Miranda Haymon, Emmie Finckel, & Cha See of “In the Penal Colony”

The Hodgepodge Group and Lucy Powis present IN THE PENAL COLONY, written and directed by Miranda Haymon, presented as part of Next Door at NYTWListen in as In the Penal Colony writer/director/producer Miranda Haymon, along with set designer Emmie Finckel and lighting designer Cha See, discuss the relationship and performance of patriarchy & punishment, how the show’s designers interacted with their process, sites of judgement, machines, building a highly physical piece with little dialogue, avoiding the “bad version” of the play, supporting design choices, and how Kafka’s 100-year-old short story resonates today.

“…I feel that this piece is directly engaging with the real live bodies and the real live circumstances in a way that feels gripping, and theatrical, and REAL…we’re able to get folks in the room, and have a real, live, conversation…”

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Akia Squitieri, Matthew Weitz, Adeyinka Adebola, Desiree Pinol, Kyle Porter, Johnny Blaze Leavitt, & Ita Korenzecher of “Friendly’s Fire”

Rising Sun Performance Company, co-presented by the 14th Street Y, presents FRIENDLY'S FIRE, by John Patrick Bray, directed by Anna HoganListen in as the cast of Friendly’s FireMatthew Weitz, Adeyinka Adebola, Desiree Pinol, Kyle Porter, Johnny Blaze Leavitt, & Ita Korenzecher—along with Artistic Director Akia Squitieri (with a quick note from Production Stage Manager Callie Stribling) discuss non-toxic male friendships, the sad timelessness of plays about trauma from war, the difference between cheerleading into war vs. receiving the warriors back into society, and how we use stories to make myths and to heal.

“…the same way kids believe in ghosts, and Santa Claus…and then you’re taught years later that these things are pretend, and made up, and that you need to get a job. So you’re pulled away from storytelling…and the healing powers that it has for people…”

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Suzanne Tufan & Lindsey Hope Pearlman of “Whore”

WHORE, written and performed by Suzanne Tufan, directed by Lindsey Hope Pearlman, at Paradise FactoryListen in as Whore writer/producer/performer Suzanne Tufan and director Lindsey Hope Pearlman discuss “showing the emotion of little moments,” the various masks we create, working as a director with the writer/performer, the roller-coaster of baring one’s soul in a public setting, playfulness within serious personal material, and transformation, survival, and hope.

“I thought it was an important story to share, because I think we have so many misconceptions about women and sexuality. The word ‘whore’ is this dirty word, and women get these dirty words thrown at them from such a young age, for no reason…”

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Nicola Korzenko, Cesar J. Rosado, Sheila Vand, Maggie Bofill, Brian Miskell, Knud Adams, Claire Siebers, & Anand Wilder of “Nylon”

Theaterlab presents Blockchain Theater Project’s production of NYLON, written by Sofia Alvarez, directed by Knud AdamsListen in as Nylon director Knud Adams, along with producer Nicola Korzenko, composer Anand Wilder, and cast members Maggie Bofill, Brian Miskell, Cesar J. Rosado, Claire Siebers, & Sheila Vand, speak with GSAS! correspondent Alex Randrup to discuss how best to tease your show, the cages we build for ourselves, “coming up from beneath the role,” the audience as an invisible character, making art on an indie theatre budget, jedi director tricks, demanding a response, making messy decisions and messing up, and balancing *you* with your character.

“…I loved when I first read this play, this idea that, we do create a narrative for our lives, and what happens when you start to confront the cracks in that narrative…?”

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Kelsey Hercs & Drew Bolander of “Romeo & Juliet”

William Shakespeare's ROMEO & JULIET, directed by Drew Bowlander, at The Kraine TheaterListen in as co-producers of Romeo & Juliet, Kelsey Hercs (“Juliet”) and Drew Bolander (adaptor/director) discuss undermining romanticism, logic-ing your way through your feelings, finding the kernel of the play we all think we know so well, making limitations into opportunities, love overflowing into hysteria and violence, and what we’re willing to do for the people and things we care about.

