ATW - SDCF Masters of the Stage: Recent Episodes
American Theatre Wing and SDCF
Rare insights into the working process of America's most seminal directors and choreographers are the focus of "Masters of the Stage." This series features more than three decades of priceless One-on-One interviews and panel discussions with theatre's most distinguished luminaries. Listen to these never before broadcast programs and hear the story of the American theater told by those who helped chart its course.
At the SDCF 2013 Emerging Artist Symposium on Musicals on May 20, 2013, internationally-acclaimed director/choreographers Chet Walker and Marcia Milgrom Dodge shared their expertise of applying a fresh perspective to the revival of a musical subsequent to an iconic production.
At its 2013 Emerging Artist Symposium on Musicals, Robyn Goodman, Commercial Producer and Founder of Second Stage Theatre, spoke with SDCF Producing Director Ellen Rusconi about discovering talent and developing new work in today's dynamic theatre climate. Goodman ("Rodgers and Hammerstein's Cinderella," "Avenue Q," "In the Heights," "Altar Boyz") infuses her perspective as an actor turned producer with a well-rounded view of a production from page to stage and everything in between. Listen as she offers insight on keeping up with trending audience interest and younger sensibilities, procuring a strong design team, giving a memorable interview, and recognizing commercial viability in unexpected places.
On July 13, 2013, Stage Directors and Choreographers Foundation hosted a One-on-One Conversation with acclaimed Director, Choreographer, and Movement Director Steven Hoggett ("Blackwatch", "Peter and the Starcatcher", "Once") discussing his artistic vision, career trajectory, and rehearsal processes. Moderated by Ryan Donovan, the conversation explores Steven’s journey from his beginning as a self-sustaining artist in Wales with Frantic Assembly to his big-budget ventures on Broadway and around the world. Topics discussed include staging musical transitions, budgetary and spatial influences on artistic freedom, the unique aspects of the American theatre industry, and the value of deep collaboration when creating theater.
In a One-on-One Conversation on June 12, 2013, award-winning directors Pam MacKinnon and Kathleen Marshall spoke with SDCF Producing Director Ellen Rusconi about building their artistic careers. Listen as they discuss the nuts and bolts of the rehearsal process, from the Illuminating qualities of auditions and early design meetings to the continuous evolution of a piece as gauged by audience, producers, and associates. This candid conversation offers practical knowledge about creating career inroads, aligning collaborators and continuously developing craft.
On May 6th, 2013, Oliver Butler of The Debate Society and Jack E. Cummings III of Transport Group spoke with SDCF Producing Director Ellen Rusconi on their experiences simultaneously managing a directing career and theatrical company. The in-depth discussion follows the ebb and flow of two singular directing careers each affected by a loyalty to their own growing theatre companies. Listen as they explore how changing cultural and economic trends affect a theatre company’s ability to sustain itself and the dichotomy that exists when looking for work outside of the company.
On April 8, 2013, Fight Directors Erica Gould and Rick Sordelet spoke with SDCF Producing Director Ellen Rusconi to discuss the responsibilities and roles of theatre’s fight directors. Gain a better understanding of the role of the fight director and the support he or she provides in storytelling on stage.
On January 7, 1987, Artistic Directors Nagle Jackson (of Hartford Stage) and Mark Lamos (of McCarter Theatre) sat down with Mary Robinson to speak about leadership in regional theatre. This focused discussion will enlighten the listener about the art of choosing a season, how your audience can affect play selection, and the work of maintaining a repertory theatre.
On Tuesday, December 4, 2012, the Stage Directors and Choreographers Society hosted a panel on women directors and choreographers in Chicago with panelists Rachel Rockwell, Joanie Schultz, Kimberly Senior, and Leigh Silverman, moderated by Michael Halberstam. Together, the panel and the audience strive to answer the question, "How can all of us - our collaborators, theatres, service organizations - support the growth and furtherance of women as directors and choreographers?"
In 1987, SDCF and the Dramatists Guild jointly held a panel discussion exploring the symbiotic and complex relationship between playwright and director. Peter Stone moderates a panel of Playwrights and Directors including Sam Bobrick, Elizabeth Forsythe Hailey, David Henry Hwang, Bernet Kellman, Tom Moore, David Rosenak, Gene Saks, and Stephen Tobolowsky.
In 1999, SDCF held a panel about Managing Your Career featuring panelists Steve Bolerjack, Leigh Giroux, Noah Kimerling, Brett Singer and Ross Wisdom to discuss their various areas of expertise – accounting and taxes, legal issues, and publicity for artists – and how to apply their knowledge to better run the business of your professional life to allow you to grow and develop your artistic career.
On Tuesday, December 6, 2011, SDC's Gretchen Michelfeld spoke with sound designers Jill BC Du Boff (Good People, Bill Maher: Victory Begins at Home), Brett Jarvis (Kiki and Herb--Alive on Broadway!, The Donkey Show), and Rob Kaplowitz (Fela!, Pumpgirl) to find out how to work with designers to maximize the creativity and productivity of sound design.
On January 7, 2013, SDCF spoke with Production Managers/Technical Directors David Benken and Martin Pavloff about Understanding Automation: What Every Director Should Know. Whether you are a producer, director, choreographer, actor, designer, or theatre fan, this conversation allows the listener a comprehensive overview of automation in theatre and provides the understanding necessary to maximize your working relationship with your technical director.
At SDCF on December 17, 2012, SDCF hosted a discussion of Theatre for Social Change with guests Erik Ehn and Kamilah Forbes moderated by SDCF Producing Director Ellen Rusconi. Listen in as they discuss their experience in creating theatre to explore social issues and communal events and in founding producing organizations to further this work.
In New York on November 2, 1987, SDCF hosted a talk by Robert Lewis, a founding member of Society of Stage Directors and Choreographers, The Group Theatre, and the Actors’ Studio. He speaks with great charisma and dynamism of his experiences in theatre and his view of the evolution of theatre around the world in the 20th century.
On February 27, 1986, SDCF held a conversation on Effective Playwriting with Stephen Porter and Howard Rossen moderated by Stephen Fife, on effective playwriting. In illustrating their points, they use examples of the various techniques of playwrights including Somerset Maugham, David Mamet, Marsha Norman, Pinter, Shaw, Simon and Williams.
On October 1, 1998, SDCF hosted a panel on Downtown Opportunities for Directing and Choreography featuring producers from the vibrant downtown NY theatre scene including John Clancy, Ellie Covan, Kristin Marting, Wendy Rohan, Mark Russell, and David Tyree. These artistic leaders at the head of particularly prolific producing and presenting organizations discuss everything an artist or producer needs to know about working through these organizations. They explain why it is absolutely imperative to visit the space and understand the work of the organization before applying to the organization. They talk about their desire to create communities, and they shed light on the challenges of leading this type of arts organization. This conversation is valuable listening for artists, producers and administrators planning to approach or working within a smaller, vibrant, prolific organization.
On September 25, 1996, James Graves, Associate Director of SDCF, moderated a panel about Directing Opera. Panelists included Lillian Garrett-Groag, Mark Lamos, and Rhoda Levine. With great vibrancy and humor, the panelists consider the challenges of working in foreign countries, methods to navigate working in a foreign language, and the skills and knowledge necessary for theatre artists to work in opera. Most interestingly, their backgrounds are varied: a choreographer (Ms. Levine), a musician and actor (Mr. Lamos), and a multi-lingual director immersed in opera since childhood (Ms. Garrett-Groag). They delve deeply into the Director/Conductor relationship and elucidate the reasons why this is most significant in opera. And they share the thrills of doing new work, including experience developing operas based on the books "Celia", "A Slave," and "Haroun and the Sea of Stories". This honest and open conversation among peers is essential listening for any artist aspiring to direct opera.
On November 20, 1996, SDCF in partnership with The Drama League explored the subject of Career Transitions with a panel of four Directors and Choreographers - Seth Barrish, Kathleen Marshall, Richard Sabellico, and Marlies Yearby - who had recently reached a new point in career. Listen to this discussion to discover how their transitions came about, the experiences and encounters that led these artists to new opportunities on projects with higher profiles, and the challenges to process that come with working on a larger platform. This honest and informative conversation, led by David Diamond of SDCF and Roger Danforth of the The Drama League, is a great tool for those seeking to take their artistic career in a different direction or to a new level.
On October 1, 2012, Stage Directors and Choreographers Foundation in partnership with Broadway Green Alliance (BGA) held a conversation entitled "Directing Green" at the New Amsterdam Theatre in New York. Director/Choreographer John Carrafa, SDC’s representative to BGA, led this discussion, which starts with Allen Hershkowitz, Senior Scientist at the Natural Resources Defense Council (NRDC), describing the state of the global environment and the critical role the entertainment industry can play in adopting better practices. He emphasizes that taking even a small step towards better practices makes a difference. After this accessible overview, some of those leading a more environmentally-friendly theatre working on Broadway in diverse fields - Lighting Designer James Bedell, Costume Designer Andrea Lauer, Scenic Designer Donyale Werle, Stage Manager Marjorie Horne, and Bob Usdin, Owner of Showman Fabricators, give insight into the ways that they are taking the environment into account without compromising their artform. By listening to this conversation, artists can discover questions to ask collaborators in pre-production, learn practical methods of conserving resources in rehearsal and tech, and understand why better environmental practices are essential for artists working today.
In 1996, the Stage Directors and Choreographers Foundation and the Drama League co-sponsored a discussion with then SDC Executive Director Barbara Hauptman, SDC Attorney Ron Shechtman, and director Pamela Berlin moderated by David Diamond about protection of intellectual property rights for stage directors. Through personal anecdotes regarding the controversial productions of "Love! Valour! Compassion!" originally directed by Joe Mantello and "The Most Happy Fella" directed by Gerald Gutierrez which set the precedent for future legal battles, the conversation illustrates the extent to which the work of a director can be protected, the methods by which the accused theaters came about the original material, the playwright’s perspective on the intellectual property of a director in their own work, and the ways in which a director can protect themselves. Detailed, colorful and extremely informative, this conversation goes far beyond what the internet provides and provides valuable insight into an enduring, controversial issue for any director of new theatrical work.
