Podcasts about yale school of drama

In this episode of The Best of LIGHT TALK (Originally broadcast on April 14, 2023), The Lumen Brothers and Sister welcome "Legend of Light" Jennifer Tipton to the show!    Join Jennifer, Ellen, Steve, Stan, and David, as they pontificate about: Jennifer's most vital career moments; White light and LED; Falling in love with the photon; Discovering moonlight; The "mystique" of being Jennifer; Light and music; Starting a career in Dance; Working with great directors and choreographers; The challenges of Dance lighting; Directing The Tempest; Designing with new technology; Working with The Wooster Group; Discovering bounce-light; Teaching students not to become clones; and Advice for young lighting designers.   Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.

This episode we are joined by Tony nominee and Drama Desk and Theatre World Award winning actor Tom Pecinka!  Tom made his Broadway debut in Stereophonic which he also was a part of at Playwrights Horizons.  He has numerous New York and Regional credits including Ghosts at Williamstown with Uma Thurman, which he also starred in the movie The Kill Room with.  We talk with Tom about making his stage debut as a kid in The Wizard of Oz (FUN FACT: turns out that Tom and I did the show together!  He was the Scarecrow and I was Dorothy!), working with Uma Thurman, performing at the Tonys, working on Stereophonic, what he hopes to work on in the future and much more! 

In this episode of Flanigan's Eco-Logic, Ted speaks with George Lindsay, Jr., President of the Christeen Oyster Sloop Preservation Corp, a non-profit in Oyster Bay, Long Island with the mission of preserving Oyster Bay's Marine Heritage by involving the community in traditional boat building. He also serves on the boards of the Atlantic Class One Design Association, Camp DeWolfe, Concerts By The Pond, and the Long Island Traditional Music Association.George is a lifelong resident of Oyster Bay and Cold Spring Harbor, New York. He studied theater at Harvard College and the Yale School of Drama, and retired in 2017 after thirty four years as General Manager of Tilles Center for the Performing Arts at Long Island University.  He is an avid sailor and, with his wife, Nancy Metz, enjoys folk music and dancing, and traveling to visit their three children and two grandchildren.He and Ted discuss the launch of the Ida May, the first diesel powered oyster-dredging ship, which he rebuilt from scratch with other community members. They also discuss the health benefits of oysters, the history and preservation of oysters in Oyster Bay, and the future of Oyster farming. 

For episode 066 of Actorcast, we chat with James Bundy, Dean at the Yale School of Drama (recently renamed the David Geffen School of Drama at Yale). I actually borrowed this episode from my previous podcast, Relate with Patrick McAndrew, because it was so chock full of wisdom for actors that I had to bring it over to Actorcast. We chat about common traps for actors, the types of actors Yale's program looks for, and why acting is so helpful in understanding our own humanity. You can learn more about Yale's acting program by visiting https://www.drama.yale.edu/ James Bundy has served as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre since 2002. He teaches in the Acting program at the School and in the Theater Studies program in Yale College. During his tenure, Yale Rep has produced more than thirty world, American, and regional premieres, nine of which have been honored by the Connecticut Critics Circle as Best Production of the year and two of which have been Pulitzer Prize finalists. James has directed productions at Theater for a New Audience, Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division.  James is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama. Follow my work at https://patrick-mcandrew.com.

Follow The Present Stage on Instagram at @thepresentstageThe Present Stage: Conversations with Theater Writers is hosted by Dan Rubins, a theater critic for Slant Magazine. You can also find Dan's reviews on Cast Album Reviews  and in The New Yorker's Briefly Noted column.This Land Was Made is playing off-Broadway at the Vineyard Theatre. Find out more at https://vineyardtheatre.org.If you'd like to learn more about Hear Your Song and how to support empowering youth with serious illnesses to make their voices heard though songwriting, please visit www.hearyoursong.org Follow The Present Stage on Instagram at @thepresentstageThe Present Stage: Conversations with Theater Writers is hosted by Dan Rubins, a theater critic for Slant Magazine. You can also find Dan's reviews on Cast Album Reviews and in The New Yorker's Briefly Noted column.The Present Stage supports the national nonprofit Hear Your Song. If you'd like to learn more about Hear Your Song and how to support empowering youth with serious illnesses to make their voices heard though songwriting, please visit www.hearyoursong.org

