Podcasts about thorton wilder

Holidays have a unique way of punctuating our lives. Through this activity we assess alliances, trade information, and mark the passage of time.In The Long Christmas Dinner written by Thorton Wilder, presented by TUTA Theatre in Chicago we join an affluent Midwestern family, sometime in the not-too-distant past, at their Christmas table.  What is unusual is that, this is not just one dinner, it is a sequence of similar dinners seamlessly stitched together in a linear fashion, showing a progression of events that affect this family over multiple generations. 

Students from Pansophia Academy in Coldwater will be back on the Tibbits Opera House stage this week.See omnystudio.com/listener for privacy information.

Born a gifted athlete, life almost took James Naughton down another path…until he found his home in the theater. The actor earned his first Tony for the musical City of Angels – and his second as the originator of the role of Billy Flynn in the hit Broadway revival of the musical Chicago, now the second-longest running show in Broadway history. As a director, he helmed the Tony-nominated Arthur Miller's “The Price” and Thorton Wilder's “Our Town,” the latter of which was featured on PBS' Masterpiece Theater. Naughton also regularly brings his talent to the small screen, like in his roles on “Who's the Boss?,""Ally McBeal,” and “Gossip Girl,” and in films “The Devil Wears Prada” and “The First Wives Club.” James Naughton shares with host Alec Baldwin his experience directing - and being directed by - his good friend Paul Newman, acting at the famous Williamstown Theater with an all-star ensemble, and how he's working to enact change through legislation today. See omnystudio.com/listener for privacy information.

In an area of the country that inspired Thorton Wilder's "Our Town," one New Hampshire newspaper has been chronicling the life and times of its community since 1799. Keene Sentinel Owner and Publisher Thomas Ewing takes us inside the historic newspaper, offering an honest look at the challenges and rewards of serving a rural community.  Part 5 of the Fair Media Council's Local News in America Project. Hosted by Jaci Clement, Fair Media Council CEO & Executive Director.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In an area of the country that inspired Thorton Wilder's "Our Town," one New Hampshire newspaper has been chronicling the life and times of its community since 1799. Keene Sentinel Owner and Publisher Thomas Ewing takes us inside the historic newspaper, offering an honest look at the challenges and rewards of serving a rural community.  Part 5 of the Fair Media Council's Local News in America Project. Hosted by Jaci Clement, Fair Media Council CEO & Executive Director.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello Dolly, the theater production debued at the Fisher Theater in Detroit in November, 1963. The film version of the same name was produced in 1969. Both were based on Thorton Wilder's play "The Matchmaker".

Perduts a la nostra ciutat. Crítica teatral de l'obra «A la ciutat (Our Town)», de Thorton Wilder. Traducció de l'anglès: Víctor Muñoz Calafell. Dramatúrgia de Llàtzer Garcia. Intèrprets: Guillem Balart, Jenny Beacraft, Rosa Boladeras, Tai Fati, Oriol Genís, Paula Malia, Carles Martínez, Biel Montoro, Lluís Oliver, Mercè Pons, Rosa Renom, Xavier Ripoll, Isabel Rocatti, Josep Sobrevals i Albert Triola. Espai escènic: Josep Iglesias. Vestuari: Berta Riera. Il·luminació: Guillem Gelabert. So: Guillem Rodríguez. Direcció musical: Carles Pedragosa. Moviment: Marta Gorchs. Ajudanta d'escenografia: Mercè Lucchetti. Ajudanta de vestuari: Raquel Bonillo. Producció: Teatre Lliure. Ajudanta de direcció: Mònica Molins. Direcció Ferran Utzet. Sala Fabià Puigserver, Teatre Lliure Montjuïc, Barcelona, 11 octubre 2023. Veu: Andreu Sotorra. Música: Our Town. Intèrpret: Frank Sinatra. Composició: Jimmy van Heusen i Sammy Cahn. Àlbum: Frank Sinatra Integral, 2023.

