Acting

Eurydice’s Sarah Price

Sarah Price stars in the Writers Theatre production of Sarah Ruhl’s Eurydice (directed by Braden Abraham) and discusses the challenges of playing a character out of myth. As an actor with a background in improvisation and comedy, Sarah talks about finding a balance between modern and classical; how she finds the magic within the realistic (and vice versa); the fun of making physical choices; why being a big comedy nerd helped lead her to Chicago; the value, importance, and absolute necessity of listening; and the complete inability of acting programs to teach ‘adorable’. (Length 18:05)

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By austin, ago

Improvising ‘Star Trek’

Chicago’s Otherworld Theater Company is America’s only non-profit theatre dedicated exclusively to exploring the genres of science-fiction and fantasy (and occasionally horror). Otherworld’s Dylan Schaefer talks about Starship Edsel, the fortnightly improvised Star Trek parody (created by Brandon Brylawski) that combines improv, satire, LARPing, and classic nerdery. Dylan reveals how Star Trek led to his life in the theatre; how Otherworld creates an ecosystem for multiple universes; how Star Trek is in its second golden (or possibly silver) age; how theatre as an art form doesn’t lean into sci-fi/fantasy as much as it should; a special guest appearance by a genuine starship captain; where you can watch Starship Edsel online; and how the Edsel preceded the USS Cerritos as the worst ship in the fleet. (Length 19:12)

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By austin, ago

Lenny Bruce Lives

Actor and writer Ronnie Marmo (above) talks about his one-man show I’m Not a Comedian…I’m Lenny Bruce (directed by Joe Mantegna), which he’s toured all over the country for over 400 performances. A longtime actor (Criminal Minds, General Hospital), Ronnie reveals how he first fell in love with the so-called “foul-mouthed” comic who never actually cursed all that much; how he was first arrested in Chicago; how Lenny threatened the status quo and “obscenity” was just an excuse to arrest him; what it’s like when the audience is your scene partner; his showbiz origin story; and ultimately, the importance of always being in a play, whether they’re paying you or not. (Length 20:51)

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By austin, ago

TV’s Neil Flynn (Pt. 2)

Neil Flynn (The Fugitive, Mean Girls, Scrubs, The Middle) returns to talk about how he manages to work both sides of the acting street: comedic and dramatic, improvised and scripted. A theatre vet, Neil marvels at the times he’s been allowed to frequently act onscreen in 4-5 page scenes (something that rarely happens), and shares the reasons he doesn’t do many talk shows; the bites he’s gotten to take out of dramatic apples; the best business decision he ever made; how basketball led to his role of the Janitor on Scrubs; the joy of getting lucky twice; and his absolute satisfaction about his place on the showbiz ladder. (Length 18:52)

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By austin, ago

TV’s Neil Flynn (Pt. 1)

Film (Mean Girls, Magnolia) and television (Scrubs, The Middle) veteran Neil Flynn talks about the joys of meeting your heroes, including working with Dick Van Dyke twice and Harrison Ford three times in The Fugitive (below), which celebrates its 30th anniversary this year, Indiana Jones and the Kingdom of the Crystal Skull, and in Shrinking. A Second City alum, Neil shares the fun of working with people you look up to, as well as the possibility of working with people who’ve looked up to you, and the surprising things you do and don’t remember from your career. (Length 16:21)

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By austin, ago

Steppenwolf’s Jeff Perry

Steppenwolf Theatre Company ensemble member and co-founder Jeff Perry returns to Chicago to star in Harold Pinter’s No Man’s Land, and he discusses what drew him to this role, at this time, at this theatre. Perry shares how seeing John Gielgud and Ralph Richardson in No Man’s Land in 1975 inspired a lifetime love of theatre and passion for Pinter; reveals the surprising number of Pinter productions at Steppenwolf over the years; evokes the original cast of Fiddler on the Roof; confesses the delirious joy of communal tomfoolery; talks about how Balm in Gilead gave him a triple doctorate in advanced theatre physics, as well as a motto for the Steppenwolf ensemble; and marvels at the wonder of having a “jazz soul.” Just a couple of old theatre geeks sitting around talking. (Length 21:47)

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By austin, ago

Adrian Scarborough’s Churchill

Olivier Award-winning actor Adrian Scarborough plays Winston Churchill in the Donmar Warehouse production of Jack Thorne’s new play, When Winston Went to War with the Wireless, about the government’s meddling with the independence of the fledgling BBC during Great Britain’s general strike of 1926. Adrian discusses bringing this iconic man to life while giving the audience a bit of what they expect from earlier portrayals of the older Churchill; the challenge and thrill of performing the text gymnastically; how training with Shakespeare helps you get on top of the language; the pride of doing one’s own lip work; a shout-out to Thorne’s other new play The Motive and the Cue; and finally, a bit of Shakespeare as performed by Winston himself. (Length 22:15)

