Listen in as soot and spit director Kim Weild, scenic designer Matthew Imhoff, and performers J.W. Guido and Geraldine Leer, discuss play as poetry, interpreting unique scripts, creating an historical character with limited biographical resources, performing with boxes on your head and feet, when your fellow actors play your art, and making art about an artist using a different art-form.
“I think of this piece as a poem…it’s not a biography…”
Listen in as the directors/writers of PLUTO (no longer a play), Jeremy Pickard and Lanxing Fu, discuss allegory, mass extinction, the definition of “eco-theatre,” community outreach, the benefits of imposed limitations, and how to work with the fact that “it’s a different world now.”
“…it is devastating, in a kind of strange, like, ‘oh, I lost something that I took for granted, that I really thought was there, and it’s kind of a simple thing that I didn’t really think about, but it matters somehow’…”
Listen in as playwright James Scruggs, creator of the sprawling, detailed, provocative, disturbing, and vital show 3/Fifths, discusses where the idea for SupremacyLand came from, why it took a space like 3LD to make it work, the magic and opportunity of having an artistic director asking you to “dream bigger,” what happens when you invite audiences to participate in a carnival of atrocities, the incredible bravery of the actors in this piece (and how they take care of themselves performing such heavy material), and why we have to talk about this terrible history so it never happens again.
“…it’s still happening, there are these loops. So what I’m really interested in doing is talking about it, showing it, in visceral detail, with the hope of ending the loops…”
Listen in as And Miss Reardon Drinks a Little director Shay Gines, performers Sara Thigpen and Christopher Borg, along with returning guest, Retro Productions Artistic Director and “Miss Reardon” herself, Heather E. Cunningham, discuss absence, finding yourself right in the middle of incredible social change, loving (and fearing) vintage props, finding characters from 50 years ago, teasing your play with wonderful photos (see above), who’s left behind, getting to the right time to produce that play you’ve always wanted to produce, sexual repression in a time of sexual freedom, and how the more things change, the more they stay the same.
“…it’s sort of a subtle thing, but so many of the characters make references to the fact that this outside world is encroaching on their lives…everybody’s afraid, we don’t know how to conduct ourselves so we can’t blame ourselves for not having a footing in this ever-changing landscape…”
Listen in as the director of Piehole‘s new show Ski End, Tara Ahmadinejad, along with performers Kijani-Ali Gaulman, Alexandra Panzer, Allison LaPlatney, discuss half walls & dead birds, “90s ski glory,” what it means to be a “script captain,” apocalyptic spaces, Frankenstein, the group mind, reaching toward the sublime, discussing big life questions with strangers, zooming in & zooming out, and the company’s wild road trip journey from Vermont to the cosmos.
“…dipping into the themes of nature, and dread. And we’re like, ‘ok, this isn’t necessarily an obvious one-to-one connection, but let’s push this further’…”
Listen in as the cast of Flux Theatre Ensemble‘s world premiere production of Johnna Adams’s World Builders, Alisha Spielmann and August Schulenburg, along with Assistant Director Nina Fry, discuss ways of connecting, theatricalizing medical conditions, director-actor conversations, how to have a bi-coastal ensemble, stakes, perspectives on mental illness, and “what is lost, what is gained, and who gets to decide what that is.”
“…it’s a tragedy as much as it is a comedy, in the sense that if the play is working, you should feel that it is a great loss…”
Listen in as The Eagle Project‘s Artistic Director Ryan Victor “Little Eagle” Pierce, adapter/director of Uncle Abram: A Reconstructed Uncle Vanya, discusses moving Chekhov from Russia to Reconstruction-era Missouri, finding the relevance of American history to current events, “ghosts of the past,” and why we can’t take our foot off the gas.
“…even after this very progressive period…somehow, in society, the more things change, the more they stay the same…”
Listen in as The Conspiracists playwrights/director Max Baker, along with members of the cast Ricki Lynée, Ian Poake, Alice Johnson, Lisa Jill Anderson, and Arthur Kriklivy, discuss getting inspiration from conspiracy theories, storytelling as a way to relate, eerily-accurate Catholic Church basement settings, “The Mandela Effect,” parallel universes, out-crazy-ing crazy, and how we relate.
“‘We use conspiracies to hide behind reality…'”
“…or just to make sense of reality…”
“We tend, as humans, to look for patterns…”
Listen in as Boomerang Artistic Director Tim Errickson, along with the full cast of their current production of The Reckless Season—Chase Burnett, Brian Morvant, Trace Pope, and Amanda Tudor—discuss balancing the heavy with the comedic, what the room was like putting this show together, researching what it’s like to be on some crazy drugs, when a character won’t leave a play alone, finding salvation in a video game, and trying to create a family with the very different, very broken people around you.
“…if The Deer Hunter met, like, Silver Linings Playbook…there’s a lot of dark humor in it, there’s an undercurrent of sexuality to it, there’s relationship stuff, there’s brothers against brothers, there’s a lot of comedy…”
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’…”