Get ready to load your summer totes (ahem…your summer Novel Pairings totes, more to come on that) with lots of good reads; we're talking about our most anticipated summer reads on today's episode! We've carefully culled our long lists of interesting books coming out this summer to provide some high-interest titles that are sure to topple your TBR while also providing backlist books that will pair perfectly and are available right now.   Today we talk about forthcoming humorous memoirs (including one woven with lots of 90s nostalgia), a searing, fictional critique of contemporary publishing, and plenty of engrossing tales you'll want to curl up with poolside. And if that's not enough, we take a shot at solving the mystery surrounding the unnamed Flatiron title prior to it being settled by the New York Times (and Chelsey will add amateur sleuth to her list of alternate career options should occasion arise).   We love discussing books and reading with all of you and hope you'll join our group of nerdy readers at patreon.com/novelpairings. Annual subscriptions are now available at a discounted price!   Books Mentioned Yellowface by R. F. Kuang Disorientation by Elian Hsieh Chou Deep as the Sky, Red as the Sea by Rita Chang-Eppig The Adventures of Amina Al-Sirafi by Shannon Chakraborty The Memory of Animals by Claire Fuller Station Eleven by Emily St. John Mandel All Sinners Bleed by S.A. Crosby Bluebird, Bluebird by Attica Locke My Murder by Katie Williams Echo Wife by Sarah Gailey Chouette by Claire Oshetsky  Nightbitch by Rachel Yoder Banyan Moon by Thao Tai Family Lore by Elizabeth Acevedo  Loot by Tania James The Bird King by G. Willow Wilson Wannabe: Reckoning with the Pop Culture that Saved Me by Aisha Harris Piccolo is Black by Jordan Calhoun Lucky Red by Claudia Cravens A Dangerous Business by Jane Smiley Lonesome Dove by Larry McMurtry The Rachel Incident by Caroline O'Donoghue Conversations with Friends by Sally Rooney All Our Hidden Gifts by Caroline O'Donoghue The Centre by Ayesha Manazir Siddiqi Babel by R. F. Kuang Half-Life of a Stolen Sister by Rachel Cantor Glass Town by Isabel Greenberg Charlotte Bronte: A Fiery Heart by Claire Harman The Madwoman Upstairs by Catherine Lowell History's Angel by Anjum Hassan Members Only by Sameer Pandya The Lost Ranger by Peter Heller Congratulations, the Best is Over! by R. Eric Thomas Here for It by R. Eric Thomas  Tom Lake by Ann Patchett Our Town by Thorton Wilder  

Thorton Wilder's Our Town is often thought of as one of the best plays ever written. And at first glance, that might not be obvious. The play is famous for its overly simplified narrative and its overly involved stage manager who often breaks the fourth wall. The characters are ordinary people leading ordinary lives in a small town. There isn't much of a plot to speak of, and while death and despair make appearances in the play, even those are ordinary. What makes this play a powerful one, is just that ordinary nature of it. It depicts life as life is meant to be observed. It shows how children are concerned with things that are so trivial and how upon their slow progression in life, their concerns also progress. The play is meant to mirror the audience's lives, and in doing so became a powerful play, and a Pulitzer winner. Listen along to our thoughts!

Der Vadder wittert eine Perle: ein Historienschinken mit Robert De Niro, Harvey Keitel und Kathy Bates, basierend auf einem Roman von Pulitzer-Preisträger Thorton Wilder. Was soll bei der BRÜCKE VON SAN LUIS REY schon schiefgehen? Abgesehen davon, dass sie handlungsgemäß abstürzt. Nun, so einiges. Zum ersten Mal in der Geschichte von MEIN VATER, ROBERT DE NIRO UND ICH probt der Sohn eine No-Show. Und sorgt damit für einen Eklat.

