Podcasts about trinity repertory company

Hi everyone! Today on What's My Frame I'm joined by Casting Director, Cassandra Han.  Cassandra is a true gem and I know you're going to love this episode and learn so much. We dive into the Italian vs German market, UK & US markets and take on the often misunderstood Global Rule One. If you've ever been curious about working in another market grab your notebook because Cassandra is sharing her prolific insight and experiences navigating and casting in numerous markets!  Cassandra began casting in the early '90s in New York. She was a founding member of Ethan Hawke's NY theater company Malaparte. She holds an MFA in acting from Trinity Repertory Company and a Bachelor of Arts from the University of Pennsylvania. After moving to Europe in '03, Cassandra now specializes in crossing over between the European and UK/US markets, casting in German, Italian and English. Cassandra is President of the CSA European Board of Governors and a Board Member of the International Casting Directors Association (ICDA). A founding member of the Italian branch of Women in Film, Television and Media, she is also a member of the European Film Academy and the Deutsche Filmakademie. Recent credits includes two Paramount+ series: a German Original entitled ONE TRILLION DOLLARS (Wiedemann & Berg TV) and American roles for the Italian Original MISS FALLACI (Casting by Maurilio Mangano). UK Casting includes the upcoming Italian Netflix series STORIA DELLA MIA FAMIGLIA (Casting by Davide Zurolo). She also just closed the cast of a Somali-language feature, SAMIA, based on the true story of a female Olympic athlete from Mogadishu.  Casting Italy credits include James Mangold's Oscar-winning FORD VS FERRARI (Casting by Ronna Kress), Terrence Malick's A HIDDEN LIFE (Casting by Anja Dihrberg) and two seasons of Gaumont Germany's Netflix series BARBARIANS (Casting by Iris Baumüller). Other recent credits include co-casting with Marta Kownacka on the award-winning Polish WWII feature FILIP from Akson Studios (Veronika Migoń casting award nomination); US roles for the Latvian/Italian feature MASAS; the quirky French/Indian animated film SCHIRKOA; Dror Zahavi's feature about a Palestinian-Israeli youth orchestra, CRESCENDO; and UK casting for the ARD series EIN HAUCH VON AMERIKA Cassandra Han SAG-AFTRA Global Rule One --- What's My Frame, hosted by ⁠⁠⁠⁠⁠Laura Linda Bradley⁠⁠⁠⁠⁠ Join the WMF creative community now! Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? official site ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our monthly newsletter!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  --- Support this podcast: https://podcasters.spotify.com/pod/show/whats-my-frame/support

Miranda Gohh is a producer originally from Providence, RI. She is currently the Associate Producer at Davenport Theatrical Enterprises (A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL). Previously, she served as the Company Manager at New York City Center with MTC from 2019-2021 and the Producing Fellow from 2018-2019. Miranda has also worked with companies such as Arena Stage, The Playwrights Realm, Goodspeed Musicals, and Trinity Repertory Company. She is the founder of Theatre Producers of Color (TPOC), an educational program for BIPOC producers, and a co-founding member of The Industry Standard Group (TISG), the first BIPOC commercial theatre investment and producing organization. She is an Associate Member of The Broadway League and is a recipient of the 2022 Gatchell & Neufeld Award and 2019-2020 Rising Star Fellowship. She is a graduate of the Commercial Theatre Institute and an alumna of Wesleyan University.