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By austin, ago

Asian American Renegades

Matthew C. Yee (above) wrote the book and score for Lucy and Charlie’s Honeymoon, and plays one half of the titular couple in the Lookingglass Theatre world premiere. Joined by co-star Rammel Chan, the two actors discuss the show’s origins; how they walk its tricky tonal lines; how a script with humble college beginnings became a full-fledged country western musical; the ways in which the characters are both inside and outside the law; the challenge of being not just the author and composer, but also an actor and musician; wonderful and unintended similarities to Harpo Marx; and the lasting questions of why there aren’t more country western musicals? (Length 19:58)

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By austin, ago

Dee Ryan’s ‘Broadguess’

Actor, improviser, and playwright Dee Ryan has written Broadguess, her one-person comedy in which a hard-boiled Elsinore detective gets too close to some mysterious deaths amongst the Danish royal family and gets transferred to…Verona. As Detective Broadguess discovers murders most foul in Italy and Scotland, she uncovers the sick mind responsible and investigates what kind of man creates this level of carnage. Ryan, a Jeff nominated Second City alum, talks about the origins of the piece; how it was inspired by her Shakespeare book club; its debut as part of Flatwater Shakespeare Company’s “UnShaken Festival;” how she’s recreating Shakespeare’s connection to a broad (!) audience; her gratitude to Jeff Award-winning director Barb Wallace; and how her very funny comedy is a dee-construction of both Shakespeare’s canon and Shakespeare the Man. (Length 20:04)

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By austin, ago

Will’s Gender Play

The About Face Theatre world premiere production of Gender Play, or what you Will is a tour-de-force for its co-creator and star Will Wilhelm, who transforms their own story as a nonbinary actor into a funny and powerful evening that’s part seance and part dance party. Will shares their journey of discovery and how this play began as a thrown gauntlet; how Shakespeare’s plays are fundamentally queer, and how Will found themself in them; the difficulty of parsing gender identity, gender performance, and cross-dressing; the importance of creating easy on-ramps to appreciating Shakespeare; and how Gender Play will continue to be a gift to future queer performers who can make it their own. (Length 25:20)

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By austin, ago

Admiral Shelby Returns

SPOILER ALERT: The penultimate episode of Star Trek: Picard’s third and final season features the compelling return of Admiral Elizabeth Shelby, played by friend of the pod Elizabeth Dennehy. Shelby first appeared in Star Trek: The Next Generation’s classic two-part episode “The Best of Both Worlds” as a famous Borg fighter, so her return is particularly ironic. Elizabeth (Dennehy) talks about how she got the call; what it was like to step on to the bridge of The Enterprise-F; the level and specifics of her fandom; the (perhaps coincidental) power of The Twitter Machine; the ways in which her appearance was both a surprise and not; the value of an actor not knowing too much about the larger storyline; a sliver of hope that maybe Shelby has survived; how Elizabeth is connected offscreen to Miles O’Brien, Keiko O’Brien, Soji Asha; and Scott Bakula, who played Enterprise NX-01 captain Jonathan Archer; the stress of keeping Shelby’s appearance secret; how small the Star Trek casting universe is; a special appearance by Wesley Crusher himself, Wil Wheaton, now the host of the Star Trek companion show, The Ready Room; how little Elizabeth misses her 80s hairstyle; and what you do not want to be doing while you’re saving the world.  (Length 28:19)

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By austin, ago

Bringing Back Comedy

The original cast (pictured, left to right: Reed Martin, Dominic Conti, and Austin Tichenor) returns to The Complete History of Comedy (abridged) for performances this April and July of 2023 and they discuss how both the show and their performances have changed; how different people can get away with different jokes; the value of bashing away at the material; the audacity of comparing ourselves to Shakespeare; how it’s our most autobiographical show; what it’s like to act with other companies like Chicago’s Goodman Theatre and San Francisco’s American Conservatory Theatre; fixing certain punchlines; and a special appearance from Grammy Award-winning comedian “Weird Al” Yankovic! (Length 18:49)

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By austin, ago

Clyde’s In DC

Chicago-based actor Dee Dee Batteast (above) plays the title role in Lynn Nottage’s Clyde’s at the Studio Theatre in Washington DC and she discusses the wild tonal swing between this role and her previous role as Scrooge’s niece in the Goodman Theatre’s A Christmas Carol. Dee Dee shares how much she loves monsters (both watching them and playing them); how she’s doing the devil’s work; how she navigates dizzying extremes; the possibilities of redemption; how freedom looks different for different characters; some strange lobby encounters; insightful mob boss comparisons; the power of playing elemental forces and the fun of playing a badass; and the differences – and surprising similarities – between Clyde’s and A Christmas Carol. (Length 21:43)

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By austin, ago

More Michael Chiklis

Emmy- and Golden Globe-winning actor Michael Chiklis returns to discuss some of the roles he’s played and some of the roles he’d like to play. Michael shares his pride in doing The Thing (not to be confused with ‘the thing’); the downside of success in a specific kind of role; his love of music and performing live; how he deals with critics; receiving praise from Stan Lee; the importance of reinvention; which Shakespeare roles he’d like to tackle next; and his arguments for the person he thinks wrote Shakespeare’s plays. (For those wanting an authoritative refutation of the various Authorship Theories, download the free PDF, Shakespeare Bites Back: Not So Anonymous, written by Shakespeare scholars – and RSC Podcast guests – Paul Edmondson and Sir Stanley Wells.) (Length 22:40)

