Episodit
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The 1980s might not seem like a decade conducive to the emergence of a groundbreaking gay theatre. However, amidst the AIDS pandemic and a homophobic backlash to the gains of the post-Stonewall era, Charles Busch and Kenneth Elliott created something unique in New York City. The company that they founded, Theatre-in-Limbo, developed some of the biggest underground hits of the 80s, with unforgettable titles like Vampire Lesbians of Sodom and Psycho Beach Party. Now Elliott is out with a new book: Beyond Ridiculous: Making Gay Theatre with Charles Busch in 1980s New York. It tells the story of Theatre-in-Limbo and makes a case for its underappreciated importance.
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In the 1960s, the English city of Sheffield began work on a new theatre. The new venue, called the Crucible, became an important landmark in the development of theatre in the UK, as well as a point of contention nationwide. At the center of it all was Colin George, who spearheaded the building of the Crucible and fought for its then-unconventional design. Although George passed away in 2016, his memoirs of this era appear in a new book, Stirring Up Sheffield: An Insider’s Account of the Battle to Build the Crucible Theatre. It’s co-authored by Dr. Edward George, an economist, broadcaster, and writer who’s especially well-placed to help tell the story, since he’s also Colin’s son. Tedd George joins us to talk about the Crucible and Colin George's legacy.
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How did scenic designer become a job that people could pursue in the theatre? Dr. David Bisaha joins us to talk about his book, American Scenic Design and Freelance Professionalism.
Correction for the episode: The correct number for the historical, segregated Washington, D.C. IATSE Local was 224-A, not 244-A.
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Dr. Carla Della Gatta joins us to talk about Latinx Shakespeare productions and her book Latinx Shakespeares: Staging U.S. Intercultural Theater.
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Ancient Greek and Roman drama has influenced theatre for millennia, and playwrights and other artists from around the world continue to draw inspiration from these works. Professor Fiona Macintosh joins us to talk about the Archive of Performances of Greek and Roman Drama at Oxford University and how it's been a resource for those who want to learn more about how these works have been - and continue to be - performed.
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Lorraine Hansberry's play "The Sign in Sidney Brustein's Window" is often forgotten, or dismissed as an inferior play that fell victim to the playwright's declining health at the end of her life. But as our guest, Elise Harris, tells us, it's a fascinating work in its own right, and one with a rich and complicated history.
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The eighteenth century was obsessed with celebrities, and, like our own time, the fans of the 1700s were fascinated by famous actress' pregnancies. Dr. Chelsea Phillips joins us to talk about how she explores the emergence of this aspect of 18th-century fan culture in her new book, Carrying All Before Her: Celebrity Pregnancy and the London Stage, 1689-1800.
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Broadway has a long and complex history, and in November of 2022 a new museum is opening that will allow visitors to explore that history. Curator Ben West joins us to introduce the Museum of Broadway and explain how it's bringing the theatrical past to life.
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For anyone who's been following the news in 2022, a play about an Eastern European country's heroic resistance in the face of Russian invasion might sound timely. But as Dr. Thomas F. Connolly shows in this week's discussion of Robert E. Sherwood's "There Shall Be No Night," timeliness can be a tricky subject, perhaps especially in the context of live theatre.
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The Classix project is working to, as they put it, “explode the classical canon through an exploration of Black performance history and dramatic works by Black writers.” Two members of the Classix team – director Dominique Rider and dramaturg Arminda Thomas – join us to talk about their work and how they’re sharing essential works from Black theatre history with new audiences.
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It was the biggest hit on Broadway one hundred years ago – and yet it’s largely forgotten today. Eric Grode joins us to talk about his recent New York Times article marking the centenary of Abie’s Irish Rose, the hit comedy that, though it was riddled with stereotypes and reviled by critics, seemed like it just might be popular enough to run forever.
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Kunqu is one of the cultural treasures of Chinese theatre. Today we're fortunate to be joined by Dr. Dongshin Chang, an expert on the art form. Dongshin will introduce us to the fascinating and musical world of kunqu.
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The recent Tony-nominated Broadway revival of Ntozake Shange’s for colored girls who have considered suicide/when the rainbow is enuf reflects a growing appreciation for a Black writer whose work gives voice to those who have been oppressed and marginalized because of their race and gender. But who was Shange, and what more do her theatrical works have to say to us today? Dr. Kim F. Hall of Barnard College joins us to explore Shange's life and work.
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Shakespeare looms large over both the American and British theatre scenes. But his outsize influence means that we’ve long neglected a dizzying array of fascinating and brilliant theatre written by other early modern England dramatists. Rob Crighton and the Beyond Shakespeare Company are working to remedy this, and Rob joins us for this episode to discuss how they’re trying to expand our awareness of the theatre of this era.
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The ancient Roman comedies of Plautus have inspired playwrights from Shakespeare to Sondheim. But they've also been seen as grim reminders of the oftentimes horrifying world of ancient Rome, where violence and slavery were commonplace. Dr. Amy Richlin joins us to talk about her book Slave Theater in the Roman Republic, which explores how Plautus's plays gave voice to enslaved persons during this era.
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The roles played by women in theatre in the United States have been varied, from playwrights and performers to critics and members of the audience. Now the Beinecke Library at Yale University is sharing some of the stories of these women in an exhibit called Brava! Women Make American Theater, which runs through July 3, 2022. Today we’re joined by Dr. Melissa Barton. She’s the Curator of Drama and Prose at the Yale Collection of American Literature, as well as one of the lead creators of the exhibit.
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Charlotte Cushman was a fascinating figure in 19th-century American theatre: in addition to being the first female celebrity actress on the American stage, she was also a trailblazer who embraced her identity as a lesbian and made a name for herself in a male-dominated industry. Tana Wojczuk joins us to talk about Cushman, who's the subject of her new biography, "Lady Romeo: The Radical and Revolutionary Life of Charlotte Cushman, America's First Celebrity."
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Performance has always been a key part of the spiritual life of the Church of Jesus Christ of Latter-Day Saints. One of the most notable Mormon theatrical events of the last few decades have been the pageants that depict stories from the Bible and the Book of Mormon. However, as Dr. Megan Sanborn Jones discusses in this 2018 interview, the era of pageants may be coming to an end. Even before the covid-19 pandemic made it impossible to safely perform live theatre, Church leadership had decided that the pageants didn’t fit well into its vision for the future of the faith. Dr. Jones joins us to discuss the past, present, and possible future of these unique performances.
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Developing approaches to theatre that fit the needs and experiences of performers of color, particularly Black artists, has long been a pressing concern for the American stage. Actor training has been dominated by Eurocentric approaches based on theorists such as Stanislavsky, which are geared towards a repertoire that’s heavy with White authors such as Shakespeare and Ibsen.
In the 20th century, the Black Arts Movement challenged these prevailing influences, offering work that spoke to Black experiences in the United States and developing new approaches to producing the movement’s plays. However, one of its most important figures, Ernie McClintock, has been underappreciated in histories of the movement. Dr. Ibby Cizmar has been working to reappraise McClintock’s career and situate him within the larger Black Arts Movement, and she joins us in this episode to discuss his life and work.
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