In this episode we discuss his career as an Actor, Director, Choreographer and how those different artistic expressions helped him navigate the world. We also talk in depth about what it was like to travel with a deaf theatre company without knowing any sign language goin in. Professor Stephen Buescher is an actor, director, and teaching artist who has designed and led movement training curriculum for various master's programs including Brown University/Trinity Repertory Consortium and the American Conservatory Theater. He has also taught physical theater in the master's programs at the Yale School of Drama, University of Missouri Kansas City, and the University of Connecticut. He has choreographed Hamlet, A Thousand Splendid Suns, Orphan of Zhao, Stuck Elevator, Monstress, Let There Be Love, and Underneath the Lintel at the American Conservatory Theater; The Imaginary Invalid at the Old Globe Theater (Fiasco); A Midsummer Night's Dream and Private Lives at Long Wharf Theater; A Christmas Carol at Trinity Repertory Company; Love's Labour's Lost at Shakespeare Santa Cruz; Blues for an Alabama Sky at the Lorraine Hansberry Theater; and Black Maria at The Providence Black Repertory Theater. He has directed numerous productions in the MFA Conservatory including The Bacchae Communion Rite, The Taming of the Shrew, Romeo and Juliet, Galileo, The House of Bernarda Alba (Moscow Art Theater), Hotel Paradiso, Black Orpheus, and Crazy for the Country. Professor Buescher has been a long time company member with Dell' Arte International where he has performed both nationally and internationally. International Festivals include the International Small Scene Theater Festival (Croatia), The Festival of New Adaptations (Hungary), and The Festival International de Teatro Caribe (Colombia). He has also performed with the National Theater of Greece, Oktana Dance, and Tanz Theater Heidelberg. Nationally he has performed with Dell' Arte International, American Conservatory Theater, Smith Wymore Disappearing Acts, Scott Wells and Dancers, Shotgun Players, and Deborah Slater Dance. He is a first round recipient of TCG's New Generations Grant, a member of SDC, and the Network of Ensemble Theaters. Professor Buescher is a graduate of the Dell' Arte International School of Physical Theater and California Institute of the Arts.EducationDell'Arte International School of Physical TheaterCalifornia Institute of the Arts

In this episode Durell speaks with Niegel Smith. Niegel is a Bessie Award winning theater director and performance artist. He is the Artistic Director of NYC's Obie Award winning theater, The Flea; board member of A.R.T./New York; and ringleader of Willing Participant (www.willingparticipant.org) an artistic activist organization that whips up urgent poetic responses to crazy shit that happens.His theater work has been produced at The Alley Theater, The Barbican, Classical Theatre of Harlem, The Flea Theater, The Goodman Theatre, HERE Arts Center, Hip Hop Theatre Festival, The Invisible Dog, Luna Stage, The Melbourne Festival, Magic Theatre, Mixed Blood, New York Fringe Festival, New York Live Arts, Phoenix Theatre Ensemble, Playwrights Horizons, Pomegranate Arts, The Public Theater, St. Ann's Warehouse, Summer Play Festival, and Under the Radar, and his participatory walks and performances have been produced by Abrons Arts Center, American Realness, The Brooklyn Museum, Dartmouth College, Elastic City, The Invisible Dog, Jack, The New Museum, Prelude Festival, PS 122, the Van Alen Institute and Visual AIDS. He often collaborates with playwright/performer Taylor Mac. Smith is co-director of the critically acclaimed ‘A 24-Decade History of Popular Music', winner of the Kennedy Prize in Drama, Bessie Award, the Edwin Booth Award and a Pulitzer Prize finalist. He associate directed the Tony Award winning musical FELA! – restaging that production in London, Lagos and its world tour, assistant directed the off-broadway production of The 25th Annual Putnam County Spelling Bee and both the Broadway and off-Broadway productions of Tony Kushner's Caroline, or Change.  He has worked on the artistic staffs of The Public Theater, Trinity Repertory Company and Providence Black Rep. A graduate of Dartmouth College, Smith has received residencies, grants and/or fellowships from Brooklyn Arts Council, Brooklyn Arts Exchange, Lower Manhattan Cultural Council, the MAP Fund, New York Stage and Film, Sundance Theatre Lab, Theater Communications Group, Tucker Foundation, Van Lier Fund and VoxFest. Before surviving high school in Detroit, he grew up in the North Carolina piedmont, fishing with his dad, shopping with his mom and inventing tall-tale fantasies with his two younger brothers. www.niegelsmith.com

