom tells Ivy “I would have just given it to you.” Karen stays late for a work session, missing an important business dinner of her boyfriend, Dev. Ivy takes the challenge of competition for the role head on, reading biographies, watching movies, practicing Marilyn’s lip placement and eventually having sex with the director. In the final auditions, Karen performs a full staging “20th Century Fox Mambo” surrounded by ensemblists.. Derek justifies it by telling Eileen, Tom and Julia “Oh guys? The song was so good that we just went ahead and staged the whole thing.” Karen is green, but she’s certainly trained. Ivy was completely spontaneous and sexy. Ivy comes out on top, as the orchestra swells, she cries. But Eileen and Derek agree to keep their eye on Karen Cartwright. Also, Dev works at City Hall and Julia pursues adopting a baby from China that her son Leo does but her husband Frank doesn’t. But nobody does. Learn more about your ad choices. Visit megaphone.fm/adchoices
The first episode of Smash is aptly named, “Pilot.” The episode premiered on February 6th, 2012. It was written by the show’s creator Theresa Rebeck, and directed by Michael Mayer. The pilot premiered to an audience of 11.44 million people! This episode featured seven songs, three of which were original songs written by Marc Shaiman and Scott Wittman: “Never Give All the Heart,” “The National Pastime,” and the show’s anthem “Let Me Be Your Star.” The other four were covers of “Somewhere Over The Rainbow,” “I Wanna Be Loved By You,” “Beautiful,” and “Happy Birthday, Mr. President.” We fade in on a girl with a hunger for fame and a face and a name to remember. That face is Katharine McPhee and that name is Karen Cartwright. She’s singing “Somewhere Over The Rainbow” in an audition. A team of writers Tom Levitt and Julia Houston are tipped off to a subject for a new musical by their assistant Ellis. Ellis says “I think (Marilyn Monroe) would make a good musical.” Julia is intrigued by Marilyn as a subject, saying “There’s just something about (Marilyn). How much she loved and wanted to be loved.” So the team gets to work on a demo, bringing in Ivy Smith to record the song. Ivy is currently an ensemblist in Tom Levitt’s Broadway production Heaven on Earth, but she confides to him that “You know I love the show. I love you.” Tom: “The ensemble not so much.” Ivy: “I just want a part.” After THREE commercial breaks, we meet Anjelica Houston as Eileen Rand, who wants the project and wants to connect them with a hot-tempered director Derek Wills. They all agree to set aside their differences, in part due to a specularly staged number on spec called “The National Pastime.” Karen turns a remarkable audition for Marilyn, singing Smash’s first pop cover: “Beautiful” by Christina Aguleria. Derek is intrigued enough to invite Karen over to his apartment under the pretence of a private coaching session. She keeps Derek at arm’s length , and the episode ends with both Karen and Ivy vying to “Let Me Be Your Star.” Learn more about your ad choices. Visit megaphone.fm/adchoices
Dawn Monique Williams discusses OSF’s 2020 production of “Bernhardt/Hamlet,” playwright Theresa Rebeck’s fact-meets-fiction exploration of legendary actress Sarah Bernhardt’s determination to play Hamlet in the late 19th century. #BernhardtHamletOSF osfashland.org/2020
WE’RE BACK for SEASON TWO…. IT’S DONE FOR! EPISODE 1: This season, we've selected the book The Five Invitations by Frank Ostaseski. We jump right into episode 1 with the first Invitation: Don’t Wait. We’ll continue to circle back to our foundational questions: 1) What leads to a good death? and 2) What does that tell us about how to live a good life? Listen in as we continue the conversation, and tell us how you’re answering these questions. If you like this, tell someone! Please help us out by sharing it and spreading the conversation. RESOURCES: The Five Invitations (Flatiron Books, 2017) by Frank Ostaseski. Frank Ostaseski is an internationally respected Buddhist teacher and visionary cofounder of the Zen Hospice Project, and founder of the Metta Institute. He has lectured at Harvard Medical School, the Mayo Clinic, Wisdom.2.0 and teaches at major spiritual centers around the globe. Frank is the 2018 recipient of the prestigious Humanities Award from the American Academy of Hospice and Palliative Medicine. Frank's groundbreaking work has been featured on the Bill Moyers PBS series On Our Own Terms, highlighted on The Oprah Winfrey Show, and honored by H.H. the Dalai Lama. He is the author of The Five Invitations: Discovering What Death Can Teach Us About Living Fully. The Chaplaincy Institute in Berkeley, CA is where the 3 of us met and began to share our stories. The Chaplaincy Institute is an Interfaith Community and Seminary that strives to create a just world that honors the sacred connection of all. Find out more at www.chaplaincyinstitute.org. “Churchianity” was actually a term Jessica first learned from the Rev. Dr Megan Wagner. ProgressiveChristianity.org is a global resource of open, intelligent, and collaborative approaches to the Christian tradition and the life and teachings of Jesus that creates a pathway into an authentic and relevant religious experience. Shower the People, James Taylor (June 1976) It turns out Jessica is way better at this than even she thought! Well, with the exception of re-writing this James Taylor classic with new words. Fundamentalism: despite the first three letters indicating an emphasis on ‘fun’, fundamentalism in many forms (religious and non-religious) can be damaging. We hope if you’ve experienced that kind of trauma, that you will share your story and continue to listen. Book Club Questions: One of our dear listeners (and Jessica’s BFF) wrote a guide for this season. Find it here: (link to pdf attached) Also, it turns out Frank has developed a guide that can be found at: fiveinvitations.com/book-club Atlas: The Atlas personality, drawing on the myth of the giant Atlas from Greek mythology upholding the world, is someone obliged to take on adult responsibilities prematurely. They are thus liable to develop a pattern of compulsive caregiving in later life. https://en.wikipedia.org/wiki/Atlas_personality Female Playwrights: yeah, there are a lot of these David. Take your pick… an ditch the white dudes. Annie Baker, Lisa D’Amour, Sarah DeLappe, Margaret Edson, Liz Flahive, Amy Freed, Madeleine George, Rebecca Gilman, Gina Gionfriddo, DW Gregory, Danai Gurira, Leslye Headland, Amy Herzog, Quiara Alegria Hudes, Lucy Kirkwood, Young Jean Lee, Jennifer Maisel, Martyna Majok, Lynn Nottage, Antoinette Nwandu, Suzan-Lori Parks, Theresa Rebeck, Yasmina Reza, Sarah Ruhl, Laura Shamas, Lisa B Thompson, Lucy Thurber, Joyce VanDyke, Paula Vogel, Anne Washburn. Thanks to theatrenerds.com Anne Lammott first used the phrase “shitty first drafts” in her book Bird by Bird (1995) to emphasize why perfectionism can kill creativity. Learn more about Andrew Chirch, David Greenson, and Jessica Shine at DoneForPodcast.com
