Actor, director, and playwright J. Nicole Brooks is the author and director of Her Honor Jane Byrne, which looks at the moment in Chicago history when its first woman mayor moved into the Cabrini-Green housing projects. Just three nights after it had its official world premiere opening at Chicago’s Lookingglass Theatre, the rest of the run was cancelled due to the restrictions being imposed around the world in the midst of this global pandemic. Brooks discusses how the play came together and how love letters to Chicago can be complicated; the value of Shakespearean echoes and wise fools; a fascination with corruption; shining light on haunted communities; getting laughs when you least expect them; decolonizing the space; losing revenue streams; surprising shout-outs to Shelley Winters in The Poseidon Adventure; and the brilliance of writing a dark comedy about kings and queens and guillotines. (Length 22:03)
Dan Beaulieu and Christine Penney are the co-founders and directors of the Seven Stages Shakespeare Company, New Hampshire’s only year-round dedicated to performing the works of Shakespeare or pieces that illuminate him. Seven Stages engages with Shakespeare in a variety of contexts, including performances, readings, workshops, and podcasts, and as Christine and Dan explain the company’s mission and objectives, they talk about swimming where the fish are, such as in in parks, bars, theaters (sometimes), barns, and warehouses; give shout-outs to influential professors; reveal how musical theatre performers are frequently excellent Shakespeareans; celebrate Shakespeare with a morning zoo/sports talk-radio energy; compare Brooklyn neighborhoods; and finally — beautifully — share what happens when you get to the sixth and seventh stages of Shakespeare. Recorded LIVE at the Shakespeare Theatre Association Conference in Dallas, January 2020. (Length 20:23) (Pictured: Deb Kinghorn as Lear in the 2016 Seven Stages Shakespeare production. Photo by M. Lavigne Photography.)
It’s The Sonnet Man! Who, disguised as mild-mannered Devon Glover, fights for truth, rhythm, and the Shakespearean way. At the recent Shakespeare Theatre Association conference, Devon spoke about his recent vow, what he’s been doing, who he’s been working with, and where he’s been teaching; the beauty of finding your voice through verse; the challenges and rewards of finding your own individual swagger; early work with Flocabulary; inspiration from the movie O; the dangers of a stagnant Devon; possible epitaphs; unexpected inspiration from Heathcliff and the Cadillac Cats; the difficulty of acting while rapping; a reduced abridgment of his fantastic article for Dramatics Magazine; and finally, what it’s like to duet and collaborate with MC Bard. Coming soon (probably) to a state near you! (Length 25:09) (Hear our first podcast conversation with The Sonnet Man here!)
Livermore Shakespeare Festival is the thriving cultural center of the Tri-Valley in the San Francisco Bay Area, and founder and producing artistic director Lisa Tromovitch talks about how the company began and how it’s continuing to grow. Featuring the journey from parks and vineyards to a brand-new building; how working with new plays and living playwrights is great training for collaborating with William Shakespeare; how Shakespeare and theatre acts as an economic engine; and finally, the greatness of being in the so-called center of the MegaRegion! (Length 20:21) (Lisa Tromovitch; Nicole Odell and Skyler Cooper in the 2019 Livermore Shakespeare Festival production of Othello, directed by Michael Wayne Rice. Photo by Gregg Le Blanc, CumulusLight.com)
To celebrate Twelfth Night, we compare different productions of Shakespeare’s great comedy with Dee Ryan, adjunct professor at Northwestern University and president of the North Shore Shakespeare Society, and actress Elizabeth Dennehy, who recently directed Twelfth Night at the Los Angeles County School for the Arts. Featuring shout-outs to productions at Cincinnati Shakespeare Company; the Stratford Festival (with music by Michael Roth & Des MacAnuff), the South Australian State Theatre with Geoffrey Rush, Chicago’s Writer’s Theatre, and the Amanda Bynes film She’s The Man; how Twelfth Night got its title (and subtitle); how and when to make sure scene transitions flow as well as the play itself; the virtue of outright theft; how the play is NOT the tragedy of Malvolio; inspiration from the musical Once; Lear-like Orsinos; cleansing rains; shout-outs to Oregon Shakespeare Festival’s Oklahoma! and San Diego Repertory Theatre’s The Humans; valentine reviews; pairing Antonio and Aguecheek; the benefits of isolating your Olivia; shout-outs to Caitlin McWethy and Abby Lee (pictured above); the food chain of status-climbing; and, as ever, the promise of getting it better…next time. (Length 27:50) (Pictured: Abby Lee as Olivia, Caitlin McWethy as Viola, and cast of the Cincinnati Shakespeare Company production of Twelfth Night, directed by Austin Tichenor. Photos by Mikki Schaffner Photography.)
This week we continue our conversation with Robert Falls, the Tony-winning artistic director of the Goodman Theatre in Chicago. In addition to being well-known for directing classics like Arthur Miller’s Death of a Salesman and Eugene O’Neill’s The Iceman Cometh and Long Day’s Journey Into Night, Bob has worked on such possibly surprising material as the Elton John and Tim Rice musical Aida, and that’s where we pick up our conversation. Featuring the joy of working with actors; collaborating with Elton John, Tim Rice, and David Henry Hwang; tales of working on John Logan’s Red, and Shakespeare’s Winter’s Tale and Measure for Measure; why and how we’re drawn to certain plays or genres; false distinctions; some terrible phrasing and important corrections; why, for all the comedies Bob directs, he may be more of a tragedian; and the dual pleasures of tearing plays apart — and an audience’s heart out. (Length 18:54) HEAR PART ONE OF OUR CONVERSATION HERE! (Pictured: (l-r) Disney Theatrical’s Thomas Schumacher, Elton John, and Robert Falls in rehearsal for Aida, 2000.)
Robert Falls is the Tony-winning artistic director of the Goodman Theatre in Chicago, and after talking with several actors from his productions of Death of a Salesman (left), The Iceman Cometh, The Winter’s Tale, and Enemy of the People, we finally get to talk to the man himself. Bob discusses how he approaches his work, and how ultimately passion decides everything, but along the way gives shout-outs to Mark Larson and his invaluable book Ensemble; talks about how he finds his way into the work; shares guest appearances by Winston Churchill; reveals one or two trials by fire; enthuses about amazing introductions to Shakespeare; and tells a great story about working with Vanessa Redgrave (though probably not the story you’re thinking of). (Length 24:55) HEAR PART TWO OF OUR CONVERSATION HERE!
The current Chicago Shakespeare Theatre production of Romeo And Juliet completely reinvigorates Shakespeare’s most famous play, emphasizing frequently overlooked themes and giving events an intense urgency that accentuates both the comedy and the tragedy. Director Barbara Gaines (who’s also CST’s founding artistic director) talks about what finally drew her to the play and how she emphasized certain things while eschewing too much romanticization; how she underscores the dangers of cycles repeating endlessly; creates powerful final images: how every Shakespeare play can be improved by setting it in a high school; how she adds tension and comedy to the balcony scene; gives us a reduced history of Chicago Shakespeare Theatre; and the wonderful but maybe not too surprising relationship between Chicago Shakes and Second City. (Length 24:02) (Pictured: Brittany Bellizeare and Edgar Miguel Sanchez in Chicago Shakespeare Theater’s production of Shakespeare’s Romeo and Juliet, directed by Barbara Gaines. Photo by Liz Lauren.)