Jessica Burr of “Platonov, or, A Play with No Name”

Blessed Unrest presents PLATONOV, or, A Play with No Name, translated and adapted by Laura Wickens from the play by Anton Chekhov, directed by Jessica BurrListen in as Blessed Unrest Artistic Director and director of Platanov, or, A Play with No NameJessica Burr, discusses the company’s staging process for the round, adapting early Chekhov, finding the humanity in “dreadful” people, putting the audience in the world of the characters, sleepless nights thanks to blocking, and the similarities between this 140-year-old play and our current world.

“…I guess for me, ultimately, I don’t go to the theatre to see Platonov, or to see Hamlet. I go to the theatre to see actors, to see human beings being exposed…that’s really what I want to see. Of course it’s story, it’s narrative, it’s context, but it’s really about the humans, we put these humans in this situation, and we watch and see what they do. And hopefully we learn from them.”

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Emma Miller, Abby Awe, Julia Greer, & Eva Ravenal of “Athena”

The Hearth presents ATHENA, written by Gracie Gardner, directed by Emma Miller, at JACKListen in as director Emma Miller and the full cast of AthenaAbby Awe, Julia Greer, and Eva Ravenal—discuss learning how to fence for the show, script development in the room, “navigating how to be a person,” shocking rarity, working from the inside out, tapping into the extremities of being a teenager, and the simply radical.

“…we are enthusiastic about plays that take seriously what it feels like to grow up in a female body. I think this play takes really seriously what it feels like to make friends, and what it feels like to navigate the world as a young woman…”

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Manning Jordan, Alice Cash, Ashley Underwood, and Ellie MacPherson of “Dooley”

DOOLEY by Manning Jordan, directed by Alice Cash, at FRIGID 2018Listen in as playwright/performer Manning Jordan, director Alice Cash, and performers Ashley Underwood & Ellie MacPherson of Dooley, performed as part of FRIGID 2018, discuss inspiration from disturbing 1960s board games, plunging psychological depths, collaboratively re-writing, re-naming in the interest of financial considerations, “sneaking around outside of classrooms” to meet your new collaborators, the benefits of inconsistent performance times, and sharing your most vulnerable self onstage.

“…my friends wouldn’t play it, they said ‘it’s all too heavy, we don’t want to get into it.’ So then I went home, and I wrote the play as if we had played it…”

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Andrea Alton, Mark Finley, & Allen Warnock of “Molly’s World”

MOLLY'S WORLD at FRIGID 2018, written and performed by Andrea Alton, directed by Mark FinleyListen in as Molly “Equality” Dykeman herself, Andrea Alton, along with her director, Mark Finley, & “Jerry from Task Rabbit,” Allen Warnock, of the new Molly show in FRIGID 2018, Molly’s World, discuss responding to the moment, working with a director when the show is grounded in improvisation, finding the gold between the islands, allowing for audience engagement, internal logic, “Molly-heads,” and having the freedom to say whatever you want, however you want.

“…I like that Molly can say whatever she wants, and she always comes from a lovable place. She’s this total misfit, and I like that she has the freedom, and she’s just trying to get through the day as best she can. I kind of enjoy her freedom, and her cluelessness…”

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Christopher-Rashee Stevenson, Malcolm B. Hines, & Jonathan Schenk of “{Flying} Dutchman”

The Tank presents {FLYING} DUTCHMAN, by Theatre of War, text by Amiri Baraka, additional text from Jean Genet, directed by Christopher-Rashee StevensonListen in as director Christopher-Rashee Stevenson and performers Malcolm B. Hines and Jonathan Schenk of {Flying} Dutchman, currently running at The Tank, discuss words as tools, “gender-blurring,” the multiple modes of being in a person, finding danger, finding a way to create room for conversation after the show, and how Amiri Baraka’s poetic language resonates in 2018.

