Podcasts about yale repertory theater

the ripple, the wave that carried me home is a new play running at the Yale Repertory Theater, following a family of “aquatic activists” across decades, as they push for equity in access to pools.This hour, we hear from playwright Christina Anderson and director Tamilla Woodard, and we learn more about the history of racism at beaches and pool clubs where we live. GUESTS: Christina Anderson: Playwright, the ripple, the wave that carried me home Tamilla Woodard: Director, the ripple, the wave that carried me home; Chair, Acting Program at David Geffen School of Drama at Yale University Andrew Kahrl: History Professor, University of Virginia; Author, Free the Beaches: The Story of Ned Coll and the Battle for America's Most Exclusive Shoreline Henry Fernandez: Executive Director, LEAP for Kids Ryan Rooks: Aquatic Director, LEAP for Kids Where We Live is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode!Support the show: http://wnpr.org/donateSee omnystudio.com/listener for privacy information.

Warning: Explicit Conversations About Politics, Culture, & Sexuality Join me at Yale for my 45th class reunion as I frolic among the Ivy Towers with Capt'n Max and the Eli Elite, Handsome Dan XIV, Supreme Court Justice Brett Kavanaugh's classmates (Class of 1987) rallying against him and Sam Alito (Yale Law, 1975) at the Women's Table, and my fabulous fellow #Yale Alumni at the Yale Repertory Theater, Yale Law School, Cross Campus, Toad's Place and more. I also host a Yale Roundtable discussion on “Peace, Love & Bonobos" which is the centerpiece of this video. Discussion Topics:  • Why we prefer King Arthur's ROUNDtable to Putin's long table;  • Why Yale's “Killer Ape” Anthropology department made we want to major in Theater;  • How Max and I fell in love over our mutual opposition to the popular and horrible first Gulf War, commanded by President George H.W. Bush (Yale, 1948);  • How our love and antiwar fervor grew during the even more horrible wars in Iraq and Afghanistan commanded by George W. Bush (Yale, 1968);  • How George W. Bush's epic Freudian slip confusing Putin's invasion of Ukraine with his own invasion of Iraq brought the perma-war full circle; • Why I become a sexologist;  • How I first learned about #bonobos the Make Love Not War great apes, on PBS, and then met some at the San Diego Zoo;  • What are some of the differences between apes and monkeys; • How human apes are very close genetically to bonobos, common chimps, gorillas and orangutans; • How bonobos make peace through pleasure; • How bonobos make love in a Bonobo Sutra of positions, including face-to-face;  • How bonobo female empowerment is supported by male well-being and vice versa;  • Why bonobos (and humans) really enjoy sharing—even with strangers; • Was Prince Chim, who lived at Yale in the Dr. Robert Yerkes primate center, the first bonobo in the United States? • What's SEX got to do with bonobo conflict resolution? • Why other apes kill each other, and humans kill each other most; • “Grooming” in primatology vs. the culture wars;  • Why bonobo female orgasm is most common during Hoka Hoka, aka genito-genital rubbing;  • Intercourse vs. Outercourse among bonobos and humans;  • Our competitive “inner chimp” vs. our cooperative “inner bonobo”; • Nature vs. Nurture and how a bunch of baboons went bonobos;  • Primatologists Dr. Frans de Waal, Dr. Richard Wrangham, Dr. Brian Hare and Vanessa Woods on bonobos and Dr. Robert Sapolsky on baboons;  • Food-sharing and “sex work” among bonobos; • Tool use and communication among bonobos and common chimps; • The benefits and drawbacks of Zoos;  • The Lysistrata method vs. the Bonobo Way; • Yale's Puritan origins; • Sex toys, sex education and the Religious Right; • The true story of the rise & fall of Sex Week at Yale (SWAY), created by Yale students and destroyed by false accusations from well-financed Christofascist forces, including Focus on the Family, and an ex-Yale President's desire for a scapegoat for the unrelated-to-SWAY bad behavior of powerful Yale fraternities;  • Why anti-abortion laws amount to forced breeding;  • Why I'm against all wars of my lifetime, from America's War in Vietnam, that I protested pre-Yale, to our current war in Ukraine. Yes, Putin started it, just as Bush invaded Iraq, but we (and NATO) continue it, and now is time for peace negotiations;  • Why bonobos should be part of Peace Studies courses at Yale and other universities; • How our ammosexual society channels our natural sex drive into violence to the benefit of the weapons industry, the military, the prison system and the police; • “Make Kink Not War: Be Bonobo” and the Bonobo Way makes its way from our Bonoboville Reunion with Vice to DomCon 2022 to Yale;  • How to avoid catching COVID at all these reunions; • How New Haven humidity messes with my hair; • Why bonobos are highly endangered and how we can help save them from extinction (so they can help us save ourselves!): Donate to Lola ya Bonobo, Friends of Bonobos, the Bonobo Conservation Initiative. • #GoBonobos for Bulldogs… Boola Boola! • Music: Yale Harkness Tower Bells; The Whiffenpoofs (Yale, 1977); Dr. Oscar Hills (Yale, 1977) on Banjo; Bales-Gitlin Band (Ginny Bales and Jay Gitlin) - “Disco Inferno” & “Johnny B. Goode” Read more prose & see the photos: https://drsusanblock.com/yale-2022  Need to talk PRIVATELY? Experience #PhoneSexTherapy. Call the Therapists Without Borders of the Dr. Susan Block Institute anytime: 213.291.9497.

