Podcasts about Young Jean Lee

ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program produce the SLC Performance Lab. During the year, visiting artists to the MFA Theatre Program's Performance Lab are interviewed after leading a workshop with the students. Performance Lab is one of the program's core components, where graduate students work with guest artists and develop performance experiments. Juliana Francis Kelly is interviewed by K Stanger (SLC'24) and produced by Julia Duffy (SLC'25) Juliana Francis Kelly is an OBIE award-winning actor who has performed in the U.S., Europe, and Asia. She has worked for both emerging and legendary theater artists, including the late Reza Abdoh, Richard Foreman, Young Jean Lee, Karin Coonrod, Anne Bogart, Kelly Copper and Pavol Liska, Normandy Sherwood, Charlotte Brathwaite, Bryan Doerries (for The Theater of War) and many others. She has appeared in films by Hal Hartley, Bertrand Mandico, Tatyana Yassukovich, and Marie Losier in collaboration with Guy Maddin. www.julianafranciskelly.net

Merry Christmas from No Script! Surely the best thing to talk about on Christmas is... death and depression? Well, anyway. For the last episode of Season 11, Jackson and Jacob discuss Young Jean Lee's play We're Gonna Die -- an avante garde reflection on suffering with monologues and pop music. Listen in!  ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We'll see you next week. ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Thanks so much for listening! We'll see you next week.

In Part II of this series Sawyer and Amber talk about Vernal and Sere Theatre's recent production of LEAR by Young Jean Lee, Sawyer's continued development of THE GLASS ESSAY by Anne Carson, and his translation of UBU ROI. In an effort to uncover the ways Sawyer approaches theatrical storytelling, Amber investigates his process, his approach to audience and how he creates work. Thank you for joining us for this conversation with Sawyer Estes!

Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production.  Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production.  Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production.  Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production.  Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production.  Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production.  Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production.  Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan: The Aesthetics of Black Inexpression (NYU Press, 2023) tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography

Amy Lee Lavoie is an award-winning playwright and a graduate of the National Theatre School of Canada's Playwriting Program. Her first play, Rabbit Rabbit, received its premiere production with Infinitheatre, earning Amy Lee two MECCA's for Best Text and the Revelation Award. Rabbit Rabbit has since been produced across Canada and in the US. Other plays include Me Happy (co-written with Matthew Mackenzie/Summerworks Festival), Stopheart (Factory Theatre) Genetic Drift (Pi Theatre/Boca del Lupo) My Tom (Railtown Lab Series), Scout's Honour (Radio Play/Imago Theatre) and C'mon, Angie! (Touchstone Theatre/Leroy Street Theatre) which was hailed as “visceral, important, life-changing theatre.” Amy Lee was also the Head Digital Writer for the CBC drama Strange Empire, which won a Gracie Award (Women's Alliance Media) for Best Website in recognition of its interactive Storytelling. Amy Lee is currently developing an original play, Women Do Not Go on Strike, with Odd Stumble Theatre, as well as co-writing multiple projects with her husband/fellow writer Omari Newton. They include: Blackfly, an adaptation of Titus Andronicus, originally commissioned by Repercussion Theatre and recently supported by CCA's Digital Now, as well as an adaptation of Dante's Inferno for re:Naissance Opera. Amy Lee & Omari's audio drama Doubletree, commissioned by Factory Theatre, was recently presented on iTunes and Spotify as part of their You Can't Get There from Here, Vol. 2 series. Twitter: @amyleelavoie Omari Newton is an award-winning professional actor, writer, director and producer. As a writer, his original Hip Hop Theater piece Sal Capone has received critical acclaim and multiple productions, including a run at Canada's National Arts Center. Omari and his wife, fellow professional playwright Amy Lee Lavoie, received a Silver Commission from The Arts Club Theatre to co-write a new play: Redbone Coonhound. A bold and innovative satirical comedy that confronts instances of systemic racism in the past, present and future. Omari co-directed the first in a series of rolling world premieres at The Arts Club Theatre in October of 2022. The play is set to open at Tarragon Theatre in Toronto, followed by a run at Imago Theatre in Montreal. The husband and wife duo have also just completed "Black Fly," a satirical adaptation of Shakespeare's Titus Andronicus that centers on Aaron and Lavinia. Newton's work in Speakeasy Theatre's production of Young Jean Lee's The Shipment earned him a 2017-2018 Jessie Richardson Award for Outstanding Performance by an Actor, as well as a nomination for Best Direction. He has recently completed directing critically acclaimed productions of "The Mountaintop" by Katori Hall, and "Pass Over" by Antoinette Nwandu. Notable film & TV credits include: Lucas Ingram on Showcase's Continuum, Larry Summers on Blue Mountain State and lending his voice to the Black Panther in multiple animated projects (Marvel). Most recently, Omari has a recurring role as Nate on Corner Gas (the animated series) and a recurring role as Corvus of Netflix's hit new animated series The Dragon Prince. Twitter: @omariakilnewton Instagram: @omariakilnewton Redbone Coonhound Out for a walk in their West End neighbourhood, Mike and Marissa—an interracial couple—meet a dog with an unfortunate breed name: Redbone Coonhound. This small detail unleashes a cascading debate between them about race and their relationship that manifests as a series of micro-plays, each satirizing contemporary perspectives on modern culture. Through its hard-hitting comedic elements, Redbone Coonhound explores the intricacies of subtle and overt polemics of race, systemic power and privilege in remarkable, surprising and hilarious ways. A wild and subversive journey back through history and into the future. Redbone Coonhound reveals deep fears, rage, insecurities and, ultimately, hope. Tickets and Info: https://www.tarragontheatre.com/redbone-coonhound/ Twitter: @tarragontheatre Instagram: @tarragontheatreto Support Stageworthy Donate: tips.pinecast.com/jar/stageworthy

