Podcast appearances and mentions of tina howe

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. 

Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

“The difference between stage and screen acting is vast, but it's the same root. It's just some of the techniques are very different. I really know theater because that's where I started. I went at it in a very haphazard way. I had a very haphazard approach. It was not orderly at all. I didn't go to a proper school or anything like that. After fooling around in Europe for almost a couple of years, just because I'd gotten out of the army...and didn't really know what to do or how to do it. And so I just went and while there I did some acting, but nothing very remarkable except doing a nightclub with William Burroughs. That was great fun. I did a little bit of studying here or there...Jeff Corey (and at one class in New York) someone said something that helped me a great deal. And then I just learned by doing it.”Harris Yulin has appeared on Broadway in Hedda Gabler, The Price, The Diary of Anne Frank, The Visit, A Lesson From Aloes, and Watch On The Rhine. His off-Broadway credits include Raindance at Signature Theatre; Don Juan In Hell at Symphony Space; Steve Tesich's Arts And Leisure at Playwrights Horizons; Tina Howe's Approaching Zanzibar at Second Stage; Hamlet, King John, Richard III, and A Midsummer Night's Dream at New York Shakespeare Festival; and Mrs. Warren's Profession and Hedda Gabler at Roundabout. Regional credits include Finishing the Picture at Goodman Theatre; a recent appearance in the title role of King Lear at New Jersey Shakespeare Festival; The Talking Cure at Mark Taper Forum; Tartuffe at the Guthrie and Arena Stage; Henry V at Hartford Stage; and The Tempest at Shakespeare & Co. Mr. Yulin's directing credits include Horton Foote's The Prisoner's Song at Ensemble Studio Theatre; Conor McPherson's This Lime Tree Bower at Primary Stages; Don Juan In Hell in London (Riverside Studios) and in New York (Symphony Space), Steve Tesich's Baba Goya (Second Stage), Adele Shank's Winter Play at Second Stage; Candida at the Shaw Festival; and The Front Page and The Guardsman at Long Wharf. His television credits include “Muhammad Ali's Greatest Fight,” “Mister Sterling,” “24,” “Buffy The Vampire Slayer,” “Frasier” (Emmy Nomination), and “La Femme Nikita” (Emmy Nomination). His film credits include Fur, The Place Beyond the Pines, The Emperor's Club, Training Day, The Million Dollar Hotel, The Hurricane, Looking for Richard, Murder at 1600, Multiplicity, Clear and Present Danger, and Scarface.· www.imdb.com/name/nm0950867/?ref_=fn_al_nm_1 · www.creativeprocess.info

Intro: Boz is in the clear!Let Me Run This By You: secrets, scorched earthInterview: We talk to Chisa Hutchinson about her new film The Subject, Vassar, being a high school English teacher, NYU Tisch,  The Lark Play Development Center, New Dramatists, having a sleepover with Tina Howe, She Like Girls, Amerikin at the Alley Theatre, NYT reviews, 101 Reasons Not to Breed, Bad Art Friend, Haagen-Dazs, The Evansville Regional Airport, Three Women on Showtime, Lisa Taddeo, Playwrights as Screenwriters, Marsha Norman, Lynn Nottage, Tony Gerber, Richard Wesley, Stephanie Allain, Di Glazer, having an intentional career.COMPLETE TRANSCRIPT:Jen Bosworth-Ramirez (8s):And Jen BosworthGina Pulice (10s):and I'm Gina .Jen Bosworth-Ramirez (11s):We went to theater school together. We survived it, but we didn't quite understand it.Gina Pulice (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.Jen Bosworth-Ramirez (21s):We survived theater school and you will too. Are we famous yet?Gina Pulice (33s):You don't have cancer.Jen Bosworth-Ramirez (35s):No, I do not have cancer right now. Do not have cancer at this moment. Who knows the next week. Yeah, no, it was, it's been quite a thing. Like I, I, you know, right. My cousin Dalia, who is what become one of my best friends in our adult lives, which is amazing. I never had any family that like, I truly liked as people know, that sounds so terrible, but I know exactly like good friends. And she says, you know, the brain is a problem making machine and it is that's, you know, it's also solves them, but it also creates them.Jen Bosworth-Ramirez (1m 17s):And look, I'm not saying that that the ch that it wasn't possible that I had cancer, but like all the evidence pointed oh, right. The emotional evidence pointed to I had cancer. Like I made an emotional face based on my past and my parent, my mom's past and my dad's path. And I made a really strong case that I had cancer in my head and look, it's possible. So that's the other thing that is so, so compelling about the human condition. Is that like, and what Dr. Oltman used to say to me, it was like, look, you're not, you're not delusional. You're not psychotic. You're not, so you're not making up things that are like, aliens are going to come down and take you, your fears are based in, in things that have happened to you and other people and people you love.Jen Bosworth-Ramirez (2m 6s):So it's not as though this idea, this idea of like, you know, right. It can't happen. You know, like it, I know in my body of, you know, my body of work that I've done in my life, that people die all the time of cancer and get cancer all the time, as we all do, I have a more intimate knowledge is because I lost my mom from it and saw the actual process. But I'm here to say, like, if you're freaking out about things, most of the time they're things that have happened to you or other people. So they're valid freak freakouts. It's just that they don't actually happen to be true all the time.Jen Bosworth-Ramirez (2m 47s):So like weird.Gina Pulice (2m 49s):It's almost like you want to say, Thank you brain for protecting me because you know, you you've correctly picked up on the fact that when things are Sort of looking like this, it's, it means something bad, but you can relax now. Right. Because it's not that right.Jen Bosworth-Ramirez (3m 7s):And it's actually not while I appreciate you brain, you're not always dealing with, with, with what's the reality, the truth. You don't, you don't. Yeah. You don't get an unfortunately brain. You don't get to, you're not a psychic, like you're just not, you have evidence. And then, so, so I had, you know, for, for our listeners, you know, like I had, I've had pain and history of weirdness on my left ovary. And it's really interesting. The cyst that is most, this is so crazy. This is how, this is what the brain does. So I'm like, okay, left side. I'm sure I have cancer on my leftover.Jen Bosworth-Ramirez (3m 48s):Like, that's, what's going on. It turns out the right one, the cyst is bigger. I have one on my right. They didn't see me yesterday or two days. And the, and the, the right one is bigger and actually contains more blood and fluid. I feel nothing on my right side. So that is also to goes to show that even if you do have cancer, it could be in a place that I don't. But like, you don't know where it's coming from. So like, even your feelings are wrong, your pain body is wrong. So like, you really don't know. So it was so funny. She was like, yeah, your left side, even though it's more active, there are a lot of simple cysts. So, you know, for this is like a women's health thing. Like people don't do any Reese. I shouldn't say that there's not a ton of research done because it's a woman's issue.Jen Bosworth-Ramirez (4m 32s):So it's not like, unless it's breast cancer, like nobody gives a shit about like women's cancers usually. So, cause that that's what, you know, got all the funding. So, so, so cysts grow all the time, all the time and women, they come and they go, those are simple cysts. If you have endometrial cysts or complexes, that is not, they don't come and go. They just stay. So I have several on my left side that come and go one that stays. And one that stays on the right. They don't know what's actually causing the amount of pain, but they think it's probably the left one leaking. The other thing is like, I would have sworn I had a cyst, the size of a grapefruit. If you would've asked me, I would say, it's probably grapefruit size.Jen Bosworth-Ramirez (5m 15s):It's that? It's an inch on one of them. That's nothing. Well, I mean, it's not nothing cause the ovaries two inches, but like w it, you just can't always trust what your, what your feelings are. Like, it's valid, you're in pain. But like, you don't know what it looks like until, you know what it looks like. And I think that that's the whole thing I'm coming around to, which is just go to the freaking doctor, please, if you have the resource, even if you don't like find them create, I don't know, like ask somebody, but like, you know, and I've gone to plenty of free clinics and they're not glamorous and they're not exciting, but they, they, they still have an ultrasound machine, you know?Jen Bosworth-Ramirez (5m 56s):So like, get, get it, get shit checked out. If you can easier said than done. But if it's an emotional fear based response, that's stopping you and not a resource-based response, you got to work through it and go, even if it is resource-based, there are, you know, there are ways around that. But like, especially if it's, you have all the resources, but there is something internally in you that is going, I don't want to know, believe me, I get it. But you want to know, you really want to know it's the only way through anything is getting the data. It's so annoying, but it's true.Gina Pulice (6m 35s):I agree. 