Show Notes We are Traci and Ellie, two bookish friends who talk in any spare minute that we have.  This week we are going back to  school!  To shop the books listed in this episode, visit our shop at bookshop.org.   Literally Reading: Birds of California by Katie Cotugno (Traci) The It Girl by Ruth Ware (Ellie) Open the Book:  Pride and Prejudice by Jane Austen  The Diary of Anne Frank by Anne Frank  The Hiding Place Corrie Ten Boom  Number the Stars by Lois Lowry Hank the Cowdog by John R. Erickson  Our Town by Thorton Wilder  The Crucible by Arthur Miller   Of Mice and Men by John Steinbeck  The Taming of the Shrew by William Shakespeare Twelfth Night by William Shakespeare The Scarlet Letter by Nathaniel Hawthorne  The Witch of Blackbird Pond by Elizabeth George Speare Invisible Man by Ralph Ellison The Grapes of Wrath by John Steinbeck Lord of the Flies by William Golding  The Giver by Lois Lowry The Great Gatsby by F. Scott Fitzgereald  War and Peace by Leo Tolstoy Anna Karenina by Leo Tolstoy  A Christmas Carol by Charles Dickens  Great Expectations by Charles Dickens David Copperfield  by Charles Dickens Oliver Twist by Charles Dickens Les Miserables by Victor Hugo The Count of Monte Cristo by Alexandre Dumas  The Poisonwood Bible by Barbara Kingsolver Echo by Pam Munoz Ryan  Save Me a Seat by Sarah Weeks and Gita Varadarajan El Deafo by Cece Bell  Bridge to Terabithia by Katerine Paterson A Wrinkle in Time by Madeleine L'Engle

Synopsis Some classical music snobs look down their nose at film scores, considering them less “serious” than “art” music written for the concert hall. Aaron Copland, for one, deplored this attitude. He admired the work of composers like Bernard Herrmann, Alex North, David Raksin, and Elmer Bernstein, whose successful Hollywood careers earned them financial rewards on the West Coast, if not the respect of the snootier East Coast music critics. Copland himself had spent some time in Hollywood, and knew what was involved in completing a film score on time AND on budget. On today’s date in 1940, at Grauman’s Chinese Theater in Hollywood, the press was invited to a special preview showing of a new film version of Thornton Wilder’s popular stage play “Our Town.” To match Thornton Wilder’s nostalgic play about American life in Grover’s Corners, New Hampshire, Copland’s score employed harmonies suggestive of old New England church hymns. For once, audiences AND the critics were impressed, and Copland quickly arranged an “Our Town” concert suite, which premiered on a CBS Radio broadcast in June of 1940, and reworked this suite for its first public performance by the Boston Pops and Leonard Bernstein in May of 1944. Music Played in Today's Program Aaron Copland (1900 – 1990) Our Town Suite Saint Louis Symphony; Leonard Slatkin, cond. BMG 61699 On This Day Births 1740 - Italian composer Giovanni Paisiello, in Roccaforzata, near Taranto; 1814 - German pianist and composer Adolph von Henselt, in Schwabach,Bavaria; Deaths 1707 - German organist and composer Dietrich Buxtehunde, age c. 70, in Lübeck; 1770 - (on May 9 or 10) English composer, conductor and writer on music Charles Avison, age 61, in Newcastle upon Tyne ; 1791 - American statesman and songwriter Francis Hopkinson, age 53, in Philadelphia; He was one of the signers of the Declaration of Independence, and dedicated a book of his songs to George Washington; 1799 - French composer Claude Balbastre, age c. 72, in Paris; Premieres 1812 - Rossini's opera "La Scala di seta" (The Silken Ladder), in Venice; 1868 - Bruckner: Symphony No. 1, in Linz, composer conducting; 1893 - Rachmaninoff: opera "Aleko," in Moscow at the Bolshoi Theater (Julian date: April 27); 1924 - R. Strauss: ballet "Schlagobers" (Whipped Cream), in Vienna; 1940 - The film "Our Town" opens in Hollywood at Grauman's Chinese Theater; The film was based on the play of the same name by Thorton Wilder, and featured a filmscore by Aaron Copland; Copland arranged a suite of music from his filmscore, which premiered on CBS Radio on June 9, 1940; A revised version of the suite was given its first public performance by the Boston Pops conducted by Leonard Bernstein on May 7, 1944; 1981 - Christopher Rouse: "The Infernal Machine" for orchestra (Movement II of Rouse's "Phantasmata"), at the Evian Festival, France, by the University of Michigan Symphony Orchestra, Gustav Meier conducting; 1986 - Ellen Taaffe Zwilich: "Concerto Grosso" (after Handel's Sonata in D), by the Handel Festival Orchestra of Washington, Stephen Simon conducting; 1988 - Bernstein: "Arias and Barcarolles," at Equitable Center Auditorium in New York City, by vocalists Louise Edeiken, JoyceCastle, John Brandstetter, and Mordechai Kaston, with the composer and Michael Tilson Thomas at the piano; An orchestrated version of this work prepared by Bright Sheng premiered on September 22, 1989, at the Tilles Center of Long Island University with the New York Chamber Symphony conducted by Gerard Schwarz and featuring vocalists Susan Graham and Kurt Ollmann; 1990 - John Harbison: "Words from Patterson" (to texts by William Carlos Williams), at the Kennedy Center in Washington, D.C., with baritone William Sharp and the members of the New Jersey Chamber Music Society; 1998 - John Tavener: "Wake Up and Die," for solo cello and orchestral cello section, at the Beauvais Cello Festival in Beavais , France; 1999 - Zwillich: "Upbeat!" by National Symphony, Anthony Aibel conducting; Others 1863 - American premiere of Berlioz's "Harold in Italy," by the Theodore Thomas Orchestra in New York. Links and Resources On the film "Our Town" The Copland Collection at the Library of Congress