Three members of the fantastic ensemble gathered together for the Goodman Theatre production of Theresa Rebeck's Bernhardt/Hamlet - William Dick, Gregory Linington, and Larry Yando - gather to discuss the particular obligations that must be considered when playing real historical figures. Featuring extensive dramaturgical research, actual archival video, the wild imaginative leaps required to be able to portray a 19th-century critic as if he were human, tributes (or ripoffs?) from Trader Joe’s, the invention of merch, arguments about Hamlet’s age, similar pressures playing the famous historical figure Ebenzeer Scrooge, the ultimate dedication to the playwright’s text, and a play ostensibly about a diva that’s actually about an ensemble. (Length 22:43) (Pictured (l to r): William Dick, Larry Yando, and Gregory Linington in the Goodman Theatre production of Theresa Rebeck's Bernhardt/Hamlet, directed by Donna Feore. Photos by Liz Lauren.) The post Playing Historical Characters appeared first on Reduced Shakespeare Company.
Rob Ackerman is a Playwright whose plays include Tabletop, which won the 2001 Drama Desk Award for Best Ensemble Performance, Volleygirls which won the New York Musical Theatre Festival's Best in Fest, Call Me Waldo, Dropping Gumballs on Luke Wilson directed by Theresa Rebeck and produced by Working Theatre at Art New York Off Broadway, and Loyalty which has been optioned by Without a Net Productions to be produced at the end of 2019 or the beginning of 2020. He has also been the Property Master for the Saturday Night Live Film Unit for over 25 years. https://twitter.com/ackerman_rob
No one moves more gracefully between Hollywood and New York. Out west, she wrote for NYPD Blue, among many TV shows, before creating her own, Smash. Back east, her plays include Mauritius, Seminar, and the Pulitzer finalist Omnium Gatherum. She won the Edgar Award from the Mystery Writers of America, which isn’t really between Hollywood and New York, but we can’t be slaves to the map or the metaphor: she wouldn’t. Enjoy this recut conversation from 2014, with a bonus segment from another playwright, Suzan-Lori Parks.
Linda the Stage Manager is in the house! This week Ann Harada is in tech with Damian and Anne. You Might Know Her From Smash, Avenue Q, Seussical the Musical, Feel, Cinderella, Admissions, and Les Misérables. We get into growing up in Hawaii (and going to high school with Barack Obama), navigating the business as an Asian American character actress, plus EGOT stuff and the kindness and kookiness that comes with having Fran Drescher play your mom. And of course Theresa Rebeck and Bombshell til the cows come home. Thank you, five! Follow us on social media @damianbellino || @rodemanne Discussed this week Anjelica Huston article (Vulture) Maggie Smith in A German Life Ann’s IMDB || IBDB St. Louis style pizza Provel cheese (swiss, white cheddar, provolone) Dropping Gumballs on Luke Wilson (Robert Ackerman) directed by → Theresa Rebeck Smash Smash controversy: (Rebeck fired) (romance between co-stars) (brilliant recaps) Seussical (Eric Idle, Andrea Martin, David Shiner) other Cat in the Hats (Cathy Rigby, Rosie O’Donnell) Avenue Q wins Best Musical (“It Sucks to be Me” at the 58th Annual Tony Awards) Harada as Christmas Eve in “Everyone’s a Little Bit Racist” from Avenue Q Robert Lopez (double EGOTer) Punahou High School (Barack Obama also attended) Flower Drum Song (Rodgers & Hammerstein) Mrs Potts Feel (dir:Matt Mahurin) ft Billy Baldwin Mary Testa and Jackie Hoffman Played The Hawaii Chair in House of Cards (Chapter 48) Lindsay Price in Lipstick Jungle Cashmere Mafia (starring Lucy Liu fyi) Kim Raver, Brooke Shields, Lindsay Price Cinderella on Bway (Harriet Harris & Peter Bartlett) Stepsister’s Lament Sherri Shepherd, NeNe Leakes, Fran Drescher and coffee enemas (not an endorsement) (living) EGOTers: Whoopi Goldberg, Rita Moreno, Andrew Lloyd Webber, Jonathan Tunick, Scott Rudin, Mel Brooks,Tim Rice (John Legend doesn’t get to participate in this game, too sexy) Admission with Tina Fey (we refer to it as Admissions once or twice, oops) Bert Lahr story from Bossypants Ann Harada’s essay: Acting While Asian
Hi Friend, Welcome to a special 2018 Christmas Eve Episode of Sally’s Performing Arts Lab Podcast. Today, we’re going to talk about my upcoming guests now that 2019 is right around the corner. I’m your SallyPAL podcast host, Sally Adams. I talk to people about creating original work for a live audience. Send an email anytime to Sally@sallypal.com. Although I’ve been away from podcasting for a few months, I am still out here supporting new works wherever I see the opportunity. As 2018 draws to a close I wanted to share some thoughts before I kick into twice a month podcast uploads again. After producing over 50 episodes of SallyPAL, I took a break from podcasting. It was only supposed to last a month to make time for some other projects. But I got out of the habit of regularly editing and posting and after a few more weeks I was almost embarrassed to start again. It’s like that feeling you get when you forget to send a baby gift and then 2 years later you figure it’s probably too late to send that onesie you were maybe going to buy. But enough about me and my nieces… There are some things on the horizon that are really too exciting to ignore