Hey, have you subscribed to the bookmark newsletter? If you liked this, you might like my twice-monthly email with book reviews and ideas of what you should be reading, and listening to, next. Click here to subscribe.   About the author Alan Weiss is one of those rare people who can say he is a consultant, speaker, and author and mean it. His consulting firm, Summit Consulting Group, Inc., has attracted clients such as Merck, Hewlett-Packard, GE, Mercedes-Benz, State Street Corporation, Times Mirror Group, The Federal Reserve, The New York Times Corporation, Toyota, and over 500 other leading organizations. He has served on the boards of directors of the Trinity Repertory Company, a Tony-Award-winning New England regional theater, Festival Ballet, and chaired the Newport International Film Festival. His speaking typically includes 20 keynotes a year at major conferences, and he has been a visiting faculty member at Case Western Reserve University, Boston College, Tufts, St. John's, the University of Illinois, the Institute of Management Studies, and the University of Georgia Graduate School of Business. He has held an appointment as adjunct professor in the Graduate School of Business at the University of Rhode Island where he taught courses on advanced management and consulting skills to MBA and PhD candidates. He once held the record for selling out the highest priced workshop (on entrepreneurialism) in the then-21-year history of New York City's Learning Annex. His Ph.D. is in psychology. He has served on the Board of Governors of Harvard University's Center for Mental Health and the Media. Source: https://alanweiss.com/about-alan-weiss/   About the book The newest thoughts and examples on the best practices and language for successful professional services proposals. This is the contemporary version of the seminal book How to Write A Proposal That's Accepted Every Time, originally written in 1998 and updated in 2002. Adopt the best global practices Alan has generated for conceptual agreement, options, escalating fees, avoiding the legal department, eliminating cancellations, and much more. He includes information about RFPs (requests for proposals) and retainers. Increase your income by six figures a year without doing anything different — except how you formulate your proposals. Source: https://alanweiss.com/shop/books/paperback/million-dollar-consulting-proposals/   Big idea #1 — Proposals with purpose Your proposal doesn't do the selling for you. This is the fundamental idea of the book; the proposal isn't doing anything that you haven't already done. The sale should really already have been made from the meetings you've had, and the relationship you have built with the economic buyer. It's a summary of what has come before and what has been agreed. There's a quote in the book that says;A proposal is a summation, not an explanation. It is a summary of the conceptual agreement you've reached with your economic buyer and not a negotiating document or an attempt to make a sale. It's easy to fall into the trap of sending a proposal without having actually ever sold anything, and making the mistake of seeing a proposal as the start of the sales process, rather than the end. Alan says that the things that proposal should do include; summarizing the agreement detailing the objectives, metrics of success, and the value of those objectives being met giving options for levels of value detailing the fees and the terms and conditions Conversely, what the proposal documents shouldn't do is; be a document for gatekeepers to use on your behalf be vague establish credibility (that should already have been done) include anything that hasn't already been agreed to be used to build a relationship with a buyer (again, that should already have been done),  be a comparison point for competitors (ie you shouldn't be in a situation where your proposal was being looked at and compared to another) He says that most people send proposals too early and too often, even sometimes using the number of proposals sent out as a measure of success. Big idea #2 — Know your buyer This isn't just from an avatar perspective and coming up with your stick figure pretend ‘buyer' and writing things that they like / feel etc. This is about really building a relationship with the economic buyer; the person who can sign off the purchase order, who can pay the invoice, who can approve the finances involved in working with you. At several points in the book Alan makes some sick burns at HR people (he often refers to them as Hardly Relevant in other talks / podcasts) and emphasizes many times that you should never deal with them. A proposal in the wrong hands, he says, is worse than no proposal at all. So we need to be working directly with our economic buyer. Building a trusted relationship with your economic buyer might take several meetings or interactions, and is not done through a proposal document. He says you know the relationship building is going well when the other person shares undisclosed/non-public information with you and ask your opinion. By working with the buyer you are able to better articulate value, because you know exactly what is important to them, what their objectives are, what outcomes would be valuable to them, and how to talk about those things in their words. He says when gatekeepers are involved (or low-level people, as he often refers to them) that keep you from your buyer, it's time to ‘blow a hole in the wall' and find your own way to the economic buyer. He acknowledges this is a bit of a risky approach, and may only work 10% of the time, but that's better than the 0% which you're going to get if the gatekeeper keeps you from the economic buyer. Big idea #3 — The nine key components Alan very helpfully in the book provides several templates to use an example proposal, including wording and structures. Some of the wording you might not like, but it gives you a chance to make these your own. There are nine key components to one of his million dollar proposals: Situational appraisal: the context of the problem (keep it short and focused on the problem, don't include the company history / what they do… your buyer already knows this!) Objectives: the desired business outcome Metrics: how success and/or progress will be measured Value: the impact of meeting the objectives Methodology and options: how the outcomes will be achieved / the levels of value available Timing: key dates / timing estimates / overall timeline Joint accountability: what you will do and what the client needs to commit to, in order to be successful Terms & conditions: legal blurb and payment terms / rates etc Acceptance: how does the client accept the proposal? He says including these sections means easier and clearer conversations every single time, and therefore a better acceptance rate. But only if the work has been done upfront and you're using proposals to summarize, not sell.   Let's connect LinkedIn Instagram See omnystudio.com/listener for privacy information.