Synopsis Some classical music snobs look down their nose at film scores, considering them less “serious” than “art” music written for the concert hall. Aaron Copland, for one, deplored this attitude. He admired the work of composers like Bernard Herrmann, Alex North, David Raksin, and Elmer Bernstein, whose successful Hollywood careers earned them financial rewards on the West Coast, if not the respect of the snootier East Coast music critics. Copland himself had spent some time in Hollywood, and knew what was involved in completing a film score on time AND on budget. On today’s date in 1940, at Grauman’s Chinese Theater in Hollywood, the press was invited to a special preview showing of a new film version of Thornton Wilder’s popular stage play “Our Town.” To match Thornton Wilder’s nostalgic play about American life in Grover’s Corners, New Hampshire, Copland’s score employed harmonies suggestive of old New England church hymns. For once, audiences AND the critics were impressed, and Copland quickly arranged an “Our Town” concert suite, which premiered on a CBS Radio broadcast in June of 1940, and reworked this suite for its first public performance by the Boston Pops and Leonard Bernstein in May of 1944. Music Played in Today's Program Aaron Copland (1900 – 1990) Our Town Suite Saint Louis Symphony; Leonard Slatkin, cond. BMG 61699 On This Day Births 1740 - Italian composer Giovanni Paisiello, in Roccaforzata, near Taranto; 1814 - German pianist and composer Adolph von Henselt, in Schwabach,Bavaria; Deaths 1707 - German organist and composer Dietrich Buxtehunde, age c. 70, in Lübeck; 1770 - (on May 9 or 10) English composer, conductor and writer on music Charles Avison, age 61, in Newcastle upon Tyne ; 1791 - American statesman and songwriter Francis Hopkinson, age 53, in Philadelphia; He was one of the signers of the Declaration of Independence, and dedicated a book of his songs to George Washington; 1799 - French composer Claude Balbastre, age c. 72, in Paris; Premieres 1812 - Rossini's opera "La Scala di seta" (The Silken Ladder), in Venice; 1868 - Bruckner: Symphony No. 1, in Linz, composer conducting; 1893 - Rachmaninoff: opera "Aleko," in Moscow at the Bolshoi Theater (Julian date: April 27); 1924 - R. Strauss: ballet "Schlagobers" (Whipped Cream), in Vienna; 1940 - The film "Our Town" opens in Hollywood at Grauman's Chinese Theater; The film was based on the play of the same name by Thorton Wilder, and featured a filmscore by Aaron Copland; Copland arranged a suite of music from his filmscore, which premiered on CBS Radio on June 9, 1940; A revised version of the suite was given its first public performance by the Boston Pops conducted by Leonard Bernstein on May 7, 1944; 1981 - Christopher Rouse: "The Infernal Machine" for orchestra (Movement II of Rouse's "Phantasmata"), at the Evian Festival, France, by the University of Michigan Symphony Orchestra, Gustav Meier conducting; 1986 - Ellen Taaffe Zwilich: "Concerto Grosso" (after Handel's Sonata in D), by the Handel Festival Orchestra of Washington, Stephen Simon conducting; 1988 - Bernstein: "Arias and Barcarolles," at Equitable Center Auditorium in New York City, by vocalists Louise Edeiken, JoyceCastle, John Brandstetter, and Mordechai Kaston, with the composer and Michael Tilson Thomas at the piano; An orchestrated version of this work prepared by Bright Sheng premiered on September 22, 1989, at the Tilles Center of Long Island University with the New York Chamber Symphony conducted by Gerard Schwarz and featuring vocalists Susan Graham and Kurt Ollmann; 1990 - John Harbison: "Words from Patterson" (to texts by William Carlos Williams), at the Kennedy Center in Washington, D.C., with baritone William Sharp and the members of the New Jersey Chamber Music Society; 1998 - John Tavener: "Wake Up and Die," for solo cello and orchestral cello section, at the Beauvais Cello Festival in Beavais , France; 1999 - Zwillich: "Upbeat!" by National Symphony, Anthony Aibel conducting; Others 1863 - American premiere of Berlioz's "Harold in Italy," by the Theodore Thomas Orchestra in New York. Links and Resources On the film "Our Town" The Copland Collection at the Library of Congress

