Posted on December 3rd, 2008 at 1:05 pm
by American Theatre Wing
Performance
The panel of performers — Mark Linn-Baker (A Funny Thing Happened On The Way To The Forum), John Cullum (Show Boat), Ann Duquesnay (Bring In ‘Da Noise, Bring In ‘Da Funk), Judith Ivey (A Fair Country), Donna Murphy (The King And I), Michael Nouri (Victor/Victoria) and Daphne Rubin-Vega (Rent) — discuss how they auditioned for their current roles, and what education and training they received at the start of their careers.
Original airdate - April 1, 1996.
Running time - 90 minutes.
For more information see Working in the Theatre’s Performance program page.
You can also download the Performance program (mp4).
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Posted on November 26th, 2008 at 11:18 am
by American Theatre Wing
Production: Master Class
The production team of Master Class — producer Lewis Allen, producing associate Doris Blum, actress Karen Day Cody, press agent Bill Evans, casting director Alan Filderman, stage manager Dianne Trulock, and advertising representative Jim Weiner — traces the show from its Montana workshop, to stagings in Philadelphia, L.A., and D.C., to opening in New York; how the creators, designers, and operatic cast were put together; developing the publicity and advertising campaigns including the casting of Zoe Caldwell’s replacement Patti LuPone; and producing under the Broadway Alliance contract.
Original airdate - April 1, 1996.
Running time - 90 minutes.
For more information see Working in the Theatre’s Production: Master Class program page.
You can also download the Production: Master Class program (mp4).
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Posted on November 19th, 2008 at 7:03 pm
by American Theatre Wing
Arias to Showstoppers: The Worlds of Opera and Theatre
Composer Michael John LaChiusa, and directors Diane Paulus and Stephen Wadsworth have all worked in the once mutually-exclusive worlds of opera and theatre. They share their thoughts about the nature of each of these entertainment forms, how they differ and what they share; the use of amplification and how it affects productions in both opera and theatre; the so-called American Idol effect on musical performers; changes in training for opera singers; the differing scale - and manner - of pay; whether super-titles enhance or distract from opera performances; and the importance of the director’s role and how it differs in theatre and opera.
Original airdate - November 16, 2008.
Running time - 60 minutes.
For more information see Working in the Theatre’s Arias to Showstoppers: The Worlds of Opera and Theatre program page.
You can also download the Arias to Showstoppers: The Worlds of Opera and Theatre program (mp4).
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Posted on November 13th, 2008 at 5:56 pm
by American Theatre Wing
Playwright, Director and Choreographer
The panel - director Melvin Bernhardt (The Blues Are Running), playwright David Henry Hwang (Golden Child, M. Butterfly), composer Mary Rodgers (Once Upon A Mattress), playwright Nicky Silver (Fit To Be Tied), director David Warren (Fit To Be Tied), and choreographer Marlies Yearby (Rent) - discuss how directors collaborate with playwrights, how actors may influence how a role is written, the purpose of the Society of Stage Directors and Choreographers union and Dramatists’ Guild, and the panelists’ individual education and training.
Original airdate - September 1, 1996.
Running time - 90 minutes.
For more information see Working in the Theatre’s Playwright, Director and Choreographer program page.
You can also download the Playwright, Director and Choreographer program (mp4).
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Posted on November 10th, 2008 at 8:31 pm
by American Theatre Wing
Jan Maxwell
From To Be Or Not To Be.
Two-time Tony nominee Jan Maxwell talks about whether she’s been influenced by Carole Lombard and Anne Bancroft, her film predecessors as the leading ladies of To Be or Not To Be, as well as the difficulty of working in a new play when the author was on the other side of the ocean. She also relates a tale of how she managed her first visit to New York under the guise of a youth mission trip; her multiple experiences coming into shows with relatively little preparation, including A Doll’s House and The Dinner Party, and Neil Simon’s withering assessment of her work at an early preview of the latter; literally getting lost backstage at City Center while running between the theatre’s for Alan Ayckbourn’s House and Garden; why she thinks she’s being typecast as a child tormentor in such shows as Chitty Chitty Bang Bang and Coram Boy; her deep affinity for the work of playwright Howard Barker, and why we shouldn’t expect to see her collaborating with her brother, noted downtown theatre artist Richard Maxwell, anytime soon.
Original airdate - November 7, 2008.
Running time - 55:25.
For more information see Downstage Center’s Jan Maxwell program page.
You can also download the Jan Maxwell program (mp3).
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