and I want to share them with my Sally PALS! So let me start by letting you know about the guests I have coming up in the next few months: Upcoming Guests Chris O’Rourke is a playwright, director, drama coach and critic with a Masters in Modern Drama. Chris was National Theatre Critic for com until July 2016 when Examiner.com ceased. During that time he extensively reviewed in Ireland and abroad. Chris is artistic director of Everything is Liminal and Unknown Theatre which specializes in originating works with young people from high risk backgrounds. Peyton Storz performs with the groundbreaking comedy Splatter Theater in Chicago. Peyton graduated from Columbia College Chicago with a BA in Comedy Writing and Performance, and has trained at The Annoyance Theater and The Second City in Chicago. She hails from my hometown, Tulsa, Oklahoma. Amber Harrington teaches theatre at Edison Magnet School in Tulsa, Oklahoma. With nearly 18 years of experience she has been named Teacher of the Year, won countless awards with her students, and has created programs for her theatre kids that are imitated throughout the state. Her student playwriting program is the first of its kind in Oklahoma and has produced two national award-wining playwrights. Amber is also a Folger Shakespeare Teaching Artist. Reed Mathis is making fresh music in The Bay Area. Reed tours with his own band and works as a studio musician blending his love of classical music (Beethoven in particular) with his spectacular bass-playing skills. Reed is a former member of Tea Leaf Green. He’s also played bass with Grateful Dead members Phil Lesh, Mickey Hart, and Bill Kreutzmann. He has also played with the Steve Kimock Band, and was a founding member of Tulsa progressive jazz band Jacob Fred Jazz Odyssey. Stick close because I also have an interview promised with J.D. McPherson as soon as his touring schedule lets up. Big news in public domain works and what it means for creatives: If you’re not sure exactly what the term public domain means, according to Google’s online dictionary, “public domain is the state of belonging or being available to the public as a whole, and therefore not subject to copyright.” This is a pretty big deal for creatives in general. But especially for arts teachers. Many of you may remember being admonished by your choir teacher or your drama director to get rid of your photocopies after a performance because the works were copyrighted and you did not have permission to keep those copies. In just a few days that will no longer be true for works published in 1923. Works published in 1922 and before have been available for 20 years. I know this because in 2013 I wrote a musical for my students that borrowed songs from 1922 and earlier including the well-known, “Be It Ever So Humble, There’s No Place Like Home”. A recent article in the Smithsonian magazine highlights a lot of the things that are important to artists regarding works in the public domain. According to the article on January 1, 2019, “all works first published in the United States in 1923 will enter the public domain.” Because of a weird discrepancy with the law, it’s been 20 years since there’s been any mass release of work into the public domain. The last time it happened was 1998 and Google didn’t even incorporate as a company until September of that year. That means the explosive growth of digital art hasn’t legally included variations on work from this period in part because works published in 1923 haven’t been in the public domain. Some of the work has been available, of course, without alteration, through publishers and for a price. 1998 was the year that public domain releases stopped because the Sonny Bono Copyright Term Extension Act added 20 years to the wait time for published works to enter the public domain. The bill was named for Congressman Bono posthumously although he did put his signature on the legislation. It’s complicated, just like copyright law so I’ve included some deep dive links for anyone who needs more. And don’t get me started on global copyright. It’s a hot mess. Next week, though, you’ll have total and free access to things like Robert Frost’s “Stopping by Woods on a Snowy Evening,” which, although written in 1922, was not published until 1923. The laws for these earlier works is different from works in the digital age. Nowadays, a work has a copyright as soon as it’s created. I’m not kidding when I say this stuff is ridiculously complicated. I’ll include a link to a great Brad Templeton website on copyright, plagiarism, and some other topics you might find interesting. Other things entering the public domain? Well, how about the unforgettable pop hit, “Yes, We Have No Bananas,” or the songs “Who’s Sorry Now?” and the flapper hit, “The Charleston”. The film debuts of Marlene Dietrich, Douglas Fairbanks, Jr. and Fay Wray will be available for general public use. There won’t be any Disney fare available until 2024. At the time the law changed, Mickey Mouse’s film debut, Steamboat Willie, would have been public domain in 2004. But the Disney Corporation lobbied to retain the rights to its creations over two decades into the next century. They didn’t have to lobby all that hard as both the House and Senate had corporate-leaning Republican majorities and President Clinton wasn’t looking to make public domain law a part of his platform. The 1998 law gave Steamboat Willie an extra 20 years before he would steer into un-copyrighted waters. What’s really exciting now is that digital collections like Internet Archive, Google Books and HathiTrust will be storing seminal works from the early days of American Modernism. D.H. Lawrence, Virginia Woolfe, Claude McKay, Sigmund Freud, George Bernard Shaw, Louis Armstrong, Gertrude Stein, and so many others. Members of the Harlem Renaissance, the DaDaist school, and the Algonquin Roundtable all feature prominently in 1923. This new surge of old works in the digital age allows for current creatives to freely play with the works of important artists of the era bridging WWI and the Great Depression. Works entering the public domain can be altered indiscriminately. You could even claim