Go See a Show!

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Retro Productions makes theatre about where we came from, and how far we’ve come — and it’s theatre that reminds us that sometimes, we’ve still got a ways to go. For director DeLisa White and actress/Retro Artistic Director Heather Cunningham, the personal stories from the past that we tell, live, in the theater, can be the kinds of stories that have a real impact on the way we live in the world today. Christie Perfetti Williams’ An Appeal to the Woman of the House is that kind of story. Listen in as DeLisa, Heather and I discuss how to make change in your community, vigilance through theatre and storytelling, and how complex even the smallest impacts can be. “…it’s not just the big actions that impact change, it’s the people who are either invested in, or complicit with, the change that occurs. It’s not just the person on the bus, but all the reactions around them…” Retro Productions presents An Appeal to the Woman of the House by Christie Perfetti Williams directed by DeLisa White thru May 17, 2014 Wednesday–Saturday, 8PM The Workshop Theater Company’s Mainstage Theater 312 W. 36th Street, 4th Floor Manhattan tickets: $18 ($15 students/seniors), available via OvationTix photos by Kyle Connolly Photography
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 … Continue reading →
It surprised me to hear that Nat Cassidy‘s new work The Temple, or, Lebensraum, currently running at The Brick, was based on a story by godfather of horror H. P. Lovecraft, because in all my collections of the man’s writings, I hadn’t read it. It’s an early piece of his, available for free online, so I breezed through it on my way to the theatre. But where the original is a small (and, truth be told, somewhat weak) tale from 1920 set on a German submarine in World War I, Cassidy’s adaptation moves that submarine to 1943 (and is anything but weak). While it’s completely unnecessary to read the story in advance, if you’re familiar with it, you’ll see a lot that’s familiar (dolphins!); but you’ll also quickly realize this isn’t just a stage adaptation. This is full adaptation, pulling the undersea dread of Lovecraft’s short story from simply a fear of the unknown into a complex play simultaneously weaving in fear of a well-known terror that humanity constantly struggles with: the fight amongst ourselves for power, and self-preservation. Now that’s horror. Listen in as Nat, along with two of the show’s actors, Arthur Aulisi and Matthew Trumbull, discuss why this particular Lovecraft story and why it’s set in WWII, “terrible things,” finding authentic costumes for your show, I am Providence, and dealing with things that are way too huge for the human mind. “I try to parse out what it is in our souls, or in our psyches…why it is that we find chaos so terrifying. What does it make us ask, what does it force us to confront about ourselves…to find the humanity in horror…” “There’s a very strong…you can’t even call it an undercurrent, it’s the main current of the show, is joking, and humor…one of the many reasons for that is horror and humor are hand in hand, they’re so intricately related…” Tin Drum Productions and MozzleStead present The Temple, or, Lebensraum written and directed by Nat Cassidy Wednesday, February 18th Thursday, February 19th Friday, February 20th Saturday, February 21st Tuesday, February 24th Wednesday, February 25th Thursday, February 26th Friday, February 27th Saturday, February 28th all performances at 7:30pm The Brick 579 Metropolitan Avenue Brooklyn tickets: $18, available via OvationTix photos by Michael Markham
Retro Productions is back with another revival of a 20th Century play, directly in line with their mission “to broaden our own understanding of the world we live in.” Roberto Aguirre-Sacasa’s Good Boys and True may be set in 1988, but the issues of class, privilege, sexuality, and violence feel uncomfortably current. Listen in as director DeLisa M. White and Producing Artistic Director of Retro Productions and actor Heather E. Cunningham, as well as fellow actors Ryan Pater and Rebecca Gray Davis, discuss high school flashbacks, the importance of punctuation, laughter from struck nerves, what happens when your mom’s in the audience, pulling from personal experience, and how this “retro” play resonates into the past, our present, and, sadly, probably into the future. “One of the lines in the play is, ‘Everything is broken.’ That’s what happens…when you hear that headline in the news, the tentacles and roots of that problem expand far beyond what you see in the news, or even in the situation if you’re in it…” Retro Productions presents Good Boys and True written by Roberto Aguirre-Sacasa directed by DeLisa M. White through December 12, 2015 Wednesdays–Saturdays @8PM Sundays @2PM The Gene Frankel Theatre 24 Bond Street Manhattan tickets: $18 ($15 students/seniors), available via OvationTix photos by Kyle Connolly
