Listen in as playwright Daniel John Kelley and director Christopher Diercksen of That True Phoenix discuss opera nerdiness, self-mythologizing, producing (and living) with limited resources, repeatedly turning down your future collaborator (then, working in the same office with your collaborator), cutting down your 290-page autobiographical play, “why we do any of this,” taking the time to do it right, and the most interesting man you’ve (probably) never heard of: Lorenzo Da Ponte.
“…they were like, ‘Daniel, you’ve written crazy plays before; I trust that you will write a crazy play again, let’s do this play.’ And I was like, ‘ok, sure, 10 years of this idea, maybe it’ll do…’ But they were 100% committed, even if I didn’t believe it, from the beginning, to say, ‘we trust you, we’re going to build this play…we’re going to figure out why we do this as we go along’…”
Listen in as Matthew Roi Berger and Jonathan A. Goldberg, co-creators of The Fall of the House of Sunshine, discuss the show’s roots in Serials at The Flea, who gets to edit this epic, how to describe your multi-hyphenate-project, the importance of having a plan, and the freedom of doing a musical serial as a podcast.
“Do you like comedy? Do you like musicals? Do you like mysteries? Two outta three ain’t bad…”
Listen in as Athena Theatre Artistic Director (and actor in the show) Veronique Ory, along with Sub-Basement writer Tom Block and director Hunter Bird, discuss eschewing the Mad Men path, writing to a company’s mission statement, the importance of absurdity in the theatre at the present moment, where to find the best poutine in the city, and the “absurdist odyssey to find your life’s purpose.”
“The entry point was really wanting to address the homeless in our city, and to find a way…[to] address it in a way that wasn’t stereotypical…in other cultures, this idea of how homeless people are thought to be mystics, they’ve come to an enlightened point in their life…that if they can have peace and clarity in their mind, then that’s all that they need. And part of representing them in this way is hopefully taking a small step to giving face and voice to our homeless population…”
Listen in as Erin B. Mee, who conceived and directed Pool Play 2.0, discusses our nation’s complicated history with public water, inspiration from your exercise routine, choreography in water, getting onlookers intrigued, rehearsing with lap-swimmers, audience reactions to truly “immersive” theatre, and how (& why) to hook up a deal with a unique performance space.
“…so I was reading that book…and I was swimming back and forth, and doing laps, and thinking, ‘we should a play in a pool…we should do a play in this pool…let’s do a play in this pool!'”
Listen in as Kyle playwright Hollis James and director Emily Owens—who are, combined, the newly-formed Hot Tramp Productions—along with actor Nat Cassidy discuss how a play can sneak up on you, overcoming the little demon inside of yourself, how to pronounce “publicist,” getting coaxed into the director’s chair, playing your playwright in his play (while he’s acting opposite you), and why you shouldn’t get a “Nat-Cassidy-type”—you should get Nat Cassidy.
“…I didn’t set out to write this story. I just sat down to try and write something, my writing partner and I…we were in a holding pattern, and we were sick of pitching, and going through all the rigamarole. So I just sat down to try to write something just for me, and I wrote this scene…and then I realized, ‘that’s me, back then…'”
Listen in as Messenger #1 director Hondo Weiss-Richmond, Hunger & Thirst Collective Artistic Director Patricia Lynn, and actors J. C. Ernst, Emily Kitchens, Natalie Hegg, and Dan Morrison discuss class, intimate space (and the fun audience reactions it can provoke), “the swells,” the flow of information, telling the truth, and how this 17-year-old play feels like it was written for our present moment in the United States.
“…sometimes at the very end, you feel like…we’ve all been a part of this together. It’s like this shared experience that we’ve all had, and you feel that very palpably because it’s an intimate experience…”
Listen in as Lunchtime writer/director Greg Kotis and Zamboni Godot writer/director Ayun Halliday discuss what it’s like to direct your own writing, physical transformations, adventures in parenting, “director” as “general contractor,” casting drinking buddies, getting outside your comfort zone, and what it’s like making theatre when you have—and then later, with—a family.
“To me, the ideal artist life is that you can do something like this, this residency, where you do whatever you want…just for fun, it’s why we came to it in the first place…Of course you want to have those projects and those opportunities that make money, and that can reach broader audiences, and that can have a life beyond. To have a variety, a diversity of work that you do, in a diversity of spaces, is really the ideal, I think…”
Listen in as Nibbler playwright Ken Urban, director Benjamin Kamine, Artistic Director of The Amoralists (and actor in the show) James Kautz, and fellow actor Sean Patrick Monahan discuss expanding your one-act, vulnerability, meeting the challenges of a show, looking for hope in dark times, getting “nauseatingly close” with your collaborators, songwriting for your script, just how autobiographical this dark comedy gets, and “pulling it off.”
“…I’m going to paraphrase you, but I think it was something like, ‘can’t they just sit there and sing?'”
“I think that is what I said, ‘Can’t they just be still?’…”
Listen in as actors Tony Torn and Will Dagger of Ben Beckley’s Latter Days, along with Artistic Director of Dutch Kills Theater CompanyAlley Scott, discuss makeup mishaps, referencing Beckett & Don Quixote, finding the perfect prop toilet when you’re out with friends, creating an original theology for your show, and belief, expectation, fantasy, reality, and father figures.
“…finding yourself somebody who’s desperate to believe in transcendence of sorts, and also, coming up against your own inherent skepticism…”
Listen in as New York Shakespeare Exchange Artistic Director and director of Much Ado About Nothing, Ross Williams, discusses finding resonance with the “fake news” of today in Shakespeare, getting rid of unnecessary jokes, blending characters (and why you might want to), achieving a sense of inclusion with your audience, and getting around having all those pesky messengers in Much Ado.
…and, after the brief interview with Ross, stay tuned for a recording of the post-show talkback between him, Dr. Jaime Wright, Associate Professor at St. Johns University, and the show’s dramaturg Shane Breaux.
“…Shakespeare was all about the exchange between the audience and the players, and I think all too often, Shakespeare done contemporarily is done with our contemporary understanding of the fourth wall…what I really like to encourage is a sense of exchange between the audience and the actors…”