Marisa A. Quinn, is an experienced higher education administrative leader with expertise in policy development and execution, public affairs, and strategic communications. Since January 2016, she has served as chief of staff in the Office of the Provost at Brown University. She joined the Brown community in 1999, and has worked in a variety of capacities, including: vice president for public affairs and university relations; director of communications and outreach for the Watson Institute for International and Public Affairs; assistant to the president for President Ruth J. Simmons; and director of community and government relations. She began her career as a legislative aide to US Senator Claiborne Pell on the Subcommittee on Education, Arts and the Humanities. She subsequently served as policy advisor to New Jersey Governor James J. Florio; public affairs specialist at the Port Authority of New York and New Jersey; and chief of communications and public information at the Rhode Island Department of Elementary and Secondary Education. She graduated from the University of Rhode Island with a bachelor's degree in political science and earned a master's degree from the Eagleton Institute of Politics at Rutgers University. She is currently chair of the Rhode Island Ethics Commission and a board member of Trinity Repertory Company. --- Support this podcast: https://anchor.fm/toby-usnik/support

Spectrum Theatre Ensemble (STE) is a professional company of neurodiverse theatre artists, based in Providence, RI. STE was developed by Clay Martin, Artistic Director, in partnership the Trinity Repertory Company and Brown University. It was co-founded by a group of neurodiverse theatre artists with the belief that theatre provides a unique, collaborative venue that fosters societal understanding and inclusion. STE provides high-quality productions and sensory-friendly consulting. We interview Teddy Lytle, Community Engagement Director, and Daniel Perkins, company actor, about the culture, evolution and innovative activities of STE.

Alan Weiss is the Rock Star of Consulting.If you want to discover the secrets of building a million dollar consulting practice or any type of practice as a solo practitioner, this is the show for you.In this episode, Dave and Alan discuss: Moving beyond your own cocoon and taking in the rest of the world. Differentiating yourself as someone you and others want to know. Networking – it's a process, not an event. Creating and maintaining a healthy self-esteem when you're an independent professional or sales executive.  Key Takeaways and actionable tips:  Be well-read and well-traveled. Stop talking about your field and start talking about other things. Charge for value. Appear in the public square that makes sense to your clients frequently with new intellectual property. Do not listen to unsolicited feedback. About Alan Weiss:https://alanweiss.com/Email: alan@summitconsulting.comAlan Weiss is one of those rare people who can say he is a consultant, speaker, and author and mean it.His consulting firm, Summit Consulting Group, Inc., has attracted clients such as Merck, Hewlett-Packard, GE, Mercedes-Benz, State Street Corporation, Times Mirror Group, The Federal Reserve, The New York Times Corporation, Toyota, and over 500 other leading organizations. He has served on the boards of directors of the Trinity Repertory Company, a Tony-Award-winning New England regional theater, Festival Ballet, and chaired the Newport International Film Festival.His speaking typically includes 20 keynotes a year at major conferences, and he has been a visiting faculty member at Case Western Reserve University, Boston College, Tufts, St. John's, the University of Illinois, the Institute of Management Studies, and the University of Georgia Graduate School of Business. He has held an appointment as adjunct professor in the Graduate School of Business at the University of Rhode Island where he taught courses on advanced management and consulting skills to MBA and PhD candidates. He once held the record for selling out the highest priced workshop (on entrepreneurialism) in the then-21-year history of New York City's Learning Annex. His Ph.D. is in psychology. He has served on the Board of Governors of Harvard University's Center for Mental Health and the Media.He is an inductee into the Professional Speaking Hall of Fame® and the concurrent recipient of the National Speakers Association Council of Peers Award of Excellence, representing the top 1% of professional speakers in the world. He has been named a Fellow of the Institute of Management Consultants, one of only two people in history holding both those designations.His prolific publishing includes over 500 articles and 60 books, including his best-seller, Million Dollar Consulting (from McGraw-Hill) now in its 25th year and fifth edition. His newest is Threescore and More: Applying the Assets of Maturity, Wisdom, and Experience for Personal and Professional Success (Routledge, 2018). His books have been on the curricula at Villanova, Temple University, and the Wharton School of Business, and have been translated into 15 languages.

