Podcasts about tusk tusk

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This is Twitch Tales, an interactive D&D 5e series run by me over on my Twitch channel. www.twitch.tv/roberthartleygm In this episode, Apis fights a giant boar! Thank you to everyone who participated and if you want to join in and influence the story, head over to Twitch and follow to be notified when I go live! Thanks to Michael Glasswell (https://www.twitch.tv/spideynz) for providing the layouts and overlays for the series and to Jen Toher for editing. Thanks also to cinderfingers for the Twitch Tales Logos (https://www.deviantart.com/cinderfingers). SUPPORT MY WORK: If you want to support me financially, so I can make more of this sort of content, you can do so on Patreon. https://www.patreon.com/RobertHartleyGM Another way to support me is to browse some lovely Level Up Dice using my affiliate links. Simply clicking the links will help me, but buying some dice helps me, Level Up Dice AND you!: US: http://bit.ly/LUDGMRobertHartleyUS AUS: http://bit.ly/LUDGMRobertHartleyAU SOCIALS: Twitch: https://www.twitch.tv/roberthartleygm Discord: https://discord.gg/Tam2QpufaK Instagram: https://www.instagram.com/roberthartleygm Twitter: https://www.twitter.com/roberthartleygm

Jeremy Herrin trained as a theatre director at both the National Theatre and the Royal Court, where he became Deputy Artistic Director in 2008. Between 2000 and 2008 he was an Associate Director at Live Theatre in Newcastle upon Tyne. Jeremy replaced Rupert Goold as Artistic Director of Headlong Theatre in September 2013 In 2007, he directed the UK premiere of David Hare's play, The Vertical Hour, as well as Polly Stenham's award-winning That Face at the Royal Court. That Face later transferred to London's West End, where it starred Lindsay Duncan and Matt Smith and was produced by Sonia Friedman. Two years later, in 2009, Jeremy directed Polly's second play, Tusk Tusk for which he was nominated for an Evening Standard Best Director Award. Other work at the Royal Court includes EV Crowe's Hero, Richard Bean's The Heretic, Kin, Spur of the Moment, Off The Endz and The Priory, which won an Olivier Award for best Comedy. In 2012 Jeremy directed the Olivier-nominated This House, written by James Graham, at the National Theatre and was named as one of the Stage top 100. The production was revived at the Garrick Theatre at the end of 2016 and toured the UK in 2018.In 2014 Jeremy directed the critically acclaimed adaptations of Hilary Mantel's novels Wolf Hall and Bring up the Bodies for the RSC and was nominated for an Olivier Award for Best Director. The productions transferred to the West End at the end of 2014 and opened on Broadway in April 2015. He also directed the Broadway production of Noises Off which opened in January 2016. His production of People, Places and Things at the National Theatre transferred to the Wyndhams Theatre in March 2016 and then to St Ann's Warehouse in October 2017. Jeremy directed James Graham's Oliver Award winning Labour of Love which opened in November 2017 and his production of David Hare's The Moderate Soprano transferred from Hampstead Theatre to the West End in April 2018.Most recently Jeremy directed Noises Off at The Garrick Theatre and The Visit at The National Theatre. For TV Jeremy directed Talking Heads and Unprecedented for the BBC. Instagram: @jerherrin Host: Jamie Neale @jamienealejn Discussing rituals and habitual patterns in personal and work life. We ask questions about how to become more aware of one self and the world around us, how do we become 360 with ourselves? Host Instagram: @jamienealejn Podcast Instagram: @360_yourself Music from Electric Fruit Produced by Tom Dalby Composed by Toby Wright

The Amplify Podcast is a new strand in our Playcast series. Our Amplify Producer, Craig Gilbert, has been holed up in his makeshift bedroom studio talking to a host of exciting artists of national and international renown. These conversations cover career and process as well as offering a few exciting ideas to explore from home during this time of Social Distancing. On this Episode Craig talks with Jeremy Herrin, Artistic Director of Headlong. Jeremy studied at the Royal Scottish Academy of Music and Drama. He trained at both the National Theatre and Royal Court, where he became Deputy Artistic Director in 2009 until 2012.Between 2000 and 2008 he was Associate Director at Live Theatre in Newcastle upon Tyne.Jeremy has most recently directed Labour of Love (Noël Coward Theatre), People, Places and Things (NT/West End/UK Tour/NewYork), The House The Grew Up In (Chichester Festival Theatre), Common (National Theatre), This House (West End), Junkyard (Bristol Old Vic/Theatr Clwyd/Rose Theatre Kingston), Observe the Sons of Ulster Marching Towards the Somme (UK Tour), The Absence of War (UK Tour) and The Nether (Royal Court / West End) for Headlong, and also the world premiere of Hilary Mantel’s Man Booker prize-winning novels Wolf Hall and Bring Up the Bodies in two parts for the RSC, which transferred to the West End in May 2014 and Broadway in March 2015 and for which he was nominated for an Olivier and Tony Award for Best Director.Jeremy has directed several productions at the Royal Court including That Face by Polly Stenham, which transferred to the Duke of York’s Theatre in the West End. He was nominated for an Evening Standard Best Director Award for Stenham’s second play Tusk Tusk in 2009. Other work at the Court includes Stenham’s No Quarter, E V Crowe’s Hero and Kin, Richard Bean’s The Heretic, Michael Wynne’s The Priory, which won an Olivier award for Best Comedy and David Hare’s The Vertical Hour.Other theatre directing credits include The Plough and the Stars (NT, co-directed with Howard Davies), Noises Off (American Airlines Theatre, Broadway) The Moderate Soprano (Hampstead Theatre),Another Country (Chichester/West End), the critically acclaimed This House by James Graham at the National Theatre, for which he was nominated for an Olivier award for Best Director, The Tempest at the Globe, David Hare’s South Downs at Chichester Festival Theatre subsequently transferring to the Harold Pinter Theatre, Uncle Vanya with Roger Allam at Chichester, Absent Friends at the Harold Pinter and Much Ado About Nothing with Eve Best and Charles Edwards at the Globe.Jeremy was also named as one of the Stage top 100 in 2014.

