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…”
Listen in as the director/creator of Thoughts & Prayers, Lauren Hlubny, along with composer/”Felix” Thomas Giles, discuss the meaning of “dance-theatre concerto,” encouraging presence, developing a process to combine artistic disciplines, starting conversations, and not only reacting but taking action.
“…I think it’s very easy to become numb to it, and not know how to take action…creating this piece came, for me, as a point of wanting to do something, or at least wanting to be involved with other people, and start conversations…”
Listen in as See You director Max Hunter discusses the show’s rehearsal process, making your play resonant to its local culture, unifying tone, how to make a list interesting in the theatre, play, honesty/vulnerability supplanted by signifiers, directing as conducting, and relaxing into a difficult piece.
“…in a world where you ask someone to put the phone away, and pay attention in a shared space for two hours—I think that really asks something, and there’s a weight to that…”
Listen in as actors David Barlow & Danielle Skraastad of PTP/NYC‘s production of Havel: The Passion of Thought—three short plays from Vaclav Havel, bookended by Harold Pinter’s The New World Order and Samuel Beckett’s Catastrophe—discuss why these plays work so well in conversation, the difference between performing them together in 1991 vs. in 2019, “On Tyranny,” the power of making theatre, “the politics of kindness,” and the importance of living the truth.
“…they felt so current, and felt so hopeful, in a galvanizing way…that art matters. Words matter. What do you want to do?…”
Listen in as In the Penal Colony writer/director/producer Miranda Haymon, along with set designer Emmie Finckel and lighting designer Cha See, discuss the relationship and performance of patriarchy & punishment, how the show’s designers interacted with their process, sites of judgement, machines, building a highly physical piece with little dialogue, avoiding the “bad version” of the play, supporting design choices, and how Kafka’s 100-year-old short story resonates today.
“…I feel that this piece is directly engaging with the real live bodies and the real live circumstances in a way that feels gripping, and theatrical, and REAL…we’re able to get folks in the room, and have a real, live, conversation…”
Listen in as the creators & performers of Crushing Baby Animals, Maria Swisher & Tana Sirois, discuss amazing synchronicity, combining genres in a multi-dimensional world, structured improv, cross-pollination among artists, “stylistic dis-integrity,” making space for the chaos and the wonder, how to build intense trust with your artistic collaborators, how to stick through the difficult stuff, and how “our sense of self is shaped by the people around us.”
“…stay with the trouble…something that we have learned is even when things feel very uncomfortable, or when you find yourself having to ask something that’s difficult of your partner […] and consistently make the decision to stick with it, and to experience what feels troubling and complicated, and know that you have a shared goal of moving past it […] and let that influence your work, and accept each other for that…”