p.d. work as your own, but that’s not art, that’s plagiarism. As artists we are always standing on the shoulders of giants. Give attribution whenever you can. And do your homework. Look at the context for works that you use. Collaborating with ghosts expands our artistic horizons. It’s an exciting way to learn from our predecessors. Teachers will be free to share these works with their students and scholars can print important poems and essays many of us have never read. It’s only one year, but I think you’ll find that 1923 was a very good year, indeed. SallyPAL Shoppe opening – Stay on the lookout for the SallyPAL Shoppe. I’ll have t-shirts, coffee mugs, all the usual fun high-quality performing arts kitsch at decent prices. If you don’t see anything in the store yet, stay tuned! You’ve heard from my son Will Inman before and he’s back to talk about the new release of 1923 published works into the public domain, plagiarism, sharing your work, educational theatre, and some other cool stuff. Will’s plays have been produced in theaters from Texas to New York. He is currently a Cadence Pipeline New Works Fellow with Cadence Theatre in Richmond, Virginia. He’s been a featured student playwright with the VSA Kennedy Center plays, been performed with Tulsa SummerStage and Fringe festivals, Writopia Labs Comedy Playwriting Festival Houston University, Rogers State University, a portion of his play, The Lesbian Exhibit, was performed at Torrent Theatre in New York City, and last year he won the inaugural Edward Albee Playwriting Award by Theresa Rebeck for his play Winners. Concise Advice from the Interview - 5 bits of advice about using public domain work: DO give attribution when you use someone else’s work. It’s not a requirement, but it’s important to recognize the work of other artists, especially if it inspires you. Develop a sense of context for the work you are modifying. Find out something about the history and culture of the originating artists to give depth to your work Dig around in the available digital archives and learn more about public domain works. It’s creative, it’s fun and it’s educational! Learn more about copyright law. As an artist, it’s up to you to know the difference between plagiarism and responsible evolution of artistic work. Don’t just crib work, use the public domain to inspire all new original works of theatre, music, and dance. Check out the blog, SallyPAL.com, for articles and podcast episodes. You, too, can be a SallyPAL. Thank you for following, sharing, subscribing, reviewing, joining, & thank you for listening. If you’re downloading and listening on your drive to work, or commenting and reviewing like my sister does, let me know you’re out there. Storytelling through performance is the most important thing we do as a culture. That’s why I encourage you to share your stories because you’re the only one with your particular point of view. And SallyPAL is here with resources, encouragement, and a growing community of storytellers. All the stories ever expressed once lived only in someone’s imagination… Now… Go Pretend!
THIS IS A PREVIEW PODCAST. NOT THE FULL REVIEW. Please check out the full review on our Patreon Page by subscribing over at - https://www.patreon.com/NextBestPicture Our Patreon exclusive Next Best Theatre, your source for all things Broadway, is back! This time, the group was inspired by the recently-closed new play Bernhardt/Hamlet by Theresa Rebeck, to take a look at modern takes on William Shakespeare. For the first time without our usual host Michael Schwartz, myself Nicole Ackman and Cody Derricks take you on for this look at Tony-winner and Oscar nominee Janet McTeer's performance in Bernhardt/Hamlet, gender-bending roles, and our favorite filmed Shakespeare adaptations. Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture
Today I sit down for some major LOL's with the one and only Megan Lohne. We talk our favorite Halloween movies, Steel Magnolias, A Star is born, the new Theresa Rebeck play Bernhardt/Hamlet, Whole 30, Megan's new play about Edna St. Vincent Millay, and of course Bradley Cooper. Thanks so much Megan and as promised here are the show notes: https://events.adelphi.edu/au_event/words-like-fresh-skin/ (information on Megan's play) https://meganlohne.com (Megan's food blog) https://meganlohne.com (Megan's other blog) Books about Edna St. Vincent Millay Savage Beauty by Nancy Milford What Lips Have these lips Kissed by Daniel Epstein
Kurt Andersen and Theresa Rebeck discuss her new play about the most acclaimed actress of her day, Sarah Bernhardt. Justine Bateman’s new book examines being inside — and then outside — the fame bubble. A listener finds something surprising inside a book at a used bookstore — an inscription from the famous author of the book to an even more famous novelist. And how New York hip-hop pirate radio station WBAD rose — and fell. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kurt Andersen and Theresa Rebeck discuss her new play about the most acclaimed actress of her day, Sarah Bernhardt. Justine Bateman’s new book examines being inside — and then outside — the fame bubble. A listener finds something surprising inside a book at a used bookstore — an inscription from the famous author of the book to an even more famous novelist. And how New York hip-hop pirate radio station WBAD rose — and fell. Learn more about your ad choices. Visit megaphone.fm/adchoices
Novelist, screenwriter and Pulitzer-nominated playwright Theresa Rebeck is a woman of many hats - the latest of which is the director of the independent ensemble comedy Trouble. A film with modest ambitions but no small amount of charm, its tale of a small-town sibling rivalry is bolstered by tremendous performances from a more-than-qualified cast (Anjelica Huston, Bill Pullman, David Morse, Julia Stiles, Brian D'arcy James, the list goes on). For this special minisode of the podcast, Clint sat down for a phone interview with Rebeck to talk about the prevailing themes of her works, working with such an overqualified cast, and the intimate appeal of rural America. Take a listen! (Thanks to our sponsor Overcast, part of the Chicago Podcast Coop!)
