Listen in as the co-creators & performers of The Russian and The Jew, Liba Vaynberg and Emily Louise Perkins, discuss adapting Anna Karenina, their development process, sell-out fake-outs, varying audience reactions, drinking thimble-fuls of wine, & devising while co-writing with a large cast.
“…it’s all about female friendship, and betrayal, and love, and lust, and how dreams are politicized. And it’s sexy, and strange…and there’s free vodka…”
Listen in as Bernie and Mikey’s Trip to the Moon playwright Scott Aiello, along with performers Jordan Lage, Benjamin Rosloff, Stephanie Gould, & Forrest Malloy, discuss getting personal, creating a theatre family to create an onstage family, relating to your character, backstage donuts, not pulling any punches, your favorite Elvis Presley song, keeping your artistic heart full, writing fan-fiction for the show you’re in, “typecasting,” and love & inspiration from your family.
“…it speaks to the fact that any human being, whatever disability they have, physical, intellectual, anything, wants love…”
Listen in as Shadow of Heroesdirector Alex Roe, along with actors Erin Beirnard & Michael Turner and lighting designer Jessie Lynn Smith, discuss modern resonance with pockets of history, humanizing historical figures, exploring the “why,” witnessing, finding the balance between fact and dramaturgy, and the “constant tension” between open societies and darker personal interests.
“…essentially, it’s about the life of, and possibilities of giving life to, an ideal, and the challenges those ideals face. But in the end, I think there’s something inspiring…”
Listen in as Zodiac Math creator & performer Elizabeth May, along with director Lindsey Hope Pearlman and producer Giverny Petitmermet, discuss crazy true family history, witchiness, telling personal stories with collaborators, midwifing the birth of an art baby, pre-forgiving mistakes, providing a space for healing, the power and magic of being in a room full of people, and “fate, compatibility, and things that are written in the stars vs. the things that we get to decide for ourselves.”
“…in the old versions of ‘I Dream of Jeannie’…the only part I ever really cared about is when you would go into Jeannie’s bottle, and you would see everything that was in there…basically, the making of the show is sort of me, making my own little Jeannie’s bottle that is the safe space that I need to make to tell all these stories…”
Listen in as producer Leah Abrams, along with most of the cast of Custom Made Theatre Company‘s production of Kurt Vonnegut’s Mother Night—Gabriel Grilli, Trish Lindstrom, Eric Rice, Dave Sikula, Matthew Van Oss, & Andrea Gallo—discuss why you should take the chance and just ask, the hearty challenge of leaping through time, the beauty of adaptation, searching for a Schenectady accent, what we relate to and what we don’t, and the timeliness of this story written in 1961.
“…it’s a really specific sensibility. There’s a drollness, and a darkness to it, that I hope we’ve captured…”
Listen in as Hunger and Thirst Theatre artistic director, producer, actor & playwright of Your Invisible Corset, Patricia Lynn, along with her co-stars Patrick T. Horn, Emily Kitchens, and Elizabeth Anne Rimar, discuss getting away from sexy sparkly vampires, internal horror, jump scares & gore effects, seduction through feminism, walking into the fog, the human drama in a supernatural story, and the horror of strapping one’s self into a corset.
“…the parallels are very, very now…there are Draculas in this world that would like to see women be smaller, be more constricted, who think that is the shape that a woman should take. And that’s the horror of the story…”
Listen in as Salome director James Rutherford (who also translated Oscar Wilde’s script from the French) and actors Feathers Wise & Laura Butler Rivera, with GSAS! correspondent Alex Randrup, discuss dark rituals, queerness & desire, what is seen and what is obscured, looking and being looked at, simple complexity, finding musicality in biblical text, and translating/seeing/hearing the heart of Oscar Wilde.
“…he wasn’t really hiding. There’s no subtext to the play, everything that everybody is feeling they’re coming out with immediately…the way that it’s being said allows it to be very open, very emotional…”
GSAS! podcast correspondent Tara Gadomski attended the first performance of Tongue in Cheek Theater Productions‘ world premiere Relentlessly Pleasant, and hosted an interview/talkback with the audience, featuring writer/director Jake Lipman and dramaturg Jessica Ammirati. Listen in as they discuss “what it’s like to work in corporate America as a woman,” #MeToo, how sexuality is always at play, writing from real scenarios, working with a dramaturg to shape a script, hearing your script through different voices, and digging deeper below the surface.
“…nothing is black and white in this. It really is all these shades of gray…”
Listen in as the playwright of Hitler’s Tasters, Michelle Kholos Brooks, along with director Sarah Norris and actors Hallie Griffin, MaryKathryn Kopp, Kaitlin Paige Longoria, & Hannah Sturges, discuss the timeliness and relevance of this story in October 2018, relatability to “bad people” (who may be “good people in a bad situation”), social media, feeling valued, the difference between the women who served the Reich and the women who currently serve Trump, the role of theatre in this dangerous political moment, “feeling things” in the intimacy of the theater, and why it’s important to put young women’s stories on the stage.
“…it’s just so very real. And I think it’s just so relatable, and that’s what’s kind of scary about it, because these are girls we see in our lives every day…”
Listen in as New York Shakespeare Exchange‘s Artistic Director Ross Williams and Kim Krane, both of whom direct in this edition of the company’s ShakesBEER pub crawl (Kim also acts!), discuss how they create their unique experience of Shakespeare erupting in a bar, how to get the locals interested (and attract curious folks from the street), custom beer koozies, picking thematic scenes, rehearsing for audience interaction, the magic of language, and how the company works to “create community through Shakespeare.”
“…who do we need to talk to, and warn them that we’re about to stand on their table and do iambic pentameter…?”