Its that time of year to be depressed along with our favorite Jane Austen protagonists! We talk about the movie Persuasion (2021) on Netflix, the differences between adaptations, "based on", and "inspired by", when it comes to movies and their relation to retold stories, and the idea of "colorblind" casting! Don't forget to leave us a review and subscribe :) support us on patreon!http://patreon.com/femmenoirpodcast connect with us! insta/tiktok: @femmenoirpodcast email: femmenoirsv@gmail.com links to things we mentioned in this episode: The Shipment play by Young Jean Lee: https://vimeo.com/165430199 Lindy West gets an apology from her internet troll on This American Life: https://www.thisamericanlife.org/545/if-you-dont-have-anything-nice-to-say-say-it-in-all-caps/act-one-0 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Hosted on Acast. See acast.com/privacy for more information.

In this episode we are joined by Omar Madkour, talking all things lighting. Born to a family of engineers in Cairo, Egypt, Omar developed a passion for movie directing. For this reason, he studied stage acting, wrote a play for his undergrad thesis, and started a career as a lighting designer. His designs have been presented in various countries, festivals, and venues such as The Wallis Annenberg (Los Angeles), Maxim Gorki Theatre (Berlin), BoZar (Brussels), Shubbak Festival (London), D-CAF (Cairo), UNAM (Mexico City) among others. Credits vary from classical theatre to new works and experimental performance. Selected credits include the West Coast premiere of Young-Jean Lee's We're Gonna Die; the workshop production of Black Like Me; Waiting for Godot; Measure for Measure; and La Princesa, a co-devised piece which won first prize in ArtChangeUS competition. Omar cites his background in performing, directing and writing as shaping his design process, allowing it to stem from a dramaturgical approach rather than a solely aesthetic one. http://www.omarmadkour.com/  @omarbmadkour We want to hear from YOU and provide a forum where you can put in requests for future episodes. What are you interested in listening to? Please fill out the form for future guest suggestions here and if you have suggestions or requests for future themes and topics, let us know here! @theatreartlife Thanks to David Zieher who composed our music.

Ancram Opera House presents INVASION! a satirical comedy by Jonas Hasse n Khemiri, translated by Rachel Willson-Broyles, and directed by Jeffrey Mousseau. All performances take place at AOH August 5 - 21, Thursdays, Fridays and Saturdays at 8 pm, and Sundays at 3 pm. "INVASION! is a subversive satire that constantly upends expectations and calls into question how we inherently view one another based upon a person's name or skin color," Mousseau explained. "And with increasing violence and harmful rhetoric in public spaces arising in response to America's shifting demographics, the play is as urgent today as ever." INVASION!'s satirical comedy centers on a name: Abulkasem. What is introduced as an amorphous word of many meanings spirals and shape-shifts into a kaleidoscopic range of identities. Abulkasem is an uncle visiting from Lebanon, a renowned theater director, an asylum-seeking apple picker, the world's most dangerous terrorist. In a whirlwind of interconnected vignettes, we search for the answer. Who is Abulkasem? With biting comedy and multilayered storytelling, INVASION! confronts prejudices about identity, race, and language. The multinational company of actors, all making their Ancram debuts, are Ali Andre Ali, Abuzar Farrukh, Sophie Zmorrod Laruelle, and Ahmad Maher. Abuzar Farrukh is an actor, born and raised in Lahore, Pakistan. Abuzar is absolutely honored to be making his Ancram Opera House debut. Select credits: Disgraced (Chester Theatre Company), Refugee (Joakim Interfest, Serbia), Mitigating Damages (Castillo Theatre), Much Ado About Nothing (Brown Box Theatre Project). He holds a BA in Theatre from UMass Amherst, where he was the recipient of the Ed Golden Acting Award. The production team includes lighting designer Jess Elliott, costume designer Rashidah Nelson, scenic designer Sarah Edkins and sound designer Brendan Doyle, Hannah Schiffer wil stage Manage. INVASION! is underwritten by Gerry Fultz and Claudia Perles. Tickets are $40 each, available at www.ancramoperahouse.org or by calling (518) 329-0114 INVASION! is generously sponsored by Claudia Perles and Gerry Futz. Jeffrey Mousseau is a theatre director, producer and educator. For Ancram Opera House, his acclaimed October 2021 production of An Iliad with actor MaConnia Chesser has recently been remounted at Shakespeare and Company in Lenox, MA. For Ancram, he has also helmed Homebody by Tony Kushner (Berkshire Theatre Critics Award, Outstanding Solo Performance); Young Jean Lee's We're Gonna Die; the American premiere of In Praise of Elephants by Kevin Dyer; a site-specific new work, Performing Olana, on the grounds of Olana, Hudson River School painter Frederic Church's historic home near Hudson, NY; and two Barbara Wiechmann plays, Aunt Leaf which also toured to Aguascalientes, Mexico, and the premiere of a music-theatre adaptation of The Snow Queen. Locally, his work has also been seen at Stageworks/Hudson and Hudson Opera House. Other directing credits include The Kennedy Center in Washington, HERE Arts Center in NYC where he is an alum of the HERE Artist Residency Program, numerous productions as founding artistic director of the Elliot & IRNE award-winning Coyote Theatre in Boston, American Southwest Theater, Provincetown Rep, and Florida Studio Theatre. In addition to his tenure at The Coyote Theatre in Boston, he has served as general manager of the Consortium of Asian American Theaters & Artists; curator of the performance series, Start HERE: Innovative Theater for Young People, at HERE, NYC; program director at Tribeca Performing Arts Center, NYC; and producing director of the Computerworld Smithsonian Awards at the National Building Museum in Washington, DC. As a guest artist, he has lectured or directed at Brandeis University, Emerson College, University at Albany and Siena College.

