On today’s podcast, Darin Dunston stops by to talk about Hear Again Radio Project’s “Murder of Shows”. We get into it about where to find radio plays, what’s essential at any foley table and how spaces lend to the overall experience. Stay Tuned!
Hear Again Radio Project is a collective of theater artists that fully explore the medium of radio drama to entertain and enhance the human experience. Through Live Performance, workshops, and intimate storytelling, we strive to honor the history of radio drama pioneers and develop new audiences for radio performance across invisible and expansive technologies.
On today’s podcast, I spend a lunch hour with Kevin Glaccum and Leigh Goldenberg of Theatre Philadelphia to talk about the year in review. With so many shows produced, The Barrymores and the efforts to market and promote them, there is so much to look back on. We are truly fortunate to have such a community at our fingertips. Stick around for the end and here an outtake of the fun of pre-recording Rep Radio. Happy Holidays!
ABOUT THEATRE PHILADELPHIA
Founded in 2012, Theatre Philadelphia is dedicated to bringing together and celebrating Philadelphia’s diverse and growing theatre community. We are committed to leading efforts that grow audiences and promote the public’s participation in this community’s work. Over the past several decades, Philadelphia has transformed into a major regional theatre community, with a remarkable blossoming of new companies and new buildings, a growing pool of exceptional artists, and fiercely committed and curious audiences and supporters. Theatre Philadelphia envisions a region that celebrates this growing and ever-changing theatre community – nurturing local theatre artists, fostering the creation of extraordinary work, forging stronger connections between our art and audiences – recognizing that a diverse, robust, and thriving theatre community can play a pivotal role in making Philadelphia a world-class city. Theatre Philadelphia’s programs include this website, the annual Barrymore Awards, and strategies for audience awareness and growth.
On today’s podcast, I catch up with Susan Riley Stevens and newbie, Jensen Titus Lavallee to talk about 1812’s “This Is The Week That Is”. What on earth could they have to say this year with a fairly quiet administration? Stay Tuned!
1812’s annual political comedy is taking off the gloves and getting ready to hop in the ring with the most unpredictable administration in modern history. Now in its 12th year, 1812’s signature production features new faces and returning favorite—Sean at the news desk, Dave in the lobby, and Patsy on her stoop. Get ready to laugh. Bigly.
Written & Performed by
Jennifer Childs, Sean Close, Dave Jadico,
Susan Riley Stevens, Rob Tucker, and Jenson Titus Lavallee
On today’s podcast, I return to my annual chat with Blanka Zizka to talk about the 3-part process that is the Wilma Transformation. While our focus is on the season, we touch on the new lobby, educational efforts and the 16 Barrymore Nominations that while, notable, are do not the fuel that drives Wilma’s engine. Stay Tuned!
ABOUT WILMA THEATER 2017-18 SEASON
By Federico García Lorca
Translated by Nahuel Telleria
Directed by Csaba Horváth
October 25, 2017 – November 19, 2017
On the morning of her wedding day, a young Bride is visited by a headstrong former lover, reigniting a family blood feud that has been simmering for years. Their isolated village is a pent-up powder keg of fury and desire, and when they escape together, all that repression is released — to destructive ends. Acclaimed Hungarian director-choreographer Csaba Horváth leads the Wilma’s HotHouse Company of actors in a production combining athletic ensemble theater with Lorca’s fiery language. Magical realism at its richest and most tragic, this reimagining of the Spanish classic is a searing investigation of passion in the Wilma’s signature style.
Book and Lyrics by Stew
Music by Stew and Heidi Rodewald
Created in collaboration with Annie Dorsen
Directed by Tea Alagić
January 10, 2018 – February 18, 2018
In this major revival of Stew and Heidi Rodewald’s Tony Award-winning musical, a rebellious young black man journeys to Europe in search of something “real.” Music takes center stage as we travel from gospel-soaked South Central LA through psychedelic Amsterdam to militant Berlin and back. This incendiary musical is a rowdy salve for turbulent times: a young punk screaming in defiance of the void, with an electric onstage band. See a musical experience ahead of its time, as The Washington Post recently proclaimed: “It’s high time Hamilton lovers and anyone else who cares about weird, smart, highly personal art rediscover Passing Strange.”