On July 23, 2012, Director Stafford Arima (2012 revisal of "Carrie," "Altar Boyz") and Director/Choreographer Christopher Windom ("Central Avenue Breakdown") spoke with SDCF Producing Director Ellen Rusconi at a Director/Chroeographer Network panel hosted by The New York Musical Theatre Festival discussion about developing new musicals. These two artists offer their experiences in developing musicals in a variety of ways - festivals, workshops, regional productions - and share insight into his individual process, including thoughts on what can and cannot be accomplished artistically in the fast-paced festival setting. They discuss the benefits and challenges of presenting a new work in a festival such as NYMF and how a director or choreographer can best use the boundaries of a festival to advantage. Listen to this inspiring, focused discussion to explore the ins and outs of developing new musicals today.
On March 1, 1984 director James Furlong moderated a panel of theater critics featuring Theater Editor for Village Voice Erika Munk, Theater Critic for WNEW-TV Stewart Klein, and Theater Critic for New York Magazine John Simon. They address the impact of good and bad reviews and the dynamic relationship between theater artists and critics. The discussion includes what these particular critics perceive as good direction, the criteria they use when analyzing a director's work, and how they follow directors' careers and watch for trends. This exciting conversation opens a window into the world of theater critics and their relationship with the rest of the industry players.
On October 28, 1985, Stage Directors and Choreographers Foundation invited Peter Zeisler to moderate a panel featuring journalists Thulani Davis and Erika Munk, playwright William Hoffman, and directors Rhoda Levine, Judith Malina, and Emily Mann. They speak in-depth about the role of theatre in society in the past, present, and how it is evolving into the future. In this conversation, theatre’s reach and impact is compared to the mediums of film and television. Other topics include how fiction can convey political reality and why particular issues should be examined in the theatre. This lively discussion gets to the heart of the important role theatre plays in community.
On February 25, 1983, director Nola Hague moderated a panel featuring esteemed producers Nelle Nugent, T. Edward Hambleton, and Michel Stuart, and director Judith Haskell. This passionate and experienced group spoke about the collaboration between directors and producers. Drawing from personal experience they share their beliefs on qualities that constitute a good director and producer. They divulge lessons learned from experiences over the span of their careers. Other topics include the differing approaches to collaboration across the country and the director's role vs. the producer's role in the process of cultivating the creative team. This discussion delves deeply into the intricate dynamics between Producer and Director.
In 1999, SDCF hosted a panel moderated by Executive Director of SSDC, Barbara Hauptman featuring Artistic Director of Adobe Theatre Company Jeremy Dobrish, Artistic Director of Drama Dept. Theatre Company Douglas Carter Beane, Artistic Director of Blue Light Theater Company Greg Naughton, Artistic Director of Abingdon Theatre Company Jan Buttram, and Co-Artistic Director of The Barrow Group Seth Barrish. The panelists discuss the importance of the collaborative approach and sense of community within their companies, and the challenge of finding a director who shares their sense of purpose. Since directors aren't auditioned the way actors are, selecting a new director can be the hardest part of the production process. These artistic directors share their approach to finding the best new director to work with their companies.
On April 24, 2012, SDCF hosted entertainment attorney Neil Rosini, of Franklin, Weinrib, Vassallo, and Rudell, to speak about how artists can use existing work to create new work without infringing on copyright. Rosini paints a clear picture of the nature of rights under copyright. He covers reproduction, adaptation, distribution, public performance, and public display. Other topics include the infringement of copyright and the fair use defense. Rosini also covers how to test for transformativeness when working on parody. This conversation provides a thorough overview of the in's and out's of copyright law. (Mr. Rosini wishes to note that the references to CNN midway through the program should be to C-SPAN.)
On Saturday, May 19, 2012, Stage Directors and Choreographers Foundation (SDCF) hosted a One-on-One Conversation at Playwrights Horizons' Peter Jay Sharp Theater with award-winning theatre makers Elizabeth LeCompte, Founding Member and Director of The Wooster Group, and Young Jean Lee, Artistic Director of Young Jean Lee's Theater Company. Moderated by Kristin Marting, Co-Founder/Artistic Director of HERE, these two highly accomplished, adventurous theatre artists talk about how they build their visionary works, the controversies they create, gender issues, critical response to their work, how they view failure, and why they believe their companies continue to thrive in the downtown, experimental theatre scene.
On April 2, 2012, SDCF invited entertainment attorney Elliot Brown to speak about securing theatrical adaptation rights with SDCF Producing Director Ellen Rusconi. Brown gives animated examples of when adaptation rights are and are not necessary. He sheds light on how to start the process of engaging an attorney when interested in creating a piece of theater from an article, book, or film and he walks through what the concerns are of the rights-holder. Brown also speaks about standard arrangements, translation, and public domain. This is an engaging dialogue about the do's and don'ts of adaptation.
On May 14, 2012, SDCF hosted a One-on-One conversation at the Axis Theatre Company in New York between theatre artists Lee Breuer and Taylor Mac, hybrid theatre artists of limitless imagination and inventiveness working mostly in experimental theatre both nationally and internationally, moderated by Mark Russell, Artistic Director and Producer of the Under the Radar Festival produced by The Public Theater. These artists, who work in multiple disciplines, discuss gaining power through their individuality and originality and identify those singular artists and companies from the past, most notably Charles Ludlam and The Ridiculous Theatre, whose work has inspired and influenced their own. They express their hopes for the future or theatre, and what they gain and learn by working internationally. They share their personal definitions of success and why their work is categorized as political. This insightful conversation sheds light on how to create theatre that is personal, relevant, collaborative and unique.
On April 30, 2012, SDCF hosted a One-on-One conversation between Walter Bobbie and Sam Gold moderated by John Clinton Eisner. They discuss their shared background in performance and respective discoveries that they are better suited for directing. Bobbie shares his career trajectory and the strategic choices he made in order to become the artist he wants to be. Gold speaks about building a New York based career and how the turning point in his career came so quickly. Both directors go into great detail about how they find collaborators, how to give notes to a director, and the generous professionals who helped them when they were getting their start. This dynamic conversation is a rare opportunity to peek into the artistic visions of two fantastic contemporary directors. This event was sponsored by A Summer of Theatre and Film at Southampton Arts.
On April 29, 2001 members of a Stage Directors and Choreographers Foundation panel simulated a first casting session of "The Winter's Tale". The discussion is moderated by Artistic Producer of the Joseph Papp Public Theatre/New York Shakespeare Festival Rosemarie Tichler and featured Casting Directors Stuart Howard and Jordan Thaler.
On April 28, 2001, Stage Directors and Choreographers Foundation invited Arthur Bartow, Artistic Director of the Drama Department at NYU Tisch, to moderate a conversation between Michael Lupu, Senior Dramaturg at the Guthrie Theater; Mark Bly, Associate Artistic Director of Yale Rep; Louis Scheeder of Classical Studio NYU Tisch; and freelance director Daniel Fish about working on Shakespeare. This discussion gives great insight into the role of dramaturgs in assisting directors; their visions of a successful dramaturg; and how dramaturgs work with the text. This program is the second half of the conversation.
On April 28, 2001, Stage Directors and Choreographers Foundation invited Arthur Bartow, Artistic Director of the Drama Department at NYU Tisch, to moderate a conversation between Michael Lupu, Senior Dramaturg at the Guthrie Theater; Mark Bly, Associate Artistic Director of Yale Rep; Louis Scheeder of Classical Studio NYU Tisch; and freelance director Daniel Fish about working on Shakespeare. This discussion gives great insight into the role of dramaturgs in assisting directors; their visions of a successful dramaturg; and how dramaturgs work with the text. This program is the first half of the conversation.
In 2001, five directors in the "Directing Shakespeare Symposium" sat down with moderator and set designer Ming Cho Lee for a unique experiment regarding the relationship between director and designers, specifically concerning a Shakespearean text. A mock first production meeting was held for an imaginary staging of "A Winter's Tale," with the designers being told to end the meeting with the inspiration to go home, pick up a pencil, and not need to talk with the director for the next two weeks. They discussed many crucial aspects of the first few stages in the artistic process, such as their initial emotional responses to the text, how to establish the physical world of the play, and how to visually develop the inner conflict within a character through technical elements. Other topics discussed include: working with new or unfamiliar designers, starting points for collaboration and inspiration, and the positives and negatives of labeling Shakespearean plays as "comedy" or "drama". This group of talented directors delving deep into a complex Shakespearean text is an hour of discussion that should not be missed.
On Monday, June 27th, 2011, SDC's Gretchen Michelfeld talked to veteran scenic designers Rachel Hauck (The Public, BAM, The Vineyard, South Coast Rep, Eugene O'Neill Resident Set Designer) and Nick Francone (Prospect Theater Company, SPF, Six Figures, New Georges, E.S.T., Santa Fe Opera, assistant on Wicked and Opera) about their experiences collaborating with a variety of directors. They discussed aspects of successful production meetings, dealing with repertory sets, the strangest designs they have made, and offer advice to young directors. This is an enlightening discussion on the successes and struggles in the lives of professional scenic designers.
On April 28, 2001, Stage Directors and Choreographers Foundation invited NYU voice and dialect coach Deborah Hecht, Juilliard Chairman of Voice and Speech Ralph Zito, director Mark Lamos, actor Oni Faida Lampley, and actor Boris McGiver for a conversation about the importance of text work. Louis Scheeder, Director and Founder of Classical Studio at NYU Tisch moderates. Topics include speech interpretation, the process of making stylistic choices, and the necessities of physical endurance.
On May 25th, 2011, SDC's Gretchen Michelfeld spoke with three Broadway Production Stage Managers about their experiences. Stage Managers Jill Cordle (Jerusalem), Heather Cousens (Spring Awakening), and Ira Mont (Arcadia) give advice to early career directors on time management, speak to building trust and collaboration, and discuss the smartest things they've seen directors do. They offer first-hand knowledge on the relationship between directors and stage managers.
In 2001, Michael Lupu, senior dramaturg for the Guthrie Theatre, provided directors at the "Directing Shakespeare Symposium" with a brief lesson he called "Shakespeare 101." In this twenty-minute discussion Lupu talks about audience expectations in the Elizabethan period, the history of Shakespeare's company "Lord Chamberlain's Men," and how the shifting of Shakespeare's theatre midway through his career may have affected his writing. Lupu enlists the help of designer Ming Cho Lee to explain the type of theatre in which Shakespeare was working, and how the intimate, single-room performance space of the Globe Theatre shaped almost every moment in Shakespeare's work. Other topics discussed include: Shakespeare's plays coming from the stage to the page and not vice versa, "A Winter's Tale" being published after Shakespeare's death, and the place of a poet in the theatre. This brief but incredibly thorough overview is a great recap for Shakespeare fans and a perfect introduction for those just getting started.