100% with what you're saying, and this is why people love to join cults because the fantasy, the thing that's being promised in a cult is there is a finite number of answers. I, the cult leader have, there is a clear path to the number of steps that you have to take to get, you know, it's, it's everything we wish life would be predictable or seemingly predictable controlled, highly structured, you know, without a concern like to be in a cult is to not be in a process of discovering what happens next.Jen Bosworth-Ramirez (7m 24s):Exactly, Exactly. And it's so compelling. It is so comforting to think, oh my gosh, this person and this entity knows everything. I never have to worry again. That's really what we're saying is I never have to worry about anything. Again, the problem is it's just make believe. And you actually do have to worry because the person is usually a sociopath or psychopath and it doesn't actually do the trick. They think, you think it's going to do the trick. And it usually does the trick for a while for people like our guests, Noel was talking about like, it serves a purpose until you start questioning and then you're in real trouble because then it's like, how the fuck do I get out?Gina Pulice (8m 10s):Yeah, exactly. Well, I am very happy that you, I mean, I'm sorry that you're been in pain, but I'm happy. It's not for some worse reasons.Jen Bosworth-Ramirez (8m 19s):The other thing I have to say that is so interesting that I just wanted to, to, to me anyway, that I wanted to bring up was like, okay, I may not have in the Hollywood right now in the Hollywood industry, a team of people that are like on my side, but I'm S I swear to God, my medical team has, is filling that hole. So I just got an email from my cardiologists. Who said, your, your gynecologist thought you were amazing, loves you. How did it go? Like, that's the kind of messages I get from my, of medical experts. And so I read and I like started crying and I realized like, oh, I'm not getting it from my career team.Jen Bosworth-Ramirez (9m 3s):Like, I've talked about getting nasty emails from potential managers and stuff like that, but I am getting it from the medical team. They're like, amazing. They're like, you are the best. We love you. And I like,Gina Pulice (9m 17s):What if they gave awards for being a great patient?Jen Bosworth-Ramirez (9m 19s):I would Get something for Shot.Gina Pulice (9m 21s):You would get like a gynie award. I'mJen Bosworth-Ramirez (9m 23s):Like the best guy, knee, patient,Gina Pulice (9m 26s):And the, and the, and the statue is just like, you know, the uterus.Jen Bosworth-Ramirez (9m 31s):Yeah. I mean, anyway, so that was really interesting to me. Cause I was really touched this morning when she wrote me. I'm like, who, what doctor, what? It's, she's a, she thought you were amazing. I was like, Hey, that's cool. Well, at least somewhat, you know what I mean? Like, I'll take this. It's so funny.Gina Pulice (9m 46s):Well, the truth is you are amazing. And the difference is with between people who know you and people who don't know you, I mean, that's just what it is. Like when people get to know you, not 10 out of 10 people who know Foz agree. She's amazing. It's just, you know, you have to convince people to get in the door. That'sJen Bosworth-Ramirez (10m 6s):It?Gina Pulice (10m 7s):Yeah. All right.Jen Bosworth-Ramirez (10m 9s):I'm with you, my friend. How do you feel about all the post?Gina Pulice (10m 14s):It's just, it goes on. It's done. It's just a saga. Yes, we should.Jen Bosworth-Ramirez (10m 22s):We don't have to be explicit, but like you, you,Gina Pulice (10m 24s):I can be explicit because fuck those people,Jen Bosworth-Ramirez (10m 27s):Will you left an organizationGina Pulice (10m 28s):It's called Theatre Artists workshop. And I left them because aside from a handful of members and everybody that was on the board, it was one of the more toxic environments I've ever been a part of. And I quit. And I'm the only one who quit effective immediately. Everybody else is staying. Two people are staying on and then everybody else is staying through through 2021. But when I tell you the way that people are responding, we couldn't have crafted it better ourselves. If we said, let's, let's create, like, if we were making this movie and this whole conflict happened, we'd say now what's a way that people could respond.Gina Pulice (11m 17s):That would exactly prove the point of what they were saying toxic in the first place. And two, that the fact that most people are doing that and have zero awareness. So essentially what's happening is that people are reacting to our letter. That goes step-by-step and explains the ways in which we've been abused, right? People are responding to this with a combination of don't take things. So personallyJen Bosworth-Ramirez (11m 46s):Sure. Of course, that's the number one abuser thing to do,Gina Pulice (11m 49s):And just completely invalidating ignoring what we've said about the abuse. They, everybody finds something that's in the letter to take issue with and makes their whole thing about that or, and says nothing of, and by the way, I'm sorry, you were abused. Or, and by the way, you know, and people are saying, thanks, but I'm into this thing recently. I hollow gratitude. Miss me with your hollow gratitude. I don't care. I do not care. I could wallpaper my bathroom with your thank you is right. It's not what I need. I need you to change your behavior.Jen Bosworth-Ramirez (12m 28s):Absolutely.Gina Pulice (12m 29s):Forgive me if I said this to you already, but I'm likening it to, you know, when COVID happened and everybody puts a sign in their front yard saying, thank you, frontline workers. Yeah. And they're banging pots and pans at 5:00 PM in New York city. Like, and the frontline workers are going, I don't think I don't need your sign, like get vaccinated and wear your mask. Right. And everybody's like, I know, I know the,Jen Bosworth-Ramirez (12m 54s):Without a mask on and like at their concert. Right.Gina Pulice (12m 58s):That's exactly it. That's exactly right. And, and, and I shouldn't be surprised. We all myself included are kind of in a way, programmed to not see our own bad behavior and to not want to take responsibility, but it just goes on anyway. So, but it goes on in a way that I can choose how much I want to engage with.Jen Bosworth-Ramirez (13m 18s):And also it's like it to me from the outside. It's so clear that you made the right choice. If this is the response, like they just proved, like you said, they proved the exact point there that's insane. And, and too, and you made the right choice. Like why would you stick around and be beaten down after you've made a stand? And then they continue to try to beat down that doesn't, that's insane if you stayed like that's insane.Gina Pulice (13m 44s):Yeah. Yeah. To give one just chef's kiss example. In our letter, we, we, one of the things that we said was when we tried to introduce our DEI policy, the very first thing we decided to introduce was content warnings. And we did it in the most careful way, like to, to hear about a content warning about something you're going to see presented at the workshop. You have to click down the email. Like you can choose not to see the content warning, right. Because everybody was complaining, it's art and we need to slap people in the face with it, whatever you can choose, whether or not.Gina Pulice (14m 25s):So it's literally like if I, if I'm allergic to peanuts, I'm going to read every nutrition label. Cause I want you to make sure that if I'm not allergic to peanuts, which I'm not, then I don't really need that information. It's no different than that. Right. That alone caused our first member to quit saying if he couldn't use, if he could, he could, if he could. I mean, it wasn't even related really to the content or if he couldn't use the N word, he couldn't theater and in that same evening.Jen Bosworth-Ramirez (14m 57s):Bye, bye. See you later. You're not going to make theater. We're all not here. You're not gonna do it here. Thank you.Gina Pulice (15m 4s):Oh yeah. Two of our members who are from marginalized, societal groups got stood up or, you know, spoke that night and said the ways in which they've been marginalized at TAW. And that, I mean, it was crickets, not one single person gave any support. And we had listed that in our, in our letter. So this email we received from one of our members last night opened with I'm a board member of a condo complex. And we recently oversaw a renovation that made our building double in value.Gina Pulice (15m 44s):We, as a board, had to sit and listen to a tenant or what resident, whatever. Talk about the color of the paint in the laundry room for 30 minutes. And he bolds and underlines 30 all caps, 30 minutes. Okay. It goes, it goes along with being on the board and I thought, okay, so you're comparing you pace. Exactly. You're comparing.Jen Bosworth-Ramirez (16m 15s):Bye bye, byeGina Pulice (16m 34s):Name and saying it all is because the thing I wanted to run by you this week is about secrets. I am. I'm all the way done with secrets. I'm sorry. I mean, I'm not saying like, if you tell me something in confidence, I'm not saying I'm not going to keep that a secret seat. That's not the kind of secret I'm talking about. I'm talking about the kind of secrets where, you know, you know, so I, I have written personal essays that reference my family as personal essays do. And you know, and I'm sure a lot of it has rubbed people the wrong way. I in particular wrote an essay in which I compared somebody in my family to Scott Peterson and, and that person let me know in the creepiest possible way, which is to say this person that, yes, we just happened.Gina Pulice (17m 32s):We are not friends on Facebook. He's not even to my knowledge, this guy has zero social media presence. I receive, I open my phone. There's a notification. So-and-so liked your post. My heart skipped a beat. I mean, it was like my blood turned cold. I went, you had to scroll pretty far down on my timeline to find that post. And it's the only one he liked. Are you kidding me? Your face is exactly your face of surprise. That exactly. Thank you.Gina Pulice (18m 13s):Oh, I really appreciate you validating that. Okay.Jen Bosworth-Ramirez (18m 15s):That's so it's because two things you're super intelligent and also we like crime weirdness, but also it's fucking creepy.Gina Pulice (18m 26s):It's fucking creepy. That's weird by the way, about any post, if anybody who I'm not friends with on Facebook likes a post that's way down the feed.Jen Bosworth-Ramirez (18m 38s):Well, if that's something you're not friends with on,Gina Pulice (18m 42s):Yeah. The whole thing is creepy. The whole thing is 1000% creepy. So part of the thing that I struggle with in writing personal things is airing the dirty laundry, you know, telling the secrets. And I really do try to tell only the secrets that are mine. I really try not to tell anybody else's secrets, but in general, it's so exhausting to be in this perpetual state of protecting a bunch of people who would never protect.Jen Bosworth-Ramirez (19m 16s):There's the key. I mean, like, I think that's the kicker, right? It's like, and I think it speaks to a bigger issue. Like we're all protecting this in these institutional institutions and, and companies and things that are destroying us and we've been projecting them for years. And I think it speaks to why we started the podcast unknowingly is that to protect, we wanted to stop in our way and stop protecting institutions that harmed us whether some are assholes right out some aren't some are, but like institutions harm people. Like I just think that that's the way, right? That's just how it is. It's capitalism, it's democracy, whatever it is, they harm people.Jen Bosworth-Ramirez (19m 58s):So I think we're trying to shed some light on that and say, no, we're going to heal from that. And I don't think you can heal from it unless you really process it. And some of that is bringing the secrets into the light and no, and people don't like that.Gina Pulice (20m 12s):People don't like it. And you and I have had many conversations following interviews where we said, do we bleep this person's name? Do we cut this thing out? And with the exception of one person who we interviewed, who then said that they didn't want us to air the interview. Nobody has said, I regret saying that. Can you, and, and when they're here talking, I mean, we've encountered people feel such a freedom and a relief and they have no problem naming names. Right. And so it's been our thing of like, do we protect this person's identity? But the other thing is, here's the, here's the part in the whole dynamic that I'm trying to own for what I do in