Jeff Natter reads Shrewd, by Scott Kaiser. Then, Jeff shares his response to the story. Next, Scott and Olena discuss the inspiration behind the story, and the play on which it's based.Tales from the Vomitorium: 38 Short Stories by Scott Kaiser is sponsored in part by Whidbey Telecom, the Goosefoot Community Fund, and The Goose Community Grocer.Jeff Natter (he/him; Reader) has performed in lead and featured roles at theaters across the country. He has worked at Seattle Rep, Baltimore's Center Stage, Syracuse Stage, Philadelphia Drama Guild, George Street Playhouse (New Jersey), Yale Repertory Theater, Seattle Shakespeare Company, and Alice B. Theater. He is a graduate of Amherst College, Yale School of Drama, and Columbia's Mailman School of Public Health. As a recent transplant to Whidbey Island, Jeff is excited to work with the talented artists of Island Shakespeare Festival.Scott Kaiser (he/him; Author) is a nationally recognized master teacher of acting and voice, as well as a director, playwright, and author. For 28 seasons, Scott served as a member of the artistic staff at the Oregon Shakespeare Festival in Ashland, where he directed, adapted, coached, or performed in all 38 of Shakespeare's plays. Scott is the author of four books on Shakespeare: Have Shakespeare, Will Travel; The Tao of Shakespeare; Shakespeare's Wordcraft; and Mastering Shakespeare. He has also penned several original plays, including Falstaff in Love, Love's Labor's Won, Now This, Splittin' the Raft, and Shakespeare's Other Women: A New Anthology of Monologues. Scott has directed at numerous theatre training programs around the country, including Carnegie-Mellon University, The University of Washington, Duke University, Seattle University, Santa Clara University, the University of Oregon, and Southern Oregon University. Scott holds an ADVS from the Royal Central School of Speech and Drama in London, an MFA from the University of Washington Professional Actor Training Program in Seattle, and a BA from the University of Michigan in Ann Arbor.★ Support this podcast ★

The nerds are honored to have with them for this mini-series an esteemed guest, Rafeal Clements, who was present at Yale Rep during the development of mulitple Wilson plays. RAFEAL CLEMENTS has worked as an actor, teacher, and director since 1985 - performing the works of playwrights as varied as William Shakespeare, Tony Kushner, Caryl Churchill, Lynn Nottage, Bertolt Brecht, Tennessee Williams, Anton Chekov, Kia Cothron, Romulus Linney, Timberlake Wertenbaker, and Michael Henry Brown.  Rafeal has performed regionally with Houston's Alley Theater, Yale Repertory Theater, Hartford Stage Company, Indiana Repertory Theater, Portland Stage Company, Berkshire Theater Festival, Playmakers Repertory Company, The Clarence Brown Company, Playhouse on the Green, and the Carpetbag Theater. New York Theater credits include stints with the Public Theater/New York Shakespeare Festival, New Federal Theater, Target Margin, Circle Rep Company, HERE, Prospect Theater Company, The Hotel Savant, Ensemble Studio Theater East, and The Lark Play Development Center. Los Angeles Theater includes time with Sacred Fools, Company of Angels, City Garage, and Independent Shakespeare Company. Film and TV credits include roles on “Law and Order”, "As the World Turns”, “Another World”, “New York News”, “Bandwagon”, “Fireflies”, and “The Heartland Series.” . Rafeal has taught acting, scene study, voice, and speech on the high-school level and in acting schools. He currently has spent the past 15 years working with a public charity that provides healthcare to low-income communities in Los Angeles. Rafeal is a graduate of the University of Tennessee and Yale School of Drama. On PART 1 we cover: Introduce Rafeal Clements Context MA RAINEY'S BLACK BOTTOM Film vs Play SUBSCRIBE. RATE. REVIEW!! SCENE: The Piano Lesson - performed by Rafeal Clements as Boy Willie THEME and Stingers: Ryan Thomas Johnson Original Song: Pamela Quinn IG: @theatre_theater_pod Twitter: @the_theatre_pod Gmail: theatretheaterpod@gmail.com tiktok: @theatre_of_the_absurd Resources below BLM Donation and Education LinkTree: https://linktr.ee/NationalResourcesList Black Owned Businesses in LA: https://docs.google.com/spreadsheets/d/18w-0RBhwBBlXDN9kRV9DVSCAGSCjtHb9K0Pq2YBv18U/htmlview?usp=sharing&pru=AAABcpXptV0*XfoiE2Ay5SJUCEO3tXROGQ&urp=gmail_link MPJI https://marshap.org/ Petitions https://linktr.ee/petitions_123 https://www.change.org/p/andy-beshear-justice-for-breonna-taylor https://www.change.org/p/adams-county-district-attorney-justice-for-elijah-mcclain-48a81830-f891-4b04-ba28-c2625b916b96 Update Description (https://audioboom.com/posts/7781037-sam-shepard-part-2/edit)