Producing independent theatre is a difficult game. So a play about producing theatre, where the title is slang for a sucker who puts a lot of money into a theatrical venture he doesn’t truly understand…it might hit a little too close to home. But Retro Productions is always a safe bet, which is what brought this microphone & podcast man to see their production of George S. Kaufman’s The Butter and Egg Man—and I found out that it did hit, in all the right places. Listen in as director Ricardo Rust and cast members Ben Schnickel, Alisha Spielmann, and Heather E. Cunningham (Retro’s Producing Artistic Director, and past podcast guest!) discuss going back to the 1920s, choreographing your scene changes, how to deal with the unexpected onstage, and producing plays about producing plays. “‘…it’s so fun to watch what’s happening onstage just like I’m the audience, and laugh at it…whether it be the actual play I’m laughing at, or whether it be scenery falling down, it’s funny, and you get to laugh at it…’ ‘That’s kind of what’s so great about theatre…'” Retro Productions presents The Butter and Egg Man written by George S. Kaufman directed by Ricardo Rust May 15–30, 2015 remaining performances: Thursday, May 28 @8PM Friday, May 29 @8PM Saturday, May 30 @2PM & 8PM The Gene Frankel Theater 24 Bond Street Manhattan tickets: $18 ($15 students/seniors, $10 under 12) available via OvationTix photos by Kyle Connolly
When you walk in to The Brick to see Matthew Freeman‘s play The Listeners, directed by Michael Gardner, you’re seeing the back of scenic flats—you might think you came in the stage door. But you didn’t. Follow those flats around, and you won’t get to your seat “in front of” the set. Your seat is right there at the back of those flats; you’re intentionally on the outside, looking in on a lovely set through a small slit in the wall (or through a one-way mirror, if you’re lucky). It’s a unique way to see a unique play, and, as the title would suggest, this restriction on your sight highlights the sounds. Listening to those sounds, along with your own private window into the world, you follow the story of a man and a woman who’ve arrived to a house, and the people who were already there—and all the while, time seems to be running out, for something, as an unknowable sound bears down on the people in the box you’re peering into. This is quite a different show from what we discussed last time Matt was on the podcast, but he’s just as awesome to talk to as last time. Listen in as he discusses the translation from improvisation to page to stage, the sound of his play, creating nameless fear, and letting your influences be what you are. “It wears all its influences on its sleeve; I think if you just don’t fight that stuff…the piece of it that is uniquely me will come through anyway…” The Brick Theater, Inc. presents The Listeners written by Matthew Freeman directed by Michael Gardner a production of The Brick Resident Artist Program February 4, 6, 7 February 8 @ 2pm February 10, 11, 12, 13 & 14 @ 8pm The Brick 579 Metropolitan Ave Williamsburg tickets: $18, available via OvationTix photos by Michael Gardner  
Listen in as And Miss Reardon Drinks a Little director Shay Gines, performers Sara Thigpen and Christopher Borg, along with returning guest, Retro Productions Artistic Director and “Miss Reardon” herself, Heather E. Cunningham, discuss absence, finding yourself right in the middle … Continue reading →