this, in this situation about the secrets and everything.Gina Pulice (21m 1s):I wrote something personal, I published it on our website. I promoted it on social media. Theoretically. I want everybody in the world to read it, except this one guy. Right? Like that's, that's my logic. There is, it's really flawed, right? Like if you're going to be brave, then you have to be brave. Right. You can't be brave only when it's convenient.Jen Bosworth-Ramirez (21m 31s):Right. I totally agree. I mean, I think that, and I think it's really great to have the conversations about like, okay, like who are we bleeping and why? And someone on, you know, on this podcast who we, I don't think we've bleeped, but she gets a lot of bad press as Susan Leigh.Gina Pulice (21m 50s):She really does get a lot of bad press.Jen Bosworth-Ramirez (21m 52s):I mean, and, and, and, you know, I'm like, man, should we have been bleeping or out, but,Gina Pulice (21m 59s):But she did it. I mean, it's her, she is the person who should be carrying around the shame for her behavior. Not the people who she harmed the, you know, it's not there. And that's the other thing that we have usually all the way backwards is that we make the people who experienced the pain, shut up about it. Yeah. It to, to protect us. And who did the pain. Yeah. Right.Jen Bosworth-Ramirez (22m 25s):Yeah. Just, yeah, it's, it's all backwards. And again, it's like, you know, she works for, she worked for an institution and they, they, you know, they should, she grew upGina Pulice (22m 34s):And a time and she's, and she's probably the victim of a lot of sexism. Like it's only, it's all of a piece, but the fact remains that at, at that time, maybe she's a completely different person now, but the fact remains that at that time, she did and said a lot of really racist thingsJen Bosworth-Ramirez (22m 51s):And hurtful and other ways, like, just, I mean, I think racism is hurtful, but like other types of hurtful besides racism, just like weird shit, you know, that hurt people. And I, I mean, it's just their truth. And I think it's actually up to, yeah. I mean, yeah, it's a co it's a, it's kind of a complicated issue and yet it's not complicated. It's like, you're right. We're just protecting the people that hurt us all the time. That's like when I got, when I got that very nasty email from, from that manager, my first response was in, this is interesting. My first response was to drag him through Twitter.Jen Bosworth-Ramirez (23m 31s):Like I was going to put his name and say, I got this. It was so hurtful. And I feel like as a woman, as a Latina, that to get this email about fucking formatting, when I'm trying to break into the business is the condescending. I wanted to drag him. And then I thought, okay, there's a difference between speaking your truth and dragging someone. I don't know the difference exactly. Like, I don't know where the nuances lie that make them different, but dragging someone in Twitter versus, and I don't blame people for dragging people on Twitter, either like that. I'm not saying like dragging people is wrong.Jen Bosworth-Ramirez (24m 12s):I think some people need to be dragged. I mean, we've talked about Louis C K's of the world and the Weinsteins do, who deserves to be dragged, who does it. And that's really what I wrote my pilot about, but like, I just didn't feel, I think every person has to decide if they're going to keep secrets, why, or if they're going to drag someone why, or like put it in on social media, straight up, this person did this. You have to be, I have to be prepared to deal with the full consequences if I do that. And I'm just not willing to deal with the full consequences of dragging this guy on Twitter. I'm just not, I'm just not, I don't feel certain.Jen Bosworth-Ramirez (24m 51s):Now there are people where if something happened, I would work it out and I might feel certain to drag their ass. But it was interesting. I think everyone has to decide for themselves where the line is of when I'm going to expose someone to the fullest, et cetera, or an institution to the fullest extent and leave the individual out of it. I don't know.Gina Pulice (25m 12s):Right. Well, and you, and you don't want to do anything. That's gonna harm you. I mean, if you, if you were in a certain place in your life and you did like people dragging that guy would never have hurt you, then you could've, you could've made that decision. Yeah. And I'll also just say for anybody listening, who knows me in real life and, and who've, I've hurt and misbehaved, I invite you not to keep that secret. You know, I, I invite you to drag me if it's something that, I mean, for the thing, for my, for the sins of my past, if anybody is, you know, holding on to that and never has told me, or whatever, like I'd rather hear about it, I'd rather know, and try to make amends and to party so that I I'll feel that I have the right to participate in this, keeping those secrets, telling the truth culture that I really try to, you know, I really try to stay within.Jen Bosworth-Ramirez (26m 16s):Right, right. So, wow. I forgot. I was going to say something else about That's a lot like that. I just feel like, yeah, this whole, this whole notion of keeping, keeping it, you know, and they say in program, like you're only as sick as your secrets. And I think it's really true. And I think there's a way of, of working through the secret that won't bring further harm to yourself versus versus versus doing something that exposes you further. You know what I mean? And brings, and bring, could bring more abuse or you have to look at, I mean, you know, like it's like, except when to do so would injure yourself for others.Jen Bosworth-Ramirez (27m 3s):But, but, but, but, but dragging is about sort of injuring others in a way. I don't know. It's like really interesting. I don't know,Gina Pulice (27m 11s):You know, that saying, or I think, I don't know if you call it, call it a saying, is it kind, is it truthful? Is it necessary? Well, I know you're supposed to aim for all three. Yeah. To my way of thinking, you really just need two out of a three. It can be truthful and necessary, like talking about Harvey Weinstein. It's not kind, but that's okay. It didn't need to be constant. So yeah. So that's, that's, that's that tends to be my barometer is if it can't be kind, at least it has to be truthful in this. Yes.Jen Bosworth-Ramirez (27m 43s):Agreed. Agreed. And I think that's, I think for me the necessary part, it's like, okay, well, can I, can I proceed to function as a, you know, trying healthy human being without doing this? Or do I need to do something about this to proceed and live my life and feel like I'm living in integrity and that I'm, I'm doing the right thing by, by me. And sometimes you just, and, and also also, right. Sometimes people, people get, they get hurt. Yeah. But they also didn't think about that when they were abusing others. SoGina Pulice (28m 21s):Yes. Oh yeah. That's the other thing that came out with this board thing, you know, when we were writing the letter, somebody said, okay, so this is, we acknowledge, this is scorched earth. You know, this is a scorched earth thing, which I'm very, that is how I think about things a lot. I, I tend to think about scorched earth, but I, it occurred to me when she said this, how come nobody's ever worried about skirts, scorching the earth with me, right? How come no one's ever worried about burning a bridge with me? You know, like, yeah. Maybe it is scorched earth. But if you, if your takeaway from what I've said to you is that I'm the asshole.Gina Pulice (29m 4s):That's fine. I don't care. That's completely fine. Go. I wish you well on your journey, right? It wasn't for you. I guess for this letter, it was for me to say to you, I mean, if you didn't want to receive it, that's your business. Right?Jen Bosworth-Ramirez (29m 22s):Well, Today on the podcast we're talking with CISA Hutchinson. She says a graduate from Vassar and NYU, and she's a teacher, she's a playwright. She writes for television and we found our conversation with her extremely focusing and motivating. So please enjoy our conversation with CISA Hutchinson. Hi, good morning. Good. Where are you? Which coast are you on? Are you on the east coast?Jen Bosworth-Ramirez (30m 2s):Okay.Gina Pulice (30m 3s):I guess what, I just had to pause, watching to come talk to you, your movie, your amazing movie. Yes. Oh my God. I'm in the scene with the mother right now and it's so good. It's so good.Chisa Hutchinson (30m 23s):Yeah. That's that? Yeah. You know, it's so funny because when I wrote, I wrote it as a play initially, and I was, when I was writing that part, I was like, this is why people don't like theater, just two people talking like whatever, we're going to be full board. But like, I don't know. Everybody seems to like really be engaged by that part. So,Gina Pulice (30m 51s):Oh no. Yeah. There's nothing boring about this movie. It's called the subject. Everybody go check it out. But before I forget, she's the Hutchinson. Congratulations. You survived hotter school. You survived theater school to fancy theater school.Chisa Hutchinson (31m 7s):Well, yeah, sort of. Okay. So I went to Vassar college for undergrad. Yeah. Which was interesting because I knew it was a good theater program, but I didn't know that it was mostly geared toward writers and directors. Because when I, when I sent him down, there was like literally one dramatic writing class taught by a screenwriter who was like, oh yeah, I guess you can write plays if you want. Really like, learned much about the craft of playwriting while I was there.Chisa Hutchinson (31m 46s):But, but I had a good time and I did a lot of independent studies in the English department and the Africana studies department, just to like, you know, learn about plays theater, you know, scripts plays that weren't, you know, Shakespeare or insulin or checkoff or whatever. Right. So that was undergrad. And then I worked for a few years as a high school English teacher.Jen Bosworth-Ramirez (32m 21s):My mom was a high school English teacher and it was, it was intense. Where did you teach?Chisa Hutchinson (32m 28s):I taught at Westtown school, which is a Quaker boarding school in Pennsylvania, like 45 minutes Southwest of Philadelphia. And then I taught at Sage hill school in Southern California, orange county, California, which was like a whole other planet. Okay. Like I felt like a whole ass in orange county, California and teaching there. Yeah.Gina Pulice (32m 60s):I feel like the, the cultural translation from the east coast to orange county might be one of the biggest riffs chasms that there is there. It's quiet.Jen Bosworth-Ramirez (33m 13s):I was just going to say, you're the first guests that we've had on. And we've had many that I've been like really sort of, no, not that I'm not excited to talk to everybody else, but your, your, I was telling Gina before this, that your bio is the greatest written bio I've ever read in my life. So I told her I'm the queen of queries. Like I write a bad-ass query letter, like, but you are the baddest ass of bios. Like, I, I love