Listen in Deadly Stages co-authors Mark Finley (who directs) and Marc Castle (who portrays the glamorous Veronica Traymore), along with fellow performer Dani Marcus (Phoebe/Connie), discuss love of old movies, where reality meets camp, red herrings, writing like directors, pulling in new company members, pre-determined tracks, and finally getting a chance to collaborate.
“…I love when theatre doesn’t apologize for itself…”
Listen in as the adapter/director of New Relic Theatre’s production of Sophocles, Eliza Palter, along with composer Paul Rochford and performers Thammie Laine Quách, Eli Wassertzug, & Ana Prí, discuss Swedish pop musical inspiration, creating otherworldly characters, deep research, discovering levity, and moving Antigone to Viking culture.
“I think there is something so beautiful about making theatre for young people, and showing them that centuries and centuries and centuries ago, humans were just as vivid and complex, queer, complicated, as shameful as we are now. And bringing, especially young audiences, into the theater, and see the sweat on people from times of yore, see them struggle, see them be embarrassed, see them grapple with big ideas…”
Listen in as Tourist Trap writer Elijah Guo, director Dylin Taylor, and performers Marsha Yuan, Misako Yamagishi, & Anthony Naranjo discuss the absurdity of unbelonging, the universality of beans, the authority of tour/play guides, and where physical space meets the ephemeral.
“…we spoke about the idea of how definitions of ‘Asian-ness,’ we didn’t necessary relate to them, or like, resonate with them. But we still identified as Asians, and we’re seen as Asians…so it’s, creating work that we do resonate with, that is Asian. And I don’t know that it’s us trying to be different, we’re trying to expand…”
“I know what it is: we’re Asian. It’s not a non-Asian writing about Asian. So it’s not, like, [insert stereotypical music here]—you don’t hear that in the background. It’s real life stories, real personalities…”
Listen in as The Fire This Time Artistic Director & the plays’ director Cezar Williams, along with producer & performer Danielle Covington, discuss highlighting the small moments, finding compassion, developing playwrights, and what’s new this time with The Fire This Time.
“I always say that The Fire This Time Festival feels like a family reunion, and it feels like we just added a ton of new people to the family…”
Listen in as BIOADAPTED creator & director Tjaša Ferme, along with performers Nasay Ano, Melody Munitz, Arianne Banda, & Thammie Quach, discuss the benefits of a long development process, collaborating with AI, learning as an actor just what all these concepts mean, how to welcome an audience of theatre-people into a show about those same difficult tech concepts, the deep space/slow time benefit of a residency, mosaics, and show as meatball.
“…even if you’re someone who doesn’t know a ton about AI, or what’s inside that black box, or how it’s functioning in society right nows on the levels we can’t always see, I think people have a perception about what it is: maybe it’s creepy, maybe it’s robotic […] we had a lot of conversations about playing into the expectations of what an audience would think an AI would be, and how can we bend those expectations and expand on them…”
Listen in as Molière in the Park founding artistic director Lucie Tiberghien, director of the company’s World English-language Premiere of Molière’s original three-act version of TARTUFFE or The Hypocrite, along with performers Michelle Veintimilla and Matthew Rauch, discuss inviting in the audience, staying focused, feminism in 17th century France, creating space for open theatrical magic, and bringing accessible, free theatre to Brooklyn.
“…really, the idea is to democratize access to theatre, and also play our part in diversifying access. We have this vision that Brooklyn is a place where everyone can benefit equally from access to the arts, and to theatre.”
“It’s been so cool to see people walk by, and see them be intrigued, and then decide to sit and watch…”
Listen in as HOUSECONCERT writer/director/performer/drummer Kara Feely, along with fellow performer / production manager Daniel Allen Nelson, discuss actors playing instruments and musicians doing actions, reacting to the energy of the audience, finding ways to get from one thing to another, how different audiences can interact with the same piece, and “resurrecting the ghosts of past house concerts.”
“…we got our start sort of performing in peoples’ living rooms, and going to house concerts and more informal things. So we had this idea that, coming out of the pandemic when we were all at home all the time…that it would be kind of interesting, instead of inviting people into our home, that we would turn the theater into our home…”
Listen in as Harmony Hall playwright & director Duncan Pflaster, along with the cast of Wyn Delano and Clinton Powell, discuss inspiration from terrible/wonderful Tennessee Williams adaptations, what is and is not a “pandemic play,” personal connections to the material, grounding your characters, the challenges of putting a show up in a festival, religious trauma, and the joy of working on poetic new work.
“…this is one of those things where we put our hearts and soul into it, all of us, it’s a very meaningful show…something where I think people will get a lot out of it if they see it, but to see it, you gotta do the old-school theatre thing and put your butt in the seat.”
Listen in as Complicity playwright Diane Davis, along with director Illana Stein, discuss finding a different way to approach a well-known story, the illusion of power, the timeliness of this play about history, holding each other accountable, “heart and humanity,” complexity in complicity, how systems perpetuate themselves, the importance of intimacy direction, and who is responsible when bad things happen.
“…this is the play of women trying to wrestle out their roles in allowing the deconstruction of rights…and the way that assault is perpetuated…We’d like to think it’s gone. The idealist is gonna say, ‘We’ve come so far!’…and yes, we’ve come a long way, but we still don’t have parity…those needles haven’t moved…”
Listen in as Retro Productions Artistic Director Heather E. Cunningham, who also plays Fanny in the cast, along with director Sara Thigpen, discuss looking at the past through the lens of theatre and theatre through the lens of history, enthusiasm to jump in and play, suggestions vs. specificity, getting back to the live space post-COVID, and how it seems like everything comes back around again, in their production of Eric Overmyer’s On the Verge.
“…I love what it says about America, what it says about our history. The language is beautiful…”