“…it’s already uncomfortable language—we live in an uncomfortable society, and we’re not put on this planet to be comfortable…it’s about sexuality, it’s about human beings and what we go through…but especially the psyche of the black man, being in this world…”

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Tessa Flannery & Rebecca Cunningham of “Tentacles”

Voyage Theater Company presents TENTACLES, written by Tessa Flannery, directed by Rebecca Cunningham, at the 2018 FRIGID FestivalListen in as Tessa Flannery, playwright/performer of the new play Tentacles in the 2018 FRIGID Festival, along with her director, Rebecca Cunningham, discuss naming your characters after your actors, keeping calm in the face of technical difficulties, “on-brand failure,” and how to layer difficult social issues into your show about hentai.

“…I love working on shows that have strong women as the leads, but I also really love when they’re flawed, and the character Tessa is not perfect, and is certainly privileged and is coming at it from that perspective, and so we throw that at her…”

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Melissa Moschitto & Mariah Freda of “Artemisia’s Intent”

The Anthropologists present ARTEMISIA'S INTENT, devised by the company, performed by Mariah Freda, script and direction by Melissa Moschitto, presented as part of FRIGID NEW YORK 2018Listen in as performer Mariah Freda & director/”script assembler” Melissa Moschitto of The Anthropologists‘ new show Artemisia’s Intent discuss the company’s approach to devising, the well-meaning wish of “break a frame,” skirts from tablecloths, working from found texts, activating original art, and the resonance of 17th Century baroque painting with #MeToo.

“…pressing up these two points in time, with 400 years in between them, there’s actually still a lot with us, and we’re trying to point that out, and be, like, ‘now what?’ Let’s move forward from that…”

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Alexander V. Thompson, Brad Raimondo, Greg Carere, Simon Winheld, & Rosie Sowa of “Pete Rex”

The Dreamscape Theatre presents PETE REX, written by Alexander V. Thompson, directed by Brad RaimondoListen in as the team behind the world premiere of Pete Rex—playwright Alexander V. Thompson, director Brad Raimondo, and performers Greg Carere, Simon Winheld, and Rosie Sowa—discuss the uses & dangers of fantasy, making your hometown a central character in your script, eerie resonance with the political moment, fun actor challenges, familiarity with the characters and situations onstage, loving someone while hating their inaction, crossing Ionesco with Albee, and, of course, dinosaurs.

“…this place that had been something, and turned into kind of a ‘non-place’ through the loss of industry, and the loss of jobs, and the economy. And we were all, ‘that feels like it should be in here now’…I think that’s something that we really want people to take away…the experience of these places…that have gone from thriving, to nowhere, and what that does to people…”

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Lynnea Benson, Marcus Watson, Amy Frances Quint, Erick Gonzalez, Kyle Primack, and Kevin Hauver of “A Midsummer Night’s Dream”

Frog and Peach Theatre Company presents William Shakespeare's A MIDSUMMER NIGHT'S DREAM, directed by Lynnea BensonListen in as director Lynnea Benson and performers Marcus Watson, Amy Frances Quint, Erick Gonzalez, Kyle Primack, and Kevin Hauver of Frog & Peach Theatre Company‘s new production of A Midsummer Night’s Dream, discuss why the company returned to the forest outside of Athens, bucket-list roles, the politics of Midsummer, playing different roles in the same play after six years, trusting collaborators to push you in new and exciting directions, and how to not only give the audience what they want, but what you think they might need.

“…we wanted something that could also reach out to families with children, and younger people, people who think they know Midsummer but maybe don’t know it the Frog & Peach way. Also, we never miss an opportunity with the present company to do a comedy…”

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Larry Phillips, Ben Liebert, and Peter Buck Dettmann of “Koalas are Dicks”

Randomly Specific Theatre presents KOALAS ARE DICKS, written by Larry Phillips, directed by Ben LiebertListen in as actor Peter Buck Dettmann (“Brody”), director Ben Liebert, and playwright/actor Larry Phillips (“Davey”) of Koalas are Dicks discuss turning a six-foot man into a koala, finding sight gags, inspiration from Charlie Sheen, writing to your actor’s Aussie accent, finding a balance between groan-worthy and intellectual humor, and using abstraction through the absurd to get closer to the ridiculous & terrible truth.

“…there’s a lovely irony that the koala is the only one who seems to understand how worthless what they’re doing is…it is very liberating, that fantasy element…being a six-foot-tall dude playing a tiny koala, if the audience follows you on that, they’re with you…”

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