that stuff because for me they're usually so down boring, but you're, and same with queries.Jen Bosworth-Ramirez (33m 54s):Like, I, I love to write a good query cause it's kind of a challenge how that bio is. You write it like in a second. I mean, I know it's a little thing, but it's a really important thing to me becauseChisa Hutchinson (34m 7s):So long ago I don't even remember, but I just wanted to, I was like, oh, well, you know, there's going to be plenty of chance to send the short, dry, you know, you know, like formal bio. So I was like, I want my website to be, you know, I went to bio on my website to be, you know, to give a sense of like who I am as a person.Jen Bosworth-Ramirez (34m 30s):I feel like I, I was like, I with, and it's an, it's the words are economic. It's not like, it's like this long thing, but it's really short. And it's also so compelling. Anyway, I just, I just that's like my just, just, yeah, I have from zoneGina Pulice (34m 50s):It's on her website, everybody, chisahutchinson.com. You can check it out for yourself. It's veryJen Bosworth-Ramirez (34m 54s):Funny. Very good.Gina Pulice (34m 56s):Okay. So by the time you got to T I mean, so what I understand your grad school choice was rather intentional to be about play writing and you picked maybe probably the, one of the best schools did that. Oh. Or maybe you disagree,Chisa Hutchinson (35m 16s):Funny story about the no, no, I loved it. I knew I absolutely loved NYU. I'd probably learn more in one semester there than I did four years. That I'm sorry. I feel like I'm talking smack about vets. I'm really not trying to like smack talk Vassar. It's just, it's really, I think they're doing better now. They've hired a playwright that I really loved to teach playwriting there. So that's, I think progressJen Bosworth-Ramirez (35m 47s):We've had the thing where it's like, I I'm coming to the, the sort of realization that a lot of undergrads are kind of like, well, we'll give it a shot. We don't have a awesome, we're going to really do something good luck. And then you'll go to grad school and really learn. I mean, that's how I kind of feel. So I know you're not talkingChisa Hutchinson (36m 8s):Because I really had a wonderful time at the ribs of great, the great place. And I learned through experience, just not so much through the cracks. And then NYU, it was literally the only grad school I applied to. And that was because I had, I had a workshop production. It was my very first workshop production of a play ever at a professional theater company or not really the Lark play development center, which has since Closed.Chisa Hutchinson (36m 49s):And it makes me so sad because that police was like American idol for playwrights. And like, it was the place people knew to like go to the Lark, the Lark and new dramas are like the two places that everybody knows like, okay, you want to find the next half play. Right. And go to this place. Right. So I had my very first production of a, of a full length play at the Lark and they hooked me up. Oh, hardcore. I w at me, it was so many different people who I still work with to this day. Like, I, I love the LARC. Like everyone I met at the Lark, I have kept and I keep working with them. But the game changer was they set me up with Tina Howe as a mentor.Gina Pulice (37m 33s):Yeah, I did. I did one of her plays and theater school.Chisa Hutchinson (37m 38s):That woman is a genius as a wacky genius. Okay. First of all, she's like, I think back then she had to be in her late sixties, early seventies. I don't even know. Nobody knows how old you, how so? No. She is like this waspy, like proper wasp of a woman of a certain age, you know, who apparently responded like exuberantly to my, to my plate. She liked girls, which, which is about like, again, you know, teenage inner city lesbians, you know, like, so it was really weird to have her be like this, but what she responded to was like, I have like surreal elements in that play.Chisa Hutchinson (38m 25s):And she was, she knows what she's all about. That surreal stuff. So they sent me up with her. They were like, you should have dinner with her after, you know, your, your presentation. And I was like, yeah, yeah, cool. So I had dinner with Tina, how well we just like talked and talked and talked to this little gas so late that I was like, oh shit. Like, I'm about to miss my last train back to New Jersey. And she was like, oh, oh no, you will do no such thing. You will not, you are not taking the train back this late. You are coming home with me. And I was like, oh, okay. So you know how so I had a Latina, how, when we woke up and she made me breakfast and she's just talking, she's had you, do you have an MFA?Chisa Hutchinson (39m 11s):You need any of that say, and I was like, no. She was like, well, you have to not have to apply to grad programs. If you're going to apply, you should apply to some people at NYU. My best friend works at NYU and used to reply. And I'm going to write you a letter of recommendation and you're going to go to LA. So literally I put together like a found out that the down deadline for the application was literally the next day. So I application together in a day and like hand delivered it to the department of dramatic writing and I, and cross my fingers and was just like, all right, well, I'll tell me to apply.Chisa Hutchinson (39m 55s):So I applied and I got in, I got in with a full, a full ride and yeah, I had just an amazing, I love my professors there. They were so dope. And what they do is they make you write. So I concentrated in playwriting, which was a really smart move apparently, because playwrights are like the hot shit in Hollywood right now. But yeah, I concentrated and play writing, but they make you write in other mediums also, as you know, it's mandatory. You have to also take TV writing. You have to also take screenwriting. Yeah. And that is, turns out is a very smart way to structure your Germany.Chisa Hutchinson (40m 39s):We're all working everywhere now. You know, like if there's no, there's so much, you know, cross fertilization happening.Gina Pulice (40m 50s):Yeah. That's fantastic. So we only know about the playwriting program at, I think one other school. So at Tisch, did you, did you write stuff? They then got produced there by the students? I mean, like acting playsChisa Hutchinson (41m 6s):Is the only thing that they don't, because they're not what they try to do. They do have like one collaboration class where they bring in, they try to bring in as many professionals as possible because they want like the one sort of student variable, like the one factor, you know, to be student and everything else to be professionals. So they would bring in professional directors and professional actors for it. Wasn't yeah, it was, it was a little bizarre because it felt like you were just siloed from these people that you should be probably, you know, it'd be making connections with.Chisa Hutchinson (41m 49s):So it was a little ad in that respect, but I see, I get the philosophy behind it. Like I get that. They're like, we want to minimize the minimize or maximize the professionalism.Jen Bosworth-Ramirez (42m 4s):Right. I mean, it's, it's, it's just sounds like a really like super bad-ass program that I have a friend, a playwright friend named Michael Allen Harris. I don't know. He just graduated from loved it, loved it, loved it. And now, and I have this thing of going to a lot of grad schools now I'm like, I have a master's in counseling psych. I started a screenwriting program then dropped out because they were assholes. And then I'm like, now I'm like NYU grad school. I, you know, but anyway, I, I love this idea that you okay. Cause I'm, I'm in LA right now. And there's a lot of people that are like, and playwrights are hot shit in Hollywood.Jen Bosworth-Ramirez (42m 47s):Right. But I love the idea that you didn't go into playwriting to try to be a hot shit in Hollywood, unless you did. And I'm just making thatChisa Hutchinson (42m 57s):Like live theater, it just fits a medium that just affords you so much nuance. And like, there's just so many idiosyncrasies, you know, like you can do things. And I literally teach a class at the university of Delaware. I call it writing in 3d. It's just a playwriting class. But what I do is I make them do small, you know, short writing assignments. And each assignment is focused on some aspect. Some, some topics, some themes, some something, right. Some element that just takes on a whole other texture when it's live.Chisa Hutchinson (43m 40s):So like the first assignment that they get is like nudity. Right. Which c'mon, you know, like it's D you know, we see cities all day long on the screen, like, and it's no, no big. Right. But like in a live theater, that's a whole other thing. Right? Like nudity, you suddenly, you're like forced to really think about the significance of the nudity when it's like right there in your face. Right. So nudity, silence, silence in a theater is different from silence anywhere else, you know, like you can't really do silence and I'm novel, you know, it's like, well, it's a blank page. Right.Chisa Hutchinson (44m 19s):So with audience participation, like you literally can't do that anywhere else. You know? So yeah. Each assignment, I really try to get my students thinking the possibilities that, you know, they can take advantage of those in, in theater that they can't really get anywhere else.Gina Pulice (44m 41s):You're just making me think of something that makes me so sad, which is that a lot of us do approach just anything performance-related through theater, because it is so singularly special. And then as you have this line in your bio, you write these plays that have more than five characters and deal with themes of race. So they're probably never going to get produced. And actually the way, the way I met you was at the national new play network in Sacramento. I mean, I met you like passing hello, where they did a staged reading of your play America, which looks amazing. Has that ever been produced?Chisa Hutchinson (45m 19s):That is literally, it has been postponed twice pandemic postpartum, but it's where I'm going to start rehearsing for that in January, at alley theater in Houston.Gina Pulice (45m 30s):Fantastic. I'm really happy to hear that. So, you know, so theater gives us all of these things that we can't find elsewhere, and then there's zero money spent on it so that people like you only end up getting to do, you know, bring their brilliance, not only, but you get paid by bringing your brilliance to film and television, it's just kind of sad. You know, that there's, it's not a viable option to really make your living as a playwright.Chisa Hutchinson (46m 0s):It is. It is. I I'm not, if I knew how to fix it. Right. I, I would, but you know, I think we just need to just do the best we can. And every day I wake up feeling great. I mean, even on a, even on a shitty day, and I've had some pretty shitty days, especially like this past week or so, where, I mean just where you just feel gutted and, you know, come out and, or whatever. And you're like, just want