Gideon Productions has been on the podcast before with the excellent shows Ligature Marks and Asymmetric, and the company’s continually been on the rise since I’ve met them, garnering more well-deserved press and accolades. Now, playwright Mac Rogers is being featured in The New York Times, and the company is collaborating with larger venues to bring past-produced epics like The Honeycomb Trilogy and the now-running Universal Robots back to New York audiences. But these aren’t simple re-mounts—as producer Sean Williams notes in the interview, the world has changed since the first production of the show. By bringing back hits from their catalogue, not only is Gideon giving audiences what they’ve been asking for (in Mac’s words, “You have to have a good reason to think it’s a show anybody wants to come back…There are some plays people have never stopped talking to me about…”), the company can also bring them to more audiences, do them on the grand scale they deserve, and the plays can now talk to a different world. Listen in as Mac and Sean discuss how Universal Robots isn’t an adaptation of R.U.R., the freedom of now vs. even just ten years ago, life imitating art imitating life, the end of a play’s natural life, and the next steps for the evolution of a highly-successful indy theatre company. “One of the characters sort of sneers at the idea that theater’s supposed to be fun. [Another] says, ‘Of course theatre’s supposed to be fun! Why have rigging above the stage if you’re not going to dangle a god?’“ Gideon Productions and The Sheen Center present Universal Robots written by Mac Rogers directed by Jordana Williams through June 26, 2016 Wednesdays–Saturdays @8PM Sundays @2PM (no show Wed 6/8) The Black Box Theater at The Sheen Center 18 Bleecker Street Manhattan tickets: $25 ($18 students), available via OvationTix photos by Deborah Alexander
Listen in as the duo Marina & Nicco—Marina Tempelsman & Niccolo Aeed—discuss beginning their new show Unpacking from a design idea, introducing nostalgia via live music, ephemera, melancholia in comedy, what happens when you trust your audience with your lighting design, … Continue reading →
Listen in as the directors/writers of PLUTO (no longer a play), Jeremy Pickard and Lanxing Fu, discuss allegory, mass extinction, the definition of “eco-theatre,” community outreach, the benefits of imposed limitations, and how to work with the fact that “it’s a … Continue reading →
Listen 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 … Continue reading →
Listen in as Wendell & Pan writer Katelynn Kenney and director Ria T. DiLullo discuss the kismet that made them collaborators, “magical dramedy,” ghosts, eating up the play of the theatre, and modern American myth. “…how do we take contemporary … Continue reading →
Listen in as TILT creator, choreographer, director, & performer Rachel Cohen, along with tap dancer Heather Cornell, composer Lynn Wright, and lighting designer Jon Harper discuss constructing your reality, creating a feast for the senses, a tight structure overlain with … Continue reading →
The brilliant comedic team of Recent Cutbacks didn’t exist, at least not in name, when they were last on the podcast with their incredible Hold on to Your Butts. But luckily for all of us, they’re back, and this time, instead of dinosaurs, they’re taking on elves, dwarves, orcs, wizards, eagles, and, of course, hobbits, with Fly, You Fools! On the mic are the show’s producer Allyson Morgan, as well as returning guests, director Kristin McCarthy Parker and performers Nick Abeel and Kyle Schaefer; and now, added to the team are performer Matt Zambrano, and foley artist Blair Busbee, all of whom sat in for a chat about their wonderful new show. Listen in as the Recent Cutbacks team discusses why they moved to The Fellowship of the Ring from Jurassic Park, dancey, movementy, mimey things, the danger of inciting a nerd riot, finding the sound of your show as it continues to change, and how to deal with prop mishaps in real time. “…in the rehearsal process, we sort of found that the more epic the film was, the less props we needed. We could get away with more, with less…actually, we don’t need these hundred wigs, or these extra props, when we can tell the story just through physicality. Which I think is actually more joyful for the audience…” Recent Cutbacks presents Fly, You Fools! directed by Kristin McCarthy Parker produced by Allyson Morgan performed by Nick Abeel, Kyle Schaefer, & Matt Zambrano foley by Blair Busbee music arranged by Kelsey Didion remaining performances: Friday, 4/8 @8pm Friday, 4/15 @8pm** Friday, 4/22 @8pm** Friday, 4/29 @8pm ** means there’s also a performance of Hold on to Your Butts at 9:30 that night! The PIT 123 E. 24th St Manhattan tickets: $20, available via thepit-nyc.com photos by Lloyd Mulvey
Opera tends to be pretty tragic. And even though Mind the Art Entertainment‘s operetta Fatty Fatty No Friends is about a group of kids, it doesn’t shy away from the dark and grisly themes and action that usually goes along with the form. But the show also grapples with some very deep, and even distressing issues that our society has been dealing with for a long time. Composer and director Christian De Gré and author Serrana Gay have done the magic of put those themes into a gorgeous, entertaining show—and Jason Sofge, who plays Tommy, leads a brilliant cast that sings and plays it to life. Listen in as Jason, Serrana, and Christian discuss why the show was set up like a kid’s book, entertaining work with social messages, inspiration from a late-night meal, and choosing between venue-director money or actor money (please note, neither is a good get-rich-quick scheme). “…I think it’s really interesting that it can have such a stark, different perspective: are we watching a monster piece, or are we watching a piece about a fallen hero that never was understood? Maybe it’s one and the same. I think it’s very important that people see this piece of theatre…I really think this is a conversation that we need to have right now…” Mind the Art Entertainment presents Fatty Fatty No Friends conceived, directed, and music by Christian De Gré with R. Patrick Alberty lyrics by Joseph Reese Anderson original story by Serrana Gay music direction by Aaron Butler featuring Jason Sofge as Tommy The Celebration of Whimsy 21 Clinton Street Manhattan through November 22, 2015 Fridays at 7:30PM Sundays at 3PM tickets: $30, available via Mind The Art’s website photos by Ze’ Castle Photography
Times is tough all over. If you listen to NPR regularly (as this radio nerd does), you’ve probably caught a story or two just in the past week about young adults living with their parents because of economic pressures. In Lucas Kavner’s new play Carnival Kids, directed by Stephen Brackett, Mark is living with his dad Dale again; but, the situation is reversed, and it’s broke, former rockstar Dale who’s crashing Mark’s New York law-student bachelor pad. As Dale befriends Mark’s illegal-smartphone-app mogul roommate, and attempts to profit from courting a woman seeking a green-card marriage, Mark attempts to open up to an old friend from high school — and his porcelain-smooth existence begins to crack. My description can’t do it justice, so don’t let my ham-fisted-ness scare you off — this is a really interesting play in a production that deserves your attention. Listen in as Stephen and the wonderful cast of Laura Ramadei, Jake Choi, Danelle Eliav, Max Jenkins, and Randall Newsome discuss hiding, breaking expectations, when casting director suggestions go wonderfully right, casting yourself (graciously), and how to invite the audience into the intense, bizarrely-close moments of the play. “…we’re just naked up here on this stark white, thin set…I feel like I’m working on my poker face, trying not to lose it…” Lesser America presents Carnival Kids by Lucas Kavner directed by Stephen Brackett TBG Theatre 312 W. 36th Street Manhattan thru June 28, 2014 Thursdays thru Saturdays add’l performances on Sunday, June 15 & Wednesday, June 18 all performances 8PM tickets available via SmartTix photos by Danny Ghitis
So this is one of those episodes that got recorded when the show was (first) presented, but I missed my window to get the podcast up before closing. Thankfully, though, it was a show in development by The Mad Ones, and the full production is set to open this weekend at The New Ohio. When lighting designer Mike Inwood & I first chatted during its workshop run in The Ice Factory last summer, it was called the Untitled Biopic Project, a show that crosses the genres of film, theatre, and music — in this interview, we talk a bit about the development process that went into the project, which is now called The Essential Straight & Narrow. Listen in as Mike and I discuss how a lighting designer can inform the development of work with a group like The Mad Ones, writing & working in layers, and how to properly pronounce the word “biopic.” The Mad Ones present The Essential Straight & Narrow Created by The Mad Ones Directed by Lila Neugebauer Set Design by Laura Jellinek Lighting Design by Mike Inwood Sound Design by Stowe Nelson Music Direction by Michael Dalto Costume Design by Asta Hostetter May 22–June 14 Wednesdays–Saturdays @8PM The New Ohio 154 Christopher Street Manhattan tickets: $18, available via Vendini