Welcome to the fall 2020 season of SolTalk! In this episode, Sol Project Associate Artistic Director David Mendizábal and Associate Producer Joey Reyes chat with director Lileana Blain-Cruz about some of her most recent projects, being a theatre artist in the time of sheltering-in-place, and what it means to create a safe rehearsal space.  Lileana Blain-Cruz (she/her) is a director from New York City and Miami and was recently announced as resident director at Lincoln Center Theater. She is a recipient of a Lincoln Center Emerging Artist Award and an Obie Award for Marys Seacole at LCT3. Recent projects include Anatomy of a Suicide at The Atlantic Theater Company, Fefu and Her Friends at Theater For a New Audience, Girls at Yale Repertory Theater, Faust at Opera Omaha, and The House That Will Not Stand at New York Theater Workshop.  She was a member of the Lincoln Center Director’s Lab, an Allen Lee Hughes Directing Fellow at Arena Stage, and a Usual Suspect of New York Theater Workshop. She was awarded a 2018 United States Artist Fellowship and the Josephine Abady Award from the League of Professional Theater Women.   She received her BA from Princeton and her MFA in directing from the Yale School of Drama, where she received both the Julian Milton Kaufman Memorial Prize and the Pierre-Andre Salim Prize for her leadership and directing. Upcoming projects include Dreaming Zenzille at St. Louis Repertory Theater and McCarter, and The Listeners, a new opera by Missy Mazzoli which will premiere at Opera Norway and Opera Philadelphia. Learn more at www.lileanablaincruz.com.  David Mendizábal (he/him) 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 (they/them) is a queer and non-binary grandchild of a Mexican immigrant, born and raised in Southern California with six younger siblings. In addition to being The Sol Project's Associate Producer, they also serve as the Executive Assistant and Line Producer at Long Wharf Theatre in New Haven, CT. Follow them on IG & Twitter at @mxjoeyreyes. Follow us on Facebook at The Sol Project and Instagram and Twitter at @solprojectnyc!

Sol Project Artistic Director Jacob G. Padrón interviews playwright Charise Castro Smith and director Laurie Woolery about their Fall 2018 Sol Project production of El Huracán at Yale Repertory Theater, their artistic and professional journeys as Latinx women in the performing arts, and the power of artistry for community. Charise Castro Smith is a playwright, television writer, and actor originally from Miami. She is a recipient of a Van Lier Fellowship at New Dramatists and is an alumna of Ars Nova’s Play Group and The New Georges Jam. She holds an MFA from Yale School of Drama. Laurie Woolery is a director, playwright, educator, facilitator, producer and is currently the Director of Public Works at The Public Theater, an initiative that seeks to engage the people of New York by making them creators and not just spectators. Learn more about Laurie and her work at www.lauriewoolery.com. Jacob G. Padrón is the Founder and Artistic Director of The Sol Project and Artistic Director of Long Wharf Theater in New Haven, Connecticut. He has previously worked on the artistic staff at The Public Theater, Steppenwolf Theatre Company, and Oregon Shakespeare Festival. He is also on faculty at Yale School of Drama where he teaches artistic producing in the graduate theater management program.Originally from Gilroy, California, Padrón is a graduate of Loyola Marymount University (BA) and Yale School of Drama (MFA). Follow us on Facebook at The Sol Project and Instagram and Twitter at @solprojectnyc! // Music by Megumi Katayama, recording by Laura Cornwall, editing by Daniela Hart.  