A study from the University of Limerick sheds some light on why sad songs make us happy.In this week's episode we'll hear the sad songs that get Laura and Annabelle weepy--in a good way--and a listener tells us why Edelweiss is her go-to sad song.We received lots of responses from listeners on Twitter, and since we don't have time to squeeze them all into a 15 minute show, we created a Spotify playlist with everyone's favorites:Tiny Victories Sad Song PlaylistOur sponsor this episodeMicrodose GummiesMicrodose Gummies deliver perfect, entry-level doses of THC that help you feel just the right amount of good. To get free shipping & 30% off your first order, go to Microdose.com, and use code TINY Do YOU have a tiny victory to share? Call the Tiny Victories Hotline: (323) 285-1675We want folks to share their tiny victories on our hotline because, frankly, we'll assume we're just talking into the void every week and nothing matters. Prove us wrong. Did you finally do that thing you were putting off? Tiny victory! Reconnect with someone you haven't been in touch with for ages? Victory! We only ask that you try to keep messages to under a minute so we're able to play it on the show.If you prefer, you can record a tiny victory on your phone and then email us the audio. Email: TinyVictories@maximumfun.orgHOW TO @ USTwitter@GetTinyPod@LAGurwitch@ImLauraHouse@Swish (producer Laura Swisher)Instagram@GetTinyPod

Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before.  In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre (Rowman & Littlefield Publishers, 2019), Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades.  This book covers the heyday of the second wave feminist movement—which saw the growth of female-centric theatre groups—and highlights the work of playwrights such as Caryl Churchill, Pam Gems, and Wendy Wasserstein. Other prominent artists discussed here include playwrights Paula Vogel Lynn and Tony-award winning directors Garry Hynes and Julie Taymor. The volume also examines diversity in contemporary feminist theatre—with discussions of such playwrights as Young Jean Lee and Lynn Nottage—and a look toward the future. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before.  In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre (Rowman & Littlefield Publishers, 2019), Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades.  This book covers the heyday of the second wave feminist movement—which saw the growth of female-centric theatre groups—and highlights the work of playwrights such as Caryl Churchill, Pam Gems, and Wendy Wasserstein. Other prominent artists discussed here include playwrights Paula Vogel Lynn and Tony-award winning directors Garry Hynes and Julie Taymor. The volume also examines diversity in contemporary feminist theatre—with discussions of such playwrights as Young Jean Lee and Lynn Nottage—and a look toward the future. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before.  In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre (Rowman & Littlefield Publishers, 2019), Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades.  This book covers the heyday of the second wave feminist movement—which saw the growth of female-centric theatre groups—and highlights the work of playwrights such as Caryl Churchill, Pam Gems, and Wendy Wasserstein. Other prominent artists discussed here include playwrights Paula Vogel Lynn and Tony-award winning directors Garry Hynes and Julie Taymor. The volume also examines diversity in contemporary feminist theatre—with discussions of such playwrights as Young Jean Lee and Lynn Nottage—and a look toward the future. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before.  In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre (Rowman & Littlefield Publishers, 2019), Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades.  This book covers the heyday of the second wave feminist movement—which saw the growth of female-centric theatre groups—and highlights the work of playwrights such as Caryl Churchill, Pam Gems, and Wendy Wasserstein. Other prominent artists discussed here include playwrights Paula Vogel Lynn and Tony-award winning directors Garry Hynes and Julie Taymor. The volume also examines diversity in contemporary feminist theatre—with discussions of such playwrights as Young Jean Lee and Lynn Nottage—and a look toward the future. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

It's time for another visit with Midday theater critic J. Wynn Rousuck, who joins Tom this week with reviews of two new streaming productions by local theater companies. The first, from Bethesda-based Round House Theatre, is playwright Young Jean Lee's"We're Gonna Die." Directed by Paige Hernandez, is part one-woman stage play and part live-band rock concert that ponders the slings and arrows that befall us in life, and the resilience it takes to survive."We're Gonna Die" will be streaming on demand through July 11. Single Carrot Theatre's "I Hope This Finds You..." is described by the company as "a compilation of artistic experiences" that variously reflect on the pandemic's impact on cast members' lives this past year. The virtual production is being streamed in three "chapters": the first two are available now; the third chapter will be released on July 1. Each chapter includes a mix of "short films, artful meal-kits, mock podcasts, interactive exercise class and audio walking tours." "I Hope This Finds You..." is streaming to ticketed patrons through July 31. Follow the links above for more information on both productions.  See omnystudio.com/listener for privacy information.

Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before.  In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre (Rowman & Littlefield Publishers, 2019), Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades.  This book covers the heyday of the second wave feminist movement—which saw the growth of female-centric theatre groups—and highlights the work of playwrights such as Caryl Churchill, Pam Gems, and Wendy Wasserstein. Other prominent artists discussed here include playwrights Paula Vogel Lynn and Tony-award winning directors Garry Hynes and Julie Taymor. The volume also examines diversity in contemporary feminist theatre—with discussions of such playwrights as Young Jean Lee and Lynn Nottage—and a look toward the future. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before.  In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre (Rowman & Littlefield Publishers, 2019), Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades.  This book covers the heyday of the second wave feminist movement—which saw the growth of female-centric theatre groups—and highlights the work of playwrights such as Caryl Churchill, Pam Gems, and Wendy Wasserstein. Other prominent artists discussed here include playwrights Paula Vogel Lynn and Tony-award winning directors Garry Hynes and Julie Taymor. The volume also examines diversity in contemporary feminist theatre—with discussions of such playwrights as Young Jean Lee and Lynn Nottage—and a look toward the future. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before.  In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre (Rowman & Littlefield Publishers, 2019), Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades.  This book covers the heyday of the second wave feminist movement—which saw the growth of female-centric theatre groups—and highlights the work of playwrights such as Caryl Churchill, Pam Gems, and Wendy Wasserstein. Other prominent artists discussed here include playwrights Paula Vogel Lynn and Tony-award winning directors Garry Hynes and Julie Taymor. The volume also examines diversity in contemporary feminist theatre—with discussions of such playwrights as Young Jean Lee and Lynn Nottage—and a look toward the future. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