“…all of the violence comes from a place of love…it’s coming from a place of trying to protect what’s ‘theirs’…I think it’s interesting, because then we can apply that to ourselves, and our own groups, and kind of see where other people are coming from, even if their actions are wrong, and bad…”

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Liba Vaynberg and Emily Louise Perkins of “The Russian and The Jew”

Anna & Kitty, Inc. and The Tank present Liba Vaynberg at The TankListen in as the co-creators & performers of The Russian and The Jew, Liba Vaynberg and Emily Louise Perkins, discuss adapting Anna Karenina, their development process, sell-out fake-outs, varying audience reactions, drinking thimble-fuls of wine, & devising while co-writing with a large cast.

“…it’s all about female friendship, and betrayal, and love, and lust, and how dreams are politicized. And it’s sexy, and strange…and there’s free vodka…”

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Leah Abrams, Gabriel Grilli, Trish Lindstrom, Eric Rice, Dave Sikula, Matthew Van Oss, & Andrea Gallo of “Kurt Vonnegut’s Mother Night”

The Custom Made Theatre Company presents Kurt Vonnegut's MOTHER NIGHT, Adapted and directed by Brian Katz, at 59E59Listen in as producer Leah Abrams, along with most of the cast of Custom Made Theatre Company‘s production of Kurt Vonnegut’s Mother NightGabriel Grilli, Trish Lindstrom, Eric Rice, Dave Sikula, Matthew Van Oss, & Andrea Gallo—discuss why you should take the chance and just ask, the hearty challenge of leaping through time, the beauty of adaptation, searching for a Schenectady accent, what we relate to and what we don’t, and the timeliness of this story written in 1961.

“…it’s a really specific sensibility. There’s a drollness, and a darkness to it, that I hope we’ve captured…”

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Patricia Lynn, Patrick T. Horn, Emily Kitchens, & Elizabeth Anne Rimar of “Your Invisible Corset”

Hunger and Thirst Theatre presents YOUR INVISIBLE CORSET, written by Patricia LynnListen in as Hunger and Thirst Theatre artistic director, producer, actor & playwright of Your Invisible Corset, Patricia Lynn, along with her co-stars Patrick T. Horn, Emily Kitchens, and Elizabeth Anne Rimar, discuss getting away from sexy sparkly vampires, internal horror, jump scares & gore effects, seduction through feminism, walking into the fog, the human drama in a supernatural story, and the horror of strapping one’s self into a corset.

“…the parallels are very, very now…there are Draculas in this world that would like to see women be smaller, be more constricted, who think that is the shape that a woman should take. And that’s the horror of the story…”

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Jake Lipman & Jessica Ammirati of “Relentlessly Pleasant”

Tongue in Cheek Theater Productions presents RELENTLESSLY PLEASANT, written and directed by Jake LipmanGSAS! podcast correspondent Tara Gadomski attended the first performance of Tongue in Cheek Theater Productions‘ world premiere Relentlessly Pleasant, and hosted an interview/talkback with the audience, featuring writer/director Jake Lipman and dramaturg Jessica Ammirati. Listen in as they discuss “what it’s like to work in corporate America as a woman,” #MeToo, how sexuality is always at play, writing from real scenarios, working with a dramaturg to shape a script, hearing your script through different voices, and digging deeper below the surface.

“…nothing is black and white in this. It really is all these shades of gray…”

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Jaclyn Biskup & Braeson Herold of “Worse Than Tigers”

The Mill Theatre presents WORSE THAN TIGERS, written by Mark Chrisler, directed by Jaclyn Biskup, at The New OhioListen in as Worse Than Tigers producer/director Jaclyn Biskup and actor Braeson Herold discuss collegiate connections, “Who’s Afraid of Virginia’s Rhinoceros?,” using your space, how to play an insufferable drip (hint: kindness & generosity), unexpected journeys, the importance of openness & trust in your rehearsal room, and “sausage casing” as metaphor.

“…I really like to direct absurdism the same way that one would direct realism, because I feel like it’s a really fine line. And I think today, our lives are very fu**ing absurd…”

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