In July 2011, Thomas Kail sat in conversation with Moisés Kaufman at the SDC offices. In this exchange, Thomas and Moises traverse career beginnings, varying paths of directors, and the struggles involved with telling stories rooted in historical events on stage.
Directors rarely get the opportunity to spend time and share ideas in a room with other directors. This new one-on-one conversation series was conceived by director Thomas Kail to give himself, and his peers, an opportunity to do just that. This series of conversations explores topics that stretch from finding the spark in their work, making a life as a director, and how they landed on this side of the table. Each director's vision is distinct, and their way of working is their own, but this series also addresses all they have in common beyond the shared title. In June 2011, Thomas Kail sat in conversation with Joe Mantello backstage at the Golden Theater. From Mantello's dressing room, their conversation traces his arc from actor to director and back, and the responsibility of taking risks to continue to evolve throughout a career.
In July 2011, Thomas Kail sat in conversation with Susan Stroman in her office in Manhattan. They discuss her early exposure to the theatre and her impulse to pursue directing and choreographing professionally. The conversation also includes the importance of creating one's own opportunities, the unique aspects of touring productions, and the necessity of deep collaboration when creating theater.
Directors rarely get the opportunity to spend time and share ideas in a room with other directors. This new one-on-one conversation series was conceived by director Thomas Kail to give himself, and his peers, an opportunity to do just that. This series of conversations explores topics that stretch from finding the spark in their work, making a life as a director, and how they landed on this side of the table. Each director's vision is distinct, and their way of working is their own, but this series also addresses all they have in common beyond the shared title.In June 2011, Thomas Kail sat in conversation with Jason Moore at Moore's apartment in Manhattan. Topics range from developing a new musical to the process of transferring Off-Broadway productions to Broadway without losing the immediacy of the initial production. They also address the challenge of maintaining longer running productions to ensure they consistently feel vibrant and fresh.
Directors rarely get the opportunity to spend time and share ideas in a room with other directors. This new one-on-one conversation series was conceived by director Thomas Kail to give himself, and his peers, an opportunity to do just that. This series of conversations explores topics that stretch from finding the spark in their work, making a life as a director, and how they landed on this side of the table. Each director's vision is distinct, and their way of working is their own, but this series also addresses all they have in common beyond the shared title.In June 2011, Thomas Kail sat in conversation with Alex Timbers at the SDC Offices. Their discussion explores how they followed their respective impulse to start their own theater company, and delves into the challenge of creating new work. They also address their inspirations and those who have influenced them as directors.
At its 2002 Symposium, Director of Stage Directors and Choreographers Foundation, Joe Miloscia, welcomed everyone to the symposium and introduced then Executive Director of SSDC Barbara Hauptman. Barbara introduced the two speakers: V.P. and Managing Director of The Fan Fox and Leslie R. Samuels Foundation Rob Marx who moderated a talk with accomplished director and producer Hal Prince. The conversation focused on Hal's personal take on the making of new musicals and the fostering of new talent. Topics covered include the importance of mentorship, artistic process, how the relationship between producers and directors has changed, and what institutions are supporting the development of new musicals. This conversation with a true master gives incredible insight into the history and current innovation in musical theatre.
At its 2003 Symposium SDCF invited Scott Elliott, freelance director and Artistic Director of The New Group, to give a keynote speech on directing in multiple mediums, running a theatre company, and life as an artist. SDC Observer of Scott Elliott, Mark Robinson, moderated the talk. Topics include why Elliott shifted from performing to directing, how New Group got its start, the evolution of work done at New Group, what he looks for when hiring a director, working with independent vs. commercial producers, and process. This thought-provoking conversation covers the diverse aspects of artistic leadership.
SDCF hosted a Symposium on Musical Theatre in 2003 moderated by Daniella Topol, then the National Alliance Musical Theatre's New Works Program Director. The panel featured "Urinetown" director John Rando, then Artistic Director of Musical Theatre Works Thomas Cott, then Artistic Director of North Shore Music Theatre Jon Kimbell, General Manager Nancy Gibbs, Choreographer of "Zanna, Don't!" Devanand Janki, and Director Gabriel Barre. The panel discussed how new musicals are developed and ways institutions and artists can work together to foster the future of musical theatre. Each member provides a different perspective on new musicals and their life in New York to Regional and International stages. This dialogue sheds light on the current landscape of musical theatre.
At its October 2010 Director-Choreographer-Network, SDC Director of Member Services Barbara Wolkoff moderated a panel featuring SDCF's Director of Foundation Ellen Rusconi, Theatre Communications Group's Director of Artistic Programs Emilya Cachapero, and The Drama League's Artistic Director Roger Danforth. Topics cover programs offered, what constitutes a successful candidate and application, interview tips, plus insider advice from previous program applicants who were awarded the opportunity. This conversation is an exciting and clear look into a successful application process.
At its 2011 Emerging Artists Symposium, SDCF hosted a panel moderated by Ellen Rusconi and featuring Ars Nova's Artistic Director Jason Eagen, Manhattan Theatre Club's Artistic Line Producer Lisa McNulty, Playwrights Horizons' Artistic Staff Associate Briel Steinberg, Lower Manhattan Cultural Council's Program Manager Haowen Wang, and Brooklyn Arts Council's Regrant Director Ethany Uttech. The discussion centers on various opportunities for emerging directors and choreographers in New York City. The opportunities covered include grants, internships, assistantships, residencies, and festivals. Each panel member discussed in detail how emerging artists can get involved with their institution, interview tips, information sessions at BAC and LMCC, and what makes a successful program participant. This conversation gives fantastic practical advice on how to get involved with great institutions as an emerging artist.
At its 2011 Emerging Artists Symposium, SDCF hosted a panel moderated by Ellen Rusconi and featuring established freelance theater artists Jeremy Dobrish, Sarah Maxfield, Daniel Talbott, and Wendy Seyb. Topics cover the career trajectories of these established freelance artists from start to the current moment, the term "emerging" versus "established" artist, how they got jobs at the start of their career vs. how they get jobs now, agents, what constitutes a successful collaboration, and everyday steps early career artists can take to further their career. This conversation is an inspiring window into how to get started and sustain a career as a working artist.
In May 2011 SDCF hosted a One on One Conversation with freelance director David Cromer and Artistic Director of Writers' Theater Michael Halberstam. The conversation covers how they come to their projects, previews and reviews, the danger of facing no obstacles in a process, and their artistic approach. Michael and David shed light on collaboration, the role of director and artistic director, new work vs. classics, and the differences between theatre in Chicago and theatre in New York City. This lively discussion between two good friends, who often collaborate, provides an honest look at creative methods and artistic leadership.
This 2003 panel discussion includes artistic leaders Clinton Turner Davis, Diane Paulus, Sabrina Peck, Neil Pepe (Atlantic Theater Company), Scott Elliot (The New Group), and Tisa Chang (Pan Asian Repertory). The discussion centers on challenges and opportunities for artistic leaders. Topics cover how economics affect artistic choices, how to sustain a creatively fulfilling career, and projections on what issues the next wave of artistic leaders will face. This conversation gives stimulating insight into artistic leadership as it is now and where it is heading.
In 2003, SDCF hosted a panel moderated by Karen Azenberg featuring choreographers Hope Clarke, Devanand Janki, and Peter Pucci. The discussion centers on where work for choreographers is expanding. Topics cover ways in which choreographers work with actors and directors, how process and style vary for operas, musicals, and plays, and methods for breaking career boundaries from concert dance to theatre. This conversation sheds exciting light on the blending of performance genres and thus the increasing number of opportunities available for working artists.
At its 2003 Symposium, SDCF hosted a panel moderated by Arthur Bartow and featuring playwright Steve Drukman, director Fritz Ertl, producer Chris Jaehnig, tech designer Tom Igoe, and stage manager Megan Bezdek. The discussion centers on the role of digital media in the developmental and production process on a commissioned play by Steve Druckman for the NYU Undergraduate Mainstage titled "Youth in Asia". Topics covered the genesis of the project, the development process for a digital media heavy production, editing film to play simultaneously with live performance, production equipment, build, and management. This conversation provides an informative exploration into the intersection of theatre and digital media.
At its 2003 Directing Sympsium, SDCF hosted a panel moderated by Rubén Polendo and featuring producer Jordan Roth ("The Rocky Horror Show", "The Donkey Show"), Artistic Director Jim Nicola (New York Theatre Workshop), and former artistic director and current director Michael Greif ("Rent"). The discussion centers on the role of the producer in modern American theater. Topics covered include how to determine what projects are the right fit for the different producing models (commercial, not-for-profit, and regional), the involvement of the producer as a collaborator in the artistic process, trends in the theater, and what audiences are looking for when they buy tickets to a show. This conversation helps to demystify the role of the producer for any aspiring theater professional or audience member and provides some terrific insight into how works are chosen to be produced.
At its 2003 Directing Symposium, SDCF hosted a panel moderated by Mary Catherine Burke and featuring directors Christopher Ashley, Jo Bonney, Susan Einhorn, Leah Gardiner, David Warren and Les Waters and playwrights Jorge Cortiñas and David Henry Hwang to discuss expanding diversity among writers, directors and subject matter of new plays. The discussion encompasses the artist's responsibility to creating diversity in theater, the producer's responsibility to take on diverse projects, and the difficulty of taking pieces out of development and into production in commercial or not-for-profit venues. The panelists aim to answer the question of how we are working to change the demographics of theater, and what still needs to be done. The conversation provides an assortment of important perspectives on one of today's hot-button topics and is a reminder of the need for social, cultural and political diversity in the theatrical craft.
At its 2003 Directing Symposium, SDCF hosted a panel featuring the design team from Theater Mitu: Artistic Director Ruben Polendo, composer and shadow mask designer Jef Evans, costume, mask and puppet designer Miranda Hoffman, lighting designer Ryan Mueller and set designer, puppet designer and choreographer Scott Spahr. The discussion centers around Theater Mitu's methodology, in which they investigate a theatrical vocabulary through myth and tradition using a company of artists who participate in many different aspects of the process. A few of the many topics include the blurry lines between design worlds, the vocabulary of design and sharing of ideas, and the relationships between designers and actors, and designers and the audience. This conversation provides a unique perspective on theatre-making that will inspire any artist or audience member!
