Listen in as Ran Xia and Charlotte Arnoux, co-Artistic Directors of The Arctic Group, presenting their Fridge Festival at IRT, discuss happy autocorrect errors, finding a fridge for your fridge festival, developing your climbing skills, the beauty of limitations, serendipitous curation, “figuring it out,” and what it means to “pick a snowflake out of an avalanche.”
“…it’s putting two different groups of people onto the same platform, so they can have a conversation…”
“…and just offering space to artists that we love, and ones that we have come to love…we wanted to create the theatre festival that we never had…”
Listen in as some of the team behind Friends Call Me Albert—performers Julie Congress and Steven Conroy, director Ryan Emmons, and musician Enrico de Trizio, all members of the ensemble of No. 11 Productions—discuss how and why puppets ended up in their play about Albert Einstein, the meaning of “bio-epic,” cross-continental collaboration, impossibility, how to integrate Einstein’s concepts into the presentation of your show, “fluidity,” using real math onstage, and how their ensemble plays together on the journey of creating their work.
Listen in as The Unwritten Law co-creator & performer Chesney Snow, along with co-creator, director, performer & choreographer Rebecca Arends, discuss working with collaborators who can help turn your story into art, making “something different,” microphones and music, “the magic that happens between people onstage,” American issues, and how sound and movement come together to tell this very personal story.
“…I tell people, they’re coming to see a story of America…we’re looking at black life, and I’m hoping they’ll be able to follow the journey of where we’ve come from…I don’t want to preach at people, but I would love for people to hear the story, and maybe they’ll have a different perspective on some of the things that are happening today…”
Listen in as two of the creators behind Sanguine Theatre Company‘s world-premiere production of Jessica—playwright Patrick Vermillion and director Emily Jackson—discuss justifying your narrative, Sanguine’s “Project Playwright” process, why their AI story focuses on the building process, confronting the truth, the morality of technology, and what makes us human.
“…I wanted to create a sci-fi piece for the stage mostly because I was watching these really old, kinda shitty…[but] super-relevant, very socially-interesting television shows, with virtually no budget. It’s so much your imagination…kind of like with theatre…”
Listen in as writer and performer Lucie Pohl and director Kenneth Ferrone of Lucie’s auto-biographical solo show Hi, Hitler, currently playing at The Cherry Lane Theatre, discuss post-show snacks, David Hasselhoff, inhabiting dozens of characters, what is (and what isn’t) very German about the show, the ease with which you can kill your darlings, why you won’t find props in this show, and how to trust the moments.
“…it’s a ‘fish-out-of-water story,’ it’s about finding your identity, and it’s about trying to fit in…”
Listen in as the Elephant Run District team of Chris Harcum, playwright & performer, and Aimee Todoroff, director, of the company’s new show Martin Denton, Martin Denton, discuss finding safety and meaning in a community, “love,” the validity of our work, the ways in which our productions can live forever, how and why we do this thing called “indie theatre,” and more about this love letter to the scene.
“…what we’re doing is creating life, and then giving life back. And for me, one of the people who was there, and kind of charted what I was doing—and for whom I felt this very deep connection, and this person who, if he didn’t see my show, it felt like it did not happen—needed his story told.”
Listen in as The Dirty Blondes, Elizabeth Sarkady and Ashley J. Jacobson (whom you’ll remember from past podcasts on The Miracle Play and The Tunnel Play), along with the full cast—Faith Sandberg, Jenna D’Angelo, and Brandon Ferraro—discuss the company’s new play How to Be Safe, finding relevance in the present moment, the “low hum of anxiety,” the draw of terrible true crime shows, the incredible experience of having a theatrical home-base, being a sponge (then wringing yourself out), and finding safety & solace in the theater.
“…the election happened, and that made me question what I was going to be putting out into the world. It needed to be relevant, it needed to speak to something. And so I figured, ‘let me just create the most honest, emotional show that I could, because that felt like my own personal safety, and that felt like my own personal contribution, to talk about how afraid I feel, and how afraid I think other people feel…”
Listen in as playwright James L. Menzies and director Richard C. Aven of Go Get the Axe, along with co-producer/actor Christopher Halladay, discuss the process that brought two short Shotz pieces by Jamie into the full-length FIG Productions is currently presenting, fever-dreams from a bathroom floor, the benefits of a desk day-job, collaborator love, killing your darlings, and how to give good pod.
“…people have been so imaginative, and so creative, and everybody’s had input. And that makes me really really proud, because it’s been phenomenal, the individual pride and energy that’s gone into this…and I get to sit and watch it, and people make me look good.”
Listen in as Matthew Roi Berger and Jonathan A. Goldberg, co-creators of The Fall of the House of Sunshine, discuss the show’s roots in Serials at The Flea, who gets to edit this epic, how to describe your multi-hyphenate-project, the importance of having a plan, and the freedom of doing a musical serial as a podcast.
“Do you like comedy? Do you like musicals? Do you like mysteries? Two outta three ain’t bad…”
Listen in as Kyle playwright Hollis James and director Emily Owens—who are, combined, the newly-formed Hot Tramp Productions—along with actor Nat Cassidy discuss how a play can sneak up on you, overcoming the little demon inside of yourself, how to pronounce “publicist,” getting coaxed into the director’s chair, playing your playwright in his play (while he’s acting opposite you), and why you shouldn’t get a “Nat-Cassidy-type”—you should get Nat Cassidy.
“…I didn’t set out to write this story. I just sat down to try and write something, my writing partner and I…we were in a holding pattern, and we were sick of pitching, and going through all the rigamarole. So I just sat down to try to write something just for me, and I wrote this scene…and then I realized, ‘that’s me, back then…'”