Season three episode three! Oy, Wilderness! Thorton Wilder would not have written about creepy old guy/teenage girl action this way! Cindy comes to town!

Josh, John, and Chris disagree again about Thorton Wilder. Then, they chart a path forward.

Jamie, Rob, and Jennifer kick off season two of The Fabulous Invalid by traveling up to Boston to sit down with star of stage and screen Betty Buckley during the final stop of her run as Dolly Levi in the national tour of “Hello, Dolly!”. Together, they discuss Betty's illustrious career, what it's like going on the road at age seventy, and learning new skill sets. We discover the secrets behind Betty's Tony Award winning turn in “Cats”, and Rob offers a comparison of Thorton Wilder's play “The Matchmaker” and its musical version, “Hello, Dolly!”. This week's music: “Push Da Button” from “The Color Purple”, and Betty Buckley singing, “Knowing When To Leave” from “Promises, Promises”, “Rose's Turn”, from “Gypsy”, “With One Look”, from “Sunset Blvd.”, “Memory”, from “Cats”, “Hello, Dolly!” from “Hello, Dolly!', “Old Friend” from “I'm Getting My Act Together”, and “Children Will Listen”, from “Into The Woods”.  Find us on Twitter & Instagram: @fabulousinvalid Facebook: www.facebook.com/fabulousinvalid Rob's reviews: www.stageleft.nyc Email us at: info@fabulousinvalid.com  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

Beautiful. Simple. Theatrical. Thorton Wilder's "Our Town" is a carefully crafted answer to what Wilder saw as theatre's increasing dependence on spectacle. This week on "No Script," Jackson and Jacob stroll through Grover's Corners, walking alongside Wilder's characters in their growing up and their marrying and their living and their dying.  ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast   We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Logo Design: Jacob Mann Christiansen Logo Text: Paralines designed by Lewis Latham of http://lewislatham.co/ ------------------------------ Thanks so much for listening! We’ll see you next week.