On this episode, the Friends review the newest play by Theresa Rebeck, and interview Daphne Rubin-Vega and Gizel Jimenez.
The writer and star of “Bernhardt/Hamlet” on their timely play about a powerful woman
In this week's program, I tell you why this didn't post on Thursday and why it has to do with Theresa Rebeck & my day job. Four theatres announce their upcoming seasons. Two theatres choose new ADs. The Horton Foote prizes for plays are announced. Theresa Rebeck, Theresa Rebeck, Theresa Rebeck which is also Something I Had To Share With You... JOIN THE MAILING LIST SEASON ANNOUNCEMENTS Red Bull Theater, NYC Soho Rep, NYC Arrow Rock Lyceum Theatre, MO Washington Stage Guild, DC WHO'S IN AND WHO'S OUT Shakepeare Theatre Company in DC chooses Simon Godwin as new AD Johanna Pfaelzer will be the new AD at Berkeley Repertory Theatre in CA ARTICLES & INTERVIEWS Lauren Yee & Jaclyn Backhaus win Horton Foote Prize for Plays NYTimes.com article about Theresa Rebeck, "She's not revered, and she should be." SOMETHING I HAD TO SHARE WITH YOU... I discuss seeing Theresa Rebeck's new play, Bernhardt/Hamlet and provide an additional article about Sarah Bernhardt from BBC.COM THANKS FOR LISTENING AND HAVE A CREATIVE DAY!!!
Episode 1.02 The Callback! Directed by Michael Mayer Written by Theresa Rebeck We discuss token minorities, how Smash presents and/or misrepresents sexual harassment, who is the antagonist of the show?, Frank’s vegetable chopping, the Leo problem, Derek and Eileen’s work relationship, Theresa Rebeck’s adoption, and p-orbital’s in Ruth’s science corner. Trigger Warning: Sexual harassment Pop... The post Episode 1.02 – The Callback! appeared first on Talkin Smash!.
THIS IS A PREVIEW PODCAST. NOT THE FULL REVIEW. Please check out the full review on our Patreon Page by subscribing over at - www.patreon.com/NextBestPicture Our Patreon exclusive Next Best Theatre, your source for all things Broadway, is back! This time, the group was inspired by the recently-closed new play Bernhardt/Hamlet by Theresa Rebeck, to take a look at modern takes on William Shakespeare. For the first time without our usual host Michael Schwartz, myself Nicole Ackman and Cody Derricks take you on for this look at Tony-winner and Oscar nominee Janet McTeer's performance in Bernhardt/Hamlet, gender-bending roles, and our favorite filmed Shakespeare adaptations. Check out more on NextBestPicture.com Please subscribe on... SoundCloud - @nextbestpicturepodcast iTunes Podcasts - itunes.apple.com/us/podcast/negs-…d1087678387?mt=2 Spotify - open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at www.patreon.com/NextBestPicture
Alexandra Vassilaros has acted on stage, in film, and on television, but her passion is playwriting. Her most recent work, "Big Sky," about a well-to-do family, had its world LA's Geffen Playhouse in the spring of 2016. Her other plays include "Omnium Gatherum," a 9/11-born collaboration with Theresa Rebeck. It was a 2004 Pulitzer Prize finalist. Alex shares what it's like to be on stage and to write for the stage. There's a plenty to learn from this frank and fascinating conversation.
Review of Seared by Theresa Rebeck, directed by Margarett Perry, at San Francisco Playhouse through November 12th. Reviewed by Richard Wolinsky. Seared at S.F. Playhouse. The post Review: Seared, at San Francisco Playhouse appeared first on KPFA.
Bill English, Artistic Director of San Francisco Playhouse, discusses the 2016-2017 season with host Richard Wollinsky. In this yearly update, Bill English talks about the process of creating a world premiere, from commission to production, examines the previous and upcoming season at San Francisco Playhouse and talks about the theater as a vehicle for empathy and social change. San Francisco Playhouse is located at 450 Post Street in San Francisco. The first play of the season is “Seared” by Theresa Rebeck, a world premiere commissioned by the Playhouse, about the battle between art and commerce at an upscale restaurant in Brooklyn. The post SF Playhouse: Bill English appeared first on KPFA.