A working actor since age 8, Miles Szanto saw two sides of life—the privileged life of a working actor and the concrete walls of jail. His parents were addicted, then clean, then addicted, trafficking, in prison…he felt ashamed of his blood and felt unsafe, but acting saved him, and keeps saving him. The greatest lesson he is learning now is to not let external forces validate how he feels about himself; that he has worth no matter what happened in the past or what he is working on. Miles has been working professionally as an actor since he was a child. He completed extensive training at the Australian Theatre for Young People, the American Musical and Dramatic Academy on a scholarship, Steppenwolf Theater West and was later invited to attend David Mamet & William H Macy’s prestigious Atlantic Acting School in New York City.  He has appeared in the stage production and the Australian cast record of The Wizard of Oz and then went on to perform in the Sam Mendes production of Oliver The Musical(Cameron Macintosh Productions). In 2011 Miles acted as Eliot in Cate Blanchett and Andrew Upton’s Sydney Theatre Company production of Tusk Tusk and later as Melochior Gabor in the Oregon tour of Spring Awakening the Musical. He has appeared in such Australian TV series as; Snobs, award winning cable drama Love My Way(Seasons 2 & 3), European hit & AFI award winning The Elephant Princess(Seasons 1 & 2), Dead Girls Detective Agency(pilot) and the FX series Married. He has appeared as presenter on K-Zone TV, Studio Disney and AMTV on Disney. His film credits include Drowning(which screened at the Cannes Film Festival), Blue Monday(which he co-wrote with director Craig Boreham), Ostia: La Notte Finale, Bruno and Earlene Go To Vegas(for which he won Best Performance at the 2014 Transgender Film Festival), Western Religion, Electric Mirrors, Unravel and Teenage Kicks. For his role in Teenage Kicks, Miles was presented with the 2017 Iris Prize for Best Actor in a feature film, and award that is lovingly referred to as the gay Oscars. Miles is also becoming an accomplished filmmaker and in 2016 he wrote and directed the Huffington Post distributed docu-series ‘Facing Addiction; Across America”.

Bradley Tusk started Tusk Ventures to help startups work with governments at scale. To date, this unique venture capital firm has worked with companies like Uber, Fanduel, Handy, Eaze, and others to help them navigate regulatory challenges. Tusk Ventures grew out of Tusk Strategies, which Bradley started in 2010 to help major institutions run multi-jurisdictional campaigns to shape their public reputation, overcome regulatory hurdles, and proactively engage governments to solve problems and seize opportunities. Previously, Bradley served as the campaign manager for New York City Mayor Michael Bloomberg’s successful re-election bid in 2009, and before that he served as the Deputy Governor of the State of Illinois from 2003-2006. Not surprisingly, this was one of the most fascinating conversations we’ve had on the show to date. We discuss Bradley’s unique model and approach to venture investing, and how he’s thought about raising capital from LPs for a firm that looks very different to traditional VC. We also cover how he originally got connected to Travis Kalanick at Uber to help them navigate the regulatory landscape, what it was like to work for Mayor Bloomberg, and how Tusk Ventures chooses which projects to work on today.

Performance artist Marina Abramovic discusses her new project 512 Hours at the Serpentine Gallery in London in which there is no art on display, simply Abramovic herself welcoming 300 visitors a day to an empty gallery space; Hotel is a new play by Polly Stenham, best known for writing That Face and Tusk Tusk. Set in an exclusive hotel on a beautiful but poverty-stricken island, a family's luxury holiday is interrupted by violence. Susannah Clapp reviews. Emma Healey's debut novel Elizabeth Is Missing is told from the perspective of 82-year-old Maud who is suffering from dementia. Emma discusses the inspiration behind her book and reveals the tactics of some of the nine publishers who tried to woo her. And composer David Lang on his composition for 1000 voices, Crowd Out, to be performed in Birmingham this weekend, inspired by a trip to the Arsenal football stadium.

This week's podcast features director Jennifer Green and stage manager Jessica Forella, who join Anne Nicholson Weber to discuss their experiences working with the young cast of Piven Theatre Workshop's current production of Tusk Tusk by Polly Stenham -- how they went about working on adult materials with child actors, how the processes of casting and rehearsing differ, and why they got better at their jobs doing this show.