I recently had the great pleasure of interviewing Vivienne Benesch, who is the Producing Artistic Director of PlayMakers Repertory Company in Chapel Hill, North Carolina. At PlayMakers, she has helmed productions of LIFE OF GALILEO, LEAVING EDEN, THE MAY QUEEN, THREE SISTERS, LOVE ALONE, RED, and IN THE NEXT ROOM (OR THE VIBRATOR PLAY). For 12 seasons, she served as Artistic Director of the renowned Chautauqua Theater Company and Conservatory, presiding over the company’s transformation into one of the best summer theatres and most competitive summer training programs in the country. She directed over fifteen productions at CTC including an acclaimed re-imagining of ROMEO AND JULIET featuring the Chautauqua Symphony Orchestra, Theatre, Opera and Dance companies. She brought CTC’s production of AMADEUS, performed with the Chautauqua Symphony Orchestra and Buffalo Philharmonic, to the Virginia Arts Festival featuring PlayMakers company member Ray Dooley. Vivienne has also directed for the Folger Shakespeare Theatre, The Shakespeare Theatre of New Jersey, Trinity Repertory Company, and Red Bull Theatre, among others. In 2018, she directed the world premiere of Noah Haidle’s BIRTHDAY CANDLES for Detroit Public Theatre and will be directing it again on Broadway, starring Debra Messing in the fall of 2021. As an actress, Vivienne has worked on and off-Broadway, in film and television, at many of the country’s most celebrated theatres, and received an OBIE Award for her performance in Lee Blessing’s GOING TO ST. IVES. Vivienne is a graduate of Brown University and NYU’s Graduate Acting Program. As an educator, she has directed for and served on the faculty of some of the nation’s foremost actor training programs, including The Juilliard School, UNC-Chapel Hill’s Professional Actor Training Program, Brown/Trinity Rep MFA Program and at her alma mater, NYU’s Graduate Acting Program. She is the 2017 recipient of the Zelda Fichandler Award given by the Stage Directors and Choreographers Foundation. For more information, please visit: www.playmakersrep.org If you love this show, please leave us a review. Go to RateThisPodcast.com/karereviewspodcast and follow the simple instructions. Follow Kare Reviews at www.karereviews.net and on Twitter: @KareReviews Also please visit the newly launched Patreon page: https://www.patreon.com/jeffreykare?fan_landing=true Follow Jeffrey Kare on Twitter: @JeffreyKare If you like what you've heard here, please subscribe to any one of the following places where the Kare Reviews Podcast is available. Anchor: https://anchor.fm/jeffrey-kare Apple: itunes.apple.com/us/podcast/kare-reviews-podcast/id1453846013 Google: www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy85NWFhZDFjL3BvZGNhc3QvcnNz Spotify: open.spotify.com/show/6GL69s4zoDQmBcZf3NALTG Breaker: www.breaker.audio/kare-reviews-podcast Overcast: overcast.fm/itunes1453846013/kare-reviews-podcast Pocket Casts: pca.st/47Vw RadioPublic: radiopublic.com/kare-reviews-podcast-6rMdXk --- Support this podcast: https://anchor.fm/jeffrey-kare/support