At its 2002 Musical Theatre Symposium, SDCF hosted a panel moderated by SDC Executive Director Barbara Hauptman featuring directors David Warren, Christopher Ashley, Gabriel Barre, Jeff Calhoun, Mary B. Robinson, choreographers Daniel Pelzig and Joey McKneely and director/choreographers Rob Ashford and Karen Azenberg to discuss the director/choreographer relationship. Topics include the genesis of partnerships, the blurry line between dance and staging and the involvement of the choreographer in the movement throughout the production, and what it means to be a director/choreographer, among many others. Listen to this lively conversation for an in-depth look at this inspiring relationship told by ten masters of the craft.
At its 2002 Musical Theatre Symposium, SDCF hosted a panel on the writer-director relationship featuring "Urinetown" composer/lyricist Greg Kotis, "The Wild Party" composer Andrew Lippa and director Gabriel Barre, "Violet" composer Jeanine Tesori, bookwriter/lyricist Brian Crawley and director Susan H. Schulman, "Side Show" director Robert Longbottom, "Jelly's Last Jam" lyricist Susan Birkenhead, and "tick, tick...BOOM!" and "Bat Boy" director Scott Schwartz, moderated by Manhattan Theatre Club Musical Theatre Program director Clifford Lee Johnson. The panelists discuss the formation of their writer-director relationship on each of these shows: how the initial connection and trust happened, the barriers they had to overcome, and working on an unfinished show with a living writer vs one who has already passed. The conversation is followed by a lively Q&A session about new musical development programs, the director's role in the development of a musical and how to know when a relationship doesn't work. Filled with many humorous stories, this panel offers great insight into this vital relationship as told by some of today's top Broadway talent.
In February 2011, SDCF Associate Director Ellen Rusconi moderated a Director/Choreographer Network roundtable discussion with The Civilians Artistic Director Steve Cosson and PearlDamour's Katie Pearl on producing one's own work as a director. The two directors offer contrasting experiences of developing their companies, from the structural basis of the Civilians to the organic beginnings of PearlDamour. Both discuss the meaning of stability in the artistic and financial lives of their companies, from finding funding to the initiation of projects. Other topics include New York City versus regional productions, touring, networking, and creating long-term relationships and community to sustain your work. Listen to this fascinating discussion to discover what is driving small theatre companies today and how they continue make art happen.
At its 2002 Musical Theatre Symposium, SDCF hosted a panel featuring Todd Haimes (Artistic Director, Roundabout Theatre Company), Marty Bell (Producer, "Kiss of the Spider Woman", "Ragtime"), Sue Frost (Associate Producer, Goodspeed Musicals), Michael Rego (Associate Producer, "Urinetown"), Robert Johanson (Artistic Director, Paper Mill Playhouse), David Warren (Director, "Summer and Smoke") and Elizabeth Williams (Producer, "Crazy For You") to discuss how directors and choreographers get hired and how, once hired, they can forge a relationship with a producer. Topics include commercial vs not-for-profit hiring processes, career development opportunities for directors and the role of an assistant director. This conversation includes anecdotes from regional institutions and Broadway, valuable advice and a broad scope of the many paths for the emerging director or choreographer.
On January 17, 2011, SDCF hosted its third One-on-One Conversation of the 2010-2011 season at in the Beckett Theatre at Theatre Row with Berkeley Repertory Theatre Artistic Director Tony Taccone, moderated by SDCF Associate Director Ellen Rusconi. Mr. Taccone discusses his journey from discovering theatre through "happenings" in during college in the 1960s to his most recent foray into writing a play, including his experiences running the Eureka Theater started by Robert Woodruff and eventually becoming Artistic Director of Berkeley Rep. Anecdotes include discovering Tony Kushner and the original production of "Angels in America", the burning down of the Eureka and working with Sarah Jones on "Bridge and Tunnel". This conversation provides fascinating stories and unique insight into the artistic mind of a director on the forefront of American Theatre.
On December 18, 2010, SDCF hosted their second One-on-One Conversation of the 2010-2011 season in the Beckett Theatre at Theatre Row with Donmar Warehouse Artistic Director Michael Grandage ("Red", "Hamlet") and Broadway Director/Choreographer Rob Ashford ("How To Succeed In Business...", "Promises, Promises") and moderated by SDCF Executive Director Laura Penn. The two directors discuss their trajectories from small town upbringings to the big city and from performing careers to directing. Other topics include the story of their professional relationship with each other, their rehearsal processes from first day to opening night and their views on mentorship. Full of humorous anecdotes, this conversation provides a unique opportunity to hear the voices of two trans-Atlantic masters of the craft in the prime of their careers.
On November 14, 2010, SDCF hosted their first One-on-One Conversation of the 2010-2011 season at Atlantic Theatre Studios with 2009 Fichandler Award winner Jonathan Moscone (Artistic Director, California Shakespeare Theatre) and 2010 Alan Schneider Award winner Anne Kauffman (Obie Award, "The Thugs") and moderated by SDCF Executive Director Laura Penn. The two directors discuss their career paths and the many mentors and forms of mentorship they encountered along the way, including directing professor Michael Hackett and artistic directors Joe Papp, Richard Hamburger (Dallas Theater Center) and Irene Lewis (Baltimore Centerstage). Other topics include directing regionally as a freelance director and as an artistic director, the balance of running an institution and being an artist, and how to approach and direct a new play vs. the classics. Listeners will gain a new appreciation for theatre outside of New York City and what it means to pursue a career as an American director in 2011.
On October 18, 2010, SDCF hosted a sixty-minute discussion on Stage Direction, Chicago Style at Steppenwolf Theatre moderated by Sheldon Patinkin and featuring panelists Seth Bockley, Timothy Douglas, Gary Griffin, Kimberly Senior and Dennis Zacek. The panel discusses Chicago's actor-based process, from actor-based companies such as Lookingglass to the exploratory rehearsal process embraced by Chicago directors. Topics include the influence of Second City, the dynamic system of mentorship amongst Chicago directors and the sense that in Chicago one is "allowed to fail." This conversation gives an inspiring look at one of the country's great theatre cities and the values it runs on. Afterward, David Cromer presented the 2010 Zelda Fichandler Award to director Michael Halberstam of Writers' Theatre.
At its 2002 Musical Theatre Symposium, SDCF hosted a panel on directing revivals featuring director/choreographers Jeff Calhoun ("Big River" 2003 Revival), Robert Longbottom ("Flower Drum Song" 2002 Revival) and Susan Schulman ("Sweeney Todd" 1989 Revival) and moderated by Victoria Traube. The panelists discuss how directing revivals is different and how it is the same as directing new work, particularly focusing on the relationship with composers, lyricists and bookwriters who are still alive and around to see their work revived. The conversation features in depth stories about the creative processes for "Flower Drum Song", "Grease", "Sweeney Todd" and the Deaf West revival of "Big River", among others. Other topics include reviving classics, the director's interpretation, and rights and royalties for revivals. This recording is filled with fascinating anecdotes and lessons for both the enthusiast and the aspiring musical theatre director.
At its 3-day Musical Theatre Symposium in June of 2002, SDCF hosted a panel on assembling creative teams moderated by Arthur Bartow. Speakers included producers Marty Bell ("Ragtime") and Sally Campbell Morse ("Urinetown"), choreographers Larry Fuller ("Evita") and Daniel Pelzig ("33 Variations"), Roundabout Artistic Director Todd Haimes, directors Christopher Ashley ("Memphis") and David Warren ("Summer and Smoke"), and composer Lucy Simon ("The Secret Garden"). These speakers provide case histories of collaborations that they put together that were either successful or dire failures, and include tales of "Ragtime", the 1998 Revival of "Cabaret", "Urinetown" and the original collaboration on the Maltby/Shire musical "Take Flight", which had a successful run at the McCarter Theatre Center in April of 2010 with a different creative team. Other topics include the role of the producer in initiating projects and finding good collaborations, the function of the director as part of a team, and the importance of workshops in the creative process for everyone involved. Listen to this podcast for a informative conversation with fascinating anecdotes on what it means to find the right people to make it to Broadway.
In June 2002, the Stage Directors and Choreographers Foundation hosted a panel discussion on how Broadway directors and choreographers got their starts as part of its 3-day Musical Theatre Symposium. The panelists are Susan H. Schulman, Jeff Calhoun, David Warren, Scott Schwartz, Larry Fuller, Lynne Taylor-Corbett and Gabriel Barre. Some fell into their careers by accident while others had it planned all along, and their stories range from years of performing summer stock to meeting Tommy Tune. This conversation is filled with humorous and touching anecdotes featuring Richard Maltby, Carol Haney and Trevor Nunn, among others. The panelists impart valuable advice to emerging professionals, and the Pittsburgh dance class-to-Broadway stories of these successful directors and choreographers will inspire any theatre artist with hopes of the Great White Way.
In November 1992, SDC Foundation hosted a conversation with the creative team behind "Jelly's Last Jam" on Broadway: George C. Wolfe (book and direction), Hope Clarke (choreography), Susan Birkenhead (lyrics), Luther Henderson (music arrangement and additional music), Robin Wagman (set design) and Jules Fischer (lighting design) to discuss their creative process. They discuss the journey from workshops and a production at the Mark Taper Forum to the addition of Wagman, Fischer and Gregory Hines on its way to Broadway, and how each of the design elements and the addition of tap choreography helped to shape the show and discover the heart of the piece. George Wolfe and Luther Henderson talk about working with Jelly Roll Morton's music and manipulating it in order to create a piece that was about Jelly's personality and story as much as it was about what he created. Listen to this conversation for a fascinating discussion of the nature of collaboration at the heart of this production, and a sneak peak into the creation of an original Broadway show.
On Tuesday, March 29, 1988, Stage Directors and Choreographers Foundation and New Dramatists hosted a seminar on the director-playwright relationship with directors Tony Giordano, Pam Berlin, Paul Benedict, and Woodie King, Jr., and writers Steve Carter, Jack Heifner, John Bishop and Reynaldo Povod. This lively ninety-minute conversation includes discussions of the director's role on a new play, what playwrights look for in a director, and colorful nature of the collaboration described as a marriage, an affair and a divorce. Other topics include the role of the producer as mediator and ownership of the play along with several horror stories of disastrous collaborations. Anyone interested in the current national conversation about new play development and playwrights should listen to this podcast to discover just how much and how little the director-playwright relationship has evolved over the past twenty-two years.