to crawl into a cave. But then I'm like, literally like sitting in a house that you bought with, wow, you're doing, you're doing will pay.Chisa Hutchinson (46m 49s):And the fact that I get to do what I like in whatever capacity really, right. Like, okay, theater doesn't pay me enough to live on, but please screen, you know, screen writing or I get to teach. Like I get to talk to sit around every week, just telling young people, like I hear is why words are cool. And then they get all excited. And then they like present their work in class and then they get all, like, they get attached to each other's characters and things know like when they're reading over beating and workshop and it just, it just like tickles my soul.Chisa Hutchinson (47m 35s):So like, why, you know, why, why would I be sad about really anything?Jen Bosworth-Ramirez (47m 43s):Can I ask you a question about the gutted nearness of, so did you say I, you sort of brushed over it, but like the governess of, did you say reviews like of your films? Okay. Okay. So here's my question. Here's my question. Because you're someone that's working in an industry that I am like, oh my God. You know, because I'm me, I'm like, they've got it made, you know, whatever it's garbage. I know. But when a review, cause we talk a lot about, on this podcast about resilience or, and I'm obsessed with the idea of resilience or bouncing back, whatever you want to call it. What happens inside you that you're able to say, bitch, keep going. Like, what is that moment for you?Jen Bosworth-Ramirez (48m 24s):Because I'm, I had a week where a asshole said some asshole you things as they do. And then I had to like regroup and keep on with my, my situation. So what did for you, how do you do that as someone, you know, how do you do it?Chisa Hutchinson (48m 40s):Okay. So this is a thing that comes with time. This writing shit, like it's a war of attrition is, is really, really only the people who stick around are the ones who get to succeed on any level really. Right. So if you stick around long enough, right. If you just don't let, when someone kicks you in the face, right. You just kind of have to be like, get up and keep walking. What, what, what did it for me? I think it was like the third or fourth, like mixed review that I got in the times for a play prediction.Chisa Hutchinson (49m 28s):And, and then I thought, bitch, this is, this is your fourth review. And the TA, one of them was like really good, you know, like of all the reviews that I've gotten and I'm picking on the times, because of course that's the one that everybody sees. Right. But like whenever, you know, the reviews come out and some of them are like really fuses and wonderful and that's like fuel and it's, it's awesome. They're usually on the, like really rinky-dink like platforms with like 300 followers. Right. But, but you're like, oh, somebody gets it.Chisa Hutchinson (50m 8s):You know, like somebody, somebody out there, guess what I'm trying to do too bad. Those somebodies they're not the ones with the giant platforms, but it's okay. And so you read those and you absorb them, but then like if you just sort of take a step back and like, I, you know, like I didn't realize, you know, these reviews aren't actually keeping me from getting work. I mean, it would certainly help to have a great review right. In some, you know, in the, whatever the Washington post, whatever, right. Like whatever, big, whatever big platform, it would certainly help to have a great review, but I'm still working.Chisa Hutchinson (50m 49s):Like I still get work, even if, you know, I haven't been anointed by the New York times. Right. Like, so it really is just a matter of like hanging in there. Like, I, I hate to sayJen Bosworth-Ramirez (51m 2s):I love that because, because that is something that I, and we have control over is hanging in there versus having control over whether, whoever at whatever paper or whatever, whatever loves me. I have no control over that, but I can control whether I hang in there or whether it's worth it to hang in there or not. So that's actually something you can actually do. So I like that. It's like, I can do thatChisa Hutchinson (51m 26s):And I'll work on the next thing. Just be working on the next, keep writing happens that when I find that I like get over bad routes, the fastest when I'm already in the middle of the next project. Sure. So like right now I'm working at, so you mentioned the subject just got released this past week, last, last week. Oh my God. How's that week. We just had our premiere party a week ago already, but yeah. And the reviews have been mixed, you know, some people like really get it. And some people I'm like, you are completely missing the point. Like you're completely missing the point and it's very frustrating, but I don't even really have time to be too concerned about it because I'm like, I'm literally in a writer's room for a Hulu show right now.Chisa Hutchinson (52m 16s):So I'm really, I'm, I'm my revision actually is due today after like, I'm going to have to like, you know, I was right in that. I have like 10 more pages that I need to trim, but yeah, I, I can't, I don't, I don't have time to while I can just, you just gotta be like all up in the next thing, all that.Gina Pulice (52m 35s):And it does make sense that review, I mean, reviews are, people have feel all kinds of artists have feelings about reviews, but it really makes sense that a writer would have a hard time, you know, just for example, ignoring reviews because your life is about words and that's what that's, what's happening in a review is the people are assembling words to, to decide, you know, pass judgment on whether or not you have something interesting to say,Chisa Hutchinson (53m 3s):When you write about something personal or when you write about something about which you're passionate, that it feels, so it feels like they just took a knife to your heart, you know? Like it feels so like, yeah, let me just swallow my pride with a chaser of napalm, you know, just like BR like, it just burns you on the inside and you, you just, it feels like you're never going to get over it, but you will. You do, you do the next thing and yeah,Jen Bosworth-Ramirez (53m 35s):Really. I mean, ultimately it's like, you know, fuck you and goodbye and good luck and onward, but I love the idea of moving. I always be, cause people used to tell me like, just keep writing and I'd be like, go fuck yourself because I don't want to keep writing. I want someone to like my last project not, but it's true. Like if I can shut up and, and, and stop feeling, sorry for myself, I, I look, it feels good to feel sorry for myself for a little bit. But I feel like if I can actually do something rather than ruminate and create more work, then the steam comes out of it. Just because simply there's not enough space in my brain to keep thinking about what Joe Schmo said in his last email.Jen Bosworth-Ramirez (54m 21s):So it is that it's just like focus on the writing, you know, sounds so easy to do, but it's actually, for me, a self preservation thing to keep writing, instead of ruminating on all the things that went wrong with the last, the last project or whatever, you know?Chisa Hutchinson (54m 38s):Yeah. And I'm very lucky also to be doing this in a time where there's Instagram and TikTok because I have like, literally I have like a little collection of videos specifically that I just, that no matter what the hell is going on, like they always make me,Jen Bosworth-Ramirez (54m 59s):I love that made me laugh minus the stone guy shoveling. Have you seen, okay, so this is an old one, but it, if anyone out there has, there's a guy who's trying to shovel snow and he cannot get it together. And he keeps falling and it's sort of a metaphor for my life and he just keeps it at the end. He just goes, fuck it. And show that shovel. And there's someone filming his neighbors filming, cracking up, but quietly not trying to make fun, but like in a way that like, man, we have all been there. The dude cannot shovel to save his life. And I was like that. I relate to that shit because it's just like, you're just shoveling and falling in your own shit and falling and someone's bike going way to go.Jen Bosworth-Ramirez (55m 44s):I feel you. So with the Tik-toks, I, I, that's a really good thing to do. You keep them for when you feel bad, you watch them or just whenever.Chisa Hutchinson (55m 52s):And then when I'm just like to set for words, you know, I just need to watch a video of big fluffy dogs ripping down the stairs. No, with the voiceover that's like curse. It just, oh my God. It gets everyJen Bosworth-Ramirez (56m 7s):Time,Chisa Hutchinson (56m 9s):Every timeJen Bosworth-Ramirez (56m 11s):I love it, I want to see it. I'm gonna look it up. It's a dog cursing like a voiceover.Chisa Hutchinson (56m 16s):I really wish. Yeah. And he's like this, there are three, three big fluffy fucking dog. You just want to like squeeze them. They're so fucking big and fluffy, you know? And they're like, there are these concrete cores outdoors right there, like three or four stairs. And they're running along the top, the top stair, I'm about to make their way down. But because the coloring and the, you know, how shallow, because of the way the stairs are built on the color, you don't, if you have no depth perception, right. Which those dogs clear would be not.Chisa Hutchinson (56m 57s):It's hard to know that it's not just like grown, we'll go running along the stairs. And one of them that one in the front is like, oh, I can't wait to the, and then I can't wait to get to the, and then he goes Like tumbles down the,Gina Pulice (57m 18s):Okay, we're going to have to try to link to that in our show notes. So people can check it out.Chisa Hutchinson (57m 23s):I will, we send that to you because it cracks me up.Jen Bosworth-Ramirez (57m 29s):I'm obsessed. And you're making me see why fails are so important. Like, I love fail videos. I watch news bloopers all day long because what it is is people trying their best to be sincere and be like, I take themselves so serious. I'm going to do my job. And then all of a sudden, the chair falls out and they're like still trying to do their goddamn job. And they're like, and anyway, I'm the news. And you're like, I love it because I feel like that 90% of my fucking life, I feel like I'm like, I could still do this while my legs are being taken out from under me. So anyway, Tik Toks and fails. Yes. They're worth something. They're really good.Jen Bosworth-Ramirez (58m 10s):I'm sorry.Gina Pulice (58m 12s):No, no, no. That's okay. No, but that's how it was. No, but it's, I mean, it's germane it's on the topic of survival is we all have ways of surviving the everyday banalities and everyday horrors of life. So you, right before we talked, started talking to you for the podcast, we always do another section of just us talking before. And we were talking about secrets and we were talking about, you know, especially as it pertains to your profession and personal writing, the dangerous territory that you start navigating when it gets into the territory of like family