A wrinkled dress changed the trajectory of Brooks Ann's career. It all began her senior year at Centenary College, where she was a theater major. She had been cast in a play and was behind the stage when the head of the department, “a brilliant, but grumpy old man,” noticed her dress was wrinkled he sent her off to iron it. When she confessed, she'd never ironed before, he assigned her—against her will—to work with him in the costume shop for the next production. “I unexpectedly just had a total blast making costumes with the grumpy old man and I found out that I really like sewing.” On a whim, she applied for an internship at Yale School of Drama, and much to her surprise was accepted. It was there she created her first dress, a big fancy bustle dress with a huge collar and lag mutton sleeves. While there, she discovered her love for pattern-making and sewing. After completing her internship at Yale, Brooks Ann received her MFA in costume production at the University of North Carolina. (2:33 - 14:45)Although she loved her time in New York, she realized that neither she nor her boyfriend (now husband) were the hustle and bustle type. Upon leaving, she took a brief hiatus from sewing. Then, at a Thanksgiving dinner, her husband's sister got engaged. She got so swept up in the moment, she offered to make her wedding dress. Then she made another, and another, and another…including one for her own wedding.  Suddenly realizing she was now a wedding dressmaker, she put together a portfolio of her designs and made herself a website. In 2009, she started a blog and really got into the sewing community. (22:14-32:58)For the past nine or so years, Brooks Ann has been teaching and blogging, where she develops her own easy-to-follow, beginner-friendly methods for creating pattern blocks. Her blogs are about custom sewing. There's no fashion formula. No fashion textbooks. She shows people how to sew for where they're at, with no sizes, no pear or apple ranges. She loves the puzzle-solving, the detective work, and the fact that she'll never stop learning new things. The best part?  Through her blogs, sewists can go on that journey with her. “It's a place where everyone can just be themselves. So it's really empowering. And it's pretty magical.”  (33:00--44:49)So what's next for Brooks Ann? Building a dream studio from a broken-down 1920 farmhouse that's on their property. This story and the many others she shares in the podcast are fascinating. Have a seat and take a listen. The best way to get in touch with Brooks Ann is to go to brooksann.com, and link to her blog. From there, you can also link to her other three websites and her bridal website. You'll also find her at brooksanncamper@Instagram.If you know someone who has an outstanding story that should be shared on this podcast, drop Meg a note to meg@sewandsopodcast.com or complete the form on our website.

Alicia Austin is a Brooklyn-based costume designer and a recent graduate of the Yale School of Drama. Currently a designer and mentor for young theatre students, Alicia chats with Dana about growing up as the Asian daughter in a white family, the power of investing in personal experiences, and trusting yourself in the path you've decided to take.

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Celebrating one year of Call Time (!!), Katie checks in with actor (Mary Page Marlowe, These Paper Bullets!, Dance Dance Revolution, The Skin of Our Teeth, and currently: The Minutes on Broadway), Ariana Venturi.