Letters from MAX: a book of friendship by SARAH RUHL & MAX RITVO “A strange and beautiful volume.”—New Yorker “I will read more books in my life but I will not love another book more than this one. I suspect this book has the power to reassure the weary and to instill faith in anyone who needs it. If they let you bring books when you die, I will 100 percent put this one in the tiny stack that goes with me.” —Mary-Louise Parker, author of Dear Mr. You Written by Sarah Ruhl—playwright, two-time Pulitzer Prize finalist, Tony Award nominee, recipient of a MacArthur Fellowship, the Susan Smith Blackburn Prize AND currently on the faculty of the Yale School of Drama, Letters from Max is a deeply moving portrait of a friendship, and a shimmering exploration of love, art, mortality, and the afterlife. About Sarah Ruhl Her plays include Stage Kiss, In the Next Room, or the vibrator play (Pulitzer Prize finalist, Tony Award nominee for best new play), The Clean House (Pulitzer Prize Finalist, 2005; The Susan Smith Blackburn Prize, 2004); Passion Play, (Pen American award, The Fourth Freedom Forum Playwriting Award from The Kennedy Center); Dead Man’s Cell Phone (Helen Hayes award); Melancholy Play (a musical with Todd Almond); Eurydice; Orlando, Demeter in the City (NAACP nomination), Late: a cowboy song, Three Sisters, Dear Elizabeth, The Oldest Boy and most recently, and For Peter Pan on her 70th Birthday and How To Transcend a Happy Marriage. Her plays have been produced on Broadway at the Lyceum by Lincoln Center Theater, Off-Broadway at Playwrights’ Horizons, Second Stage, and at Lincoln Center’s Mitzi Newhouse Theater. Her plays have been produced regionally all over the country, with premieres often at Yale Repertory Theater, the Goodman Theater, Berkeley Repertory Theater, and the Piven Theatre Workshop in Chicago. Her plays have also been produced internationally and have been translated into over twelve languages.

Playground tantrums. Modern angst. Hungarian dance festivals. In Kate Robin's Inside Voice, dive into the secret lives of parents. Directed by Rebecca Taichman (Tony Award winner for Broadway's Indecent, Lincoln Center Theater, La Jolla Playhouse, Yale Repertory Theater, McCarter Theater), the cast features Patch Darragh (Broadway's Our Town, "Weeds," "The Path," Sully) and the playwright herself ("One Mississippi," "The Affair," "Six Feet Under")! After the play, the artists and host Claudia Catania discuss showrunners, women on TV, and the role of fear in theater.

This week, Travel Today with Peter Greenberg comes from New Haven and The Study at Yale. New Haven Mayor Toni Harp stops by, along with James Bundy, Dean of Yale School of Drama and Artistic Director of Yale Repertory Theater, which celebrates its 50th anniversary this year. Michael Morand of the Beineke Rare Books Library delves into the history of this amazing library and what can be found there, including all of Lewis and Clark’s papers. Additionally, Gary Bimonte of the family-owned 90 year-old Pepe’s Pizza shares the secrets of the coal-fired legendary pie mecca. There’s all this and more as Travel Today with Peter Greenberg comes from The Study at Yale in New Haven Connecticut.

This week, Travel Today with Peter Greenberg comes from New Haven and The Study at Yale. New Haven Mayor Toni Harp stops by, along with James Bundy, Dean of Yale School of Drama and Artistic Director of Yale Repertory Theater, which celebrates its 50th anniversary this year. Michael Morand of the Beineke Rare Books Library delves into the history of this amazing library and what can be found there, including all of Lewis and Clark’s papers. Additionally, Gary Bimonte of the family-owned 90 year-old Pepe’s Pizza shares the secrets of the coal-fired legendary pie mecca. There’s all this and more as Travel Today with Peter Greenberg comes from The Study at Yale in New Haven Connecticut.

This conversation focuses on Carmen de Lavallade’s fascinating life and creative legacy. Given Ms. De Lavallade’s years performing at Yale Repertory Theater and teaching at the Yale School of Drama, this is an opportunity to reflect on New Haven’s rich artistic history. Participants Moderator: Lileana Blain-Cruz, Director Robert Brustein, Former Dean of the Yale School of Drama and Founder of the Yale Repertory and American Repertory Theatres Carmen de Lavallade, Dancer/Actress Alvin Epstein, Actor

Two of the major regional theaters in New Haven, Conn., have mounted new productions recently, one a premiere and the other a revival. The new play, seen at the Yale Repertory Theater, weaves together true-life material from what is now a near-extinct form of communication: letters. The correspondence between American poets Elizabeth Bishop and Robert Lowell is the basis for Dear Elizabeth by Sarah Ruhl. The revival is a play that was controversial at its premiere 48 years ago and is now best-known in its 1968 film version of The Killing of Sister George. The Long Wharf Theater brought in Kathleen Turner as director of the new production and performer of the title role. New York Times theater critic Charles Isherwood took the train to New Haven to see both and offers his review.