secrets. And I don't mean, you know, so-and-so whatever cheated on his wife.Gina Pulice (58m 57s):I just mean maybe more like a thematic secret where we're protecting this abusive behavior. We're protecting this abusive personality. And I recently in my life made a decision to stop doing that in, in, in multiple arenas, but specifically in one and my awakening about it is all about, I'm not holding anybody else's secrets anymore. It's not me. If you don't want me, if you don't like that about me, then you probably need to reevaluate your relationship with me. I'm done holding on to other people's secrets and actually your movie touches on that a lot.Gina Pulice (59m 42s):And I'm just curious about your own relationship professionally speaking to secrets and how you navigate that test, the difference between say or the potential chasm between saying something that's really true for you and saying something that could somehow hurt you in the future.Chisa Hutchinson (1h 0m 7s):Wow. That's that sounds serious. That's a serious question. I'm kind of with you as far as like, like my husband, for example, he knows he has known from year one when we first started dating that. Like, if it's happening to you while I know you, like, if it's happening between us, like that should it's part like, like that's like, that's, that's fatter. Like I'm gonna, I will use that. Like as an I don't care if it really sort of is a little unschooled, do you?Chisa Hutchinson (1h 0m 47s):Oh, okay. So for example, I wrote, I wrote a book called 101 reasons to not breed. Yes. Lemon. One of the reasons is like kids, if you miss me, like, they're just messy. It's shit. Right. So what I did was I don't have kids. I don't want kids. I'm very clear on this. Right. But I do have a husband who just doesn't even see mess anymore. Doesn't realize when he's like leaving stuff for, so I literally just spent a good few months just taking pictures and text messages that he left around her.Chisa Hutchinson (1h 1m 33s):I mean, ridiculous fucking message. Like socks on the kitchen, counter, dirty socks on the kitchen. I'm like, fuck. Okay. Yeah, yeah, yeah. I will take a picture of the toilet that you did not cross blew it up. Right. You know what I'm saying? Like, I will put, I will literally put your shit on. I will put your shit out there for the world. See if you don't start cleaning up after yourself. Right. Like, so that's okay. Like that's a kind of a funny, you know, version of, of, of that. Right. But there are some other things, there are other things, I mean, in the same book, I actually talk about my mother and my biological mother who gave me away when I was three.Chisa Hutchinson (1h 2m 19s):But like before that, I mean, some of my earliest memories are of her like beating the shit out of me, you know, her and my stepdad beating the crap out of me at three, you know? So yeah. I don't, I don't, I have never had qualms about putting I'm like, you didn't have qualms about putting your fist to my, my little face. Right. So I'm not going to have qualms about like, putting that out there and trying to turn it into a positive, in case there's someone else out there who is feeling some type of way about the fact that their mother abandoned them or whatever, you know, like, I just want to let you know, like, I'm connecting with you, right. You are not alone.Chisa Hutchinson (1h 2m 59s):Right. And you know, you find your family where you can and that's sort of the message of the book is that you don't actually have to like grow grass root, right. Or, or even honor the fact that someone grew you right. In order to, to have family into it and to feel that that familial love. So that's what the book is, is supposed to doGina Pulice (1h 3m 28s):Truett fruit. Oh crap. Okay.Chisa Hutchinson (1h 3m 32s):I love it. So yeah, I, I will, I don't, there's really no such thing as a secret withGina Pulice (1h 3m 40s):You don't have a, a quandary about it. You just go straight .Chisa Hutchinson (1h 3m 47s):I do. I will let people know though, because I don't want to, you don't want to be bad art friend. Right? LikeGina Pulice (1h 3m 56s):Our friends on this podcast,Chisa Hutchinson (1h 3m 58s):I will let you know. I'm like, Hey look, because I left my husband and I'm like, look, I'm putting, do you see these pictures? You know, you see all these shit, you left around the house. Yeah. I took pictures of all of it and it's going in the book. Right. Like he knows, you know, his step, I just, or I'll ask if there's something like, I'm like, ah, hi, how do you feel about me too? Because here's why I'm thinking it will serve the story really well. Or here's why I think it'll help other people connect with it. Or, you know what I mean? Like, I I'm, I'm very clear on like, why I need a particular thing why I need to expose dirty laundry. Right, right, right.Chisa Hutchinson (1h 4m 39s):So, and as long as I can voice that, like most folks are okay with it. Well, what really cracks me up is when the people don't even recognize themselves in yourGina Pulice (1h 4m 49s):Oh, right. They'll or they'll, they'll tell, they'll tell you the character that they know you meant to be them. And it's not, it's like an admirable character and that's not who you areChisa Hutchinson (1h 4m 60s):Now that ain't too.Jen Bosworth-Ramirez (1h 5m 2s):I have a question as it relates to like, and I told you to, before this, I was going to ask you this. So I sent him a letter to someone, a query, and I said like, I'm a Latina, I'm a middle aged woman. I'm getting into television bubble. Anyway, I got a horrific, crazy response. And my initial response was to drag the motherfucker on Twitter, but I didn't do it. What, what do you think about, I don't even know if drags the right word out, whatever it is. It was a terrible situation that I felt. And my first response was, I'm going to get this motherfucker. I did not do it. I did not do it. But what do you feel about people that are go, go on social media or groups or whatever.Jen Bosworth-Ramirez (1h 5m 44s):I just, what are your thoughts on saying on, on, on doing that? Cause people are doing it a lot, you know? And, and I don't, I don't necessarily Gina and I talked about like, I'm not sure it's a terrible thing. I just, it wasn't right for me to do in that moment also, becauseChisa Hutchinson (1h 6m 1s):It's not a terrible thing, but it's not a great, I mean, it's not very everyone. Like, I, I don't really do it so much because I feel like it's giving them too much power or it's, it's that thing of like, okay, yeah. Dwell, dwell on it for five minutes and then move on like that, because that's, that's really how you can get back at those motherfuckers, right. Is to just like go on with your life and be happy and, you know, find joy elsewhere. Right? Like that's and, you know, to, to dignify their, their fuckery was, you know, you are strongly worded Facebook posts.Chisa Hutchinson (1h 6m 47s):Right. Is what is it doing? You know? I mean, would you feel better? It might make you feel better just to kind of like, get it out there. It also might help you connect with, you know, other people who have experienced a similar thing. Right. And, you know, maybe they were feeling isolated or alone and they're in their failure or in their, whatever it is. Right. So, I mean, I'm not gonna say it doesn't have its uses. Right. But as far as like, is it getting back at that personJen Bosworth-Ramirez (1h 7m 18s):And also, right.Chisa Hutchinson (1h 7m 22s):I really I'm just, so this is a lesson that I'm really just now getting around to like learning in a, in a sort of visceral way. Is that like nobody cares? No, I literally just today was, well that's right. Post, because I saw on IMD be the subject. There are a couple of, and it's really just a couple, like, there are a couple of really awful, I mean, Pete, just users who were just like, you know, clearly expecting it to be a comedy because Jason business owner or something, Make movies fun again, you know? And I was just like, oh dude.Chisa Hutchinson (1h 8m 3s):And they're the ones who, who will take the time to like post over review or post it's their, I can't even call them props because they would have to be thinking I would have to have brain. Right. But I did, like, I went on Facebook, like the closest I'll come is like, I went on Facebook and was like, Hey, y'all alert if you enjoy the movie, like, please rate it. Please post a review because these guys like their opinions, shouldn't be the stand in for everybody. Else's right. And that's, that's really about as close as I'll come. But even that I'm like, I was torn about doing that because I'm like, doesn't even, does it even matter?Chisa Hutchinson (1h 8m 47s):Like,Gina Pulice (1h 8m 48s):And it gets back to this whole thing about reviews because I saw your post and it's specifically men over 45 or something like that. And I thought, yeah, but who else is writing these things, but men over 45, like I'm guilty of loving something and then not writing it down anywhere that I love it because it's, so it's such an, it has become such an important part of art making, like how are people receiving it? And is it getting enough views? And is it getting enough, you know, clicks. And to me it's always just like the person who ha, who wants to take their time when it's not positive to tell you that you put your heart and soul into something and they didn't care for it.Gina Pulice (1h 9m 31s):And I don't understand the impulse, actually.Jen Bosworth-Ramirez (1h 9m 34s):This is the biggest demographic of voters, by the way. I think too, like I I'm just saying like, these are people that like really when they feel something, they feel really entitled to just like trash it. Or I think the, the, maybe the rest of us are so busy surviving. We don't write nice reviews. I don't know. But I started to write good reviews because I realized that for people, for people in that are trying to make projects, whether it's in the arts or not that it actually matters that the rest of us speak up because those voices, like you're saying don't need to be the loudest. Cause they're not, they're not the only voices out there. There's this is people that take the time to click away. Same with the guy who ran the time to use his time to write me a nasty,Chisa Hutchinson (1h 10m 17s):You know, like they're, they, they have a sense of self-importance that I think the rest of us not. And I'm just like, ah,Jen Bosworth-Ramirez (1h 10m 27s):Right, right. So I think the way to counter it is for the rest of us to start for me anyway. Cause I'm, I'm guilty too, of like not when something is great, not saying like, Hey, I love this product. Even if it's a candle, like we have a friend that makes candles, you know, and Gina, you posted about it. That matters. That's that? It's like, I got to take time out of my day, even though I'm busy hustling and all this stuff to like support the things that I do, like so that the loud, loud ass, old white dudes, don't just get to have the whole market cornered on reviews, like come on or whatever. So I think,Chisa Hutchinson (1h 11m 7s):You know, to bark the thing that I like out of existence, right? Like, because that is a thing that can happen too, when there's a perception that like, oh, well nobody wants this. Right. But the only people who have been, you know, it'sJen Bosworth-Ramirez (1h 11m 22s):And it's like, oh, this movie, this movie, or this project or whatever didn't do well, no, no, it actually did fine. It was just that the people that were screaming the loudest and felt entitled to scream, you know, people, we think that we give them importance. So it's like, we have to take back the, the importance of like, you know, the other voices it's just goes about like other voices in the room that aren't, aren't being heard.Chisa Hutchinson (1h 11m 45s):People kno