The man, the myth, the Yahya! Our guy Yahya Abdul-Mateen II chops it up on this week's Truss Levelz. Cam and Yahya take it way back to their Cali college days, when $150 got them looking RIGHT in a suit! Yahya gets down to the details about his journey from track athlete and architect major to budding actor at Yale School of Drama. From there, the man's only been leveling up and stacking those blessings! We can't wait to see what the future holds for this young legend. Don't miss! College, Black Wednesday, running track at UC Berkeley [2:15] His acting origins and New Orleans talk [4:25] Going to Yale and first acting role [17:00] The Get Down, Watchmen, and his favorite role [18:58] Oakland, Kobe, and dealing with critics [23:35] About Our Hosts: NFL superstars, Cam Jordan and Mark Ingram are former Saints teammates and real-life friends whose personalities, minds, and hearts are as big as their talent on the field. Brimming with an infectious energy, these two juggernauts have joined forces to bring you Truss Levelz. A podcast where the best and brightest in the NFL share stories that go beyond the X's and O's while spreading good vibes far-and-wide. On its surface, football is a game of combat enacted by athletes at the peak of their performance. It's the definition of rough & tumble and not for the faint of heart. But there's so much more to these gridiron warriors than what we see on the field. Prepare yourself for the ultimate inside look into the world of football. There's levels to this game… Truss. Other places to find Truss Levelz:  Subscribe on Youtube: https://youtube.com/playlist?list=PLXxForFmBnEvxKtoU3tyndZZZtaa4pth9 Follow on Instagram: https://www.instagram.com/trusslevelz If you liked this episode, please don't forget to subscribe, tune in, and share this podcast. You may also leave us a review anywhere you listen and share your feedback! See omnystudio.com/listener for privacy information.

On this episode of More Like This, Krista Smith sits down with a selection of Hollywood's next generation of talent: Jonathan Majors, Yahya Abdul-Mateen II and Taylour Paige. The trio, which consists of friends and colleagues, separately discusses their most celebrated roles of the past year as well as their personal and professional journeys that led up to them. Majors talks playing opposite Delroy Lindo in Da 5 Bloods, Yahya Abdul-Mateen II details portraying the revolutionary Bobby Seale in The Trial of the Chicago 7 and Taylour Paige dishes on her unforgettable experience sharing screen time with both Viola Davis and the late Chadwick Boseman in Ma Rainey’s Black Bottom -- and plenty more. Quite the lineup, quite the star power.  Yahya's interview was originally recorded for the Official Chicago 7 Podcast.

Master of Fine Arts Yale School of Drama. Reiki master. Award-winning actor who has frequently trod the boards at Florida Studio Theatre, most recently a few years ago as determined Irishmen in HEISENBERG and OUTSIDE MULLINGAR under Kate Alexander’s direction.  He has also acted at Lincoln Center, the American Shakespeare Theatre, Colorado Shakespeare Festival, DC’s Studio Theatre and even at the Asolo. He counts not only FST’s Kate Alexander and Richard Hopkins as his most-respected mentors but likewise Frank Galati who taught him at Northwestern University to respect the miracle of language and linguistic specificity.  George is also a director, filmmaker, teacher, and playwright. His recent plays have been in service of street theatre educating New Yorkers about what is true and not true about the risks of SarsCoV2 in the wake of the overweening restrictions of New York’s Governor Cuomo. Never a denialist about the real dangers of the health crisis (and, yes, he has lost loved ones), he nonetheless seeks to bring real science to bear to the mainstream media’s spinning of it with his short agit-prop play focusing on the pharmaceutical company’s exploitation of the novel coronavirus, A SARS IS BORN. 

Master of Fine Arts Yale School of Drama. Reiki master.  Award-winning actor who has frequently trod the boards at Florida Studio Theatre, most recently a few years ago as determined Irishmen in HEISENBERG and OUTSIDE MULLINGAR under Kate Alexander’s direction.  He has also acted at Lincoln Center, the American Shakespeare Theatre, Colorado Shakespeare Festival, DC’s Studio Theatre and even at the Asolo. He counts not only FST’s Kate Alexander and Richard Hopkins as his most-respected mentors but likewise Frank Galati who taught him at Northwestern University to respect the miracle of language and linguistic specificity.  George is also a director, filmmaker, teacher, and playwright. His recent plays have been in service of street theatre educating New Yorkers about what is true and not true about the risks of SarsCoV2 in the wake of the overweening restrictions of New York’s Governor Cuomo. Never a denialist about the real dangers of the health crisis (and, yes, he has lost loved ones), he nonetheless seeks to bring real science to bear to the mainstream media’s spinning of it with his short agit-prop play focusing on the pharmaceutical company’s exploitation of the novel coronavirus, A SARS IS BORN. 