The Sol Project’s Associate Artistic Director, David Mendizábal, and Producing Assistant, Joey Reyes, interview Maria Goyanes, Artistic Director of Woolly Mammoth Theatre in Washington D.C., and Stephanie Ybarra, Artistic Director of Baltimore Center Stage in Baltimore Maryland. They discuss leadership turnover, institutional values, and the changing landscape of the American Theater.  Maria Goyanes joined Woolly Mammoth Theater as the new Artistic Director in September 2018. Previously, she served as the Director of Producing and Artistic Planning at The Public Theater in New York City where she oversaw the day-to-day execution of the plays and musicals at the theatre’s five performance spaces, including the Delacorte Theater for the company’s Shakespeare in the Park programming. She also lead the season planning process as well as the theatre’s artistic programs, including Public Works, the Under the Radar Festival, and the offerings at Joe’s Pub. She is a faculty member at the Juilliard School, where she co-teaches a course on producing. She also creates the curriculum for Playwrights Downtown, the Playwrights Horizons Theater School at New York University. She serves as a board member of the National Alliance for Musical Theatre. She served as executive producer of the 13P playwrights collective and as the co-chair of the Soho Rep Writer/Director Lab. She was also the associate producer of Trinity Repertory Company. The League of Professional Theatre Women honored her with the Josephine Abady Award. She earned a B.A. at Brown University, where she was awarded the Susan Steinfeld Award. Stephanie Ybarra joined Baltimore Center Stage as the new Artistic Director full-time in December 2018. Previously, she served as the Director of Special Artistic Projects at The Public Theater, where she lead the Mobile Unit and Public Forum programs. She made her artistic producing debut with the original production of Tarell Alvin McCraney’s The Brothers Size, for which she received the inaugural Producer’s Chair Award from the Foundry Theater. She went on to serve as the first Producing Director for Playwrights Realm and Producing Artistic Director for the Cherry Lane Theater’s Mentor Project, collaborating with artists such as Jen Silverman, Snehal Desai, Greg Moss and Awoye Timpo. In 2015, she was the recipient of TCG’s Continuing Education Grant, which took her to Peru to explore socio-political theater, and in 2016 she received the Congressional Award for Achievement in Excellence from Zara Aina, an international nonprofit dedicated to community engaged artmaking. Stephanie holds an MFA in Theater Management from Yale School of Drama. David (daveed) Mendizábal is an NYC based director, designer, one of the Producing Artistic Leaders of The Movement Theatre Company, and Associate Artistic Director of The Sol Project. Learn more about David and his work at www.davidmendizabal.com.  Joey Reyes serves as the Producing Assistant of The Sol Project and Executive Assistant at Long Wharf Theatre in New Haven, CT. Originally from Southern California, they have worked as a producer, administrator, and facilitator on the east coast since late 2017. IG & Twitter: @joeykangarooooo. Follow us on Facebook at The Sol Project and Instagram and Twitter at @solprojectnyc!

When you look at the scope of Vivienne Benesch’s career thus far, she certainly has an impressive resume, from actress to director to the Producing Artistic Director of http://playmakersrep.org/ (PlayMakers Repertory Company). In fact, it was recently announced that Vivienne will make her Broadway directorial debut next year, directing Debra Messing in Noah Haidle’s play BIRTHDAY CANDLES. But when you speak to Vivienne, it becomes very clear that what is most important to her is building connections and nurturing relationships. Hear what Vivienne has to say about that, the role theater has in strengthening community, and her full-circle journey back to Broadway, this time as a director. About the Guest Vivienne Benesch is in her fourth full season as a theater maker and company member and Producing Artistic Director here at PlayMakers in Chapel Hill. For 12 seasons, she served as Artistic Director of the renowned https://chq.org/chautauqua-theater-company (Chautauqua Theater Company and Conservatory), presiding over the company’s transformation into one of the best summer theatres and most competitive summer training programs in the country. She directed over 15 productions at CTC including an acclaimed re-imagining of ROMEO AND JULIET featuring the Chautauqua Symphony Orchestra, Theatre, Opera and Dance companies. She brought CTC’s production of AMADEUS performed with the Chautauqua Symphony Orchestra and Buffalo Philharmonic, to the Virginia Arts Festival featuring PlayMakers company member Ray Dooley. She has helmed productions of LIFE OF GALILEO, THE MAY QUEEN, THREE SISTERS, LOVE ALONE, RED and IN THE NEXT ROOM for PlayMakers, directed extensively for The Shakespeare Theatre of New Jersey, and directed THE HEIDI CHRONICLES for Trinity Repertory Company. As an actress, Vivienne has worked on and off-Broadway, in film and television, and at many of the country’s most celebrated theatres. She has appeared with Gene Wilder, Al Pacino and Blythe Danner, performed with Maggie Smith in the London revival of Edward Albee’s THE LADY FROM DUBUQUE, and received an OBIE Award for her performance in Lee Blessing’s GOING TO ST. IVES. Vivienne is a graduate of Brown University and NYU’s Graduate Acting Program. As an educator, she has directed for and served on the faculty of some of the nation’s foremost actor training programs, including The Juilliard School, UNC-Chapel Hill’s Professional Actor Training Program, Brown/Trinity Rep MFA Program and at her alma mater, NYU’s Graduate Acting Program. She is the 2017 recipient of the Zelda Finchandler Award given by the Stage Directors and Choreographers Foundation. Connect with RDU on Stage Facebook – @rduonstage Twitter – @rduonstage Instagram – @rduonstage Web http://www.rduonstage.com/ (www.rduonstage.com) Support this podcast

