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…”
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…?”
Listen in as Worse Than Tigers producer/director Jaclyn Biskup and actor Braeson Herold discuss collegiate connections, “Who’s Afraid of Virginia’s Rhinoceros?,” using your space, how to play an insufferable drip (hint: kindness & generosity), unexpected journeys, the importance of openness & trust in your rehearsal room, and “sausage casing” as metaphor.
“…I really like to direct absurdism the same way that one would direct realism, because I feel like it’s a really fine line. And I think today, our lives are very fu**ing absurd…”
Listen in as actors from Hip to Hip Theatre Company‘s productions of All’s Well That Ends Well and King Lear—Joy Marr, Nancy Nichols, Joel Leffert, & Kurt Kingsley—discuss grabbing the audience from the start, weathering the storm (“rain-pace!”), the esprit de corps of their hard-working company, children’s birthday parties at the theater, designing and preparing for a traveling show, what they love about working with Hip to Hip, and sending your audience away smiling, even after getting rained on.
“…it’s Shakespeare. There’s so much to listen to, there’s so much wonderful stuff…but it’s the basic emotions, it’s love, and hate, and jealousy, and I want that…”
Listen in as playwright & performer of Scum, Sarah Shear, along with fellow cast members Aaron Mauck, Adrian Abel Amador, & Jay Cobian, discuss nuclear overlay maps, Bartle’s Taxonomy of Players, playing against type and finding commonality with your character, emotional vs. physical labor, personal playwriting challenges, doomsday prep, healthy compromise, and just what scum is, both externally and internally.
“…the reason why I think Scum is a little bit more universal […] is because it’s really about personal politics, more than anything else. It’s about how do we operate, and how do we, essentially, love each other…”
Listen in as the co-producers & performers of the U.S. premiere of Charlie Falkner’s Sex Object, David De Almo & Kelly McCready, along with director Susanna Wolk, discuss bringing this Australian play to the States, embracing the space, “how you perceive yourself and how you’re presenting yourself to the world,” having the audience on your side, sibling relationships, sex-shop sponsorship, and what a Black Mirror episode might look like in real life.
“…marrying all the different comedic elements to the heartfelt core was something that was really exciting to me about this play…”