Summary:In today's episodes of The Tragedy Academy, Jay is joined by Brazilian actor and dancer Glauco Araujo. Glauco walks us through his life growing up in remote farmland in Brazil and how he turned his internal struggles into beautiful art for all to consume.Key Points: Glauco tells his backstory growing up in a remote farm area in BrazilTransitioning from a field outside of Rio to an accomplished dancer and actorGlauco's first contact with balletFavorite ballet dancer Rudolph Nureyev and relating to his struggleMoving to New York wanting to something moreSeeking therapyCharity: Disciple Actors GuildEpisode Highlights:[02:23] Glauco tells us his experience growing up on a farm outside of Rio De Janeiro and his aspirations of wanting something more [05:05] Glauco shares where his passion for dance was born. Starting with performing at Carnival, to working in the Paralympics, and also working for Modern Dance in Chicago.[07:20] Glauco expresses his awe every time he visited Rio as a kid, comparing it to being in Times Square for the first time. [09:47] Glauco gives us a rundown of his initial contact with a ballet which was getting his first job in a dance company in Rio where he was lucky enough to have a director who believed in him. Although he does admit that he hated ballet at first.[12:49] Glauco begins to immerse himself into the ballet by studying its history which is where he discovered his favorite dancer, Rudolf Nureyev.[17:37] Glauco reveals how he relates to Rudolph's struggle; the diversity he had to overcome by being gay, the humble beginnings, his grit in following his dreams. [19:36] Glauco shares the difficulties growing up in Brazilian culture that is traditionally machismo and suppressive, and evangelical.[21:51] Gluaco expresses his relief and gratitude for finally living in a place that allows him to be free and is encouraged to live out his dreams.[26:00] Glauco moves to New York where he feels a burning desire to do more than dance, something that allows the human connection. [29:14] When moving to New York, a director sees Glauco perform and offers him a role in a short film about dancing. [31:02] Glauco reveals that most opportunities that have come into his life have been through connecting with people.[34:37] Staying out of trouble is Glauco's #1 advice to his younger self, but through this, he recognizes that his aggressions as a kid acted as a way to protect himself. [38:46] Glauco and Jay discuss how people don't change without new experiences which also means you cannot judge people without people having a chance to be confronted in what they believe in.[40:30] Glauco confesses how therapy was his savior in overcoming and accepting past trauma. He feels that the only way to help others in seeking mental help is by setting the example.[42:58] Charity: Disciple Actors Guild; helps performers pay their rent and bills [46:01] Glauco shares heartwarming messages he has received on social media [48:34] Jay and Glauco discuss the very prominent body dysmorphia in dance and how we judge ourselves to the worst degrees.[51:00] Plugs: 2 short films that will be out in June. Actorsguild.org[54:00] OutroConnect with Glauco:WebsiteInstagramYouTubeIMDB Tweetable Quotes: “I think the motivation should be to get out of the small town and be in a big city...I had a dream to be an artist”“I was lucky enough to have a director who believed in me… a raw talent”“I got the job first and started taking ballet classes, and I HATED ballet in the beginning”“Where I came from you don't have a choice”“I don't have to be afraid when I got outside, I'm free here. I can be myself. it's like everything is in favor of me”“If there's 50% of love… try to nurture that 50%” Glauco Araujo is a Brazilian-born professional dancer and actor trained both here in the U.S. and in Brazil. In Rio, Glauco danced with the Rio Dance Company (modern dance), as well as with the integrated dance company ANDEF (disability dance). In 2012, Glauco represented Brazil in the closing ceremony of the Paralympic games in London. And from 2015 to 2017 Glauco acted and danced lead roles at Momenta Dance Company with a repertoire including Doris Humphrey, Martha Graham and Charles Weidman, as well as classic choreographers like August Bournonville, Mikhail Fokine, Jules Perrot and Marius Petipa; and disability choreographers Alice Sheppard and Ginger Lane. At Momenta, a dance piece entitled Meloudious Marco was created for Glauco in which he was featured in the lead role of Marco. Glauco was drawn to NYC in early 2017 and was given a scholarship in at Alvin Ailey from 2017 to 2018. In 2018, he was the featured dancer in Aria, a duet choreographed for him by Pedro Ruiz, with live accompaniment by the Camerata NY Orchestra. Glauco danced and acted the following year in Sasha Spielvogel's new musical Come Back Once More So I Can Say Goodbye — a celebration of the 50th anniversary of Stonewall. Glauco's next featured role was in Joshua Bergasse's musical A Crossing, performed with Barrington Stage Company. Glauco has teamed several times, beginning in 2018 to the present, with the award-winning German dancer/director Severine Reisp. Their films have been recognized in a number of international film festivals: A Tango to Remember– Best Romance Film, Los Angeles Film Awards; Best Woman Filmmaker, The Atman Film Festival; Cinematic Award Winner, Cyprus International Film Festival; Ruminate– Best Musical and Best Dance Choreography, Oniros Film Awards; Best Musical/Dance Film, Los Angeles Film Awards. Another film, Lucid, written and directed by Juan Wang has received a Best Film award from The Heibei Television Artists Association. Glauco costarred in this short film with the beautiful and talentedactress and formerAmerican Ballet Theater dancer, Elina GoldeMiettinen. Another film project that Glauco and Elina collaborated on Stop What You're Doing(Music Video), directed by Severine Reisp. This music video won Best Music Video at the Athens International Digital Film Festival Award. On TV, Glauco most notably had a featured comic role in a promo commercialfor Betty in New York, and last January Glauco played the devious Pawnbroker on The Investigation Discovery Channel in Homicide City: Charlotte. Drawn to the New York theater scene, Glauco has worked nonstop onstage for the past three years, working often with Triangle Theater and The Snarks, ACC and EAG. His New York debut was as the romantic lead, Peter Latham, in Pierre Barillet's Forty Carats. His comic turn was followed by his hilarious performance as the effete Bob Lamb in Tina Howe's Museum. In a series of scene nights, Glauco's range has covered the hot-headed role of Ken in John Logan's Red, the sweet-hearted Cornelius in Thornton Wilder's The Matchmaker, the deceptive Morris Townsend in Ruth and Augustus Goetz's The Heiress, and the diabolic Adolf Eichmann Raul Wallenberg's Saved Me. In Soledad Bailada y Casi Compartida, presented at the University of Seville, and on tour around Spain. Glauco has been thrilled to work alongside Broadway and West End actors Anthony Newfield, Alison Fraser and Karen Archer in Richard Alleman's new play Adrift, playing the Brazilian, and provocative Zumba instructor, Flavio. Glauco has been honored to be part of special performances to benefit the Episcopal Actors' Guild and the Cape May Stage. Reviewed in the Times Square Chronicles, “Betsy (Alison Fraser) longs for something more, alongside interactions of the less virtuous kind with the handsome and sweet-talking Flavio, played seductively by the appealing Glauco Araujo (Spielvogel's Come Back Once More).” Recently, Glauco performed in a short bio-pic entitled Dance for Freedom directed by Severine Reisp, highlighting the challenges people of color face today, and which has garnered recognition as the First-Place Recipient of the Dr. David Milch Foundation/CCNY Award in short film competition. In her review, juror Timberkly Whitfield, program executive and producer for A&E, as well as a host on the History Channel and A&E, wrote: “Glauco Araujo is a beautiful dancer and you capture him in such a way that really moved me. I felt inspired by his story that even in the face of racism he doesn't see himself as a victim. Strong production values. You checked all the boxes on this one — FANTASTIC!”  Link from past Interviews  http://diversityrulesmagazine.com/2021/02/28/march-feature-interview-glauco-araujo/http://www.ourtownny.com/news/the-universal-language-of-the-arts-YE1547010https://elespecial.com/glauco-araujo-el-bailarin-que-ha-conquistado-de-brasil-new-yorkhttps://www.noticiali.com/glauco-araujo-sobreviviendo-a-traves-de-la-creatividad/

Showrunner Mary Laws joins host Jenny Curtis to discuss her career, writing, and her new anthology series on Hulu, MONSTERLAND. Throughout the conversation they discuss:  0:37 - Finding her way to the arts as a young child.  2:20 - Receiving some harsh but beneficial advice from a teacher in undergrad.  3:36 - Starting out as a playwright and the first play she wrote, FINGAL’S CAVE.  4:50 - Tina Howe’s observation of Mary 5:35 - Going to NY and working at Rattlestick Playwright’s Theater 6:21 - Not giving up on getting into Yale 7:39 - Studying with Paula Vogel and taking lessons from her to MONSTERLAND.  8:51 - Going from playwriting to writing NEON DEMON with Nicolas Winding Refn.  11:55 - Writing with other people and creating now for a visual medium in film & TV.  15:36 - The experience of being a first-time showrunner.  16:43 - Adapting from Nathan Ballingrud’s book NORTH AMERICAN LAKE MONSTERS.  19:34 - The choice in naming the episodes after the locations they were set in.  21:07 - Staffing the writers room and creating an open environment.  24:24 - The first day on MONSTERLAND and challenges with wind.  25:33 - Creating one world that the anthology series exists in.  26:20 - The monster Mary is the most proud of and using practical effects.  29:11 - Wrap day on MONSTERLAND and the challenges of doing an anthology series 32:24 - The exciting opportunities of working in television.  34:55 - What storytelling has done for Mary on a personal level.  ----------------- Learn More: Hollywood Unscripted Follow Us: Instagram | Facebook | Twitter Hosted and Produced by: Jenny Curtis Co-Produced and Edited by: J Whiting Executive Producer: Stuart Halperin Theme Music by: Celleste and Eric Dick A CurtCo Media Production   See omnystudio.com/listener for privacy information.

