Author Archives: robby

Kayla Eisenberg & Stephanie Cox-Connolly of “Lilith in Pisces”

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Drops in the Vase presents LILITH IN PISCES, written by Kayla Eisenberg, directed by Stephanie Cox-ConnollyListen in as Lilith in Pisces playwright Kayla Eisenberg, along with director Stephanie Cox-Connolly, discuss missed connections, revealing secrets, Jekyll & Hyde, starting from anywhere, campfire plays, designer collaborations, staging the unstageable, adjacency to horror, “a little bit of not-sympathy,” Stephanie’s recipe for making stage-ready mac & cheese, and things that are funny until they’re not.

“…I don’t know if it was the stars in the sky as we were reading this, or the fire started getting more fire-y, but there was a feeling with this that, THIS is a play we need to produce…I wanted plays that had that living room drama kinda feel…I like that kinda feeling of…just, ‘what is happening?’ that had theatrics in it that no one in their right mind would want to do…”

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Nick Thomas, Adam Belvo, & Azumi Tsutsui of “Anonymous”

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Spit & Vigor presents ANONYMOUS by Nick Thomas at Tiny Baby BlackboxListen in as Anonymous playwright & director Nick Thomas, along with performers Adam Belvo (Michael) and Azumi Tsutsui (Diana), discuss sharing a character, letting the story pour out, the relief of the audience, “embedded” theatre, “rehearsal with a bunch of strangers,” going “full Australian business-bro,” finding a character that’s far from you, taking us back to the (awesome) 1990s, and the potential of anonymity.

“…it has a different feeling of freshness. Like, I can feel the people sitting beside me, and they don’t know what’s going on, but hearing the story for the first time…I can feel, people are feeling it…”

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Dan Kitrosser of “HOMOS! A Solo Disaster Musical, Bitch”

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HOMOS! A Solo Disaster Musical, Bitch by Dan Kitrosser, directed by Kyle Metzger, at The Stonewall InnListen in as Dan Kitrosser, playwright and performer of HOMOS! A Solo Disaster Musical, Bitch, discusses eerie timing, controlling the audience, fun Tony Kushner references, integrating children’s theatre performing techniques, the need for clowns, finding where you fit in the world, and distilling down your large-scale musical to be done by yourself (because scheduling is hard).

“…for so many years, I was like, ‘okay, I do that kind of performance, then I have my plays,’ and those are two different things. And I realized that, that in and of itself creates an antagonistic structure…I’m interested in what happens if we redefine what theatre is…”

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Kimille Howard & Cezar Williams of The Fire This Time Festival 2025

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Season 16 of The Fire This Time Festival, 2025, featuring works by FELISPEAKS, Brittany Fisher, TyLie Shider, Garrett Turner, Jeanette W. Hill, & D.L. Patrick, directed by Kimille Howard, at The Wild ProjectListen in as the Director of the shows in this year’s The Fire This Time Festival, Kimille Howard, along with Producing Artistic Director Cezar Williams, discuss finding balance, discovering musical talent, bringing together black voices in the theatre, finding new collaborators, figuring out the big game of scheduling Tetris, leaning into the practicalities, and making magic.

“…it’s a theatrical event…to amplify the career of black playwrights…we pull together an incredible team of artist…and it’s always a good time.”

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Bernard Bosio, Elena Lozonschi, Camila Melgar, Claude Choukrane, Ted Thompson, & Phil Williams of “The Last Days of Judas Iscariot”

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The Heights Players present THE LAST DAYS OF JUDAS ISCARIOT, written by Stephen Adly Guirgis, directed by Bernard BosioListen in as The Last Days of Judas Iscariot director Bernard Bosio, along with performers Elena Lozonschi, Camila Melgar, Claude Choukrane, Ted Thompson, & Phil Williams, discuss the culture of Heights Players, the importance of understudies, the sound of real New York dialogue, despair and hope, vibe shifts, inspiring conversations, relying on your collaborators, and the brilliance of Stephen Adly Guirgis.

“…people do make mistakes, and some of them are catastrophic…but are all of them irredeemable?”