Anyone going to a performance of Hello, Dolly! - running now at the SHN Golden Gate Theatre in San Francisco through March 17 - with an appetite for an enlightened look at male/female relationships is likely to leave quite hungry. The current national tour of the 2017 revival of the 1964 Broadway smash based on Thorton Wilder’s 1955 revision of his 1938 play extrapolated from an Austrian playwright’s 1842 extension of an English dramatists 1835 one-act reflects the then-common attitudes towards a women’s place in society and the home. Anyone going to a performance of Hello, Dolly! with an appetite to see a Broadway legend at work, or hear magnificent musical classics delivered with gusto, or see a bevy of athletic dancers spring across the stage in spirited numbers based on Gower Champion’s original choreography, or be dazzled by the color and craftsmanship at work in Santo Loquasto’s scenic and costume design, is likely to leave the theatre with their appetite satiated. Tony-winner Betty Buckley (Cats, Sunset Boulevard) plays Dolly Gallagher Levi, a matchmaker and jill-of-all-trades in 19th century New York engaged by the well-known Yonkers half-a-millionaire Horace Vandergelder (Lewis J. Stadlen) to find him a bride, an assignment which Dolly intends to fill herself. Sub-plots involve Vandergelder’s niece Ermengarde and her paramour Ambrose Kemper (played by Morgan Kirner and Garret Hawe) and Feed Store clerks Cornelius and Barnaby (played by Nic Rouleau Jess LeProtto). At age 71, Buckley does her damnedest to make the part made famous by Carol Channing (at age 42) her own, and succeeds to an extent. It’s obvious and understandable that her choreography has been limited and that she lacks the vocal power to deliver some of the musical’s biggest moments (“Before the Parade Passes By” was disappointingly flat) but she really delivers in the show’s quieter moments when she engages with the memories of her late husband. The supporting cast is outstanding with Rouleau and LeProtto really scoring as the clerks unleashed in New York City and Analisa Leaming and Kristen Hahn as the objects of their affections. MVP of this production goes to Stadlen, a reliable Broadway performer for the past 50 years who often toils in the anonymity common to great character actors. His eyebrows are as expressive as anything else on stage. Go ahead, roll your eyes during “It Takes a Woman” but don’t be surprised to find yourself cheering after “Put on Your Sunday Clothes” and “The Waiters’ Gallop” and, at the very least, smiling through almost everything else. ‘Hello, Dolly! ’runs through March 17 at the Golden Gate Theatre in San Francisco. Dates and times vary. For more information, go to shnsf.com

Too many times, as Emily lamented in Thorton WIlder's "Our Town", we don't see family and friends fully, truly, with love and appreciation, every, every minute. But when we do truly see and know each other in new ways, it can be a joy. In this episode, Dr. McCoy shares such an experience from her own life, hoping that this will inspire the listener to stop and see and truly cherish the family and friends who bless their lives.

You may know D’Arcy Carden as the lovable, all-knowing, not-quite-robot-not-quite-human entity Janet on The Good Place, and while she may not know everything in real life, she certainly knew she wanted to act from the moment she saw her father in a local production of Thorton Wilder’s Our Town. By the time she was nine, D’Arcy had her mind set on child acting, and she tried to make her case to her father. But he didn’t buy her “I can handle it” argument, and instead, she was forced to pursue acting at school until she graduated. It was a compromise she didn’t want to make—“You’re ruining my life!” was D’Arcy’s initial reaction. But in retrospect, she wouldn’t have it any other way, proving that sometimes, parents do know whats best. (that last line was directed at my children). The struggles started soon after she graduated college and moved to New York City to conquer Broadway. “I shared a two-bedroom apartment with four, sometimes five people. I never had a dollar in New York, and I lived there for ten years. I kept auditioning, but I quickly realized, ‘It’s not going to happen right now. What the hell do I do?’” But through it all, she still tried to make a career out of acting, taking any job she could get, which often felt less like acting, and more like acting adjacent. This included being a temp, a waitress, a nanny, an extra, and even a tour guide. But it took seeing an Upright Citizens Brigade show for D’Arcy to really find her place. “I was sitting in the front row at UCB’s ASSSSCAT show, and the cast was Amy Peohler, Seth Meyers, Jason Mantzoukas, and Rob Riggle. An incredible cast. And something electric happened—it was this weird religious moment where everything came together and revealed the clearest path. I realized, ‘I don’t care what I do for the rest of my life, I want that. I want to be on stage with these people.’” D’Arcy immediately started taking improv classes, and discovered her authentic self by risking failure night after night. Over time, she gradually moved up the ladder at UCB, which ultimately opened up opportunities for television work, including her big break on Comedy Central’s Broad City. These days, she’s stealing the show on two critically-acclaimed television series: The Good Place and Barry. It turns out that nine-year-old D’Arcy was right—she really can handle the life of an actor, and she can only go up from here. D’Arcy joins Off Camera to talk about the secret mantra that keeps her confidence going, the college professor who told her she wasn’t “dark enough” to be a real actor, and why you should always be nice to the interns at UCB.