Want to know if a book's for you? Welcome to Love It or Loathe It, episodes where Bookshelf staffers and friends tell you exactly what they think about a newly released title. In this volume, Annie chats with Bookshelf manager Rebekah and frequent podcast contributor Hunter all about I'm Glad about You by Theresa Rebeck. Other titles mentioned: + Someday, Someday, Maybe by Lauren Graham + Are You My Mother?, by Alison Bechdel + Kitchens of the Great Midwest by J. Ryan Stradal + A Man Called Ove, by Fredrik Backman + Sons and Daughters of Ease and Plenty by Ramona Ausubel
The Nobel-prize winning novelist Edith Wharton once wrote, “There are two ways of spreading light—to be the candle or the mirror that reflects it.” Mirrors—and candles, too—are both the set dressing and driving metaphor in two recently opened plays, stories in which indelible women stand center-stage to take a good hard look at their world, their choices, and their own naked souls. One was written in the 1970s in South Africa, the other just a few years ago in New York City. Beyond the shows’ mutual use of mirrors, and the fact that the central characters are women, they have little in common, other than this: if you get a chance, you should really try to see them both. The first, set in a tiny South African community in 1974, is Athol Fugard’s three-actor drama The Road to Mecca—now running at Main Stage West. The play was inspired by the life of artist Helen Martins, though Fugard’s script takes fictional flights of fancy as mystical and inventive as the cement sculptures of owls and camels and elongated wisemen that Martins fashioned and surrounded her tiny rural house with. Martins, played with bone-weary specificity by Laura Jorgenson, is a lapsed Christian, once driven by the need to create, now trapped in a difficult space, intensely feeling the encroaching darkness she once fought by filling her yard with strangely beautiful creatures. She crams the interior of her house with mirrors, mosaics and hundreds of candles. Frail and uncertain, Helen seriously considers leaving her house and moving to a church-run retirement home, a move that is strongly supported by her one-time minister, Marius, played by John Craven. Marius has secretly loved Helen for years, despite her frightening displays of pagan art making, and worries for her safety as she grows older, also worrying deeply about the state of her soul. Opposing her move from the house is Martin’s schoolteacher friend Elsa, Ilana Niernberger, a strong supporter of Martin and a fierce opponent of the church. Elsa has just arrived from the city in a state of deep sadness and barely controlled rage and heartbreak, the reasons for which take most of the play to reveal themselves. The resulting three-way showdown comes in gradually building waves leading to an affecting, fiercely hard-won moment of awareness and self-resolution. The set, with it’s mirrors, mosaics and suggestions of sculptures, was designed by director Elizabeth Craven and David Lear, and it’s a marvel, as much a character as everyone else in this powerful play, a marvelous, thoughtful, deeply complex and human examination of the power of light, outside and in. Mirrors are equally prominent in Theresa Rebeck’s one-woman comedy-drama Bad Dates, now running at Cinnabar Theater. Starring Jennifer King, and directed by Molly Noble, this is a ferociously funny rollercoaster of a show, about a hard-working New York restaurant manager and single-mother named Hayley, who tells her story as she prepares herself for a series of dates, few of which turn out the way she hopes. Observing her reflection as she tries on an array of outfits, King’s marvelously performed “long-night of the soul” includes hilarious descriptions of each date-gone-wrong, and much more. As Hayley tells the story—which in the second act takes us to some truly surprising and unexpected places—she gradually realizes that finding a person to love won’t happen until she finally figures out what she really wants, and who she really is. ‘Road to Mecca’ runs Thursday–Sunday, through February 21 at Main Stage West. Mainstagewest.com. ‘Bad Dates’ runs through February 21 at Cinnabar Theater, cinnabartheater.org
“I wear the chains I forged in life!” This ghostly report from the doomed spirit of Jacob Marley is amongst the most famous supernatural utterances in English literature. It’s also a fair metaphor for the heavy weight of responsibility carried by any theater company brave enough to stage Charles Dickens’ A Christmas Carol. This unstoppably popular story has been around for better than 170 years, and along the way it’s forged a long, weighty chain of expectations, adorations, misinterpretations, criticisms, dismissals and the weird, unkind backlashes that spring from any legendary story’s overfamiliarity in the public eye. Amongst the many reasons that 6th Street’s current production of A Christmas Carol can claim to be called one of the best surprises of 2015, is that it both embraces what’s made the tale so enduring, while also blazing new trails, finding fresh, entertaining possibilities in what has, in some adaptor’s hands, become stale and predictable. With a strong, adaptable cast, an inventively clever script by Michael Wilson, sprightly, emotion-focused direction from Craig Miller, and a delightfully steam-punk production-design, this incarnation of the Dickens classic also makes maximum use of actor Charles Siebert as Ebeneezer Scrooge. Performing rarely on local stages, Siebert’s North Bay appearances are always occasions to celebrate (6th Street’s Red, Cinnabar’s The Price). As Scrooge—the miserly skinflint whose Christmas Eve haunting takes him backwards and forwards through his own history—Siebert is fancifully mesmerizing and terrifically, touchingly real, maintaining a remarkable level of creative generosity toward all others with whom he shares the stage. As Marley—materializing to deliver a dire warning to his former business partner Scrooge—Alan Kaplan is a wickedly, wackily menacing and also heartbreakingly earnest. As the various spirits of Christmas—past, present, and future—Miller has assembled a trio of comic actors (Jessica Headington, Nick Christenson, and Ryan Severt) who deliver delightfully spectral comedy while consistently landing sharp emotional punches when necessary—in one case, while towering over the stage on stilts. The large, multi-age cast—with notably strong and/or hilarious performances by Jeff Coté as Bob Cratchit, Harry Duke as Fezziwig, and Crystal Carpenter as Belle—work incredibly well as a shape-shifting, character-changing, scenery-moving ensemble. And particular praise must be given to Miller’s technical team, whose clock-work set (Jesse Dreikosen), mood-making lights (Steven Piechocki), and otherworldly sound-design (Miller, with John Gromada) are some of the best seen at 6th Street in many a Christmas. Meanwhile, over at Spreckels Arts Center, another beloved novel leaps to life on stage in ‘Little Women: The Musical.’ With a spectacular performance by Rebekah Pearson in the lead role of Jo March, with crisp, lively direction by Thomas Chapman, and a beautifully spare musical direction Jim Coleman, Louisa May Alcott’s enduring story of love, family and individual determination is gorgeously and cleverly transformed. The story has been rearranged a bit, with the bulk of the familiar tale of the March sisters a flashback in Jo’s grown-up memory, as she strives to make a go of it as a writer in New York City, far from the home she loves. IT works, taking elements of the book that happened earlier, and easing them later into the story, where they become the emotional peak of the play. The entire cast is excellent, the sing is stellar, and the remarkably accessible storytelling aims straight for the heart, without forgetting that ‘Little Women’ the novel, is also delightfully, humanly hilarious. Taken together these two season favorites are must-sees for this holiday season. A Christmas Carol’ runs Thursday–Sunday through December 20 at 6th Street Playhouse. 6thstreetplayhouse.com. Little Women: The Musical runs Friday - Sunday until December 20. Speckelsonline.com
It has been said that there is nothing less dramatic or more lacking in entertainment value than watching a writer write. In the clever comedy-drama ‘Seminar,’ presented at Wells Fargo Center by Left Edge Theatre, playwright Theresa Rebeck—the mastermind behind such stage hits at The Scene and television’s Smash—deftly transports her patented hard-edge comedy style from the worlds of stage-and-screen to the land of the literarily engaged. By never showing us a writer in the act of writing, but rather showing us a quartet of authors in the act of defending and describing their work, Rebeck shows them at the vulnerable core of who they are. And it’s a blast. Mostly. If anyone could really determine a great novel or a lousy novel by just reading the first who pages, then maybe I should only be watching the first ten minutes of a play before rendering my own opinion as to its overall worth. That’s not possible, of course, and for a playwright as adept as Rebeck to take such lazy shortcuts, actually showing us people in the act of recognizing a literary work’s excellence by it’s first several paragraphs, is disappointing. Thankfully, the value of ‘Seminar’ lies in its entirety, not in one or two false moments, and on the whole, ‘Seminar’ is outstanding. “Don’t defend yourself,” intones Leonard, early in the play. Played by actor Ron Severdia with a mix of weary resignation, playful, grinning antagonism, and vicious, sociopathic bloodlust, Leonard is an esteemed author-turned-teacher-for-hire, and he doesn’t like it when a writer defends herself after he’s criticized her. “If you’re defending yourself,” he tells a whole group of young writers he is in the middle of eviscerating, “then you’re not listening.” Directed by Argo Thompson with a strong ear for the rapidly shifting rhythms of intellectual debate and literary double-speak—though with a conspicuous tendency to have his entire cast perform facing and rarely to each other—Seminar follows a bunch of would-be writers who pay a Leonard $5000 apiece to give them a private class, “critiquing” their writing—and everything else about them. Rose Roberts, as the Jane Austen-loving Kate—who rents the New York apartment where the classes take place—is at the top of her game, and as her variously talented classmates, Jacob de Heer, Devon McConnell, and Veronica Valencia give strong, appealing performances in a play in which every character has something great to do, alternately required to be torn apart, or to learn the fine art of tearing apart others. As Leonard gleefully pronounces, “Writers, in their natural state, are as civilized as feral cats.” This entertaining exploration of artistic egos under pressure is a bit over-cooked at times, but on the whole is as deliciously fierce, ferocious and funny as a pack of wild animals. And like a wild animal, it doesn’t always behave itself. “Seminar” runs Friday through Sunday through November 28, at Wells Fargo Center for the Performing Arts, presented by Left Edge Theatre. www.leftedgetheatre.com
Bob Wilcox and Gerry Kowarsky review (1) SEMINAR, by Theresa Rebeck, at St. Louis Actors’ Studio, (2) THE WORLD BEGUN, by Nancy Bell, at Shakespeare Festival St. Louis, (3) VENUS IN FUR, by David Ives, at West End Players Guild, (4) OLIVER, by Lionel Bart, at The Alpha Players of Florissant, (5) HAPPY DAYS, by Samuel Beckett, at The Black Mirror Theatre Company, and (6) MARY POPPINS, by Julian Fellowes, Richard M. & Robert B. Sherman, et al., at Christ Memorial Productions.
Theresa Rebeck is an American playwright, television writer, and novelist. Her work has appeared on the Broadway and Off-Broadway stage, in film, and on television. Among her awards are the Mystery Writers of America's Edgar Award. In 2012, she received the Athena Film Festival Award for Excellence as a Playwright and Author of Films, Books, and Television. Her works have influenced American playwrights by bringing a feminist edge in her old works. Tune in to hear the writer of Seminar and Smash talk about . . . How the heck she writes so much and where she gets her ideas. The differences between writing for the Stage and the Screen, and how she switches hats in an instant. What happened with Smash, and could we ever see another Broadway-themed TV show? How she and I became friends, and why that’s important to your career. What all young writers should be doing. . . . and a heck of a lot more . . . because we packed a lot of stuff into this 30 minute podcast, which is punctuated with Theresa’s infectious positivity and incredible passion for what she does. Keep up with me: @KenDavenportBway www.theproducersperspective.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Pun is a two-time Tony Award-winning Broadway Producer (Glengarry Glen Ross, Best Play Revival 2005 & Spring Awakening, Best Musical 2007). He received his MFA in Acting from the Yale School of Drama. As an Actor, Pun has appeared on Broadway, off Broadway and at regional theaters across the U.S. He has originated roles in world and regional premieres by playwrights including: Theresa Rebeck, AR Gurney, John Pielmeier and David Henry Hwang. In 2010, Pun received the Colorado Theatre Guild's Henry Award for Best Supporting Actor in a play. He has played guest star and co-starring roles on TV shows including Body of Proof, Without a Trace, White Collar, Nurse Jackie, and all Law and Orders (including Conviction). On the big screen, Pun can be seen in Michael Clayton, Burn After Reading and the upcoming Two Days in New York starring Chris Rock (August 2012).
We discuss the new Broadway play, “Seminar,” with actors Alan Rickman, Lily Rabe, and Hamish Linklater, and its playwright Theresa Rebeck.