Over the past several decades, the fundamental definition of “family” has changed — and the collaborators of Collaboration Town have come of age through some 30-odd of those years. In their new show Family Play (1979 to present), previously titled Help Me to Make It and part of their two-year participation in The Archive Alliance Residency, CTown co-artistic directors, actors, and playwrights on the project Boo Killebrew and Geoffrey Decas O’Donnell (fellow playwright Jordan Seavey spoke about the project on an earlier episode of the podcast, during the show’s workshop last summer) explore the changing nature of the family through a series of 116 moments — many of which will be familiar to…well, anyone who’s grown up. Listen in as Boo and Geoffrey discuss what makes a family, “a lot of Google Docs,” the deconstruction of the traditional nuclear family in traditional American drama, and how you define a person based on moments. “…if we’re going to explore how family is changing, then we need to explore traditional structure in plays…we wanted to just break everything down as much as possible…take away definitions of people…everyone is everyone is everyone…” New Ohio Theater and Collaboration Town present Family Play (1979 to present) written by Geoffrey Decas O’Donnell, Boo Killebrew, and Jordan Seavey directed by Lee Sunday Evans New Ohio Theater 154 Christopher Street Manhattan thru May 16, 2014 Mondays & Tuesdays @ 7:00pm Wednesdays, Thursdays, Fridays & Saturdays @ 8pm tickets: $18, available via CTown’s website photos by Hunter Canning
Listen in as actors Tony Torn and Will Dagger of Ben Beckley’s Latter Days, along with Artistic Director of Dutch Kills Theater Company Alley Scott, discuss makeup mishaps, referencing Beckett & Don Quixote, finding the perfect prop toilet when you’re out with friends, creating an original theology for your show, and belief, expectation, fantasy, reality, and father figures. “…finding yourself somebody who’s desperate to believe in transcendence of sorts, and also, coming up against your own inherent skepticism…” Dutch Kills Theater Company presents Latter Days written by Ben Beckley directed by Jess Chayes thru March 11, 2017 Theater 511 511 W. 54th Street Manhattan tickets: $20 ($35 premium), available via OvationTix photos by Christopher Genovese
A few years back, director, accidental Eugene O’Neill enthusiast, and TMLMTBGB actor Christopher Loar thought up a fun little sketch for that long-running, long-titled New York Neo-Futurists show (if you don’t know it from the acronym, click this link, then go see the show this weekend, or any weekend!) — strip away O’Neill’s dialogue, brilliant as it is, and just say and perform what was meant to be performed and not said: the stage directions. If you’ve ever read an O’Neill, you probably know that such a drastic cut would still leave you with a whole lot of text. The exercise of turning that text into a staged event unto itself proved successful in TMLMTBGB, so Loar’s next step? Make an evening out of it with The Complete & Condensed Stage Directions of Eugene O’Neill, Volume 1: Early Plays/Lost Plays, which received a Drama Desk nomination for “Unique Theatrical Experience.” Now Loar and the Neo-Futurists are back with The Complete & Condensed Stage Directions of Eugene O’Neill, Volume 2 — because why mess with a good thing, right? Listen in as Christopher and I discuss the utility of stage directions, staying out of the way of your performers/collaborators/interpreters, and O’Neill’s moment vs. this 2014 moment in downtown theatre. “I think in the stage directions there’s the intention of what the writer wants to happen onstage or happen with that character…but I guess that’s what I like so much about this…I too come from a background where I was trained to ignore all of the stage directions…” Theater for the New City and The New York Neo-Futurists present The Complete & Condensed Stage Directions of Eugene O’Neill, Volume 2 based on the works of Eugene O’Neill adapted/directed by Christopher Loar thru May 11, 2014 Monday, Wednesday–Saturday at 8pm Sunday at 3pm Theater for the New City 155 First Avenue (b/w 9th & 10th Street) Manhattan tickets: $25, available via SmartTix photos by Hunter Canning
There’s some pretty intense fighting in many of Shakespeare’s works—intense fighting that, in most productions, gets pared down to a couple of sword-clinks in the absence of a skilled fight choreographer, actors prepared to follow said choreography, and the budget and space to make that choreography come to life. Sadly, this is especially true in the independent theatre… In the case of Combative Theatre, and their partners in Shakespeare in the Square, however, the fight is put front and center. For their show Coriolanus: From Man to Dragon, Omri Kadim adapts the tragedy to really get to its combative core. And as you’ll hear from the background noise in this interview, there’s more than just a few sword-and-shield hits to be seen… Listen in as director Yuriy Pavlish and fight director Mitch McCoy discuss how they fill in what’s missing from most productions of Coriolanus, finding the right actors for your fight-heavy show, bringing together theatre companies, resonance with current events, and when you should hold on to a production. “…my belief is that if you just tell the story that Shakespeare put down, and not try to twist it to an agenda, and really ask yourself, ‘what was Shakespeare trying to say?’ and just do it, you will find all of the connections you need to current events, and a thousand years ago, and a thousand years from now…” Combative Theatre Company & Shakespeare in the Square present Coriolanus: From Man to Dragon based on William Shakespeare’s Coriolanus adapted by Omri Kadim directed by Yuriy Pavlish fight direction by Mitch McCoy thru November 20, 2016 Italy Time Theater 238 Bleecker Street Manhattan tickets: $18, available via shakespeareinthesquare.com (SOLD OUT) photos by Emilio Madrid-Kuser photos by Zach Terry
Summer means free Shakespeare in the Park! But not just Central Park… Hip to Hip Theatre Company has been bringing the Bard’s classics to parks throughout Queens for years now—and this summer, they’re expanding to the Bronx, to New Jersey, and even to the NY Fringe’s Al Fresco series. They’re running The Merchant of Venice, which this podcast was able to catch in Flushing Meadows–Corona Park, under the Unisphere, in rep with The Merry Wives of Windsor, driving their props, costumes, and modular set around in a box truck and setting up for communities to come and enjoy theatre in their local park. GSAS! tries not to editorialize too much, but I’ve got to say, free, accessible theatre for the public is undoubtedly a really, really great thing. Listen in as Hip to Hip Artistic Director Jason Marr (who also plays Antonio in Merchant)  and Associate Artistic Director (and director of Merchant) David Mold discuss creating your own opportunities, tackling kids (for their safety, of course), taking inspiration from your democratic principles, directing for the outdoors, and the beauty of the liveness of theatre out in the community. “…even though we might have a significant number of people in our audiences who aren’t avid theatre-goers, I think as long as we’re presenting the story in a way that’s really clear, and really intentional, that they’re going to go along on that journey…” Hip to Hip Theatre Company presents Free Shakespeare in the Park 2015 The Merchant of Venice directed by David Mold in rep with The Merry Wives of Windsor directed by Murray McGibbon July 22–August 16, 2015 performed at parks throughout the New York City area visit Hip to Hip’s website for date and venue information tickets: FREE! photos by Julian Volaj
If you stop and think about it, of all the classics being overrun by zombies these days, Romeo & Juliet is kind of the most logical to receive the undead treatment. Playwright Melody Bates was struck with just such a notion after seeing the Met’s opera of Roméo et Juliette, and the result, R & J & Z, is now playing at The New Ohio. Picking up Shakespeare’s story in Act V, Bates keeps the action going long after the dagger through her heart has turned Juliet’s white dress to crimson—and you might be surprised who the villain of the story is… GSAS! sat down to chat with Melody (who also plays Juliet) after a performance of the show, and thanks to the brilliant suggestion of Hard Sparks Artistic Director J. Stephen Brantley (Mercutio in this production, and past podcast guest), we were joined by playwright Mariah MacCarthy, who’s also adapted Romeo & Juliet with her musical Ampersand. Listen in as