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.

After a six-month break, we are back at it!! The ninth episode of KASHA Talks - a sit down with an actor Elijah Martinez. During this full hour, we talked about him growing up in the Bay Area, his experience at the Yale School Of Drama, Chadwick Boseman, and, finally, his break out role as Divine Diggs in Hulu's Wu-Tang: An American Saga.

Actor Lance Reddick (THE WIRE) joins host Jenny Curtis and guest co-host Dana Gourrier in a conversation about his career and craft. Through the conversation they discuss: 1:13 - Lance's experience on AMERICAN HORROR STORY: COVEN and working with Jessica Lange 3:29 - Dana’s experience with Jessica Lange on COVEN, her friendship with Gabourey Sidibe, her recollection of Lance’s role and working with Sarah Paulson 6:01 - Dana’s take on working across actors of a certain level 7:19 - Lance’s experience working with one of his idols, Kathy Bates.  12:03 - Lance’s beginnings in music and his path to drama school.  15:23 - Lance’s vocal warm up 17:28 - Lance’s first role in TV, AGAINST THE LAW 18:36 - Working in theater and his transition to film & tv 20:31 - Changing lines versus being word perfect to the written script and the strict nature of FRINGE 25:07 - Dana’s experience of having to change a character while on set and her feel of creating a character for a network show.  26:34 - Not getting time to prepare for a monologue in his audition for THE WIRE.  28:11 - Being able to pull out an accent for JOHN WICK because of one of his early films 29:07 - The difference and similarities in maintaining a character through a series or through a franchise.  30:27 - Ethan Peck’s memory of a line change in TENNESSEE 32:04 - Creating different characters within the same archetype  34:07 - Choosing to play Broyles on FRINGE and Irving on BOSCH  38:46 - Not getting CORPORATE at first and the genius of the creative crew.  41:40 -  Working with Regina King on ONE NIGHT IN MIAMI 42:16 - Remembering some bad directions given to him.  44:16 - A quote from Keanu Reeves about subtle acting.  45:00 - Acting for an audio series and how voice acting is different than film & TV.  46:08 - Dana and Lance share their experiences on THE DOMESTICS 47:24 - The importance of a life in storytelling.  ----------------- 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.