At the SDC Foundation's Choreography Symposium in 1986, choreographers Wayne Cilento (Tony Award for "The Who's Tommy"), Graciela Daniele (8 Tony nominations for Best Choreography), Janet Watson ("Ragtime") and Ted Pappas ("Paradise" Off-Broadway and the Broadway revival of "Zorba") spoke with director Marshall Mason about choreography in musical theatre at the time. The panel discusses how each began his or her career, their creative processes and the mentors that led them to Broadway. A major topic is the changing style of musical theatre, which was deep in the Sondheim era at the time, and the choreographer's role in musicals that involve less dance numbers and more musical staging. Other topics include working with a director vs. assuming both roles, how technology's role in the audience's lives changes the movement choreographers put onstage and anecdotes about working with Hal Prince and Michael Bennett.
On December 15, 1986, director Tony Giordano, designers Hugh Landwehr and Dennis Parichy and actors Michael Fischetti, Jennifer Van Dyck and Diane Martella spoke with moderator Amy Saltz at New Dramatists about their work on a traveling co-production of "A View From The Bridge", produced by theatres in Rochester, Buffalo, Syracuse and Albany. Having taken place after two of the four runs, this conversation is a rare opportunity to hear artists from various disciplines talk about a play that is still in progress. Fischetti and Giordano discuss the inception of the play at Syracuse Stage after doing "Glengarry Glen Ross", and how it turned into a touring co-production. Giordano speaks of the opportunity to go back into rehearsal and continue to find the life of the play between Buffalo and Syracuse, and his excitement to implement their new discoveries in a smaller theater when they head to Albany. The designers discuss the difficulty of designing one set to work in four different spaces, with three proscenium and one thrust theatre, and the actors talk about committing to one show in small towns for an extended period of time. At the heart of this discussion is a group of people who are passionate about the work they have been doing and are continuing to do, and the idea that a play is not finished once it's in front of an audience.
In April 2010, Edie Cowan moderated an hour-long roundtable discussion with Broadway choreographers Kathleen Marshall and Jerry Mitchell and dance arrangers David Chase and Mark Hummel. They discuss the role of the dance arranger, who works with the choreographer to take what the composer has written and changes it to fit the choreographer's vision of each dance. Jerry Mitchell talks about choreographing a dance for "The Full Monty" before hearing the music and then having the arranger fit music to it, while some choreographers will have the dance arranger write something before choreographing anything. Other topics include period research, the involvement of the composer, and the role of estates in revivals. The nature of collaboration is at the heart of this lively discussion along with anecdotes from a dozen Broadway shows.
In February 2010, director Michael Mayer, who won a Tony Award for "Spring Awakening" and recently directed "American Idiot", and choreographer Rob Ashford, who won a Tony for "Thoroughly Modern Millie" and was nominated for "The Wedding Singer", "Curtains" and "Cry-Baby", were featured in a Director/Choreographer Network discussion on Working in Film. Michael Mayer recalls being asked to direct "A Home at the End of the World" and saying yes without hesitating, without any film experience. Rob Ashford talks about choreographing "Beyond the Sea" with Kevin Spacey and learning how to tell the DP what shots to take. Key differences they discuss between theater and film include lack of rehearsal, shooting out of order and film actors vs. theatre actors. This seventy-minute discussion is an enlightening glimpse into the world of filmmaking from the theatre professional's perspective.
In January of 1994, Susan Stroman sat down for an hour-long discussion of her career as a choreographer. She talks about working on "Crazy For You", "Kiss of the Spider Woman", and "Show Boat", noting how bad experiences are necessary to make the good ones what they are. Other topics include working with a cast of 73 actors, working with director Hal Prince, movie musicals and the lack of copyright protection for choreography. For wonderful advice and great stories from a five-time Tony-winning director and choreographer, listen now!
In March of 1985, during the original Broadway run of Sondheim's "Sunday in the Park with George", Susan Einhorn interviewed Tony Award-winning librettist and director James Lapine about how a director keeps a show in shape. In this seventy-five-minute interview, Lapine discusses replacements, understudies, stage managers and his relationship with the cast after a show opens. He talks about working with Sondheim and how his role in their relationship evolved from writing to directing. Other topics include directing in Central Park in the summer heat, writing work for himself to direct, and inserting songs into a production at the eleventh hour. For insight into a rarely discussed but important job of the director from one of the musical theatre greats, listen now!
In October of 1984, Hungarian-Canadian director John Hirsch, who directed classical theatre for thirty-two years and served as Artistic Director of the Stratford Shakespeare Festival from 1981-1985, sat down with Richard Harden for a ninety-minute roundtable discussion. He talks about the definition of classical theatre, which he defines as plays which survive the test of time and speak to audiences of all ages, and classicists, who submerge themselves in a single subject. Hirsch and Harden discuss Shakespeare, Chekhov, and the ecology of playwriting in which playwrights must know the classics to write new ones. The industry struggles they address, including financial accessibility and lack of importance outside of the arts world, bear a striking resemblance to those facing the theatre world over twenty-five years later. For an insightful exploration of classical theatre or to recall a time when an expensive Broadway ticket cost "only" $45, listen to this interview!
In December of 1987, famous avant-garde director Robert Wilson sat down for a One-on-One conversation with Tony Award-winning lighting designer Jennifer Tipton. They discuss Wilson's three major influences: the dance work of George Balanchine and Merce Cunningham, the first piece of theatre he created with a deaf, mute child, and the poet Christopher Knowles, who once repeated the words "tape recorder" for ten minutes at the end of a performance piece. He talks about creating a different kinds of space, repetition, and rigidity of form and process. Other topics include working with trained vs. untrained actors, working with a dramaturg, and the role of interpretation. This ninety-minute interview provides a unique insight into the mind of this experimental, groundbreaking director that you won't find anywhere else.
In 2002, Lincoln Center dramaturg Anne Cattaneo moderated a One-on-One discussion with prolific British theatre, film, television and opera director Richard Eyre. He talks about directing "The Crucible" in the 1970's and in 2002, and how he sees the story as a fable rather than as a metaphor for the McCarthy Era as a result of growing up outside the country. He tells his audience about the importance of casting good actors, and his rejection of the idea of "concept" directing. They discuss running the National Theatre, dealing with input from producers, audience and critics and the difference between life as a freelance and artistic director. Other topics include theatre vs. film directing, Peter Brook's production of "King Lear" and how Eyre's knowledge of chemistry has informed his theatre. This eighty-minute interview is full of inspiring advice that aspiring directors will be quoting for years to come.
In 2002, Arthur Penn sat down for a One-on-One conversation with SDCF Executive Director David Diamond to discuss his triple-threat career in theatre, television and film. He tells the story of his launch into theatre from the army, followed by an early career in TV and the Actors Studio. He talks about his relationship with Bill Gibson which launched two of his biggest successes: "The Miracle Worker" and "Two for the Seesaw", and shares humorous anecdotes about working with Lillian Hellman, Sammy Davis, Jr., George C. Scott, Henry Fonda and the geneses of "The Golden Boy", "Wait Until Dark", "Sly Fox" and his film "The Left-Handed Gun". Mr. Penn discusses his approach to directing, the importance of casting and his embrace of Stanislavsky's Method for both theatre and film. Other topics include the shrinking audience for theatre today, the self-serving nature of Hollywood, and his early inspirations in Elia Kazan and the Group Theatre. Mr. Penn's positive attitude about both the highs and lows of his career is inspiring, and this ninety-minute discussion with the legendary director should not be missed.
In June 1995 three-time Tony Award-winning director Gene Saks spoke with David Diamond in a One-on-One Interview about his journey through the many aspects of his directing career. Topics of this 90-minute conversation include the challenges of directing comedies and musicals, working with writers, and the differences between directing theatre and film. He talks about the use of spectacle as cover-up for story and about the ideal collaborative process in which good ideas come from all members of the creative team. Full of humorous anecdotes featuring Henry Fonda, Neil Simon, Angela Lansbury, Lucille Ball and Jule Styne, this interview highlights Mr. Saks' wonderful storytelling ability and touches on all aspects of the directing profession.
In this One-on-One conversation with Lincoln Center Dramaturg Anne Cattaneo, Mabou Mines founder and famed director JoAnne Akalaitis shares her wisdom with a full room gathered at Arts Connection in November, 1995. They discuss her days with Mabou Mines and the experimental theatre of the 60s and 70s, and the desire for a broader audience that motivated her transition to regional theaters, where theatre was part of the community. Akalaitis encourages young directors to do their own work and to see the work of others as the basis for any discussion about directing, and expresses the need for entrepreneurship among young artists. Other topics include her approach to a play, the role of an artistic director, and how seeing "Frankenstein" changed her life. Full of eloquent insight and sage advice, this 90-minute interview will inspire listeners of all ages and professions.
At the 2003 SDC Directing Symposium, Scott Elliott, Artistic Director of The New Group and Callaway Award winner for Excellence in Directing, spoke to a room full of young directors for 90 minutes about his transition from acting in Broadway musicals to becoming an award winning director and artistic director of a successful Off-Broadway theatre company. He describes paying rent with charge cards in order to be creatively ambitious in his early directing days, and the element of chance that led to the New York Times showing up for one of his first shows and in so doing, changed his career forever. He speaks of his experience directing "The Women" for Roundabout on Broadway at the time of 9/11 and the decision to continue rehearsing and open the show in October. Other topics include choosing scripts and collaborators, the state of Off-Broadway theater post 9/11, and his collaboration with Arthur Miller on "The Ride Down Mt. Morgan". Mr. Elliott's interview provides a sneak peek into the world of a remarkable theatre artist who built his career from scratch, which should be of great interest to any aspiring director or artistic director.
In 1999, after receiving SDC's "Mr. Abbott Award," director/playwright/actress Vinnette Carroll spoke with SDC Executive Director David Diamond about her life as the first African American woman to direct on Broadway. She describes her mother's intense desire for her children to be cultured and how she encouraged Carroll to pursue the arts. She speaks about breaking into acting with a production of "Ceasar and Cleopatra" and the joy she eventually finds as a director in collaborating with playwrights and choreographers. Other conversation topics include the mentorship she received from Erwin Piscator and Stella Adler, the influence of choreography and other art forms on her directing style, and her close relationship with Langston Hughes. She tells how Hughes helped with her one-woman shows, which she did because there were no parts for black women at the time, and how that led to the beginning of the Urban Arts Corps which existed to give work to young minority artists. Evident throughout the interview is her passion for the people she worked with: how they were the reason for her persistence in the arts, the satisfaction she experienced from working with others, and the feel of being part of a greater whole. An incredible story for anyone passionate about the lives of American Theater's great women.