When Ed and his three adult sons come together to celebrate Christmas, they enjoy cheerful trash-talking, pranks, and takeout Chinese. Then they confront a problem that even being a happy family can't solve: When identity matters, and privilege is problematic, what is the value of being a straight white man? Listen to Features Editor Becca Martin-Brown chat with actor Ed McClure and director Brenda Nemec about the Arkansas Public Theatre production of Young Jean Lee's comedy.

When Ed and his three adult sons come together to celebrate Christmas, they enjoy cheerful trash-talking, pranks, and takeout Chinese. Then they confront a problem that even being a happy family can’t solve: When identity matters, and privilege is problematic, what is the value of being a straight white man? Listen to Features Editor Becca Martin-Brown chat with actor Ed McClure and director Brenda Nemec about the Arkansas Public Theatre production of Young Jean Lee’s comedy.

Gut? Trust it. Becca Blackwell is an NYC-based trans actor, performer & writer. Existing between genders, and preferring the pronoun "they," Blackwell works collaboratively with playwrights & directors to expand our sense of personhood & the body through performance. Some collaborations have been with Young Jean Lee, Half Straddle, Jennifer Miller's Circus Amok, Richard Maxwell, Erin Markey, Sharon Hayes, and Lisa D'Amour. Film/TV includes: “High Maintenance,” “Ramy,” “Marriage Story,” “Shameless,” and “Deadman's Barstool.” They have toured their solo shows They, Themself and Schmerm and Schmermie's Choice across the US. Recipient of the Doris Duke Impact Artist Award, the Creative Capital award, and the Franklin Furnace award.

The SLC Performance Lab is produced by ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program. Each month a visiting artist to the MFA Theatre Program's Grad Lab is interviewed. Grad Lab is one of the core components of the program where graduate students work with guest artists and develop group-generated performance pieces monthly. Caleb Hammons is interviewed by Kyrie Ellison (SLC21) and Andrew Del Vecchio (SLC22). CALEB HAMMONS is a Tony and Obie Award-winning cultural producer and curator of performance working in Brooklyn and the Hudson Valley. Currently the Director of Artistic Planning and Producing at the Fisher Center at Bard, he facilitates Live Arts Bard, a professional commissioning, residency, and presenting initiative focusing on contemporary practices in the performing arts, produces an extensive portfolio of dance, theater, live music, and transdisciplinary performance projects, and co-curates the Bard SummerScape Spiegeltent. Prior to his time at Bard he was the Producer at Soho Rep in NYC and was the first Producing Director of Young Jean Lee's Theater Company from 2008 to 2011. He is the Co-Curator of the acclaimed Brooklyn-based performance series CATCH. Caleb holds a BFA from the NYU/Tisch Experimental Theatre Wing and was a member of the Institute for Curatorial Practice in Performance's inaugural class at Wesleyan University. Photo is by Maria Baranova

About Maria: Maria Dizzia currently teaches an ongoing scene study class at The Freeman Studio in NYC. She has taught both Public Speaking and Acting at the University of California at San Diego as well as master classes at Wheaton College, Penghao Theater in Beijing and the Sichuan People's Art Theater in Chengdu, China. She was a Beinecke Fellow at Yale School of Drama and a 2011 recipient of the Fox Foundation Resident Actor Fellowship. Broadway credits include: In The Next Room by Sarah Ruhl (Tony nomination Featured Actress; Lincoln Center). Recent theater credits include If I Forget by Steven Levenson (Roundabount Theater Company),  Belleville by Amy Herzog (Drama Desk Nomination; New York Theater Workshop, Yale Rep), Annie Baker's Uncle Vanya (Soho Rep), Drunken City by Adam Bock (Playwrights Horizons), and Eurydice by Sarah Ruhl (Second Stage, Yale Rep, Berkeley Rep). Outside of the United States, Maria has performed at The Gate Theater in London with The Civilians and at the Garasjen theater in Norway with Young Jean Lee's Theater Company. Television credits include: a recurring role on Louis C.K.'s "Horace and Pete," recurring role on "Orange Is the New Black" (SAG Award, Outstanding Ensemble), "Louie," "Master of None," "Newsroom," "Elementary," and "The Blacklist." Among her film roles are: Christine, Martha Marcy May Marlene (Gotham Film Award nomination, Best Ensemble), While We're Young, and Margin Call. To find a teacher who sees something in you and be able to have an adult conversation with you is essential. Everybody who keeps acting keeps learning. When it’s with Zoom, you get to take responsibility for yourself. When you work with celebrity, they love the story that they’re telling. Meeting them is wanting to tell that story with them, and to understand their vision. Really dig into the work relationship part of it. It always comes down to the work.

