Listen in as Genny Yosco, the writer & director of (and an actor in!) im ur hamlet., discusses writing through food poisoning, creating for the Zoom medium, knowing who it is your parodying, creating a Shakespeare festival from afar, making community during a pandemic, and what happens when everyone wants to be the star.
“One of the things about this cast is…they all love each other, and I love all of them, so even though we were all playing at odds with each other, there still was this overlying, person-to-person silent communication that we all did really enjoy each other, which was perfect…”
Listen in as Mark Blankenship, editor and founder of The Flashpaper, discusses finding a way to let artists both share ideas and get paid, creating “a collective experience of good in a time of great crisis,” the power of a physical manifestation of our indie theatre world while our spaces are indefinitely shuttered, and the importance of community in theatre.
“…it’s a real treat for me, as someone who loves to get my hands as deep into the dirt of theatrical ideas as I can, to be able to support so much thinking about the theatre, but also theatre’s relationship to the rest of the world…”
Listen in as Erin B. Mee, conceiver & director of Play In Your Bathtub: An Immersive Audio Spa for Physical Distancing, discusses why we should call it “physical” distancing as opposed to “social” distancing, getting inspiration from quarantine, engaging all five senses, inviting the audience to be creative themselves, putting everyone on the same time-line from their respective locations, and the importance of giving us a sense that we’re going to an “event” in these strange days.
“A lot of our work is really co-created with the audience, in the sense that we have all kinds of ‘invitations’ …and I think this play is almost all invitation…because that’s where we are at this moment…”
Listen in as Really Really Gorgeous playwright Nick Mecikalski discusses what happens when the media is filtered through only one lens, trust in personal relationships, the journey from digging a script out of a drawer to getting on the stage, the power of celebrity, and “what happens when climate change gets personal.”
“We know this is already happening for people around the world…the really scary questions that I think creep in the back of our minds…will it change whether I can follow my dreams? Will it change my career? Will it change where I have to live? Will it change my relationships?…”
Listen in as playwright Johnny G. Lloyd and director William Steinberger of Or, An Astronaut Play discuss capitalism, Emerson, childlike wonder, designing to your space, stealing kids’ artwork, and why the play goes to space school (as well as literal space).
“…it’s a play about race, and privilege, and access, but also, still, about finding access to that inner child, and finding a way to negotiate that…”
Listen in as the performers of Lizzie Vieh’s new play Monsoon Season, Richard Thieriot & Therese Plaehn, discuss the development of this play from a 7-minute one-night-only solo piece to a set of solos, making something horrifying but also incredibly funny, how your performance changes when a play’s world expands, the benefit of working with smart, generous, welcoming people, and what can can happen when the seed of a piece is tossed into fertile ground.
“…so it’s dark, and the emotional terrain is dark, but there’s also, hopefully, occasionally, laughs […]”
“…I remember being disturbed…and sure enough, it’s funny as hell…”
Listen in as GSAS! correspondent Alex Randrup meets with Of the Woman Came the Beginning of Sin and Through Her We All Die director Kylie M. Brown, along with producer Leigh Honigman, to discuss basement cults, Biblical inspiration & imagery, the marketability of femininity, ushering a new text to maturity, ritual & retail, accepting the weirdness to find the grounded truth, & living under late capitalism while femme.
“…what I see this show as, is femmes living in boxes, and trying their best to get out of said boxes. And we burn the boxes down. Simple enough.”
Listen in as “Strangers in the Night” contributing playwrights Patricia Lynn (writer of Screwed, portrayer of “Molly”, director of Frank) & Philip Estrera (writer of the Frank monologues, who also performs “Stranger” in Bottling Dreams of the Tearful Don’t-Knower), along with fellow Bottling… actor Natalie Hegg (“Other Half”), discuss creating a complete theatrical experience out of one act plays, sketches in rehearsal, provocative nocturnal stories, doing that one thing well, collaboration, different extremes of theatricality, & the intimacy that can develop between total strangers.
“…one little thing would totally change the way the scene would go…a creative, supportive battleground…”
Listen in as writer (and performer) Alexander V. Thompson of the podcast Cryptids discusses late-night conspiracy shows, moving from the stage to a podcast, performing on mic, letting the audience fill in the blanks, adjusting images to audio, and the love of radio.
“I’m in love with radio…and I really wanted to play in that space…taking all of these visual elements that I had created as a playwright, and all the theatre magic and stage magic that I kind of envisioned in it, and then totally repurposing those into an audio medium…”
Listen in as The Sea The Mountains The Forest The City The Plain playwright Matthew Freeman, along with director David Cote & performer Robert Honeywell, discuss how to discover your character, propulsive changes & musicality, abstract simplicity, friendship and aging, moving through the words, finding your collaborators, embracing your influences, and moving on to the next thing on your journey.
“…change is a constant, and change can come with a sense of loss…you hit this sort of middle part of your life, and you look around, and you miss the things that came before, even if you love the life that you have. So I think that feeling is inspiring the piece a little bit…”