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Kallan Dana, Julia Greer, and Sarah Blush of “Racecar Racecar Racecar”

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The Hearth presents RACECAR RACECAR RACECAR, written by Kallan Dana, directed by Sarah BlushListen in as Racecar Racecar Racecar playwright Kallan Dana, director Sarah Blush, and producer/performer Julia Greer, discuss the open road of a script, symmetry & palindromic structures, complicated father relationships, creating breaks, emergency relocations, and taking road trips with your collaborators.

“…I’m a person who tries to talk and talk until I can get to what I mean, and I’m always failing. The words are always failing you. And so I think that feels like a really emotionally true thing for me, and that was part of the fun for generating the language in this play…”

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Ana Mari de Quesada & Tom Escovar of The Wild Project

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Listen in as Ana Mari de Quesada (Producing Artistic Director) & Tom Escovar (Producing Director) of The Wild Project discuss venue stability, sustainable architecture, providing opportunities for exciting new work, hoping to find an angel, infamous signage, why this incredible space needs to remain open in the East Village, and how you can help. #savewildproject

“We’re home to many downtown artists…especially since the pandemic […] the number of independent theaters that can house independent artists, give them free space or subsidized space, is shrinking. We really just want to solidify our home, for all the artists that we serve in this community…”

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Fareeda Pasha, Dylan Lesch, Hana Fatima Dehradunwala, Amani Meliyah, & Aliyah Curry, of The Science in Theatre Festival

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Transforma Theatre presents The Science in Theatre Festival at Brooklyn Art HausListen in as performers Fareeda Pasha & Dylan Lesch, and Hana Fatima Dehradunwala, playwright of The Last Word, along with Amani Meliyah, director, and Aliyah Curry, playwright of Receptors, both plays in The Science in Theatre Festival, discuss responsibility, “doing the research” and having access to those who *did* the research, standing on the shoulders of giants, last words, making social media explode onstage, the insanity of being a human being, and the bleeding edge between theatre and science.

“There’s something wrong with the world…[we should be] treating this country we live in as a community, we’re all responsible for each other…”

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Tim Errickson of “Mercutio Loves Romeo Loves Juliet Loves”

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Boomerang Theatre Company presents "Mercutio Loves Romeo Loves Juliet Loves," written by Gina Femia, directed by Scott Ebersold, at ART/NY's Jeffrey and Paula Gural TheatreListen in as Boomerang Theatre Company Artistic Director Tim Errickson, producer of the world premiere of Gina Femia’s Mercutio Loves Romeo Loves Juliet Loves, discusses joy in hindsight, speeches that won’t let you rest, upending the madness, giving some distance to put things into perspective, and turning a tragedy into something celebratory.

“…I think that’s what the play is really trying to capture, is this idea that, unlike Shakespeare’s Romeo & Juliet, who don’t get that moment, because theirs is cut off at the end of the play…our characters get to move forward, and grow and change and experience what it means to have that as part of their history, and their journey…we often see LGBTQ-themed stories on stage that tend to center around some sort of tragedy, violence, bigotry, hatred…and I know that Gina wanted to be able to celebrate the things that are also in the LGBTQ experience, and to show them as powerful, and joyful, and life-changing, and heartfelt, and highly relatable…”

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Rhys Luke, Sophia DiPaolo, Leah Davidowitz, Tits Morality, Chloe Drohan, & Eliana Coe of “Dave and Boris Kill the Cat”

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Listen in as Dave and Boris Kill the Cat playwright Rhys Luke, director Sophia DiPaolo, costumer Leah Davidowitz, and performers Tits Morality, Chloe Drohan, and Eliana Coe, discuss falling down rabbit holes, working on a show that features real people, queer horror, grotesque and disgusting mannerisms, drag & film noir, intergenerational cat trauma, & making everything larger than life.

“…there’s something so special about sending such a strong message, under the guide of comedy…to have audience members tell you is, ‘it was so funny, I laughed so hard,’ and then you know that they go home, and think a little bit more about it, and they realize what the show is really about…it’s such a joyful process, to work on something so meaningful, something so inclusive, and have a laugh while doing it…”

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