Baron Vaughn talks with polymath professor playwright, Young Jean Lee. They discuss how to find balance inside a capitalist culture that has been known to stress people da f*q out. Their chat happened 2 days before an insurrection that continues to stress people da f*q out! Then it's time for another Katty Korner with the one and only Katrina Davis. Special note: Baron left pieces of his heart in this episode - congrats to those that find them! Learn more about your ad choices. Visit megaphone.fm/adchoices

Omari Newton is a professional actor, writer, director, author and slam poet. His original Hip Hop theatre piece, Sal Capone, has received critical acclaim and multiple productions across Canada, including a presentation at Canada's National Arts Centre in 2018. The play has been nominated for multiple Montreal English Critics Association (META) awards, including Outstanding New Text. In addition to being a playwright, Omari has had a successful acting career on stage, screen, and radio over the past two decades. Career theatre highlights include a Best Supporting Actor nomination in the Centaur Theatre's award-winning production of Joe Penhall's Blue/Orange (2004). Most recently, Omari's work in Speakeasy Theatre's production of Young Jean Lee's The Shipment earned him a 2017–2018 Jessie Award for Outstanding Performance, as well as a nomination for Best Direction. Omari is currently working on a commission from Black Theatre Workshop to write Black & Blue Matters—a companion piece to Sal Capone. Bio taken from: https://artsclub.com/about/about-the-playwrights

Do YOU have a tiny victory to share?Call the Tiny Victories Hotline: (323) 285-1675We want folks to share their tiny victories on our hotline because, frankly, we’ll assume we’re just talking into the void every week and nothing matters. Prove us wrong. Did you finally do that thing you were putting off? Tiny victory! Reconnect with someone you haven’t been in touch with for ages? Victory! We only ask that you try to keep messages to under a minute so we’re able to play it on the show.If you prefer, you can record a tiny victory on your phone and then email us the audio.Email: TinyVictories@maximumfun.orgHOW TO @ USTwitter@GetTinyPod@LAGurwitch@ImLauraHouse@Swish (producer Laura Swisher)Instagram@GetTinyPod

If you read Annabelle’s op-ed in the New York Times about being diagnosed with lung cancer, you might be able to infer this year has been a bit much. So why would a friend recommend Annabelle watch the play We’re Gonna Die by Young Jean Lee, in which the playwright talks about her father dying…of lung cancer?With her band, Future Wife, playwright Young Jean Lee takes the stage at Lincoln Center’s LCT3 in a life-affirming show that anyone could perform, about the thing everyone has in common: WE’RE GONNA DIE. You may be miserable, but you won’t be alone.The friend knows Annabelle very wellScience A study from the University of Limerick sheds some light on why sad songs make us happy. In this week’s episode we’ll hear the sad songs that get Laura and Annabelle weepy–in a good way–and a listener tells us why Edelweiss is her go-to sad song. We received lots of responses from listeners on Twitter, and since we don’t have time to squeeze them all into a 15 minute show, we created a Spotify playlist with everyone’s favorites:Tiny Victories Sad Song PlaylistDo YOU have a tiny victory to share?Call the Tiny Victories Hotline: (323) 285-1675We want folks to share their tiny victories on our hotline because, frankly, we’ll assume we’re just talking into the void every week and nothing matters. Prove us wrong. Did you finally do that thing you were putting off? Tiny victory! Reconnect with someone you haven’t been in touch with for ages? Victory! We only ask that you try to keep messages to under a minute so we’re able to play it on the show.If you prefer, you can record a tiny victory on your phone and then email us the audio.Email: TinyVictories@maximumfun.orgHOW TO @ US Twitter@GetTinyPod@LAGurwitch@ImLauraHouse@Swish (producer Laura Swisher)

Young Jean Lee is a playwright, director and filmmaker, as well an Associate Professor in Theater and Performance Studies at Stanford. Her plays include The Shipment (2009), Untitled Feminist Show (2011), and Straight White Men (2014). In 2012, Charles Isherwood called her "hands down, the most adventurous downtown playwright of her generation." Laura and Adrian talk to Young Jean Lee about that sense of adventure: what it takes to scare yourself, what feminist theater looks like today, and the role of hope and pleasure in performance even in dark times.

Becca Blackwell is a New York-based trans actor, performer, and writer. Their play, They, Themself and Schmerm, has been presented across the country. They have collaborated with Young Jean Lee, Noah Baumbach, and Richard Maxwell, among others. Blackwell was the recipient of a 2015 Doris Duke Impact Award.For this episode, we asked performance artist Becca Blackwell who they’d most like to speak with. They chose Okwui Okpokwasili.Okwui Okpokwasili is a performer, choreographer, writer and a genre breaking figure in New York’s experimental dance scene. Her productions including Bronx Gothic (2014) and Poor People’s TV Room (2017). She received a MacArthur Fellowship in 2018.

Sarah and Will explore the first play to arrive on Broadway that was written by a woman from Korea.  It is a magnificent exploration of race, privilege and emotion.  Enjoy! --- Send in a voice message: https://anchor.fm/theplaywrights/message Support this podcast: https://anchor.fm/theplaywrights/support

Jose talks with 'Slave Play's' Irene Lucío, and gathers 2019 reflections from Young Jean Lee, Aleshea Harris, Jaime Lozano, and others.

Jose talks with 'Slave Play's' Irene Lucío, and gathers 2019 reflections from Young Jean Lee, Aleshea Harris, Jaime Lozano, and others.