In this Directors Training Symposium from 1996, Lincoln Center Theater's artistic director Andre Bishop talks about his responsibilities as an artistic director, the qualities he looks for when hiring a director, his belief that many young directors lack knowledge in certain areas, how theatre as a whole can and must develop the next generation of directors, the key difference between commercial productions and the not-for-profit theatre, and why not-for-profit theatres must do more than simply produce shows.
In May of 1988, Peter Van Zandt moderated a talk with director and Lincoln Center Theatre artistic director Gregory Mosher, just weeks after the opening of the Broadway production of David Mamet's "Speed-the-Plow". In a conversation that focuses on Mosher's longstanding relationship with Mamet, and Mosher's leadership of Lincoln Center Theater since 1985, topics include Mosher and Mamet's first meeting in Chicago in 1974; the ambiguity of "Speed-the-Plow"; Mamet's preference for working with the same company of actors and Mosher's desire to open up the casting to a broader range of actors, including the casting of stage neophyte Madonna in her Broadway debut; the issues involved in releasing an actor; why Mosher loves producing perhaps more than directing; how the then-new Lincoln Center membership model compares with the classic theatrical subscription model; whether he believes Lincoln Center Theater should have a resident acting company, as it did when the Vivian Beaumont opened in the 1960s; the process of moving "Sarafina!"; and what he had learned from his new partner at LCT, Bernard Gersten.
In January of 1987, noted director, educator and SDC Board Member Mary Robinson met with directors Mark Lamos and Nagle Jackson to discuss running regional theatres. At the time, these two men were the Artistic Directors of Hartford Stage and Princeton's McCarter Theatre respectively. The conversation begins as many of SDCF's one-on-one interviews do, with Lamos and Jackson outlining the origins of their careers as directors, and specifically as Artistic Directors. We find that both men transitioned from performance to direction, and as Lamos puts it "were the kind of actor's you saw and said 'it looks like he should be a director'". These two master artists talk about the lessons they learned in the various posts which they've held at America's leading regional theatres, including: A.C.T; Arizona Theatre Company, Guthrie Theatre, Milwaukee Rep and others. We learn that though there are issues unique to each theatre and community wherein they reside, there are common obstacles and rewards that face all artists and administrators who work in regional theatre. Lamos and Jackson speak about how they've dealt with enhancing subscriber bases, choosing a season, working with Boards of Directors, finding new audiences and engaging their communities, and reaching out to communities that are not regularly exposed to theatre. This is a discussion not to be missed by anyone who's ever had the goal of running or starting a theatre company.
In May of 1988, esteemed Shakespearean acting teacher Ada Brown Mather discussed the bard's work with three of its contemporary master directors: Zoe Caldwell, Gerald Freedman, and Stuart Vaughn. Mather first introduces us to the work of the panelists, and then she begins a discussion framed by the questions "why do we get so excited about how Shakespeare is directed from age to age?" In this two-hour long session the audience gains access to insights on rehearsal practices, the directorial techniques and approaches of the panelists, and the debate on the American aptitude for producing good Shakespeare. We learn that there is one idea that unites the panelists, and perhaps all great technicians of Shakespeare, and it is to try at all costs to be true to his text.
In March of 1994, not long after the close of her hit Broadway production of "The Secret Garden", Susan H. Schulman sat down with Director Melvin Bernhardt to discuss her life in the theatre. Ms. Schulman walks a captivated audience of early-career Directors and Choreographers through her career to date, spanning neighborhood shows on her family's Brooklyn stoop as a small girl through her most recent Broadway production. We learn that it all began for her in the garage studio of 'Miss Harriet's School of Ballet' in Brooklyn, leading her to matriculate as the (self-labeled) "worst dancer in the class" at New York's prestigious High School of the Performing Arts. Her directing career stemmed from years as a performer at Hofstra University as an undergraduate. After being told that women could not apply to the Yale School of Drama graduate directing program, Susan attended Yale as a playwright for her graduate studies and kept directing none the less. This yearn to direct at any costs won her productions first in Buffalo, then at the Equity Library Theatre in New York, and then a season of musicals at the Civic Light Opera house in Pittsburgh. Susan explains how she came to direct musical theatre so masterfully and on such a grand scale, while not initially being able to read music. Her method understanding the music: taking children's piano lessons. Equally impressive are the unlikely circumstances under which she moved her York Theatre company production of "Sweeney Todd" from a school gym to a Broadway home at Circle in the Square Theatre. This 90 minute interview continues with insights on the collaborative process, Susan's opinions on the American Musical, and advice to the young theatre makers in attendance. It is a conversation not to be missed by any artist interested in the work ethic necessary to make it to Broadway.
In this discussion with Director-Choreographer Lynne Taylor-Corbett in February of 2000, listen to a two-time Tony nominee share her research into the complex history and techniques of competitive swing dance. She tells about the improvisation and experimentation involved during her workshop process to adapt this dance form for the Broadway stage in the 1999 production of "Swing!" We also get a glimpse of the stories that influenced her career; from her first encounter with a professional dancer in her hometown of Denver that propelled her to New York, to her work touring Africa and the Middle East with the Alvin Ailey Dance Company, as well as her first Broadway experiences choreographing "Chess" and "Titanic". She explains how she built her career from the joy she feels for the theatre audience's enthusiasm for watching dance. This ninety minute interview ends with a frank discussion of the Director-Choreographer relationship, in which she describes the best collaboration as being a fluid, non-threatened relationship built on trust. This insight into the life of an undeniably talented theatre maker is a revealing glimpse into the strengths and struggles of a working Director-Choreographer, which should command the respect of any theatre professional.
For decades, Marshall Mason and Lanford Wilson have been seminal figures in the theatre industry. Their artistic partnership spans nearly forty years and is recognized as being among the most enduring in the American Theatre. Their work together - from "Balm in Gilead" to the more recent "Book of Days" - stands as some of the most beloved in the American canon. In 2002, New York's Signature Theatre devoted its entire season to the plays of Lanford Wilson, including the New York City premiere of "Book of Days" which was directed by Mason. On the eve of that premiere, the SDCF was privileged to host Mason, Wilson, and long time collaborator and co-founder of Circle Repertory Company, Tanya Berezin in an in-depth One-on-One Conversation exploring their extraordinary careers, the craft of stage direction and the secrets behind their legendary director-writer collaboration
In this ninety minute discussion with Arthur Penn, catch a glimpse of the artistic processes which make this legend of directing such an artistic triple threat. To date, he is still the only individual to be nominated for a Tony, an Emmy and an Oscar for the same property - "The Miracle Worker". In May of 1987, Penn sat down with Melvin Bernhardt for this candid discussion on his style of directing and its application to stage and screen. We learn that Penn's direction is one of calculated chaos, never telling one actor what he says to the other and staving off, for as long as possible, wedding the action of the scene to the actual words of the text. It is a style that has worked brilliantly, but has also engineered conflict with those not willing to fully embrace its method - specifically Henry Fonda on Penn's Broadway debut, "Two for the Seesaw", about which he speaks frankly in this interview. He also tells of his artistic development, learning to direct for the stage through working in live television. Penn reminisces on the Broadway of the late 50's and 60's and the sense of artistic community which no longer exists in the same manner it once did. This is a discussion we enlightens us to the artistic aesthetic of one of entertainment's most prolific auteurs, and the steps he takes to create his unique imprimatur.
World renowned designer for the stage Ming Cho Lee spoke to a crowd of early career directors and choreographers in April of 1999 at SDCF's annual Symposium. The focus of this discussion was working with Shakespeare, and in this ninety minute address Ming explains why he will go anywhere to work on the Bard's cannon. With wit and humor he tailors his remarks to fit his audience, explaining how he communicates with directors. He speaks of his love of teaching, and of why the basis for his first-year design course at Yale is a foundation in directing. Ming then intricately evaluates and describes his process of design for some of his favorite Shakespearean works and productions. This is a lecture characterized by one man's passion for his work, and the "endless reservoir of knowledge and experience" that can be gained through engaging in Shakespeare.
Famed playwright Edward Albee sat for an interview with frequent collaborator Larry Sacharow before an audience of professional theatre artists and students at Fordham University in December of 2000. In a room composed predominately of professional and aspiring directors, Albee was quick to distinguish himself as a professional director. He recalled that his first inclination to become a director spawned from the process by which he writes for the stage. While developing his early plays, he began to understand that he had a good idea of what the play looked and sounded like in his mind, giving him the initial confidence to stage some early productions of his work. But, it was not until a self-directed production of "Zoo Story", which he called "the worst production" of his work that he'd ever seen, that it ever occurred to him that there was craft involved in being an effective director. For the remainder of this 90-minute discussion, Edward Albee explains his experience with this craft - approaching it as both a director and playwright. He outlines the circumstances under which a director and playwright should collaborate, maintaining that directors should never direct plays that they don't admire, and that playwrights must learn to become 'sub-textually flexible' in order to let actors be effective. He describes why he kept on directing and how developing as a director serviced his development as a playwright. And he explains the "schizophrenia" necessary to effectively act as director to his own work, recounting conversations with himself about problems in prior productions. Above all he asserts the importance of the director's ability to stay true to the intentions of the playwright, admitting that he always tells his casts "I want you to do whatever you want, as long as you end up with exactly what I intended."
Beginning in January 1985, SDCF held a series of interviews with Actors Who Direct in order to explore with live audiences of theatre enthusiasts, professional theatre artists, and SDC Members and guests the processes, experiences and craft of this brand of professional artistic hybrid. In the first installment of this series, moderator Ike Shambelan met with Alfred Drake and Howard Da Silva for a discussion about these very issues at New Dramatists. Da Silva and Drake shared a malleable professional relationship, both as cast mates and taking turns directing each other professionally. To get to the bottom of what characteristics define a good director, the pair relayed stories of mentors George Abbott, Arthur Penn and Sidney Lumet. They spoke of the common characteristics of being an effective communicator with the entire production team, while also being eminently prepared before beginning rehearsals. The two admitted that these are the traits they most try to cultivate in their work as directors, and acknowledge that the development of the former has been facilitated by their careers as performers. They speak about their process, the joy of true collaboration, and how they deal with critics as both directors and actors. And as they ruminate on their life in theatre and what they hope for from a successful production, they conclude that the more truly gifted and creative a director is, the more concealed is their contribution to a show.
In January of 2000, Joe Dowling met with SDC Members and guests at Chicago Shakespeare Theatre to discuss his career in the classics. It is a career that began long before his appointment as Artistic Director at Minneapolis' Guthrie Theatre in 1995, and even before becoming the Artistic Director of Ireland's National Theatre, the Abbey, at the age of 27. As family legend goes, his first artistic note to an actor was at the age of three, and it was instant recognition that he would spend his life on stage. In this interview with former SDCF Executive Director, David Diamond, Joe Dowling tracks his theatre life beginning with stories from his decades as an actor with the Abbey Theatre Company. He began his directing career in the 1960's with children's theater at the Abbey's smaller space, the Peacock theatre, revolutionizing the energy of the company until he was appointed Artistic Director in 1977. He speaks of his time as the Abbey's AD, the collaborative relationships he developed there with playwrights like Brian Friel, and the politics that caused his resignation. He goes on to discuss his American career and its origins at D.C.'s Arena Stage and the Manhattan Theatre Club. Then he covers the process through which he directs a classic production; his methods for preparation and exploration, and his affinity for tech rehearsals. He calls himself an actor's director. He believes the director's role is that of an interpreter more often than a creator. And he maintains that he works best with collaborators he enjoys as people, no matter how good the concept, idea or the design.
In 2002, theatre icon Harold Prince gave the opening remarks to a packed house of esteemed theatre artists, professional directors and choreographers, and aspiring early-career post graduates at SDCF's annual Directing Symposium. The focus of Mr. Prince's address, as well as the focus of the weekend's series of panel discussions and lectures, was "Creating the American Musical". Throughout this ninety minute discussion 'Hal' embodies the ideal of the venerable Broadway veteran, lauding the importance of practical experience and mentorship to personal artistic development while enlightening the audience with stories from his early career. He speaks of his mentor, George Abbott and those of his collaborators. He outlines a "three halves" philosophy to becoming a successful musical director or choreographer: First, being grounded in the fundamentals of the craft; Second, cultivating courage to provide your audience with innovative work; Third, harboring such a healthy regard for the importance of information that it borderlines on pretension. He continues by proving the success of his philosophies by recounting his 50 year career as a director and producer. He covers his development process and the art of collaboration. He affectionately calls his producing ventures "second childhood time", and bemoans the current state of commercial productions with their armies of producers. He concludes by maintaining that the future success of the American musical is contingent upon the cultivation of the next generation of theatre artists - Specifically that of the neophyte creative producer.
In June of 1995, SDCF brought one of Broadway's most beloved directors to New Dramatists for a conversation about comedy. Collaborators are quoted as saying "I would like to be surgically attached to his hip" and "I wouldn't mind if I never worked with another director again". In this 90 minute interview, you'll learn how Tony Award winner Gene Saks has engineered a career as one the most respected directors in American theatre. He is known for his understanding and protection of the actor's process, stemming from years as a performer on Broadway. Moreover, he is known for the rapport he develops with his casts. In this interview Saks admits that his relationships begin during casting where he looks for actors that he can "fall in love with", albeit for a limited period of time. He also looks for intelligence, and acknowledges that intelligence and a sense of humor go hand in hand. The discussion covers personal relationships with both Neil Simon and Simon's plays. He confronts what has changed about the nature of comedic entertainment as he explains that the world has become "more serious, today". He illuminates his process and his manner of "over-directing" in the early stages of a production, only to later trim down the stage business as a sculptor would excess. He talks of the humoristic mentality and maintains that he is not a director of comedy at all; rather, that he approaches all stories, serious or humorous, with an eye toward conveying its message through the vehicle of comedy.
Renowned stage and film actor and Tony nominated stage director Austin Pendleton made time for an interview in April of 1999 with former SDCF Executive Director David Diamond. This 90 minute discussion features the always candid Pendleton discussing his life in the theatre. The conversation begins with an explanation of his origins in directing. From his 1st experience directing his mother in a community theatre production of "The Glass Menagerie" in his hometown of Warren, Ohio to a successful production of "Tartuffe" at the Williamstown Theatre Festival which landed him on Broadway, he recounts the steps which led him to develop the directors craft. He reminisces on mentors Jerome Robbins, Bill Ball, Bob Lewis and others, crediting their influence on his early directing career. The discussion then turns toward his acting and how his life as a performer informs his process as a director, admitting he "used to be a very difficult actor before [he] started directing." This discussion covers a career that spans four decades and includes stories of his best and worst memories of working on the stage. Whether directing Elizabeth Taylor, developing new work with Michael Weller, or acting for greats like Jerome Robbins and Mike Nichols, Pendleton's story is one of a truly gifted theatre professional.
Days before the close of 1986's Tony Award winner for "Best Reproduction of a Play or Musical" "Hay Fever", Director Brian Murray sat down with Ada Brown Mather to discuss Mr. Coward's return to Broadway. Murray brings to the conversation a simple, honest and eminently knowledgeable love of Noël Coward's work; a relationship he began as an eleven year old boy reading plays at the library. He speaks about how his direction of "Hay Fever" on Broadway, starring Rosemary Harris, and how it began with a sense of unfairness that this production of Coward's never got the New York City reception it deserved. Mather and Murray discuss early Coward as an artistic revolutionary whose naturalistic use of language bucked the trend of traditional high comedy. They explore Coward the musician and his incredible talents as a lyricist. Further, Murray tries to explain the delicate landscape of Coward's conversational rhythm and how integral it is to generating a laugh. These two Coward scholars debate which works of Coward should be considered satire, concluding that what defines a Coward comedy isn't its commentary on a single class or group, but the unifying characteristic of laughing at life in general.
Just two months after the opening of his Tony Award winning production of "The House of Blue Leaves", Director Jerry Zaks spoke to a packed house at Westside Arts Theater in the first installment of SDCF's three part "Directing for Comedy" lecture series, in July of 1986. One of America's greatest Directors of comedy opens up his process for the audience, taking us step by step from his first read of a script through the perils of keeping comedy fresh over a prolonged run of a show. He expresses his affinity for what he calls "crafted comedy", or moments that he has choreographed meticulously. When explaining the intangible quality of comedic timing, Mr. Zaks teaches us that comedy, by nature, is musical and that the actors he most enjoys working with are comfortable playing within the structure of its strict beat and measure. Above all, he expresses his love for "rich comedy", which he defines as comedy that is always grounded in recognizable human conditions and contains a basic understanding of human needs. As a director who has given us time and again funny, moving and meaningful plays, Jerry Zaks puts in to words the humor inherent to the Human condition, and the importance of connecting intimately to it through theatre.
SDCF's James Furlong sat down with two preeminent stage directors who also design, Richard Foreman and Wilford Leach, for a 90 minute discussion about navigating the often contentious relationship of collaboration. Sharing similar origins, both Foreman and Leach discuss how their affinity for designing sets came from a "do it yourself" mentality which developed from an early necessity of their productions. As they grew as artists the two began practicing different philosophies of design and collaboration; Leach crafting a set from the center outward to ensure it fits into any touring venue, while Foreman moves from a frame inward to give the actors a concrete foundation wherein the story can inhabit. Despite many differing philosophies of collaboration and design both agree that, for them, set design and stage direction are inextricably linked in their process of creating theatre. What follows is a conversation between two theatre artists who refuse to compartmentalize their work. They rather view themselves as artists endeavoring to make an entire object, as a result of which directing and designing follow as natural bi-products.
At St. Mary's Church in Manhattan on September 19, 1986 SDCF hosted the second installation in a series of interviews with "Actors Who Direct". This interview moderated by Ike Schambelan, features a discussion with the magnificent directors/performers/educators Geraldine Fitzgerald and John Houseman. The focus of the talk is a simple one - good directors. Fitzgerald and Houseman lead the audience on a survey of the craft of directing. Throughout two 40+ year careers in stage and screen, these two worked with a veritable who's who of film and theatrical directors including Ciulei, Kazan, Reinhardt, Stanislavsky, Wells and Wyler; In this interview the pair discusses who their favorites are, and why. They outline the difference between the crafts of acting and directing for film and the stage. They engage in the eternal debates on methods of acting and the most effective means of collaborating with actors. Fitzgerald tells of her own experience as one of the first Tony nominated female directors for "Mass Appeal" while Houseman recounts the landmark productions of the Mercury Theatre, which he began with Orson Wells. They conclude by conceding that they are most effective as directors when they show the kind of personal vulnerability that encourages their actors to explore and create.
Off-Off Broadway pioneer Ellen Stewart gave a candid interview to SDCF Executive Director David Diamond for a packed audience of theatre artists at ArtsConnection on June 13, 1994. The central focus of the interview is her founding and continued artistic leadership of La MaMa Experimental Theatre Club. She begins at the beginning, explaining the origins of the institution and the impetus behind its creation. Ms. Stewart reminisces on her early funding efforts for the company - by selling her fashion designs on Fifth Avenue as the first African American designer to work for Saks. She covers the struggle to produce the work of marginalized artists in the early 60's, her confrontations with city officials and landlords and the emergence of her organization as a "Theatre Club". Ellen then guides the audience through the inspiring history of LaMaMa's international experience, both working abroad and supporting international artists' work in the U.S. She confides that LaMaMa's first international expeditions were to services the careers of American playwrights; to expose their work to a more willing European audience who might positively review the productions. LaMaMa continues to work internationally as a result of the "give and take" mentality developed by the institution's commitment to producing work that is "more universal in their appeal". This fascinating interview concludes with Ms. Stewart looking ahead, expounding on what she sees for the future of LaMaMa and its cadre artists and resident companies.
On February 4, 1996 the Drama League Directors Project co-hosted with SDCF a moderated discussion between Director/Choreographer Gillian Lynne and musical Director/Arranger Marvin Laird. In this candid discussion of Gillian's life in the theatre - the prolific dancer, choreographer, director of musicals and straight plays speaks of the mentors who helped her develop her comprehensive "theatrical vocabulary". She demystifies the true genesis of "Cats", explaining that her participation began over a glass of wine with Andrew Lloyd Webber. She discusses how that musical changed the way actors would be trained in the UK, for the better. She covers her own training and her unlikely entrée into the business of choreographing; developing Jazz ballets with Dudley Moore. She speaks frankly on what it means to be a woman in show business and what steps she is taking to champion the cause of increasing dancer's respect in this industry.
Fresh off of the successful opening of "Driving Miss Daisy" starring Dana Ivey and Morgan Freeman, Director Ron Lagomarsino sat down with SDCF's Steve Kaplan in January of 1988 to discuss directing comedy for the stage. In this, the third installation in a series of three interviews devoted to the topic, the listener will notice similarities in the directorial philosophies of these comedic helmers. (Other series interviews include directors Gene Saks and Jerry Zaks - available on Masters of the Stage at a future date or by request from SDCFoundation). Mr. Lagomarsino discusses what he looks for from actors in casting a comedy, and the trust he must develop with them once the cast is formed. He speaks fondly on the experiences of directing Dana Ivey in "Daisy" and collaborating with Christopher Durang on "Laughing Wild", both at Playwrights Horizons. He concludes by revealing how he so adroitly shifts his style to fit pieces like "Hay Fever", "Laughing Wild" and "Noises Off" - by not pretending to have all the answers. Ultimately, this organic process may be what endears him to his casts.
In April of 1986, the day after their play "The Petition", staring Hume Cronyn and Jessica Tandy, began its short lived run on Broadway, writer/producer Brian Clark and producer/director Robert Whitehead sat down with colleague Robert Pesola to discuss bringing serious work to Broadway. The two frame the discussion somewhat ominously; beginning by acknowledging that in the 80's bringing a serious play to Broadway is somewhat of a "deadly" prospect. They cover the state of the theatre in America and the dearth of talented professional playwrights due to the draw of film and television. They candidly discuss the relevance of critics from the New York Times and their influence on the success of a show. Whitehead talks about theatre as a dicey investment and his methods for securing funds to produce shows. The pair concludes by demystifying the concept of a "Golden Age" of American theatre, explaining that in this industry there is always hardship. But, they resolutely maintain that even (and especially) in times of distress the theatre will and must go on.
Fritz Ertl sat down with George Ferencz to discuss Sam Shepard at New Dramatists in January of 1985. The conversation begins dominated by questions concerning the musicality of Shepard's earlier work and Ferencz's collaboration with Jazz legend Max Roach to stage them for the "ShepardSets" in the mid-eighties. The questions drift from the musical toward the more practical as Ferencz covers the nuts and bolts of directing a Shepard piece, his affinity for his newer work and the notion of Shepard's as "American myth maker". At the time of this recording, despite several successful Ferencz productions of Shepard's work, George Ferencz had never met, written or talked with Sam Shepard.
Professor/Playwright Steven Drukman sat down with theatre artist Richard Foreman in April of 1997 at Artsconnection to discuss theatrical innovation in an interview co-sponsored by SDCF and the Drama League Directors Project. Foreman illuminates an early career of set design as a teenager in Westchester, NY; as an actor at Brown University; as a playwright at Yale. He confides that his origins as a director stem from an unwillingness of his contemporaries to direct his pieces. Drukman questions the reasoning behind the geometric, psychologically-charged staging of his earlier minimalist works in New York and his progression to the maximally theatric. Foreman discusses his 8-12 week rehearsal process, his admiration for film and irrational imagination. This enlightening interview gives listeners the opportunity to experience the mind of one of avant-garde theatre's pioneers, and his theatre of "infantile impulses".
In 2001, Charles Repole and Joe Miloscia of the Stage Directors and Choreographers Foundation had the opportunity to bring together a trio of Broadway's hottest hit-makers for a special conversation. Michael Mayer, Christopher Ashley, and Jerry Mitchell spent an evening catching up, reminiscing and discussing the intricacies of creating comic plays and musicals.
On April 27, 1986 frequent SDCF interviewer and legendary acting coach Ada Brown Mather sat down with director Sir Jonathan Miller to discuss Eugene O'Neill's work one day before his revival of "Long Day's Journey Into Night" opened on Broadway. In this conversation Sir Miller covers his career as a performer, his recommitment to working in the theatre despite a career as a doctor, his affinity for directing opera, the accidental manner in which he accepted the position as director on "Long Day's Journey" and how he tackles working on such a seminal piece of American theatre.
In November of 1986, legendary acting coach Ada Brown Mather sat down with Roderick Cook at Westside Arts Theatre to discuss his affinity for acting, directing and presenting the words and work of Noël Coward. During this interview Cook covers his relationship with Coward the man, the unlikely circumstance under which Cook's hit "Oh Coward!" was developed and then revived, and the experience of directing Coward shows on and off-Broadway with entertainment giants like Peter O'Toole in his American debut in "Present Laughter".
In December of 2001, renowned director Jack O'Brien was interviewed by his former protégé, John Rando, as part of SDCF's One-on-One conversation series. In this 30-minute session Rando and O'Brien span the gamut of Jack's considerable artistic abilities. Jack O'Brien candidly and eloquently covers everything from his sense of competition and his love of discovery, to his artistic process, love of collaboration and management on the Old Globe theatre.
On November 28, 1988 Elinor Renfield sat down with Austin Pendelton at Westside Arts Theatre to discuss the experience of directing Michael Weller's "Spoils of War". In this candid in-depth interview, Mr. Pendelton discusses this original piece from development to opening just eighteen days after "Spoils"' premiered at the Music Box Theatre on Broadway. He covers the writing process with Weller, casting Kate Nelligan and Alice Playten and rehearsing the roles that would earn them a Tony nomination and a Drama Desk nomination, respectively.
In December of 1992 a conversation with David Mamet was presented in New York City at Marymount Manhattan College. In this candid discussion Mamet covers writing, directing, the critics and theatre's purpose to society. His incisive comments on the state of entertainment and culture demonstrate why he is one of the most sought after theatre artists working today.
In Spring of 2006, Tony-award winning directors Daniel Sullivan and Doug Hughes were both in the midst of mounting shows at the Manhattan Theatre Club and agreed to sit down with MTC director of Artistic Operations, Mandy Greenfield for what turned out to be an insightful, thought-provoking and witty conversation about their lives in the theatre. This is a recording of that lovely night on stage at New York City Center, Stage 1.
On February 9, 2004, Tony Award winning choreographer and director Kathleen Marshall sat down for a One-on-One Conversation with Ted Chapin, President and Executive Director of the Rodgers and Hammerstein Organization, at the Beckett Theatre. The discussion traced her meteoric rise from Broadway gypsy, to assisting her brother Rob Marshall on "Kiss of the Spiderwoman", to winning a Tony award for her choreography for the Broadway revival of "Wonderful Town". The following is a recording of this wonderful conversation.
In June of 2000, just days after winning two Tony Awards for her spectacular work on the record-breaking hit, "The Producers", in between her rehearsals for the national tour of "Contact" and the development of her new musical "Thou Shalt Not", Susan Stroman took time out of her busy schedule to participate in SDCF's acclaimed One-on-One conversations series. Ms. Stroman was interviewed by her colleague and friend, Charles Repole, before a sold-out crowd. Together they discussed the genesis of Ms. Stroman's work, the foundation of her craft and the expert use of comedy in her work.
As part of the SDCF's "Directing Comedy: A Serious Business" symposium in April of 2000, the Foundation was privileged to host two master directors of comic plays and musicals for an in-depth discussion on the craft of directing comedy. Gene Saks and Jerry Zaks offered marvelous insights and expertise from their long and illustrious careers. This discussion features commentary on the stars with whom they've worked, collaboration with their favorite playwrights and what it takes to get a laugh.
In June of 2000, Hartford Stage's longtime Artistic Director Mark Lamos sat down with the SDCF for a One-on-One interview. In this conversation Lamos speaks candidly about a recent production of Edward II for A.C.T, his early career and his tenure at Hartford Stage, and the art and craft of directing for opera.
On March 12, 1997, eight months before the opening of "Lion King" on Broadway, JULIE TAYMOR was interviewed by author and collaborator Alexis Greene at Fordham University. In this One-on-One conversation Ms. Taymor reflects on her history as a performer in the collaborative theatre companies of the late 60's and 70's. She speaks about her origins as a director and puppeteer and the development of her aesthetic through international study of eastern theatre. She remarks about the potential for commercial success with "Lion King", and the freedom Disney producers were giving her to create a piece that wasn't simply putting the animated film on stage.
On October 10, 1993 Graciela Daniele was interviewed by SDCFoundation Board Member Frank Ventura at ArtsConnection. In this conversation, Ms. Daniele discusses her life in the arts as a series of transitions. She covers the totality of her career to date, remarking on her evolution from ballerina to musical theatre performer to assistant to director/choreographer. She speaks fondly of former mentors and past productions and candidly articulates her point of view on where American theatre is heading.
On March 20, 1997, journalist John Rockwell interviewed Robert Wilson at ArtsConnection. This interview, co-sponsored by the SDCFoundation and the Drama League Directors Project, covers the career to date of this visionary artist. Specifically, it focuses on the progression of his avant-garde aesthetic; his use of lighting, movement, text, and sound in his international performance pieces; and his methods for developing these productions.
On February 7, 1994 David Diamond interviewed Des McAnuff. Here he speaks of his origins as a writer in Canada, his relationship with the Public Theater and Joe Papp, his collaboration with Pete Townshend on "The Who's Tommy", and other satisfying moments as Artistic Director of La Jolla Playhouse.
On April 7th, 1980 the department of Spanish and Portuguese of New York University and the SDCFoundation sponsored a rare interview with Director Jose Quintero. In this discussion, moderated by Richard Eder, Mr. Quintero speaks about his creative process and the excitement a close collaboration with playwrights holds for him. Mr. Quintero sat down for this interview the evening after "Clothes for a Summer Hotel" closed on Broadway. He speaks candidly about this production and his ideas for O'Neill's "The Iceman Cometh", a revival that opened on Broadway five years later.
On April 18th, 1994 collaborator and colleague Hope Clarke sat down to interview writer-director George C. Wolfe. In this post-"Jelly" pre-"Bring In 'Da Noise, Bring in 'Da Funk" interview, Mr. Wolfe discusses his origins as an artist, the difficulty and fulfillment of writing and directing, his experience running the New York Shakespeare Festival and the future of his career.
In October, 1992 Wendy Wasserstein and Daniel Sullivan sat down at Marymount Manhattan College with SDCFoundation and Dramatist Guild members and the general public to talk about how and why they work together.
On May 2nd, 2002, soon after the much anticipated opening of the Broadway revival of "Into the Woods", his Tony award-winning collaboration with Stephen Sondheim, James Lapine sat down with friend and frequent collaborator, Ira Weitzman for a One-on-One conversation. Together they discussed Mr. Lapine's early years in the theatre, the genesis of his work with such musical luminaries as Sondheim and William Finn, and his experiences as both an award-winning director and writer.