Elizabeth Hess, Katie Palmer, and Lucas Tahiruzzaman Syed of “Love Trade”

La Mama and The Hess Collective present LOVE TRADE, written and directed by Elizabeth HessListen in as Love Trade writer/director/performer Elizabeth Hess, along with collaborators/performers Katie Palmer and Lucas Tahiruzzaman Syed, discuss their collaborative process, feminist revenge fantasies, integrating and playing with the audience, fetishization of race, balloons, lived text, and performance poetry.

“…it’s a very hybrid approach to performance, and I am a magpie. I am thrilled that Lucas is foremost a musician…Katie is also herself an artistic director, and she’s got an incredibly strong dance background. I beg, borrow, and steal from that […] create [your] own hybrid approach that really resonates with [your] own voice and vision…”

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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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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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Jennifer Fell Hayes & Kate Grimes of “Rosemary and Time”

ROSEMARY AND TIME at Paradise Factory, written by Jennifer Fell Hayes, directed by Kathy Gail MacGowanListen in as playwright Jennifer Fell Hayes and actor Kate Grimes of Rosemary and Time discuss beginning with a true story before letting the playwright’s imagination take over, mastering the Yorkshire accent, figuring out where in time your play begins, issues of class in the U.K. vs. the U.S., throwing in local turns of phrase, and dealing with issues of “shame and grief and connection and the past and guilt.”

“…having met the two women […] I really was very, very touched by what had happened to them, and promised them I would really try to do the best I could…a truthful play that might say something about the human condition, about love and loss and life, all those major, major themes that we try to wrestle with…”

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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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Brett Evan Solomon, Kelsey Lurie, and Gabriel Vasquez of “SOMEONEPLEASELISTENANDUNDERSTAND (they’re wiretapping our brains)”

"SOMEONEPLEASELISTENANDUNDERSTAND(they’re wiretapping our brains)" at The Brick, part of the 2018 Exponential FestivalListen in as writer & performer Brett Evan Solomon, director & performer Kelsey Lurie, and performer Gabriel Vasquez of SOMEONEPLEASELISTENANDUNDERSTAND (they’re wiretapping our brains) discuss collaborative creation, mediatization, putting a podcast into the live theatre realm, “abstracting feelings,” how technology and the people around you can shape identity, surveillance, and developing a shared language with your close collaborators.

“…that screen is not a threat to me as a performer; that’s my friend…”

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Paul Pinto of “Thomas Paine in Violence”

HERE and thingNY present THOMAS PAINE IN VIOLENCE, created, written, and scored by Paul Pinto, directed by Rick BurkhardtListen 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…”

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