Gina Gibney's choreography always reminds me of what's most important to me about art: serious attention to craft and an equally serious concern about human connection and communication. Gina is a thoughtful spokesperson for the art of dance. I've always enjoyed our encounters and usually go away feeling a little more focused and motivated as a result. I hope you'll be similarly inspired by our discussion about her work, including her development of The Distance Between Us, which premiered at the Ailey Citicorp Theater in November 2007. This year, Gina’s company celebrates its 10th Anniversary as an all-female troupe. See below for updated information on Gibney’s projects. GUEST BIO Gina Gibney’s choreography has been widely presented and commissioned in the United States and abroad at such venues as Danspace Project, White Bird Dance, Yale Repertory Theater, The Duke on 42nd Street Theater, WORKS & PROCESS at the Guggenheim Museum and elsewhere. In response to her growing concern about the status of women in the professional dance world, she reorganized her company as an all-female ensemble in 1997. Since that time, she has created six evening-length works exploring the humanity and physicality of women. In 2000, she launched the Domestic Violence Project, a groundbreaking project that offers dance and creative expression to women who are survivors of domestic abuse. She is the founder of Studio 5-2, an officer of Danspace Project's Board of Directors, and a trustee of Dance/USA. Gibney graduated with honors and received an MFA in Dance from Case Western Reserve University. UPCOMING EVENTS Catch a sample of Gina Gibney’s work at the dancemOpolitan group show at Joe’s Pub at The Public Theater, March 14-15, 9:30 pm. For reservations, call 212-967-7555 or visit www.joespub.com. Celebrating its 10th anniversary as an all-female troupe, Gina Gibney Dance holds its annual Women at Work gala on June 2 at the Ailey Citigroup Theater. The gala will feature a mini-retrospective performance, including excerpts from Coming from Quiet (1998), Time Remaining (2002) and unbounded (2005), and a new work developed in collaboration with survivors of domestic violence. This program will be repeated for the public on June 5 (7:30pm) as part of the Tisch Summer Dance Residency Festival. LINK Gina Gibney Dance at http://www.ginagibneydance.org/ Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa

Gina Gibney's choreography always reminds me of what's most important to me about art: serious attention to craft and an equally serious concern about human connection and communication. Gina is a thoughtful spokesperson for the art of dance. I've always enjoyed our encounters and usually go away feeling a little more focused and motivated as a result. I hope you'll be similarly inspired by our discussion about her work, including her development of The Distance Between Us, which premiered at the Ailey Citicorp Theater in November 2007. This year, Gina’s company celebrates its 10th Anniversary as an all-female troupe. See below for updated information on Gibney’s projects. GUEST BIO Gina Gibney’s choreography has been widely presented and commissioned in the United States and abroad at such venues as Danspace Project, White Bird Dance, Yale Repertory Theater, The Duke on 42nd Street Theater, WORKS & PROCESS at the Guggenheim Museum and elsewhere. In response to her growing concern about the status of women in the professional dance world, she reorganized her company as an all-female ensemble in 1997. Since that time, she has created six evening-length works exploring the humanity and physicality of women. In 2000, she launched the Domestic Violence Project, a groundbreaking project that offers dance and creative expression to women who are survivors of domestic abuse. She is the founder of Studio 5-2, an officer of Danspace Project's Board of Directors, and a trustee of Dance/USA. Gibney graduated with honors and received an MFA in Dance from Case Western Reserve University. UPCOMING EVENTS Catch a sample of Gina Gibney’s work at the dancemOpolitan group show at Joe’s Pub at The Public Theater, March 14-15, 9:30 pm. For reservations, call 212-967-7555 or visit www.joespub.com. Celebrating its 10th anniversary as an all-female troupe, Gina Gibney Dance holds its annual Women at Work gala on June 2 at the Ailey Citigroup Theater. The gala will feature a mini-retrospective performance, including excerpts from Coming from Quiet (1998), Time Remaining (2002) and unbounded (2005), and a new work developed in collaboration with survivors of domestic violence. This program will be repeated for the public on June 5 (7:30pm) as part of the Tisch Summer Dance Residency Festival. LINK Gina Gibney Dance at http://www.ginagibneydance.org/ Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa