Category Archives: Directors

David Carl, Katie Hartman, & Michole Biancosino of “David and Katie Get Re-Married”

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David and Katie Get Re-Married, written and performed by David Carl and Katie Hartman, directed by Michole Biancosino, music directed by Jody SheltonListen in as writers/performers David Carl & Katie Hartman of David and Katie Get Re-Married, along with director Michole Biancosino, discuss litigation possibilities, drama school in the ’70s, heading to Edinburgh, psychopathy, wrangling, 9 a.m. dramatic improv (without a director), writing for yourself, confusing your audience, improvising into weird emotional places, and working with your friends and idols.

“…this man wears boat shoes, and quotes ‘The Zoo Story’…”
“And now I wear crocs!”

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Xhloe Rice & Natasha Roland of “A Letter to Lyndon B. Johnson or God: Whoever Reads This First”

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Listen in as Xhloe Rice & Natasha Roland, the creators and performers of A Letter To Lyndon B. Johnson or God: Whoever Reads This First, discuss doing your own everything, learning curves, making your show mobile, finding a tire, the sinister myth of nostalgia, dressing up in masculinity, chemistry, “becoming people together,” going through a traditional writing process before tearing the script apart, settling disputes with your creative partner, and pulling the rug out from under your audience.

“…all of our work is historically influenced. We play a lot with clown, and absurdity…a lot of American movies, especially about the ’60s and ’70s…are so, like, ‘remember when everything was great, and it was the good ol’ days?'”

“We call it this ‘mythic American boyhood,’ that everybody wanted, but not necessarily anyone got…”

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Scott C. Sickles, Jesse Edward Rosbrow, Amanda LaPergola, Brian Silliman, & Alyssa Simon of “Hellish Delights”

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Theatre Beyond Broadway presents HELLISH DELIGHTS, written by Scott C. Sickles, directed by Jesse Edward RosbrowListen in as Hellish Delights playwright Scott C. Sickles, director Jesse Edward Rosbrow, and performers Amanda LaPergola, Brian Silliman, Alyssa Simon, discuss finding delight in characterizations, humor traps, storytelling, second chances and the effects of time on the work, finding the through-line, puppets, and what it means to be in hell.

“…I feel like the plays, parts of them, feel very different now than they did five years ago. I don’t know much of that is just that, our world has changed…how much of it was, it was in the back of our minds, ‘working’ for five years, or, we’re five years older, with five years more experience…”

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Kayla Eisenberg & Stephanie Cox-Connolly of “Lilith in Pisces”

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Drops in the Vase presents LILITH IN PISCES, written by Kayla Eisenberg, directed by Stephanie Cox-ConnollyListen in as Lilith in Pisces playwright Kayla Eisenberg, along with director Stephanie Cox-Connolly, discuss missed connections, revealing secrets, Jekyll & Hyde, starting from anywhere, campfire plays, designer collaborations, staging the unstageable, adjacency to horror, “a little bit of not-sympathy,” Stephanie’s recipe for making stage-ready mac & cheese, and things that are funny until they’re not.

“…I don’t know if it was the stars in the sky as we were reading this, or the fire started getting more fire-y, but there was a feeling with this that, THIS is a play we need to produce…I wanted plays that had that living room drama kinda feel…I like that kinda feeling of…just, ‘what is happening?’ that had theatrics in it that no one in their right mind would want to do…”

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Nick Thomas, Adam Belvo, & Azumi Tsutsui of “Anonymous”

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Spit & Vigor presents ANONYMOUS by Nick Thomas at Tiny Baby BlackboxListen in as Anonymous playwright & director Nick Thomas, along with performers Adam Belvo (Michael) and Azumi Tsutsui (Diana), discuss sharing a character, letting the story pour out, the relief of the audience, “embedded” theatre, “rehearsal with a bunch of strangers,” going “full Australian business-bro,” finding a character that’s far from you, taking us back to the (awesome) 1990s, and the potential of anonymity.

“…it has a different feeling of freshness. Like, I can feel the people sitting beside me, and they don’t know what’s going on, but hearing the story for the first time…I can feel, people are feeling it…”

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Kimille Howard & Cezar Williams of The Fire This Time Festival 2025

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Season 16 of The Fire This Time Festival, 2025, featuring works by FELISPEAKS, Brittany Fisher, TyLie Shider, Garrett Turner, Jeanette W. Hill, & D.L. Patrick, directed by Kimille Howard, at The Wild ProjectListen in as the Director of the shows in this year’s The Fire This Time Festival, Kimille Howard, along with Producing Artistic Director Cezar Williams, discuss finding balance, discovering musical talent, bringing together black voices in the theatre, finding new collaborators, figuring out the big game of scheduling Tetris, leaning into the practicalities, and making magic.

“…it’s a theatrical event…to amplify the career of black playwrights…we pull together an incredible team of artist…and it’s always a good time.”

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Bernard Bosio, Elena Lozonschi, Camila Melgar, Claude Choukrane, Ted Thompson, & Phil Williams of “The Last Days of Judas Iscariot”

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The Heights Players present THE LAST DAYS OF JUDAS ISCARIOT, written by Stephen Adly Guirgis, directed by Bernard BosioListen in as The Last Days of Judas Iscariot director Bernard Bosio, along with performers Elena Lozonschi, Camila Melgar, Claude Choukrane, Ted Thompson, & Phil Williams, discuss the culture of Heights Players, the importance of understudies, the sound of real New York dialogue, despair and hope, vibe shifts, inspiring conversations, relying on your collaborators, and the brilliance of Stephen Adly Guirgis.

“…people do make mistakes, and some of them are catastrophic…but are all of them irredeemable?”

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Kallan Dana, Julia Greer, and Sarah Blush of “Racecar Racecar Racecar”

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The Hearth presents RACECAR RACECAR RACECAR, written by Kallan Dana, directed by Sarah BlushListen in as Racecar Racecar Racecar playwright Kallan Dana, director Sarah Blush, and producer/performer Julia Greer, discuss the open road of a script, symmetry & palindromic structures, complicated father relationships, creating breaks, emergency relocations, and taking road trips with your collaborators.

“…I’m a person who tries to talk and talk until I can get to what I mean, and I’m always failing. The words are always failing you. And so I think that feels like a really emotionally true thing for me, and that was part of the fun for generating the language in this play…”

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Fareeda Pasha, Dylan Lesch, Hana Fatima Dehradunwala, Amani Meliyah, & Aliyah Curry, of The Science in Theatre Festival

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Transforma Theatre presents The Science in Theatre Festival at Brooklyn Art HausListen in as performers Fareeda Pasha & Dylan Lesch, and Hana Fatima Dehradunwala, playwright of The Last Word, along with Amani Meliyah, director, and Aliyah Curry, playwright of Receptors, both plays in The Science in Theatre Festival, discuss responsibility, “doing the research” and having access to those who *did* the research, standing on the shoulders of giants, last words, making social media explode onstage, the insanity of being a human being, and the bleeding edge between theatre and science.

“There’s something wrong with the world…[we should be] treating this country we live in as a community, we’re all responsible for each other…”

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Rhys Luke, Sophia DiPaolo, Leah Davidowitz, Tits Morality, Chloe Drohan, & Eliana Coe of “Dave and Boris Kill the Cat”

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Listen in as Dave and Boris Kill the Cat playwright Rhys Luke, director Sophia DiPaolo, costumer Leah Davidowitz, and performers Tits Morality, Chloe Drohan, and Eliana Coe, discuss falling down rabbit holes, working on a show that features real people, queer horror, grotesque and disgusting mannerisms, drag & film noir, intergenerational cat trauma, & making everything larger than life.

“…there’s something so special about sending such a strong message, under the guide of comedy…to have audience members tell you is, ‘it was so funny, I laughed so hard,’ and then you know that they go home, and think a little bit more about it, and they realize what the show is really about…it’s such a joyful process, to work on something so meaningful, something so inclusive, and have a laugh while doing it…”

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