Episode number 10, with playwright, Tarrell Alvin McCraney Tarell Alvin McCraney on living freely: “I’m starting a new chapter where I try to live and be as free as possible rather than be chained to survival mode.” What makes a person become a writer? An Academy award-winning, playwright, actor and co-writer of the 2016 film ‘Moonlight,’ Tarell Alvin McCraney likens writing more as a survival instinct, rather than a calling. Growing up with a constant feeling that change was imminent, Tarell found a way to take hold of that narrative, and rewrite it. Tarell began writing the first draft of ‘In Moonlight black boys look blue’  which later became the source material for the Oscar-winning movie, “Moonlight” with director Barry Jenkins.  He describes it as an effort of piecing together the scapes of memories that he had about who he was, who his mother thought he was, and who he could become. In January of 2019, his Tony and Drama Desk award-winning play, Choir Boy debuted on broadway, and later that year, he made his television debut as writer and executive producer of the critically acclaimed series, “David Makes Man” on Oprah’s OWN network. In 2020, it won the prestigious Peabody Award, a first for the network. And lest he stops to catch his breath, Tarell also serves as the chair of the playwriting department at the Yale School Of Drama. Here are some highlights… On His Super Hero Story: “When you grow up knowing that, that shift, that change is ever-present and can fall one way or another, it’s sorta something you begin to survive rather than live” (7:37) On the Internal Journey: “If you look around and see change happening all the time and you can’t imagine yourself in it, then you begin to write yourself into stories” On the Power of Word and Text: “Words are powerfully limiting in that we are often grasping, throwing, pulling at, shaking up vocal sounds, to form, to shape, sometimes the unimaginable, the unquantifiable, the unpalatable things that are ephemeral feelings” On the way, Spirit informs the Diaspora: “Because capitalism is the zeitgeist or spiritual animism of the United States, it interferes with a real look at spiritual and the understanding and investigation of that which is free” On the Power of Naming Yourself: “That’s what all religion, history, methodology, cosmology, are about trying to put some order to the world we live in through theses ideas of stories” On the Idea of The Wounded Healer: “Empathy, If you too have been wounded, you know why it is necessary to heal” On Advice to Young Writers: “There’s moment’s where you have to be still enough in what you’re doing recognize when you are doing what’s right for you and your work and your path” Links we mention in the episode: Tarell's Instagram: https://www.instagram.com/octarell_again/?hl=en (@octarell_again) David Makes Man on OWN: http://www.oprah.com/app/david-makes-man.html (www.oprah.com) Thank you for tuning in! Please don't forget to rate, comment, subscribe and SHARE with a friend (https://www.instagram.com/blackimaginationpodcast/ (@blackimaginationpodcast)). Support this podcast: https://anchor.fm/blackimagination/support (anchor.fm/blackimagination/support) Additional editorial content provided by Kalimah Small. --- Support this podcast: https://anchor.fm/blackimagination/support (https://anchor.fm/blackimagination/support) Support this podcast

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.

The Jessica Holt joins us for today's discussion about all things theater. With her Ivy League roots and a love for new, contemporary and classical plays, this director delights in adventurous theatricality and believes theater has the power to transform. Learn all about her at http://www.jessicaholt.org (that's right... dot ORG!!!) ----- Please consider buying me a coffee to support this work that goes into each episode.   Join the WINMI community by following on Instagram or Twitter as well as reaching out to Patrick with any questions or comments: contact.winmipodcast.com

Five time Tony-winner and new ATW Chairman William Ivey Long talks about his extensive career as one of Broadway's top costume designers, from his earliest days on stage -- living in a dressing room at the Raleigh Little Theatre in North Carolina -- to his upcoming projects "9 To 5" and "Dreamgirls". Along the way, he describes how shocked he was by the first thing he saw on stage at the Yale School of Drama; how his career developed largely thanks to the support of his drama school friends; how he came up with Anita Morris' iconic body suit for "Nine" -- and how it resulted in his never working with Tommy Tune again; whether there's a difference between designing musicals and plays; how the paintings of Gauguin influenced his designs for "Guys And Dolls"; what its like to revisit the "Chicago" costumes for a variety of different actresses; and why he chooses to wear a largely unvaried "uniform" every single day. Original air date - August 22, 2008.

Five time Tony-winner and new ATW Chairman William Ivey Long talks about his extensive career as one of Broadway's top costume designers, from his earliest days on stage -- living in a dressing room at the Raleigh Little Theatre in North Carolina -- to his upcoming projects "9 To 5" and "Dreamgirls". Along the way, he describes how shocked he was by the first thing he saw on stage at the Yale School of Drama; how his career developed largely thanks to the support of his drama school friends; how he came up with Anita Morris' iconic body suit for "Nine" -- and how it resulted in his never working with Tommy Tune again; whether there's a difference between designing musicals and plays; how the paintings of Gauguin influenced his designs for "Guys And Dolls"; what its like to revisit the "Chicago" costumes for a variety of different actresses; and why he chooses to wear a largely unvaried "uniform" every single day. Original air date - August 22, 2008.

