Listen in as Paul Pinto, composer/performer of the new opera Thomas Paine in Violence, discusses difficult elevator pitches, millions of radio signals heading in millions of directions, “a shit-ton of words,” why Thomas Paine deserves this musical treatment,live editing, debating the ideas Paine himself was debating over 200 years ago, “words as texture, language as music,” and writing for his thingNY band-mates.
“…it’s juxtaposing Thomas Paine’s incredible writing with pop-culture…”
“…whatever that is…”
“…whatever’s on my brain at the time…it really is like radio stations changing all the time…”
Listen in as The Werewolf of Washington Heights playwright Christie Perfetti Williams and director Charmaine Broad discuss adapting your own work to the stage, why you should put “awesome, talented, and kind” people in your cast, the importance of putting women onstage (and in the producer’s chair), doing your job vs. doing what’s right for the world, swapping the genders of your characters, what’s next for Carnival Girls, and what happens to a family when tragedy strikes in a dystopian near-future U.S.A.
“…Imogene says, ‘we all, all of us as humans just want to be heard, our stories want to be told.’ I think that goes across the board, for every person on the planet, we just want to know […] that our voices have been heard. And I think for women, we haven’t been. So this play was hopefully a small little piece of what’s missing in the puzzle…”
Listen in as the writer & performer of Outside Paducah: The Wars at Home, J. A. Moad II, discusses creating dialogue through story and art, how he got to the stage from the page, the seeds of the stories he tells in this show, how those stories have touched audience members, society’s role in taking care of its veterans, and how war affects not only those who serve on the front lines, but also those who serve without a uniform at home.
“…these stories live in me…everything comes down to story, right? It’s that basic human impulse, from the time we’re a little kid and the first thing we say to our dad is, ‘tell me a story.’ If we embrace that idea, of how we learn through story, how story changes the way we see the world and the way we imagine the possibilities, it invites us into all these other places that we cannot begin to see…”
Listen in as James Godwin, co-creator and performer of The Flatiron Hex, discusses his roots in puppetry, accidental iconography, flood myths, how you know when your puppet is complete, astounding coincidences, mocking the sacred to make it stronger, how the show requested the puppets (and extreme physicality), and why you should make the kind of things that you enjoy.
“…you know your [work] is done when you’re sitting there, and you decide, ‘there’s one more thing I’m going to change.’ Don’t ever do that change. Because if you think there’s only one more thing to change, you’re about to destroy [it]…”
Listen in as The Unwritten Law co-creator & performer Chesney Snow, along with co-creator, director, performer & choreographer Rebecca Arends, discuss working with collaborators who can help turn your story into art, making “something different,” microphones and music, “the magic that happens between people onstage,” American issues, and how sound and movement come together to tell this very personal story.
“…I tell people, they’re coming to see a story of America…we’re looking at black life, and I’m hoping they’ll be able to follow the journey of where we’ve come from…I don’t want to preach at people, but I would love for people to hear the story, and maybe they’ll have a different perspective on some of the things that are happening today…”
Listen in as the duo Marina & Nicco—Marina Tempelsman & Niccolo Aeed—discuss beginning their new show Unpacking from a design idea, introducing nostalgia via live music, ephemera, melancholia in comedy, what happens when you trust your audience with your lighting design, and the ghosts that imagining the future can summon.
“…this is a very literal answer to, ‘why is this live,’ but I think it checks out really beautifully. It’s really fun and interesting to see the collective personality of an audience having such a direct impact on what you’re seeing on the stage…”
Listen in as Mine playwright Maria Deasy and director Rachel Dart discuss making connections, inspiration from Maria’s paralegal background, the brand-new Broadway Bound Theatre Festival, discoveries in rehearsal, how to deal with a show inspired by real-life events, how to be “rich and spare,” and where we fit in as links on this human chain.
“…I didn’t want to make a polemic…I didn’t want to tell a story from event-to-event-to-event…I wanted to explore the idea that we’re all connected…”
Listen in as writer and performer Lucie Pohl and director Kenneth Ferrone of Lucie’s auto-biographical solo show Hi, Hitler, currently playing at The Cherry Lane Theatre, discuss post-show snacks, David Hasselhoff, inhabiting dozens of characters, what is (and what isn’t) very German about the show, the ease with which you can kill your darlings, why you won’t find props in this show, and how to trust the moments.
“…it’s a ‘fish-out-of-water story,’ it’s about finding your identity, and it’s about trying to fit in…”
Listen in as the Elephant Run District team of Chris Harcum, playwright & performer, and Aimee Todoroff, director, of the company’s new show Martin Denton, Martin Denton, discuss finding safety and meaning in a community, “love,” the validity of our work, the ways in which our productions can live forever, how and why we do this thing called “indie theatre,” and more about this love letter to the scene.
“…what we’re doing is creating life, and then giving life back. And for me, one of the people who was there, and kind of charted what I was doing—and for whom I felt this very deep connection, and this person who, if he didn’t see my show, it felt like it did not happen—needed his story told.”
Listen in as the co-creators of Trump Lear, writer/performer David Carl & director Michole Biancosino, discuss their collaboration to put this piece together, playing Trump (and finding a way around the fact that Trump is inherently not funny), complicity, how to avoid preachy political theatre, tearing yourself down in your own piece, the importance of an excellent technician at the board, and the benefit of doing solo shows.
“…yeah, Trump and Shakespeare don’t really go together, usually…”
“Well, it works really well, in this instance…”