Listen in as See You director Max Hunter discusses the show’s rehearsal process, making your play resonant to its local culture, unifying tone, how to make a list interesting in the theatre, play, honesty/vulnerability supplanted by signifiers, directing as conducting, and relaxing into a difficult piece.
“…in a world where you ask someone to put the phone away, and pay attention in a shared space for two hours—I think that really asks something, and there’s a weight to that…”
Listen in as In the Penal Colony writer/director/producer Miranda Haymon, along with set designer Emmie Finckel and lighting designer Cha See, discuss the relationship and performance of patriarchy & punishment, how the show’s designers interacted with their process, sites of judgement, machines, building a highly physical piece with little dialogue, avoiding the “bad version” of the play, supporting design choices, and how Kafka’s 100-year-old short story resonates today.
“…I feel that this piece is directly engaging with the real live bodies and the real live circumstances in a way that feels gripping, and theatrical, and REAL…we’re able to get folks in the room, and have a real, live, conversation…”
Listen in as the creators & performers of Crushing Baby Animals, Maria Swisher & Tana Sirois, discuss amazing synchronicity, combining genres in a multi-dimensional world, structured improv, cross-pollination among artists, “stylistic dis-integrity,” making space for the chaos and the wonder, how to build intense trust with your artistic collaborators, how to stick through the difficult stuff, and how “our sense of self is shaped by the people around us.”
“…stay with the trouble…something that we have learned is even when things feel very uncomfortable, or when you find yourself having to ask something that’s difficult of your partner […] and consistently make the decision to stick with it, and to experience what feels troubling and complicated, and know that you have a shared goal of moving past it […] and let that influence your work, and accept each other for that…”
Listen in as Retro Productions Artistic Director Heather E. Cunningham, who plays the eponymous Mary of Mary, Mary, along with fellow performers Chris Harcum, Robert Franklin Neill, & Desmond Dutcher, and director Shay Gines, discuss digging into a zippy comedy, gender roles in retro shows, leaving naive nationalism, playing the outdated references, the complicated lenses through which we see plays from the past, transitions, “playing for keeps,” and why plays about relationships will never go away.
“…when I set out to choose a play, I narrowed it down: ‘mid-century, female playwright, comedy’…”
“…I was very drawn to this character. She’s the smartest person in the play…she has flaws, she’s insecure, she’s a beautiful, robust, witty woman. I felt like she was so full, and rich in character…”
Listen in as Whore writer/producer/performer Suzanne Tufan and director Lindsey Hope Pearlman discuss “showing the emotion of little moments,” the various masks we create, working as a director with the writer/performer, the roller-coaster of baring one’s soul in a public setting, playfulness within serious personal material, and transformation, survival, and hope.
“I thought it was an important story to share, because I think we have so many misconceptions about women and sexuality. The word ‘whore’ is this dirty word, and women get these dirty words thrown at them from such a young age, for no reason…”
Listen in as TILT creator, choreographer, director, & performer Rachel Cohen, along with tap dancer Heather Cornell, composer Lynn Wright, and lighting designer Jon Harper discuss constructing your reality, creating a feast for the senses, a tight structure overlain with chaos, scaling your show, the sound of sandpaper and wood, pinball, and brilliant, delusional minds.
“…when you start to work on Don Quixote, and…you think about it, you realize, ‘oh my God, this is me’…as artists, too, you just keep trying to fight these windmills, and no matter how many times you get knocked down, you get back up, and you keep going…”
Listen in as Opportunity playwright Stanley Martin, director Michael Blatt, and cast members Yhá Mourhia Wright, Ashley E. Matthews, Luis E. Mora, & Jayson Kerr discuss mirrors of performers’ reality, universality in specificity, challenging body type stereotypes, finding a shared history from the subtext of the script, mining your dialogue in real conversations, representation not just in the theatre but in the cast and in the play, the beauty of this particular “opportunity,” and why despite it all, we love this mad business of the theatre.
“…it was important that these people were real people that everyone could relate to…if you mix a group of people from work, anywhere, and add lots of alcohol, and have a past, trouble’s about to stir. It’s just theatre people are a little more theatrical with it…”
Listen in as Nylon director Knud Adams, along with producer Nicola Korzenko, composer Anand Wilder, and cast members Maggie Bofill, Brian Miskell, Cesar J. Rosado, Claire Siebers, & Sheila Vand, speak with GSAS! correspondent Alex Randrup to discuss how best to tease your show, the cages we build for ourselves, “coming up from beneath the role,” the audience as an invisible character, making art on an indie theatre budget, jedi director tricks, demanding a response, making messy decisions and messing up, and balancing *you* with your character.
“…I loved when I first read this play, this idea that, we do create a narrative for our lives, and what happens when you start to confront the cracks in that narrative…?”
Listen in as Totally Wholesome Foods playwright Alice Pencavel, director Paul Bedard, along with performers Jonelle Robinson, Rosie Sowa, & Alison Walter, discuss eerie prescience, gray areas, examining our political beliefs through theatre, true believers, “selling the crunchy,” contradicting oppositions, singing plants, connection through various languages, and how theatre can work to preserve community.
“…to me, community is messy, is disordered, is inconvenient…diversity just brings so many challenges, and it’s essential for community, but it’s not the orderliness of aisles, clean aisles that are spacious and labeled…”
Listen in as co-producers of Romeo & Juliet, Kelsey Hercs (“Juliet”) and Drew Bolander (adaptor/director) discuss undermining romanticism, logic-ing your way through your feelings, finding the kernel of the play we all think we know so well, making limitations into opportunities, love overflowing into hysteria and violence, and what we’re willing to do for the people and things we care about.
“…all of the violence comes from a place of love…it’s coming from a place of trying to protect what’s ‘theirs’…I think it’s interesting, because then we can apply that to ourselves, and our own groups, and kind of see where other people are coming from, even if their actions are wrong, and bad…”