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 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…”
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 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 DANNYKRISDONNAVERONICA director Jeff Wise, along with fellow company member David Kenner, discuss the approaching mid-life crisis, describing your play like an iceberg, heavy rooms, the future of Wheelhouse Theater Company, searching for technical interns, and finding your personal joy.
“…we’re really just honing in on who we are. Rather than talking about it, and saying ‘this is who we wanna be, now let’s do that,’ we’re just throwing it against the wall, and being, like, ‘what do we like? what do we not like?’ and we’re continuing to refine ourselves vis a vis the work…”
Listen in as the co-creators of Providence, RI,Skylar Fox (who directs) and Simon Henriques (who performs in the show) discuss their company Nightdrive‘s process, why they used Providence as their subject (and what it was like to explain the place to someone who’s never been there), misdirecting your audience, and where their piece fits in the world in January 2017.
“…we’re actually trying to do new things to communicate in uniquely effective ways with an audience…”
Listen in as The Summoning playwright & actor Charlotte Ahlin and director Emily Lyon, later joined by the rest of the cast, Danielle Cohn and Jacque Emord-Netzley, discuss inspiration from college issues, finding the rhythm of the play, feeling the pull of the dark forces of the occult, the benefit of working with friends when you’re working with constraints, and why you gotta make ’em laugh.
“…I think a lot of those insecurities that everyone feels go into this…and then, of course, the natural extension of that is, when you’re afraid of the unknown of the future…you’re going to want to summon some demon-spawn from hell to protect you…” Continue reading →
The mad comedic & theatrical geniuses of Recent Cutbacks are back with a holiday show—and given the title of KEVIN!!!!!, you can probably figure out which Chris Columbus classic they’re covering this time around.
As with their wonderful past shows covered by GSAS!—Hold on to Your Butts and Fly, You Fools!—the team has made something at once instantly recognizable and wonderfully original that had the audience on the night I attended rapt, awestruck, laughing hysterically, and yet still touched by heartwarming holiday feels.
Listen in as the core company of director Kristin McCarthy Parker and actors Nick Abeel & Kyle Schaefer discuss the process of making this wonderfully creative piece, nostalgia, “making your stuff and putting it out there,” creating an experience that’s a shared communal joy among audience and performer, and why the world might need this kind of show right now.
“…we’re not giving you all of the pieces. We’re giving you 5 out of 10, or 8 out of 10, maybe sometimes, of the pieces. But you’re doing the last little bit to realize it in your mind. And I think that level of engagement with the piece…is such an enjoyable way to watch theatre…”
In the landscape of independent theatre in New York, classical theatre can sometimes get lost. Our efforts to create something new, to challenge the status quo and stand out are laudable. But sometimes, we forget that a century-old play can still do that work—a good story, well-told, can often challenge and move audiences just as much, if not more, than newly devised work.
That’s certainly the case this month at The Wild Project, where Working Barn Productions is presenting Eugene O’Neill’s Pulitzer Prize-winning dramaAnna Christie. It’s a story about an independent woman, searching for her place in a world run by men.
Go See A Show! correspondent Tara Gadomski recently saw the show and sat down with director Peter Richards and actor Therese Plaehn to talk about how O’Neill “directs from afar” by writing his character’s dialects phonetically, the benefits of producing works in the public domain, and the fact that O’Neill’s plays can time travel very well.
“It was written almost 100 years ago but it features a lead protagonist who has a very feminist point of view and says things you’d find in contemporary drama, so it’s kind of eye-opening for me to to realize, ‘oh my god this is Eugene O’Neill, early O’Neill, and it feels pretty contemporary’…”