Pamela Cobrin‘s book From Winning the Vote to Directing on Broadway: The Emergence of Women on the New York Stage, 1880-1927 (University of Delaware Press, 2009) investigates the suffragists and early feminists through the lens of performance. Broadly defining performance, she includes the amateur theatricals of Mary Shaw's Gamut Club, the one-acts of the Provincetown Playhouse, and the suffragist parades of the early 1900s. The book, I think, contextualizes the current arguments of theatermakers like Theresa Rebeck, who have noted that even as women rise to prominence as theater artists, their representation on the commercial stage is sorely lacking. Not only is this a depressingly persistent issue, but in Cobrin's book there is a striking correlation between commercial theater models and male leadership. Of course, that's just one small piece of this rich study, which shows that by performing roles in society that were usually male (directing in commercial theater) even women who did not preach from the stage were engaging in political speech and challenging the accepted gender roles. Learn more about your ad choices. Visit megaphone.fm/adchoices
Pamela Cobrin‘s book From Winning the Vote to Directing on Broadway: The Emergence of Women on the New York Stage, 1880-1927 (University of Delaware Press, 2009) investigates the suffragists and early feminists through the lens of performance. Broadly defining performance, she includes the amateur theatricals of Mary Shaw’s Gamut Club, the one-acts of the Provincetown Playhouse, and the suffragist parades of the early 1900s. The book, I think, contextualizes the current arguments of theatermakers like Theresa Rebeck, who have noted that even as women rise to prominence as theater artists, their representation on the commercial stage is sorely lacking. Not only is this a depressingly persistent issue, but in Cobrin’s book there is a striking correlation between commercial theater models and male leadership. Of course, that’s just one small piece of this rich study, which shows that by performing roles in society that were usually male (directing in commercial theater) even women who did not preach from the stage were engaging in political speech and challenging the accepted gender roles. Learn more about your ad choices. Visit megaphone.fm/adchoices
Pamela Cobrin‘s book From Winning the Vote to Directing on Broadway: The Emergence of Women on the New York Stage, 1880-1927 (University of Delaware Press, 2009) investigates the suffragists and early feminists through the lens of performance. Broadly defining performance, she includes the amateur theatricals of Mary Shaw’s Gamut Club, the one-acts of the Provincetown Playhouse, and the suffragist parades of the early 1900s. The book, I think, contextualizes the current arguments of theatermakers like Theresa Rebeck, who have noted that even as women rise to prominence as theater artists, their representation on the commercial stage is sorely lacking. Not only is this a depressingly persistent issue, but in Cobrin’s book there is a striking correlation between commercial theater models and male leadership. Of course, that’s just one small piece of this rich study, which shows that by performing roles in society that were usually male (directing in commercial theater) even women who did not preach from the stage were engaging in political speech and challenging the accepted gender roles. Learn more about your ad choices. Visit megaphone.fm/adchoices
Pamela Cobrin‘s book From Winning the Vote to Directing on Broadway: The Emergence of Women on the New York Stage, 1880-1927 (University of Delaware Press, 2009) investigates the suffragists and early feminists through the lens of performance. Broadly defining performance, she includes the amateur theatricals of Mary Shaw’s Gamut Club, the one-acts of the Provincetown Playhouse, and the suffragist parades of the early 1900s. The book, I think, contextualizes the current arguments of theatermakers like Theresa Rebeck, who have noted that even as women rise to prominence as theater artists, their representation on the commercial stage is sorely lacking. Not only is this a depressingly persistent issue, but in Cobrin’s book there is a striking correlation between commercial theater models and male leadership. Of course, that’s just one small piece of this rich study, which shows that by performing roles in society that were usually male (directing in commercial theater) even women who did not preach from the stage were engaging in political speech and challenging the accepted gender roles. Learn more about your ad choices. Visit megaphone.fm/adchoices
laywright Theresa Rebeck and the cast of her new hit comedy “The Understudy”: Mark-Paul Gosselaar, Justin Kirk, and Julie White share funny and insightful horror stories of what actors must go through to succeed or, in many cases, fail.
Actor Stephen Kunken discusses his relationship with reality television, the brass tacks of being a journeyman actor, and what it’s like to be in the middle of the maelstrom that is Theresa Rebeck's OUR HOUSE. OUR HOUSE was presented by Playwrights Horizons as part of the 2008/09 season.
Author Theresa Rebeck (NBC's "Smash") discusses the media and her play OUR HOUSE (2008/09), concerning a TV reality show gone horribly awry.
Playwright Theresa Rebeck and director Doug Hughes: plus playwright/performer Charles Busch are the guests Hughes and Rebeck discuss their new play, Mauritius; also Busch on the Off Broadway revival -in which he stars - of his Play Die Mommie Die!
Choreographer Jonathan Butterell ("The Light In The Piazza", "Nine"), director Moises Kaufman ("The Laramie Project", "Gross Indecency"), playwright Arthur Kopit ("Nine", "Oh Dad, Poor Dad..."), choreographer Joey McKneely("The Boy From Oz", "Wild Party"), playwright Theresa Rebeck ("Ominum Gatherum", "Bad Dates") and director Susan H. Schulman ("Little Women", "Secret Garden") explore how playwrights, directors and choreographers place themselves in the body of the character so that the character's voices and actions can emerge, what happens in the theatre to make the experience different from film and television, what it means to be an artist - and how an artist's success is measured.
Three-time Tony nominee Kate Burton discusses her newest show, the family drama "The Water's Edge" by Theresa Rebeck, and why she's drawn to characters who are once dark and witty, and she talks about other family matters as well, including how her famous father Richard felt about her entering the family business and her 17 summers at the Williamstown Theatre Festival, including 9 years when it was led by her husband Michael Ritchie. Original air date - June 16, 2006.
Three-time Tony nominee Kate Burton discusses her newest show, the family drama "The Water's Edge" by Theresa Rebeck, and why she's drawn to characters who are once dark and witty, and she talks about other family matters as well, including how her famous father Richard felt about her entering the family business and her 17 summers at the Williamstown Theatre Festival, including 9 years when it was led by her husband Michael Ritchie. Original air date - June 16, 2006.
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