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Dicen que todos los días del año, en algún lugar del mundo, se representa ‘Our Town' (‘Nuestra ciudad') la obra que en 2014 eligió la Cadena SER para hacer un regalo navideño a sus oyentes. Una pieza clásica del teatro del siglo XX, escrita por Thorton Wilder en 1938 (con la que ganó premio Pulitzer), pero que sin embargo es poco conocido para el gran público hispanohablante.Este texto ya fue adaptado antes, en 1939, por el mismísimo Orson Welles en el papel de narrador. En este caso, nuestro Orson Welles particular es el actor Josep María Pou quien, en la adaptación del dramaturgo Juan Cavestany para la SER, guía los destinos de los personajes que interpretan, entre otros, Irene Escolar, Carmen Machi, Adam Jezierski, Juan Echanove, Javier Cámara, Elvira Mínguez y Edu Soto.La trama de ‘Nuestra ciudad' es aparentemente sencilla: cuenta la historia de los jóvenes de dos familias, los Gibbs y los Webb, en la pequeña localidad de Grover's Corners. Vidas simples que, sin embargo, pueden servir de excusa para grandes reflexiones sobre la felicidad, el amor y la familia. ‘Our Town' es un llamada de atención que nos conmina a disfrutar de la vida, un gigantesco carpe diem.En la versión que les ofrecemos también han participado los periodistas de la SER Iñaki Gabilondo, Pepa Bueno, Gemma Nierga, Carles Francino, Javier del Pino y Macarena Berlín. Our Town ha sido dirigida por Mariano Revilla y realizada por Alfonso Sanz; la adaptación musical ha corrido a cargo del compositor, Mario Gosálvez.

Dicen que todos los días del año, en algún lugar del mundo, se representa ‘Our Town’ (‘Nuestra ciudad’) la obra que en 2014 eligió la Cadena SER para hacer un regalo navideño a sus oyentes. Una pieza clásica del teatro del siglo XX, escrita por Thorton Wilder en 1938 (con la que ganó premio Pulitzer), pero que sin embargo es poco conocido para el gran público hispanohablante.Este texto ya fue adaptado antes, en 1939, por el mismísimo Orson Welles en el papel de narrador. En este caso, nuestro Orson Welles particular es el actor Josep María Pou quien, en la adaptación del dramaturgo Juan Cavestany para la SER, guía los destinos de los personajes que interpretan, entre otros, Irene Escolar, Carmen Machi, Adam Jezierski, Juan Echanove, Javier Cámara, Elvira Mínguez y Edu Soto.La trama de ‘Nuestra ciudad’ es aparentemente sencilla: cuenta la historia de los jóvenes de dos familias, los Gibbs y los Webb, en la pequeña localidad de Grover's Corners. Vidas simples que, sin embargo, pueden servir de excusa para grandes reflexiones sobre la felicidad, el amor y la familia. ‘Our Town’ es un llamada de atención que nos conmina a disfrutar de la vida, un gigantesco carpe diem.En la versión que les ofrecemos también han participado los periodistas de la SER Iñaki Gabilondo, Pepa Bueno, Gemma Nierga, Carles Francino, Javier del Pino y Macarena Berlín. Our Town ha sido dirigida por Mariano Revilla y realizada por Alfonso Sanz; la adaptación musical ha corrido a cargo del compositor, Mario Gosálvez.

Este día de Navidad la Cadena SER emite ‘Our Town', la premiada obra escrita por Thorton Wilder en 1938

Este día de Navidad la Cadena SER emite ‘Our Town’, la premiada obra escrita por Thorton Wilder en 1938

In this segment, Gee talks more about breaking out of stereotypes. He talks about producing Thorton Wilder's The Long Christmas Dinner. He also references August Strindberg, Henrik Ibsen, Noh Theatre and Suzan-Lori Parks 365 Days/365 Plays.Breaking Out Of StereotypesPart 4 - Very Close to CD-Quality MPEG-4 (Broadband) (10M)Part 4 - High Quality MPEG-4 (ISDN) (5.1M)Part 4 - Highest Quality MPEG-4 available for Dial_up (3.1M)