Melody, J. Stephen, and Mariah discuss their respective adaptations of Shakespeare, gender-swapping & cross-dressing, low opinions of Paris, upending the power structure of the world, and how death changes everything. “…so frequently you have scenes in Shakespeare where the women just stop talking, and the scene continues for several more pages and the men do the talking. And that’s an interesting challenge as an actress because you’re like, ‘well, I have to figure out why I’m not talking—” “—right, and why I’m still here, not talking—” “—exactly. So I pointedly wanted to write a scene where that happened to a man.” Hard Sparks presents R & J & Z written by Melody Bates directed by Joan Jubett remaining performances: Wednesday, April 15–Saturday, April 18, 2015 8PM nightly The New Ohio 154 Christopher Street Manhattan tickets: $18, available via Vendini photos by Hunter Canning
The company Hamlet Isn’t Dead is on quite a mission—to produce all of Shakespeare’s plays, in the order in which they were written. They’re up to Richard III, and as director Brian Gillespie (with the GSAS! hat trick!) points out at the top of the interview, it’s a pretty fortuitous time to be putting up what some might call the Bard’s first “hit,” what with the real, historical Richard’s body re-buried just last week. This production takes the idea of the infamous English monarch as “master manipulator,” and “explodes that metaphor—through puppetry.” Which is really cool to watch. Listen in as Brian and five of the nine cast members—Jarret Kerr (Richard), Laura Iris Hill (Margaret and more, and also a returning podcast guest), David Andrew Laws (Buckingham, last on GSAS! with Brian for Twelve Nights), Morgan Hooper (Richmond and more), and Travis Klemm (Hastings and more)—discuss puppet workshops, working within your constraints, playing characters you’ve always loved, and the “magic trick” that comes from streamlining your cast. “The more that I researched the play, the more I was like, ‘which characters don’t have any agency that might be controlled by others, that could be puppets?’…or, ‘there’s a lot of references to shadows, could we explore some of these nightmares with shadow puppets?’…” Hamlet Isn’t Dead presents Richard III by William Shakespeare directed by Brian Gillespie remaining performances: Thursday, April 2, 2015 @8PM Saturday, April 4, 2015 @8PM WestBeth Community Center 55 Bethune Street Manhattan tickets: $20, available via BrownPaperTickets photos by Joshua Stauffer
RadioTheatre was last on the podcast with their H. P. Lovecraft festival in 2012—and being a fan of the master’s fiction, the producer of GSAS! just had to get back to The Kraine to hear more of Dan Bianchi & Company’s adaptations of his classic stories. After the first night of the festival, featuring The Moon Bog and The Shadow Over Innsmouth, I sat down with Bianchi again, as well as the three actors giving voice to the terror that evening—Frank Zilinyi, R.Patrick Alberty, and Joshua Nicholson. Listen in as Dan, Frank, Patrick, Joshua & I discuss “Lovecraft” vs. “love craft” in the minds of unsuspecting patrons, performing at the new Lovecraft-themed bar (seriously, this is a thing), not looking at who you’re playing to, and how live radio drama differs from more “traditional” theatre. …and yep, that “Part I” in the title means that there’ll be more aural cosmic horror discussed on the podcast soon! “It’s more like a band, I always say…it’s kind of like doing sets in a band.” RadioTheatre & Frigid New York present The 6th Annual H. P. Lovecraft Festival adapted/directed/designed by Dan Bianchi based on the fiction of H. P. Lovecraft sound/lighting by Wes Shippee OCT 2: THE SHADOW OVER INNSMOUTH/THE MOON BOG OCT 3: THE DUNWICH HORROR/THE STATEMENT OF RANDOLPH CARTER OCT 9: THE SHADOW OVER INNSMOUTH/THE BEAST IN THE CAVE OCT 10: FROM BEYOND/THE CALL OF CTHULHU/THE BEAST IN THE CAVE OCT 11: THE SHADOW OVER INNSMOUTH/THE MOON BOG OCT 12: THE DUNWICH HORROR/DAGON all shows @7:30PM The Kraine Theater 85 E. 4th Street Manhattan tickets: $18/$15 students, available via HorseTrade’s website photos by R.Patrick Alberty
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Podcast Details

Started
Mar 10th, 2012
Latest Episode
Jul 24th, 2020
Release Period
Daily
No. of Episodes
329
Avg. Episode Length
16 minutes
Explicit
Yes
Order
Episodic

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