Just after returning from a year-long sabbatical, Manhattan Theatre Club artistic director Lynne Meadow talks about what she did and didn't do during her hiatus and explains how she shared planning for last season and the coming year with interim artistic director Daniel Sullivan. She also recalls her childhood as a stage struck youth in New Haven, including her performance in a new Maltby & Shire musical when she was only 12 years old; her struggle to be accepted into the directing program at the Yale School of Drama; her first experience at the Manhattan Theatre Club and how she came to be named its artistic director; the play she couldn't get the rights to until Joseph Papp agreed to co-produce with MTC; the impact of MTC's successive venues (East 73rd Street, City Center and Broadway's Friedman Theatre) on the company's repertoire; and the company's long history with playwright Terrence McNally and the controversy that surrounded the late 90s production of "Corpus Christi". Original air date - October 3, 2008.

Just after returning from a year-long sabbatical, Manhattan Theatre Club artistic director Lynne Meadow (who steered the organization to Tony wins for Love! Valour! Compassion!, Proof and Doubt) talks about what she did and didn't do during her hiatus and explains how she shared planning for last season and the coming year with interim artistic director Daniel Sullivan. She also recalls her childhood as a stage struck youth in New Haven, including her performance in a new Maltby & Shire musical when she was only 12 years old; her struggle to be accepted into the directing program at the Yale School of Drama; her first experience at the Manhattan Theatre Club and how she came to be named its artistic director; the play she couldn't get the rights to until Joseph Papp agreed to co-produce with MTC; the impact of MTC's successive venues (East 73rd Street, City Center and Broadway's Friedman Theatre) on the company's repertoire; and the company's long history with playwright Terrence McNally and the controversy that surrounded the late 90s production of Corpus Christi.

Just after returning from a year-long sabbatical, Manhattan Theatre Club artistic director Lynne Meadow talks about what she did and didn't do during her hiatus and explains how she shared planning for last season and the coming year with interim artistic director Daniel Sullivan. She also recalls her childhood as a stage struck youth in New Haven, including her performance in a new Maltby & Shire musical when she was only 12 years old; her struggle to be accepted into the directing program at the Yale School of Drama; her first experience at the Manhattan Theatre Club and how she came to be named its artistic director; the play she couldn't get the rights to until Joseph Papp agreed to co-produce with MTC; the impact of MTC's successive venues (East 73rd Street, City Center and Broadway's Friedman Theatre) on the company's repertoire; and the company's long history with playwright Terrence McNally and the controversy that surrounded the late 90s production of "Corpus Christi". Original air date - October 3, 2008.

Five time Tony-winner William Ivey Long talks about his extensive career as one of Broadway's top costume designers, from his earliest days on stage -- living in a dressing room at the Raleigh Little Theatre in North Carolina -- to his upcoming projects "9 To 5" and "Dreamgirls". Along the way, he describes how shocked he was by the first thing he saw on stage at the Yale School of Drama; how his career developed largely thanks to the support of his drama school friends; how he came up with Anita Morris' iconic body suit for "Nine" -- and how it resulted in his never working with Tommy Tune again; whether there's a difference between designing musicals and plays; how the paintings of Gauguin influenced his designs for "Guys And Dolls"; what its like to revisit the "Chicago" costumes for a variety of different actresses; and why he chooses to wear a largely unvaried "uniform" every single day. Original air date - August 22, 2008.

Five time Tony-winner William Ivey Long talks about his extensive career as one of Broadway's top costume designers, from his earliest days on stage -- living in a dressing room at the Raleigh Little Theatre in North Carolina -- to his upcoming projects 9 To 5 and Dreamgirls. Along the way, he describes how shocked he was by the first thing he saw on stage at the Yale School of Drama; how his career developed largely thanks to the support of his drama school friends; how he came up with Anita Morris' iconic body suit for Nine -- and how it resulted in his never working with Tommy Tune again; whether there's a difference between designing musicals and plays; how the paintings of Gauguin influenced his designs for Guys And Dolls; what its like to revisit the Chicago costumes for a variety of different actresses; and why he chooses to wear a largely unvaried "uniform" every single day.