WE’RE BACK for SEASON TWO…. IT’S DONE FOR! EPISODE 1: This season, we've selected the book The Five Invitations by Frank Ostaseski. We jump right into episode 1 with the first Invitation: Don’t Wait. We’ll continue to circle back to our foundational questions: 1) What leads to a good death? and 2) What does that tell us about how to live a good life? Listen in as we continue the conversation, and tell us how you’re answering these questions. If you like this, tell someone! Please help us out by sharing it and spreading the conversation. RESOURCES: The Five Invitations (Flatiron Books, 2017) by Frank Ostaseski. Frank Ostaseski is an internationally respected Buddhist teacher and visionary cofounder of the Zen Hospice Project, and founder of the Metta Institute. He has lectured at Harvard Medical School, the Mayo Clinic, Wisdom.2.0 and teaches at major spiritual centers around the globe. Frank is the 2018 recipient of the prestigious Humanities Award from the American Academy of Hospice and Palliative Medicine. Frank's groundbreaking work has been featured on the Bill Moyers PBS series On Our Own Terms, highlighted on The Oprah Winfrey Show, and honored by H.H. the Dalai Lama. He is the author of The Five Invitations: Discovering What Death Can Teach Us About Living Fully. The Chaplaincy Institute in Berkeley, CA is where the 3 of us met and began to share our stories. The Chaplaincy Institute is an Interfaith Community and Seminary that strives to create a just world that honors the sacred connection of all. Find out more at www.chaplaincyinstitute.org. “Churchianity” was actually a term Jessica first learned from the Rev. Dr Megan Wagner. ProgressiveChristianity.org is a global resource of open, intelligent, and collaborative approaches to the Christian tradition and the life and teachings of Jesus that creates a pathway into an authentic and relevant religious experience. Shower the People, James Taylor (June 1976) It turns out Jessica is way better at this than even she thought! Well, with the exception of re-writing this James Taylor classic with new words. Fundamentalism: despite the first three letters indicating an emphasis on ‘fun’, fundamentalism in many forms (religious and non-religious) can be damaging. We hope if you’ve experienced that kind of trauma, that you will share your story and continue to listen. Book Club Questions: One of our dear listeners (and Jessica’s BFF) wrote a guide for this season. Find it here: (link to pdf attached) Also, it turns out Frank has developed a guide that can be found at: fiveinvitations.com/book-club Atlas: The Atlas personality, drawing on the myth of the giant Atlas from Greek mythology upholding the world, is someone obliged to take on adult responsibilities prematurely. They are thus liable to develop a pattern of compulsive caregiving in later life. https://en.wikipedia.org/wiki/Atlas_personality Female Playwrights: yeah, there are a lot of these David. Take your pick… an ditch the white dudes. Annie Baker, Lisa D’Amour, Sarah DeLappe, Margaret Edson, Liz Flahive, Amy Freed, Madeleine George, Rebecca Gilman, Gina Gionfriddo, DW Gregory, Danai Gurira, Leslye Headland, Amy Herzog, Quiara Alegria Hudes, Lucy Kirkwood, Young Jean Lee, Jennifer Maisel, Martyna Majok, Lynn Nottage, Antoinette Nwandu, Suzan-Lori Parks, Theresa Rebeck, Yasmina Reza, Sarah Ruhl, Laura Shamas, Lisa B Thompson, Lucy Thurber, Joyce VanDyke, Paula Vogel, Anne Washburn. Thanks to theatrenerds.com Anne Lammott first used the phrase “shitty first drafts” in her book Bird by Bird (1995) to emphasize why perfectionism can kill creativity. Learn more about Andrew Chirch, David Greenson, and Jessica Shine at DoneForPodcast.com

Acclaimed Australian playwright Patricia Cornelius has been awarded the Windham-Campbell Prize for drama, US playwright Clare Barron's Dance Nation follows a group of teens in the throes of adolescence finding their place in a hyper-sexualised and competitive world of dance, and we speak with playwright and performer Nakkiah Lui about her new satirical play at the Sydney Theatre Company — How to Rule the World.

On this episode, I speak with Adil Mansoor, a theatre director and educator who’s work centers around the stories of queer folk and people of color. Adil is a founding member of Pittsburgh’s Hatch Arts Collective and a member of the Heinz Endowments’ Transformative Arts Process, a grantmaking initiative supporting justice based arts education within black communities in Pittsburgh. Adil also served as the Program Director and then Artistic Director at Dreams of Hope, an LGBTQA+ youth arts organization for over 5 years. Adil is currently a Point Scholar and pursuing his MFA as a John Wells Directing Fellow at Carnegie Mellon University. I first learned about Adil through his Creative Mornings’s talk, which I have attached in the show notes. I then saw his production of Gloria by Branden Jacob-Jenkins over the summer and was very taken by the directing and the story. Adil was so kind as to find some time to sit with me and chat. Our conversation goes all over the place, from Adil’s early theater experiences, how to diversify hiring practices, and coping with the white cannon. The discussion runs on the long side, so I hope you enjoy it. Links Mentioned: Adil’s Website Adil’s Creative Mornings Lecture George Bernard Shaw’s “Androcles and the Lion” Molière’s ”Tartuffe” Caryl Churchill’s ”Cloud 9” Pierre de Marivaux’s ”The Game of Love and Chance” Moisés Kaufman’s ”The Laramie Project” The Stonewall riots Young Jean Lee’s ”Straight White Men” Branden Jacob-Jenkins’ ”Gloria” UbuWeb Carlos Murillo's “Dark Play or Stories for Boys” Branden Jacob-Jenkins’s “An Octoroon” Follow Seeing Color: Seeing Color Website Subscribe on Apple Podcasts Facebook Twitter Instagram

What a couple of weeks! I have been to three fabulous plays and to a concert featuring one of the best ukulele players in the world. Jake Shimabukuro (http://jakeshimabukuro.com/ Marin Theatre Company (https://www.marintheatre.org/ Young Jean Lee (http://youngjeanlee.org/ School of Rock - Broadway (https://us.schoolofrockthemusical.com/) Berkeley Rep (https://www.berkeleyrep.org/) Amios West (https://www.amioswest.org/) My people, I really need some rankings on Itunes. It's really the best way I can get my podcast out to more people. The more rankings you have, the greater chance you will get on Itunes list without having to search. Please go hear and give me some stars! ( https://apple.co/2ObXW6x ) Opening music by Carly Ozard (http://carlyozard.com/). Ray's Web Site: http://rayrenati.com Green Room Radio: http://raysgreenroom.com    

KPFA theatre critic Richard Wolinsky reviews “Straight White Men” by Young Jean Lee, at Marin Theatre Company through July 8, 2018. Marin Theatre Company website The post Review: Straight White Men, at Marin Theatre Company appeared first on KPFA.