In this episode of Careers in the Public Humanities, Catherine Winters speaks with Christina Bevilacqua, MA, Programs & Exhibitions Director at Providence Public Library and Conversationalist-in-Residence at Trinity Repertory Company. In this conversation, the two discuss how the humanities allow for complication, the risk of theatre and unmediated discussion, and how building the career you want often involves having jobs you do not enjoy and volunteering to stretch your skills.

Ana Kuzmanic is Yugoslav born, Chicago based costume designer. Her theatrical work has been seen on Broadway (August: Osage County, Desire Under the Elms, Superior Donuts), off-Broadway (The Jacksonian), in the U.K. (The Royal National Theatre) and Australia (Sydney Theatre Company). Based in Evanston, she is closely associated with many Chicago companies including the Goodman Theatre, Steppenwolf Theatre, Looking Glass Theatre, Chicago Shakespeare Theater and The House. Among the regional companies with whom she has worked are Milwaukee Repertory Theater, Berkley Repertory Theatre, McCarter Theatre Center, Washington Shakespeare Theatre Company, Trinity Repertory Company, Oregon Shakespeare Festival and the Geffen Playhouse. The Lyric Opera of Chicago’s production of Don Giovanni, directed by her long-time collaborator Tony Award-winning director Robert Falls was Ana’s opera debut.Ana earned her Bachelor’s Degree in Costume and Fashion Design from Faculty of Applied Arts and Design in Belgrade, Serbia and her Master of Fine Arts in Stage Design from Northwestern University, USA. She has designed for her fashion label from 1993 to 2002.Ana is an Associate Professor of costume design at Northwestern University in Evanston, USA.

Joe Wilson, Jr. is a theatrical actor and activist, who is Coordinator Of Activism Through Performance and Resident Acting Company Member with Providence's Trinity Repertory Company, described as "one of the most respected regional theatres in the country"Our conversation included Mr. Wilson's journey as an artist and political activist, including his origins in the deep south, and stints in New York City.However, the core of our discussion focused on many critical social justice and creativity fertilization issues facing Rhode Island and beyond.How do we measure the impact that arts have on students, municipalities and society at large, when hard data is so often unable to quantify the intangible benefits that art provides?And how does Providence, and Rhode Island as a whole stack up against other regions when it comes to using the arts as a springboard for ideas and development?follow on Twitter @billbartholomew + IG @bartholomewtownpodcastSupport the show (https://www.patreon.com/bartholomewtown?fan_landing=true)

Alan Weiss is one of those rare people who can say he is a consultant, speaker, and author and mean it. His consulting firm, Summit Consulting Group, Inc., has attracted clients such as Merck, Hewlett-Packard, GE, Mercedes-Benz, State Street Corporation, Times Mirror Group, The Federal Reserve, The New York Times Corporation, Toyota, and over 500 other leading organizations. He has served on the boards of directors of the Trinity Repertory Company, a Tony-Award-winning New England regional theater, Festival Ballet, and chaired the Newport International Film Festival.His prolific publishing includes over 500 articles and 60 books, including his best-seller, Million Dollar Consulting (from McGraw-Hill) now in its 25th year and fifth edition. His newest is Million Dollar Maverick (Bibliomotion, 2016). His books have been on the curricula at Villanova, Temple University, and the Wharton School of Business, and have been translated into 12 languages. Joe Daltonhttps://joedalton.ie/ See acast.com/privacy for privacy and opt-out information.

When your career instincts call you, will you answer them? Joe Wilson Jr. answered the call as a creative talent in his early 20's, and the rest is history. After a stint acting on Broadway, Joe joined Trinity Repertory Company where he's been a resident actor for 13 years. Not content being a great stage actor, Joe is also a community activist in his adopted hometown of Providence, Rhode Island. On this week's Protégé Podcast, Joe and I discuss living in the moment, balancing personal success with community impact, and how being black and gay can still mean you are privileged.