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 playwright, director, and performer Genny Yosco of A Fifth Dimension: An Unauthorized Twilight Zone Parody, along with fellow actors Zachary Millard and Chris Weigandt, discuss overacting the overacted, casting young actors, making your own opportunities, producing out of bitterness and hatred, and finding the horrifying contemporary relevance of your parody show.
“…it really took on a life of its own…each show that we do, we add our own lifeblood to it, it’s new every time…”
Listen in as performers Becky Baumwoll and David Jenkins of Broken Box Mime Theater discuss working in the brand-new Gural Theatre in midtown, starting from naturalistic acting, how the company makes an evening from a series of smaller pieces, mime as free jazz, paring down your gestures to streamline a story through movement, wearing matching shoes, when giving line readings is ok (and preferred), and why you might want to rehearse with an audience.
“…something about the efficiency unlocks a huge amount of possibility for us as storytellers…there’s something about not having words that invites the audience to really immerse themselves in what’s happening. And, when you are building invisible objects, or interacting with an invisible costume, or a prop, the audience, in order to understand, has to fill in that blank…We’re using your imagination as our palette to create the story…”
Listen in as Dutch Kills Theater Company Artistic Director Alley Scott, playwright Jean Ann Douglass, and actor Lori Parquet discuss The Providence of Neighboring Bodies, making work with your friends, inspiration from your hometown, how place informs character, different models for creating a production, and the magic & supportiveness of the indy theatre community.
“…the great thing about independent theatre is that the people who come to see independent theatre are very with you, and are willing to work with you…”
Listen in as Exposed creator and director Kristin Heckler, along with the cast & co-creators, Sarah Raimondi, Jacob-Sebastian Phillips, and Pauline Sherrow, discuss getting over your prejudices, development with your actors, becoming friends with your show’s real-life protagonist, audience reactions to a show about porn (like recognizing the entire porn soundtrack…), playing depravity with humanity, and why porn isn’t something that just exists behind a screen.
“…the subject matter is intense, and I’ve been very pleased that we’re getting audiences that are having authentic reactions, and allowing themselves to feel it…I think we’ve created a safe space for people to experience all of those emotions…everybody is allowed to have their own experience, and it seems to be leaving a message.”
Listen in as actors Kevin R. Free and Matthew Trumbull, along with fight choreographer Rocío Mendez of Flux Theatre Ensemble‘s new show, Marian, or, The True Tale of Robin Hood discuss exploring the binary, realizing you’re on the wrong team, conformity vs. finding your tribe, cuckoo-birds in power, not working so hard to make yourself irresistible, and being in a room together through the dark times.
“Even joy these days seems somewhat defiant…the joy of the show is a statement, too. We live in times where allowing yourself to laugh is a political act, because it feels like we’re not supposed to…it feels like a bit of a revelation when people come here, and realize, ‘oh, I forgot about comedy…I forgot about what it’s like to release in that way…'”