Listen in as performers Bonita Jackson and Samantha Clark, along with director Alex Randrup, of Corey and Vanessa Present an All-Female Educational Touring Production of Of Mice and Men, discuss how they devised the show (“putting wonderful, badass, creative ladies in a room together”), making your collaborators laugh, getting out of the way or your collaborative process, and “power, performance, learning to trust your scene partner, and learning to trust yourself.”
“…is there a way that we could dig into the fields of feminism, and womanhood, and humanity today, and the things that we know best—which is creating a production—and dealing with it. Could we dig up some kind of tool, or weapon, that an audience member could take out with them to smash the patriarchy, or to fix the democracy, or to do something really active…”
Listen in as Smith Street Stage‘s Executive Director (and director of this show) Jonathan Hopkins, and Beth Ann Hopkins, Artistic Director (& “Titania”), discuss their new production of A Midsummer Night’s Dream in Carroll Park, why this was the right year for the company to produce this comedy, playing to a large & diverse audience, going beyond actor voice for the outdoor stage, the overlap of personal/professional partnerships, making original music & sound, advice for producing in public places, and why it’s important to be an active part of the community you’d like to perform in.
“…I think last year, we tried to afflict the comfortable, and this year we’re trying to comfort the afflicted…”
“…although this is not a ‘Midsummer’ of just clowns and fools, there’s a lot of deeper ground that we’re digging…”
“…it’s a play about the power of art to change people, and bring people outside of the normal boundaries, and it’s a play about how people change themselves, and the circumstances in which people are changed…”
Listen in as Cannibal Galaxy: a love story playwright Charise Greene, along with the duo behind the producing company Between Two Boroughs—the show’s director, Jenn Haltman, and Becca Schneider, who plays “Claire”—discuss impossibility in the theater, finding communal experiences in the wake of trauma, “the relationship between violence, science, and spirituality in our country,” embracing the structural elements of a space, galactic cannibalism, magical realism, irrevocable change, and where creativity and violence collide.
“…I always ask the question, ‘why does this have to be a play?’…for me, impossible plays are an opportunity to welcome collaboration…Becca’s ‘Claire’ coughing up peach pits, or ash, is going to be very different than another actress, and I want Becca’s version of that, and Jenn’s version of the larger picture…to me, it’s a leap of exciting theatricality that is the reason why I go to the theater.”
Listen in as Kristy Dodson, director of New Light Theater Project‘s production of Liza Birkenmeier’s The Hollower, along with co-producer Michael Aguirre and cast members Reyna de Courcy, Samuel Im, & ToniAnne DiFilippo, discuss script development, finding truth in the absurd, finding personal connections to your character (and having your character written to you), taking risks with form, and “how misogyny is passed down by women.”
“…I think the text is so brilliant, and this has been such a supportive and creative and inspiring process, that it’s this weird combination of the most challenging thing I’ve ever done, and being like rolling down a hill.”
Listen in as the cast & one of the directors of Flux Theatre Ensemble’s world premiere production of August Schulenburg’s The Sea Concerto—performers Morgan McGuire, Corey Allen, Greg Oliver Bodine, John Lenartz, Emily Hartford, and John Lenartz, with co-director Heather Cohn—discuss the importance of ensemble work, working from the outside in, familial and artistic legacies, finding a way into some very different & difficult characters, returning to past works, what can happen when your “scene partner” doesn’t show up until opening night, and why we make art.
“…I think what’s really interesting about this play…is that it asks the question, and answers the question, at the same time…and they’re constantly resonating throughout the play…”
Listen in as Phoenix Theatre Ensemble Artistic Director Craig Smith, who directs & plays “Pontius Pilate” in the company’s new production of Robert Patrick’s Judas, along with fellow cast-member Elise Stone (“Mary”), discuss giving equal weight to both sides, the drama of philosophical arguments, the challenge of living a good life, “blasphemy,” libertarianism and faith, communication breakdowns between mothers and sons, what happens when we see our heroes as humans, and how to answer the big question: “what are we supposed to do?”
“…I think that’s a dilemma for anyone who’s trying to live some kind of ethical, humane life in a really messed up world. And the world is really messed up for Judas, and the world is really messed up for all of us right now. So when I listen to Judas’s struggle, I feel like it’s so human. There’s all these wonderful words, and all this wonderful language…and then there’s this real human-ness…”
Listen in as Wind-Up Variations creator/writer/director Rob Neill, along with performer Ayun Halliday, Eevin Hartsough, and Daniel Mirsky, discuss the Neo-Futurist aesthetic, following a monkey across a waste-land, dialogue-mining, finding your mechanical avatar, inviting the audience, and having a plan through the chaos of live performance.
“…that’s an opportunity, and not everybody will take it. And that’s part of the magic; ‘let’s see what happens next…'”
Listen in as collaborators on The Assembly’sSEAGULLMACHINE—conceiver/co-director Nick Benacerraf, co-director Jess Chayes, dramaturg Steven Aubrey, and performer Jax Jackson—discuss layering multiple theatrical sources, permission to find points of resonance, turning on a dime, the company’s development process, finding new roles through that process, bringing an audience into a world “oozing word-slime,” different versions of ourselves, and the question of whether or not theatre can produce change.
“…every night, by a certain time in the play, it feels like we’re also just people, human beings in a room with our audience. And that has been one of the most special experiences of it, to me…”
Listen in as Retro Productions Producing Artistic Director (and “Joan” in the show) Heather E. Cunningham, along with fellow performers Chad Anthony Miller & Ben Schnickel and playwright Gina Femia of We Are a Masterpiece, discuss multiple lenses, levity in the midst of suffering, what makes a play “aggressively contemporary” (and where that fits into the “retro” of Retro Productions), “the cyclical nature of prejudice,” healing through art, universality through specificity, what we’re capable of, and making the choice of love.
“…there’s always hope. Hope is always the way through tragedy, and despair. Yes, this is a very sad story, and yes, you will cry, and we cry. But there are beautiful things that happen when people, in the face of adversity, step up to the plate and do what’s best for their fellow human beings…”
Listen in as Echo creator & sound sculptor Ran Xia, along with director Nicholas Orvis and performers Andrea Lopez & Max Henry, discuss inspiration from books about harmonicas, moving from sound collage to stage play, improvising to audio, physicality with constantly changing things, handling nakedly honest material, timelessness vs. time specificity, and the importance of simply listening.
“…when I was editing them, it’s like, I could cry, like every second, every other track, because everybody was just so open, and very real. You get real very fast…”