Listen in as the cast of Flux Theatre Ensemble‘s world premiere production of Johnna Adams’s World Builders, Alisha Spielmann and August Schulenburg, along with Assistant Director Nina Fry, discuss ways of connecting, theatricalizing medical conditions, director-actor conversations, how to have a bi-coastal ensemble, stakes, perspectives on mental illness, and “what is lost, what is gained, and who gets to decide what that is.”
“…it’s a tragedy as much as it is a comedy, in the sense that if the play is working, you should feel that it is a great loss…”
Listen in as The Conspiracists playwrights/director Max Baker, along with members of the cast Ricki Lynée, Ian Poake, Alice Johnson, Lisa Jill Anderson, and Arthur Kriklivy, discuss getting inspiration from conspiracy theories, storytelling as a way to relate, eerily-accurate Catholic Church basement settings, “The Mandela Effect,” parallel universes, out-crazy-ing crazy, and how we relate.
“‘We use conspiracies to hide behind reality…'”
“…or just to make sense of reality…”
“We tend, as humans, to look for patterns…”
Listen in as Boomerang Artistic Director Tim Errickson, along with the full cast of their current production of The Reckless Season—Chase Burnett, Brian Morvant, Trace Pope, and Amanda Tudor—discuss balancing the heavy with the comedic, what the room was like putting this show together, researching what it’s like to be on some crazy drugs, when a character won’t leave a play alone, finding salvation in a video game, and trying to create a family with the very different, very broken people around you.
“…if The Deer Hunter met, like, Silver Linings Playbook…there’s a lot of dark humor in it, there’s an undercurrent of sexuality to it, there’s relationship stuff, there’s brothers against brothers, there’s a lot of comedy…”
Listen in as Matthew Roi Berger and Jonathan A. Goldberg, co-creators of The Fall of the House of Sunshine, discuss the show’s roots in Serials at The Flea, who gets to edit this epic, how to describe your multi-hyphenate-project, the importance of having a plan, and the freedom of doing a musical serial as a podcast.
“Do you like comedy? Do you like musicals? Do you like mysteries? Two outta three ain’t bad…”
Listen in as Athena Theatre Artistic Director (and actor in the show) Veronique Ory, along with Sub-Basement writer Tom Block and director Hunter Bird, discuss eschewing the Mad Men path, writing to a company’s mission statement, the importance of absurdity in the theatre at the present moment, where to find the best poutine in the city, and the “absurdist odyssey to find your life’s purpose.”
“The entry point was really wanting to address the homeless in our city, and to find a way…[to] address it in a way that wasn’t stereotypical…in other cultures, this idea of how homeless people are thought to be mystics, they’ve come to an enlightened point in their life…that if they can have peace and clarity in their mind, then that’s all that they need. And part of representing them in this way is hopefully taking a small step to giving face and voice to our homeless population…”
Listen in as Kyle playwright Hollis James and director Emily Owens—who are, combined, the newly-formed Hot Tramp Productions—along with actor Nat Cassidy discuss how a play can sneak up on you, overcoming the little demon inside of yourself, how to pronounce “publicist,” getting coaxed into the director’s chair, playing your playwright in his play (while he’s acting opposite you), and why you shouldn’t get a “Nat-Cassidy-type”—you should get Nat Cassidy.
“…I didn’t set out to write this story. I just sat down to try and write something, my writing partner and I…we were in a holding pattern, and we were sick of pitching, and going through all the rigamarole. So I just sat down to try to write something just for me, and I wrote this scene…and then I realized, ‘that’s me, back then…'”
Listen in as Messenger #1 director Hondo Weiss-Richmond, Hunger & Thirst Collective Artistic Director Patricia Lynn, and actors J. C. Ernst, Emily Kitchens, Natalie Hegg, and Dan Morrison discuss class, intimate space (and the fun audience reactions it can provoke), “the swells,” the flow of information, telling the truth, and how this 17-year-old play feels like it was written for our present moment in the United States.
“…sometimes at the very end, you feel like…we’ve all been a part of this together. It’s like this shared experience that we’ve all had, and you feel that very palpably because it’s an intimate experience…”
Listen in as Lunchtime writer/director Greg Kotis and Zamboni Godot writer/director Ayun Halliday discuss what it’s like to direct your own writing, physical transformations, adventures in parenting, “director” as “general contractor,” casting drinking buddies, getting outside your comfort zone, and what it’s like making theatre when you have—and then later, with—a family.
“To me, the ideal artist life is that you can do something like this, this residency, where you do whatever you want…just for fun, it’s why we came to it in the first place…Of course you want to have those projects and those opportunities that make money, and that can reach broader audiences, and that can have a life beyond. To have a variety, a diversity of work that you do, in a diversity of spaces, is really the ideal, I think…”
Listen in as Nibbler playwright Ken Urban, director Benjamin Kamine, Artistic Director of The Amoralists (and actor in the show) James Kautz, and fellow actor Sean Patrick Monahan discuss expanding your one-act, vulnerability, meeting the challenges of a show, looking for hope in dark times, getting “nauseatingly close” with your collaborators, songwriting for your script, just how autobiographical this dark comedy gets, and “pulling it off.”
“…I’m going to paraphrase you, but I think it was something like, ‘can’t they just sit there and sing?'”
“I think that is what I said, ‘Can’t they just be still?’…”
Listen in as actors Tony Torn and Will Dagger of Ben Beckley’s Latter Days, along with Artistic Director of Dutch Kills Theater CompanyAlley Scott, discuss makeup mishaps, referencing Beckett & Don Quixote, finding the perfect prop toilet when you’re out with friends, creating an original theology for your show, and belief, expectation, fantasy, reality, and father figures.
“…finding yourself somebody who’s desperate to believe in transcendence of sorts, and also, coming up against your own inherent skepticism…”