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…”
Listen in as Really Really Gorgeous playwright Nick Mecikalski discusses what happens when the media is filtered through only one lens, trust in personal relationships, the journey from digging a script out of a drawer to getting on the stage, the power of celebrity, and “what happens when climate change gets personal.”
“We know this is already happening for people around the world…the really scary questions that I think creep in the back of our minds…will it change whether I can follow my dreams? Will it change my career? Will it change where I have to live? Will it change my relationships?…”
Listen in as playwright Johnny G. Lloyd and director William Steinberger of Or, An Astronaut Play discuss capitalism, Emerson, childlike wonder, designing to your space, stealing kids’ artwork, and why the play goes to space school (as well as literal space).
“…it’s a play about race, and privilege, and access, but also, still, about finding access to that inner child, and finding a way to negotiate that…”
Listen in as “Strangers in the Night” contributing playwrights Patricia Lynn (writer of Screwed, portrayer of “Molly”, director of Frank) & Philip Estrera (writer of the Frank monologues, who also performs “Stranger” in Bottling Dreams of the Tearful Don’t-Knower), along with fellow Bottling… actor Natalie Hegg (“Other Half”), discuss creating a complete theatrical experience out of one act plays, sketches in rehearsal, provocative nocturnal stories, doing that one thing well, collaboration, different extremes of theatricality, & the intimacy that can develop between total strangers.
“…one little thing would totally change the way the scene would go…a creative, supportive battleground…”