Listen in as Retro Productions Artistic Director Heather E. Cunningham, who also plays Fanny in the cast, along with director Sara Thigpen, discuss looking at the past through the lens of theatre and theatre through the lens of history, enthusiasm to jump in and play, suggestions vs. specificity, getting back to the live space post-COVID, and how it seems like everything comes back around again, in their production of Eric Overmyer’s On the Verge.
“…I love what it says about America, what it says about our history. The language is beautiful…”
Listen in as White on White co-directors Alec Duffy & Lori Elizabeth Parquet discuss the Hoi Polloi process, developing and discovering a play with the playwright, avoiding spoilers, how to examine whiteness in a theatrical context, troubling the waters, taking theatre to an extreme place, and asking questions that we’re all “answering for ourselves, all the time.”
“…this is difficult stuff to talk about intellectually, let alone theatrically…to really tell the truth about what whiteness is. Because I feel like one of the tools of whiteness is to be vague about it, to be obscure about it, to not be straightforward about it…so that it can continue to exist…”
Listen in as Ectoplasm playwright & director Sara Fellini, along with cast members Jillian Cicalese and Caitlin Dullahan-Bates, discuss “life and death and lust and love,” the stories we tell ourselves as we try to determine the truth, navigating society’s return to live in-person theatre while COVID is still a thing, layers of artifice and reality, and what it means to be making work together again.
“Right now, we don’t need tv. We don’t need movies. We have SO MANY SCREENS…you need a human being in front of you, who might make a mistake…who might do something brilliant and amazing that you would never see, you’d never feel the energy in the room…”
Listen in as playwright Andy Boyd, along with Theatre in Asylum co-Artistic Directors (and the play’s co-directors) Katie Palmer and Paul Bedard, discuss how it feels to watch a history play about something we all lived through, doing the thing, the value of gathering together, how Occupy issues are still a part of the zeitgeist, producing in a pandemic, finding the corners, and what happens when five very different people get together to try to change the world.
“…one of the things I love about the piece is that it shows the value of gathering together, and it shows the value of trying to do something whether or not you succeed…”
Listen in as producer/actor Sean Williams, director Jordana Williams, and playwright/actor Mac Rogers of Gideon Media/Gideon Productions discuss how they connected with legendary playwright Wallace Shawn to bring two of his stage plays to the radio drama realm, the outgrowth of Gideon Media from Gideon Productions, adapting Mac’s indie plays for audio podcasts, using short-hand with your long-time collaborators, getting through (and out of) the pandemic, how to get that “indie theatre” feel on the mic, the benefits of creating in a new medium, and why, come what may, we’ll all be back in those tiny dark spaces telling stories together, soon.
“…at any second, the whole thing might fall apart, and at any second, something magical might happen…”
Listen in as Genny Yosco, the writer & director of (and an actor in!) im ur hamlet., discusses writing through food poisoning, creating for the Zoom medium, knowing who it is your parodying, creating a Shakespeare festival from afar, making community during a pandemic, and what happens when everyone wants to be the star.
“One of the things about this cast is…they all love each other, and I love all of them, so even though we were all playing at odds with each other, there still was this overlying, person-to-person silent communication that we all did really enjoy each other, which was perfect…”
Listen in as Erin B. Mee, conceiver & director of Play In Your Bathtub: An Immersive Audio Spa for Physical Distancing, discusses why we should call it “physical” distancing as opposed to “social” distancing, getting inspiration from quarantine, engaging all five senses, inviting the audience to be creative themselves, putting everyone on the same time-line from their respective locations, and the importance of giving us a sense that we’re going to an “event” in these strange days.
“A lot of our work is really co-created with the audience, in the sense that we have all kinds of ‘invitations’ …and I think this play is almost all invitation…because that’s where we are at this moment…”
Listen in as playwright Johnny G. Lloyd and director William Steinberger of Or, An Astronaut Play discuss capitalism, Emerson, childlike wonder, designing to your space, stealing kids’ artwork, and why the play goes to space school (as well as literal space).
“…it’s a play about race, and privilege, and access, but also, still, about finding access to that inner child, and finding a way to negotiate that…”
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 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…”