The Aside Podcasts are a free resource supported by Drama Victoria - Australia's oldest Drama Association This is a Script Tease episode where we talk through some of the world's greatest plays. Jump through the major plot points, give some background and of course, spoil the endings – all in less than 5 minutes. We do the hard work so you can do the easy listening. In this episode we do Painting Churches by Tina Howe Please feel free to email asidepodcast@outlook.com to ask a question. We will try answer on a future podcast.

In their first discussion on brilliant playwright Tina Howe, Jackson and Jacob choose her Putlizer Prize-finalist play "Painting Churches." This script is just as poignant as it is funny. Listen in as J&J wrestle with the complex family relationships Howe has crafted and explore how young artists can make their parents take them seriously.  ------------------------------ 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 ------------------------------ Thanks so much for listening! We’ll see you next week.

Today I sit down with the mesmerizing Kathryn Grody. We talk everything from motherhood to acting to being a good human. Not to be missed. Kathryn Grody fled Los Angeles, arrived in New York City, and found herself employed on Broadway in Scapino, . Off-Broadway followed with appearances at Joseph Papp’s Public Theatre including Fishing by Michael Weller, Museum, by Tina Howe, Nasty Rumors and Final Remarks by Susan Miller and Lulu Bett directed by Jack Hofsiss at the Berkshire Theatre Festival. Ms. Grody received Obie Awards for her performances in Top Girls by Caryl Churchill, directed by Max Stafford-Clark and The Marriage of Bette and Boo by Christopher Durang, directed by Jerry Zaks as well as a Drama Desk nomination for her performance in her three character one woman play, A Mom’s Life, all at the Public Theatre. (( Other performances include Dusa Fish Stas and Vi at the Manhattan Theatre Club, The Split at Ensemble Studio Theatre, Cause Maggie’s Afraid of the Dark, The 49 Years by Liz Swados, with Estelle Parsons at the Actors Studio Raw Space, Waxing West by Savianna Stanescous at The Lark, and Victoria Roberts cartoon come to life directed by Linda Mancini at Dixon Place. )) Film appearances include Limbo, written and directed by John Sayles and Men With Guns, also by Mr. Sayles, My Body Guard, directed by Tony Bill, Lemon Sisters with Diane Keaton and Carol Kane, Another Woman by Woody Allen and Reds by Warren Beatty. Ms. Grody’s television appearances include “The Sunset Gang” with Uta Hagen, “Execution of Private Slovik” with Martin Sheen and many after-school specials. (( And of course, Law And Order-Criminal Intent in NYC..)) Kathryn Grody performed with A.C.T. in San Francisco, the Actors Theatre of Louisville and was a company member at the Mark Taper Forum in Los Angeles. ) Her essays have appeared in The Mountain Record, Harpers Bazar, Oprah magazine, and her narrative version of the original Mom’s Life was published by Avon. She appeared in the world premiere of two new Wendy Wasserstein plays, ((directed by Michael Barakeeva ))at Theatre J in Washington D.C., originated the role of Maggie in The Penetration Play by Winter Miller, ((directed by Josh Hec))t at The Mint, performed the classic role of Nell in Beckets Endgame, with Alvin Epstein, Adam Heller and Tony Roberts,(( directed by Charlotte Moore,)) at the Irish Repetory Theatre . She braved the Barrow Street Theatre with Tim Crouch in the Oak Tree, and was proud to participate in the Caryl Churchill reading at NYTW, Seven Jewish Children-a play for Gaza…... She played Hinda in Zuzka Kurtz’s My Inner Soul at The Lion, appeared in the 59th st shorts in Tina Howes’ The Woman Who Lost Her Head and was seen as Hilary Clinton in the Performance Art Biennial, I Feel Your Pain, by Liz Magic Laser..And was Lola in Donald Margulies A Model Apartment, directed by Evan Cabnet.. Falling Apart....together , the sequel of A Mom’s Life, was seen at CSC, directed by Timothy Near..Most recently played Gaby in Susan Millers’ 20th Century Blues, directed by Emily Mann at the Signature. She is a Ususal Suspect at NYTW, works with the IRC and Search For Common Ground and is on the board of Downtown Women For Change., Dances for A Variable Population and Noor Theatre.

Bob Wilcox and Gerry Kowarsky review (1) A MIDSUMMER NIGHT’S DREAM, by William Shakespeare, at the Repertory Theatre of St. Louis, (2) REMBRANDT’S GIFT, by Tina Howe, at Dramatic License Productions, (3) MUCH ADO ABOUT NOTHING, by William Shakespeare, at St. Louis Shakespeare, (4) DIRTY DANCING — THE CLASSIC STORY ON STAGE, by Eleanor Bernstein, at the Fox Theatre, (5) THE K OF D: AN URBAN LEGEND, by Laura Schelhardt, at Blue Rose Stage Collective, (6) THE ROCKY HORROR SHOW, by Richard O’Brien, at Family Musical Theater, (7) DISNEY’S THE LITTLE MERMAID, by Doug Wright, Alan Menken, Howard Ashman, & Glen Slater, at Variety Children’s Theatre, and (8) GREASE, by Jim Jacobs & Warren Casey, et al., at KTK Productions.

What was "The Play That Changed Your Life"? Not only the title of a new American Theatre Wing book, which posed that question to 19 of America's most distinguished playwrights, but the start of a discussion by two of those playwrights, Tina Howe and Diana Son. They also talk about which of their own plays changed their lives; what role theatre played while growing up; if there were teachers who inspired them to get involved in theatre writing; what drew them to playwriting; how much of themselves are in their characters; and their role as mentors for young writers.

Our guests - playwrights Gina Gionfriddo, Stephen Adly Guirgis, Tina Howe, Lisa Loomer and Christopher Shinn - explore whether they write to console or provoke an audience; to what degree current events, including the election of a new president and the economic freefall, has on their work; who they write for; if playwriting can be taught; how they react to reviews, both negative and favorable; when they knew they wanted to write for the stage; their relationship with directors; and they share their thoughts about connecting with the audience.

Broadway Bullet had exclusive backstage access to the 2008 NY IT Awards (New York Innovative Theatre Awards) and were able to interview all the winners and presenters live backstage! You can hear from all the award winners about their shows, and get the perspective of the award presenters (Tony winners, Pulitzer winners; probably, Oscar and Emmy winners tucked in there as well) as we talked to Edward Albee, Rob Ashford, Anna Louizos, Barrett Foa, Olympia Dukakis, John Buccino, Tina Howe, Catherine Zuber, Bill Irwin, David Cote, Michael Beresse and so many more! Over two hours of behind the scenes interviews with over 40 people should keep you tied over until our next regular episode!

Bonus Episode #4: I warned you that there'd be a few bonus episodes coming up....This week it's "He'll Never Get What I Do", written for a musical entitled Hush, which dealt with the relationship between a gay theatre composer and a deaf video artist. This song is sung by the composer and is pretty self-explanatory. Music and lyrics by me. Recorded 5/2/06.As for Hush, I worked on it for a while with the marvelous playwright, Tina Howe, but we couldn't crack the story to our mutual satisfaction, so it's on the shelf. Writing an original musical is a complicated proposition, to say the least. Makes me REALLY appreciate the ones out there that work......like, for instance, my favorite new musical, The Drowsy Chaperone, which opened on Broadway last night. It's directed by a certain Mr. Casey Nicholaw, whom I met doing my first show in NY (The Pajama Game at the Equity Library Theatre - Does that date us or what?). Seeing his spectacular production of The Drowsy Chaperone left me awestruck and in tears (literally, hysterical tears of pride, joy, and awe). The show is heaven - don't miss it!Meanwhile, some of the fabulous people I got to chat with at the opening night party:George Lee Andrews, the longest-running actor on Broadway, and star of my favorite teen-years album, Starting Here, Starting Now. George is an admitted listener of this podcast, and I'm honored.Nellie McKay is the brilliant Polly Peachum in the new Threepenny Opera at the Roundabout. She has no idea who I am or that I have a podcast, but I enjoyed chatting with her, and I love her songwriting and her fancy debut double CD, Get Away From Me.And last but not least, the kids from [title of show] were all there. They recently ended their initial run at the Vineyard, but they'll be back there this summer for a recently-announced return engagement! Dare I see it a 6th time? I dare! Don't miss this one either.Check out my recommendations page for more things I like!