A World Premiere by Christopher Chen
Directed by Blanka Zizka
April 18, 2018 – May 13, 2018
Imagine you’re in an exotic new country — occupied by your nation. Now you are a distinguished doctor, but a cab will not stop for you. Now you’re in a cave so dark, so quiet, you lose track of who you are. Suddenly, there’s a sound and —
Welcome to Passage, a fantasia on E.M. Forster’s A Passage to India that uses the theater’s primal evocative powers to examine the most essential questions of our time. Written by Obie Award-winning playwright Christopher Chen, this World Premiere is a perfect vehicle for the Wilma HotHouse Company’s passion and transformative prowess.
The Wilma HotHouse is an incubator for artistic investigation and experimentation, and enables its company of actors to dare and explore under the Wilma’s auspices. HotHouse allows the Wilma to develop new works specifically for our company of actors; to conduct readings, intensive workshops, and other experiments with company members and guest artists; and to hone a unique theatrical aesthetic for the Wilma through rigorous actor training.
On today’s podcast, I had the opportunity to chat with Jonas Cohen, who plays Cosmé McMoon, the new pianist whose challenge is to compliment and complete on Florence Foster Jenkins, an eccentric and wealthy socialite who believes plays host to the soul of an enchanting coloratura soprano, played by Rebecca Robbins. Jonas, is not new to this role, as we discuss. It becomes clear that the production is very much Cosmé’s journey as it is that of “Flo”, as he intimately calls her. We dig deep and give in so, sit back and enjoy. Stay Tuned!
ABOUT SOUVENIR, A FANTASIA ON THE LIFE OF FLORENCE FOSTER JENKINS
It’s time to believe again in the power of music! Souvenir is the true story of one of opera’s most unforgettable stars. Florence Foster Jenkins, an eccentric and wealthy socialite, believes she is an enchanting coloratura soprano and she wants to share her talent with the world. After teaming up with a new pianist, Cosmé McMoon, she begins to hold recitals at the Ritz Carlton, festooned in fabulous costumes. She becomes a sensation! Unfortunately, the truth is Mrs. Jenkins can’t sing. But, there’s more than one way to get to Carnegie Hall… Based on a true story, this tuneful comedy beguiles the hopeful artist that lives in us all.
On today’s podcast, I get to know Eppchez! A self-producing artist wearing many hats who is featured in the Simpatico Theatre Project production of “HIR” by Taylor Mac. Get ready, there is some swearing at times. We explore the origins of Alma’s Engine and the dysfunctional family dynamics of “HIR” as it views the nuclear family through a new lens. Stay Tuned!
Somewhere in the tangles of the suburbs, Paige is designing a brave, new path for her children – Isaac, dishonorably discharged from active duty in the Middle East, and Max, caught in the throes of transitioning gender here at home. Freshly liberated by her abusive husband’s debilitating stroke, Paige is waging a cis-revolt in support of Max’s journey, and is now armed to dismantle the patriarchy! In this visceral and delightfully absurd kitchen-sink dark comedy, Taylor Mac explores the struggle to recognize change and the courage to face its messy repercussions.
EPPCHEZ! (MAX) – Newcomer to Philadelphia theatre. Worked with Pig Iron, The Mediums and others with a focus on devising new work. Studied Theatre and Writing at Wesleyan University. A playwright, choreographer, director, designer, puppeteer, songwriter and vocalist. Artistic Director-Conductor of Alma’s Engine, a process focused creative ministry and self-producing platform for realizing air work in music and theater. Album – Self-Realized-Nation; A Song Cycle of the Occupation (2013) original plays Junk Redemption (2012) and They Extract! (2014 & 2016). Bartam’s Garden – Train-ing: A Duet, a site-specific solo musical.
In the middle of Fringe Arts, it can be a challenge to catch up to the many artists who are presenting work. But, that won’t stop us here. Today, I caught up with Whit MacLaughlin on the phone on his way to one of many destinations in his artistic hustle to chat about HELLO BLACKOUT. There is a lot of thought behind an NPL piece and Whit is the best to explain and express the motives of NPL work. So, take a listen to our interview with Whit MacLaughlin for New Paradise Laboratories production of HELLO BLACKOUT. Stay Tuned!
ABOUT HELLO BLACKOUT
HELLO BLACKOUT! is theatre with a philosophical brain and an unpredictable heart. It follows the eccentric Kissimmee family ⎯ triplets, their mother, and an enigmatic father ⎯ back to the beginning of time. Blackouts engulf the family as they slam into an inexplicable future, with grim and hilarious results.
A pageant for this contemporary American moment, NPL presents a world where everything is unprecedented, and the final outcome is anyone’s guess.