Robin on the Women's March anniversary, , sea turtles—and a government shutdown? Guests: Young Jean Lee, Broadway's first Asian American woman playwright; Yoruba Richen on her film about anti-abortion crusades on black communities.

It's Thursday, and that means our peripatetic theater critic, J. Wynn Rousuck, is back in Studio A with a review of one of the region's many thespian offerings. This week, Judy joins Tom in a conversation about Lear, a new production of a 2010 play by Young Jean Lee, now on stage at Single Carrot Theatre.An artful weave of Elizabethan and modern pop cultures, Lear is a riff, of sorts, on Shakespeare's tragedy, ----King Lear,---- that shows how dysfunctional, selfish and self-absorbed children can still wreak havoc on their elders -- and themselves.

"Hollywood is the great value-dictator of our time." - Amos Gebhardt The third episode of our season on belonging and exclusion is here, and this month we are conversing across many disciplines, and setting a record with the number of voices featured. Our guests are writer and performer Candy Bowers, artist and filmmaker Amos Gebhardt, and playwright and theatre-maker Chi Vu, three artists who have challenged the dominant narratives of gender, culture, and race both in their work, and as prominent public speakers. In this episode, recorded at FCAC and moderated by RMIT Deputy Dean of Media Lisa French, our guests speak about the female gaze on stage and screen, and what to do with Jill Soloway when being woman-identifying is only one of the parts of your identity. "So I worked on a play called Straight White Men by Young Jean Lee last year at MTC. And I thought what was extraordinary with that play is that - I really don't think Melbourne is at the same level regarding consciousness and dialogue in regards to whiteness and privilege - more than half of the audience saw one play, and all the intersectional feminists saw a different play. Literally, people laughed at different jokes. I read the play and I thought it was so funny straight away, and most of the guys I was working with, including the director, didn't think it was funny, didn't understand it. And I thought: 'This is a really clear case study in the fact that I've lived a life reading between the lines, and they've lived a life on the line. The line has been for them'." - Candy Bowers This panel ‘Female Gaze on Film and Stage’ was originally recorded as part of the program for WOW Melbourne at FCAC, and was presented in partnership with the Australian Centre for the Moving Image. It’s the very end of summer in Melbourne, it's a lovely Thursday afternoon, everyone is just settling in for an afternoon of discussions. It's a beautiful conversation: it is a rare occasion to hear some distinguished voices of the Australian independent arts speak about the intersectional experience in a space that is safe and expansive, outside of the carnival of outrage and provocation that so often greets those who speak about diversity. Discussed in this episode: decolonising ourselves, Jill Soloway, inclusivity and being included, very small paths, being Best Female Performer for playing a straight man, what is cultural safety?, how bilinguals are not like two monolinguals in the same body, Back to Back Theatre, creating little worlds, what's wrong with make-up artists in Australia?, and the female gaze. "As an artist, creating a culture of safety, however you define it, is the only way you can make work over a long term." - Chi Vu Bibliography: Jill Soloway on The Female Gaze, Master Class, TIFF 2016 Ben Neutze: Candy Bowers on Australian Theatre's White Patriarchy: Burn it Down, The Daily Review, Oct 2016 Ben Neutze: Review: Lilith the Jungle Girl, The Daily Review, Sep 2016 Stephanie Lai: Review: Coloured Aliens by Chi Vu, Peril, Apr 2017 Dylan Rainforth: Amos Gebhardt's Nude Portraiture Celebrates Difference, The Age, Feb 2016 You can subscribe to Audiostage on iTunes or any number of Android platforms, friend us on Facebook, or follow us on Twitter. This season of Audiostage was created in partnership with Footscray Community Arts Centre as part of WOW – Women of the World Festival Melbourne, delivered in association with Southbank Centre London.

This week we start with a Rant, which really sets the tone for the entire episode. Non has really strong opinions on plays about rich Manhattanites. Natasha on the other hand saw Straight White Men by (our favorite) Young Jean Lee, and has crisis about being white. We both agree that some playbills need to step up their game.

Carla and Philip discuss Young Jean Lee's Straight White Men at the MTC; then they travel Southside to encounter the joyous Bright World at Theatreworks.

