Heather Cohn, Kia Rogers, Rachael Hip-Flores, Isaiah Tanenbaum, and Jodi M. Witherell of “Salvage”

Flux Theatre Ensemble presents Salvage, written by August Schulenburg and directed by Heather Cohn“What lives on…what’s left when someone is gone?”

The kinds of things that remain can run the gamut—music boxes, stories, ephemera, bottles of booze, memories—but they can all mean something. And exploring that meaning is at the heart of August Schulenburg’s excellent new play Salvage, presented by Flux Theatre Ensemble.

Listen in as the show’s director Heather Cohn, actors Isaiah Tanenbaum and Rachael Hip-Flores, lighting designer Kia Rogers, and stage manager Jodi M. Witherell discuss Flux’s innovative Living Ticket model, tumblr-blogging for your show, working in a non-traditional space, putting audience submissions into your set, and what we save.

“…really, it’s this love-letter to New York that Gus has written…and I love being in it.”

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Clay Edmonds, Janet Jenness, and Aurora Heimbach of “OCD: or, The Trouble with Mrs. Henderson”

Gobsmacked Productions presents "OCD: The Trouble with Mrs. Henderson"I think of Hedda Gabler as one of those Mount Everest sort of shows; “exciting and daunting,” as one of the guests on today’s episode puts it.

The ideas and challenges of Ibsen’s classic are brought smack-dab between the play’s original 1890 setting and the modern day, in Gobsmacked! Productions’ 1950s-set re-telling entitled OCD: or, The Trouble with Mrs. Henderson. Gobsmacked producers Clay Edmonds and Janet Jenness share directing duties with Clay’s original script, and the (fabulous) actress Aurora Heimbach takes on the tragic heroine, known here as Henrietta Henderson; that’s her with the rifle in the photos below.

Listen in as Clay, Janet, Aurora and I discuss setting Clay’s favorite play in the 1950s, their personal relationships with that archetypical era in their choice of location (the American South), and what it’s like to take on the challenge of one of theatre’s most iconic roles.

“…I thought translating this piece into the ’50s was totally genius…that veneer of the ’50s, that painted on, plastic, ‘everything’s great’ was this even more concrete obstacle that I think helped with the claustrophobia of this woman who is trying to reconcile her own aspirations with the reality of the hand that she’s dealt…”

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