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 Fantastical Fellowship: Final Quest for the Crisis Crystal XXVII!
playwright Andrew Agress, along with performers Theo McKenna, Becky Ho, & Stephanie Litchfield, discuss full-double-cringe, inspiration from COVID boredom, alternate endings, “pleasant hell,” rolling with the (sometimes literal) punches, and where theatre & video games meet.
“…that cross-section of theatre-people discovering games, game-people discovering theatre…”
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 Ectoplasm playwright & director Sara Fellini, along with cast members Jillian Cicalese and Caitlin Dullahan-Bates, discuss “life and death and lust and love,” the stories we tell ourselves as we try to determine the truth, navigating society’s return to live in-person theatre while COVID is still a thing, layers of artifice and reality, and what it means to be making work together again.
“Right now, we don’t need tv. We don’t need movies. We have SO MANY SCREENS…you need a human being in front of you, who might make a mistake…who might do something brilliant and amazing that you would never see, you’d never feel the energy in the room…”
Listen in as playwright Andy Boyd, along with Theatre in Asylum co-Artistic Directors (and the play’s co-directors) Katie Palmer and Paul Bedard, discuss how it feels to watch a history play about something we all lived through, doing the thing, the value of gathering together, how Occupy issues are still a part of the zeitgeist, producing in a pandemic, finding the corners, and what happens when five very different people get together to try to change the world.
“…one of the things I love about the piece is that it shows the value of gathering together, and it shows the value of trying to do something whether or not you succeed…”
Listen in as producer/actor Sean Williams, director Jordana Williams, and playwright/actor Mac Rogers of Gideon Media/Gideon Productions discuss how they connected with legendary playwright Wallace Shawn to bring two of his stage plays to the radio drama realm, the outgrowth of Gideon Media from Gideon Productions, adapting Mac’s indie plays for audio podcasts, using short-hand with your long-time collaborators, getting through (and out of) the pandemic, how to get that “indie theatre” feel on the mic, the benefits of creating in a new medium, and why, come what may, we’ll all be back in those tiny dark spaces telling stories together, soon.
“…at any second, the whole thing might fall apart, and at any second, something magical might happen…”
Listen in as Genny Yosco, the writer & director of (and an actor in!) im ur hamlet., discusses writing through food poisoning, creating for the Zoom medium, knowing who it is your parodying, creating a Shakespeare festival from afar, making community during a pandemic, and what happens when everyone wants to be the star.
“One of the things about this cast is…they all love each other, and I love all of them, so even though we were all playing at odds with each other, there still was this overlying, person-to-person silent communication that we all did really enjoy each other, which was perfect…”
Listen in as Mark Blankenship, editor and founder of The Flashpaper, discusses finding a way to let artists both share ideas and get paid, creating “a collective experience of good in a time of great crisis,” the power of a physical manifestation of our indie theatre world while our spaces are indefinitely shuttered, and the importance of community in theatre.
“…it’s a real treat for me, as someone who loves to get my hands as deep into the dirt of theatrical ideas as I can, to be able to support so much thinking about the theatre, but also theatre’s relationship to the rest of the world…”