Among the many striking aspects of the 2016 presidential race is this: 'political correctness' is regularly touted as one of our greatest societal evils. But it's not just Republican candidates: 68 percent of all Americans think 'P.C.' is a big problem, according to this Fairleigh Dickinson University poll.  The question is, why? In this episode [click "Listen" above], we explore how the policing of language can cause anxiety for many of us, while also forcing us to think about race and gender and other issues. Additionally, we turned to people who think about words for a living—writers—and put this question to them: Does "political correctness" shape today's art and expression? And if so, is that a problem or a necessity? Below are just a few of their responses. Feel free to weigh in! 1) Mohsin Hamid, author of How to Get Filthy Rich in Rising Asia and frequent contributor to the NYT Book Review. “I think power shapes language: what we can say, what we choose to say. And of course power shapes art. ‘Political correctness’ is just a description for certain ways in which some aspects of power are affecting language. There are many other ways. Think of what happened to Jeremiah Wright, President Obama's former preacher, when he violated the norms of ‘patriotic correctness’ in his sermons that were posted online. A firestorm. There are also issues of ‘religious correctness’ that one faces in, for example, Pakistan, where I live. The list goes on and on. And no artist is unaffected by them.”  2) Branden Jacobs-Jenkins, playwright, An Octoroon and Appropriate, says: 3) Teju Cole, pictured below, author of Open City and photography critic at The New York Times Magazine. “I must have missed when political correctness enslaved human beings, killed them with infected blankets, exiled them from their homes, prevented them from voting, sexually assaulted them, and destroyed their neighborhoods with malign economic policy and bad policing. We have a number of very serious problems — ongoing issues or the aftermath of historical issues — to think about; political correctness is not one of those serious problems. I personally love political correctness because a vehement opposition to it is a pretty reliable way of flagging those who want to be jerks about other people's pain without having to pay any social price for being so.”  Teju Cole (Martin Lengemann) 4) Young Jean Lee, filmmaker and playwright (Straight White Men), says: 5) Julia Alvarez, author of How the Garcia Girls Lost Their Accents and A Wedding in Haiti. “The writers I most respect are inclusive and diverse and their works include and even humanize politically-incorrect characters.  (Just think of Flannery O'Connor's!)  These writers do not legislate or promote a certain point of view, but they increase our level of awareness about the world we live in. I love the Chekhov quote that the task of the artist is not to solve the problem but to state it correctly. A character might be racist or a situation in a story unpalatable, even offensive, but if these work in the service of the story/poem, then an artist should not censor herself with other considerations. But writer has to have a certain level of awareness, even if her characters and the situations they are in do not.  We, as readers, have to feel that those deeper issues are being addressed and a more capacious vision being sought.” 6) Manil Suri, author of The City of Devi and The Death of Vishnu. “Political correctness is such an obvious and juicy target when artists allow themselves to fall victim to it that I feel it should be one's moral duty to go after it with the sharpest implement available. I'm sure I succumb to it myself on occasion (being Third World and gay and a person of color, etc) but can only hope someone shows enough mercy to puncture the 'art' that results.”    What do you think? Listen to my question and then click on "Reply" and tell me. We may use your comment for a future story!

Have you ever wondered what a post apocalyptic world would look like? How about how a world on a Reservation? Maybe Indigenous folk had the cure so there were no more non-natives. This film company is playing with the idea and they are here in Lakota land to see what others think. So join us in this humorous conversation of what a world looks like on a Reservation post-apocalyptic.

One-on-One with Elizabeth LeCompte and Young Jean Lee: On Saturday, May 19, 2012, Stage Directors and Choreographers Foundation (SDCF) hosted a One-on-One Conversation at Playwrights Horizons' Peter Jay Sharp Theater with award-winning theatre makers Elizabeth LeCompte, Founding Member and Director of The Wooster Group, and Young Jean Lee, Artistic Director of Young Jean Lee's Theater Company. Moderated by Kristin Marting, Co-Founder/Artistic Director of HERE, these two highly accomplished, adventurous theatre artists talk about how they build their visionary works, the controversies they create, gender issues, critical response to their work, how they view failure, and why they believe their companies continue to thrive in the downtown, experimental theatre scene. Originally recorded - May 19, 2012. Running Time - 1:14:53 © 2012 SDCF

Nature Theater of Oklahoma talks again with their very first OK Radio guest, playwright/director Young Jean Lee, about American celebrity culture, our capacities for violence and repression – plus lots of dancing our way around Kant’s Groundwork of the Metaphysics of Morals. (And added bonus feature: Young Jean explains the workings of the economic “Pareto” principle and how to beneficially apply it to your personal life!)

Nature Theater of Oklahoma talks to writer/director Young Jean Lee about longevity, mortality, ambition, endurance, and resilience.

On Saturday, May 19, 2012, Stage Directors and Choreographers Foundation (SDCF) hosted a One-on-One Conversation at Playwrights Horizons' Peter Jay Sharp Theater with award-winning theatre makers Elizabeth LeCompte, Founding Member and Director of The Wooster Group, and Young Jean Lee, Artistic Director of Young Jean Lee's Theater Company. Moderated by Kristin Marting, Co-Founder/Artistic Director of HERE, these two highly accomplished, adventurous theatre artists talk about how they build their visionary works, the controversies they create, gender issues, critical response to their work, how they view failure, and why they believe their companies continue to thrive in the downtown, experimental theatre scene.

The panel of playwrights - Kristoffer Diaz, Kate Fodor, Rajiv Joseph, Young Jean Lee and Tarell Alvin McCraney - discuss how and why they became involved in theatre; whether their writing comes from their own life experiences or that of others, or both; how their writing develops and evolves; what challenges their imagination; how their work is viewed by audiences in other countries; and the importance of diversity being reflected in theatre.

Young Jean Lee, 1996, in conversation with Professors Catherine Gallagher and Scott Saul. Young Jean Lee graduated from the UC Berkeley English Department with Highest Honors in 1996. She then continued in our PhD program, before leaving to become a playwright. She is now the artistic director of the Young Jean Lee Theater Company, based in New York City, and she has written and directed a number of successful plays in New York and abroad. Her most recent piece, “The Shipment,” has received widespread critical acclaim from The New York Times, The New Yorker, and elsewhere.

Young Jean Lee, 1996, in conversation with Professors Catherine Gallagher and Scott Saul. Young Jean Lee graduated from the UC Berkeley English Department with Highest Honors in 1996. She then continued in our PhD program, before leaving to become a playwright. She is now the artistic director of the Young Jean Lee Theater Company, based in New York City, and she has written and directed a number of successful plays in New York and abroad. Her most recent piece, “The Shipment,” has received widespread critical acclaim from The New York Times, The New Yorker, and elsewhere.