Five time Tony-winner William Ivey Long talks about his extensive career as one of Broadway's top costume designers, from his earliest days on stage -- living in a dressing room at the Raleigh Little Theatre in North Carolina -- to his upcoming projects "9 To 5" and "Dreamgirls". Along the way, he describes how shocked he was by the first thing he saw on stage at the Yale School of Drama; how his career developed largely thanks to the support of his drama school friends; how he came up with Anita Morris' iconic body suit for "Nine" -- and how it resulted in his never working with Tommy Tune again; whether there's a difference between designing musicals and plays; how the paintings of Gauguin influenced his designs for "Guys And Dolls"; what its like to revisit the "Chicago" costumes for a variety of different actresses; and why he chooses to wear a largely unvaried "uniform" every single day. Original air date - August 22, 2008.

"South Pacific"'s Tony Award-winning set designer Michael Yeargan discusses the visual approach taken for the first Broadway revival of this classic musical, including the negotiation behind the dramatic reveal of the show's orchestra, as well as the lessons he learned about working in the vast space of Lincoln Center's Vivian Beaumont Theatre on both "South Pacific" and "The Light In The Piazza". Yeargan also recalls his introduction to theatre and opera as a youth in Dallas; his studies -- and later his teachings -- at the Yale School of Drama; his early Broadway experiences with Terrence McNally's "Bad Habits" and "The Ritz"; and his sustained collaborations with directors Andrei Serban, Mark Lamos and Bartlett Sher. Original air date - July 11, 2008.

"South Pacific"'s Tony Award-winning set designer Michael Yeargan discusses the visual approach taken for the first Broadway revival of this classic musical, including the negotiation behind the dramatic reveal of the show's orchestra, as well as the lessons he learned about working in the vast space of Lincoln Center's Vivian Beaumont Theatre on both "South Pacific" and "The Light In The Piazza". Yeargan also recalls his introduction to theatre and opera as a youth in Dallas; his studies -- and later his teachings -- at the Yale School of Drama; his early Broadway experiences with Terrence McNally's "Bad Habits" and "The Ritz"; and his sustained collaborations with directors Andrei Serban, Mark Lamos and Bartlett Sher. Original air date - July 11, 2008.

David Hyde Pierce talks about joining in the development of the long-aborning "Curtains" and how he faced the challenge of a full-fledged character-driven musical on Broadway; recalls the circumstances that led him in very short order from his rejection by the Yale School of Drama to his Broadway debut in "Beyond Therapy"; considers his "on-the-job training" in theatre with such esteemed directors as Peter Brook and Mike Nichols; shares how working with Uta Hagen really opened up new horizons for him as a stage actor; and recaps the experience of translating the humor of Monty Python into the musical comedy format of "Spamalot". Original air date – May 25, 2007.

David Hyde Pierce (who won a Tony for Curtains and an Isabelle Stevenson Award in 2010) talks about joining in the development of the long-aborning Curtains and how he faced the challenge of a full-fledged character-driven musical on Broadway; recalls the circumstances that led him in very short order from his rejection by the Yale School of Drama to his Broadway debut in Beyond Therapy; considers his "on-the-job training" in theatre with such esteemed directors as Peter Brook and Mike Nichols; shares how working with Uta Hagen really opened up new horizons for him as a stage actor; and recaps the experience of translating the humor of Monty Python into the musical comedy format of Spamalot.

David Hyde Pierce talks about joining in the development of the long-aborning "Curtains" and how he faced the challenge of a full-fledged character-driven musical on Broadway; recalls the circumstances that led him in very short order from his rejection by the Yale School of Drama to his Broadway debut in "Beyond Therapy"; considers his "on-the-job training" in theatre with such esteemed directors as Peter Brook and Mike Nichols; shares how working with Uta Hagen really opened up new horizons for him as a stage actor; and recaps the experience of translating the humor of Monty Python into the musical comedy format of "Spamalot". Original air date – May 25, 2007.