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By austin, ago

‘Dear Actor’ Letters

Janice L. Blixt, the producing artistic director of the Michigan Shakespeare Festival, discusses the very tiny percentage of clumsy and unfortunate inquiry letters she’s received, and the playfully helpful responses we wish we could send back. Blixt talks about how casting directors are genuinely rooting for every actor to be just what they’re looking for; the importance of self-direction; a Barbra Streisand example for young actors; how actors should be given opportunities to sit on the other side of the table; advice for young actors, or indeed, anyone who’s ever inquired about a job opportunity; how not to fly any unnecessary red flags; and the importance of not only learning about who you’re approaching, but not offering unsolicited advice to the person who has the power to hire you. (Length 22:56)

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By austin, ago

Meet Tré Tyler

Tré Tyler (above left) joins the Reduced Shakespeare Company for this spring’s tour of The Complete History of Comedy (abridged), and endures the RSC rite-of-passage known as the introductory podcast interview. Tré shares how he first worked with Reed Martin in the African-American Shakespeare Company production of The Complete Works of William Shakespeare (abridged) , and discusses how he first learned about the RSC; how his parents encourage and inspire; the unique training he’s had as both an athlete and nerd; how he loves paying homage to the greats; the rewards and challenges of navigating personal relationships with fellow artists; and the danger of too much table work when what an actor really wants to do is get up and move! (Length 18:33)

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By austin, ago

Reviewing London’s ‘Streetcar’

Our ‘London Entertainment Correspondent’ (!) Elizabeth Dennehy reviews the transformative Almeida Theatre production of Tennessee Williams’ A Streetcar Named Desire, directed by Rebecca Frecknall and starring Paul Mescal and Patsy Ferran (above). Elizabeth discusses how the direction and performances made it feel as if she was hearing Streetcar for the very first time, and how they scrape off the barnacles of affectation from previous productions; redefine the tragedy of Blanche DuBois; how her feelings are perfectly expressed in David Benedict’s review in Variety; how the magic of theatre is not an illusion and more effective when it doesn’t try to be; and the fundamental importance of trusting the words, trusting the actors, and most of all, trusting the audience. (Length 20:54)

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By austin, ago

Subversive Improv Guide

David Razowsky has written A Subversive’s Guide to Improvisation: Moving Beyond “Yes, And”, a fascinating, helpful, and inspiring new book that features incredibly insightful advice and exercises improvisers (actors!) can do on their own or in groups. An alum of both the Reduced Shakespeare Company and Chicago’s famed Second City (where he worked with Steve Carell and Stephen Colbert),  Dave discusses his own journey as an artist; from his roots as a young actor to a teacher with students all over the world; his book’s unique structure; how actors must and can develop their own self-awareness; the importance of bringing one’s authentic self to every scene; the joy of creating more monsters; and the rewards of improvising with Dee Ryan. (Length 23:14)

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By austin, ago

Shakespeare And Fantasy

Bryan Cogman, a four-time Emmy-winning writer and co-executive producer of Game of Thrones and a consulting producer on The Lord of the Rings: The Rings of Power, discusses the rise of televised fantasy and how a grounding in Shakespeare enabled his ability to navigate fictional dynasties. Bryan shares his journey from acting at Juilliard to writing for films and television; insights about how Shakespeare begat Game of Thrones, which in turn begat The Hollow Crown; how early bafflement led to eventual success (and imitators); the challenge of failing at the business of being an actor; how the best fantasy is grounded by relationships; and how it’s a golden age for TV-watching geeks. Featuring a special appearance by the man who wrote the book about Shakespeare and Game of Thrones, Jeffrey R. Wilson. (Length 24:36)

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By austin, ago

Sherlock & Scrooge

Allen Gilmore (above, right) plays Ebenezer Scrooge in A Sherlock Carol, a holiday mashup of Charles Dickens and Sir Arthur Conan Doyle now running in both New York (where Allen is) and London. A veteran Scrooge (having played him for many years at the Goodman Theatre in Chicago), Allen discusses how Ebenezer Scrooge is one of the great roles, comparing him to Leontes from Shakespeare’s A Winter’s Tale; how we stand on the shoulders of the Scrooges who’ve come before us; how the role is self-cleaning; how actors bring their own nasty to Scrooge; and how audiences recognize their nastiness in the character; and how the possibility of redemption is part of what makes A Christmas Carol so popular and enduring. (Length 18:30) (PICTURED: Drew McVety as Sherlock Holmes and Allen Gilmore as Ebenezer Scrooge in Mark Shanahan’s A Sherlock Carol, directed by Jen Waldman. Photo courtesy of Evan Zimmerman for MurphyMade.)

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By austin, ago

Saluting The Understudies

“Stand-ins of the world, stand up!” (Tom Stoppard, The Real Inspector Hound) 2022 will be remembered as the Year of the Understudy – not only did the Patron Saint of the Understudy King Charles III finally step into the leading role after waiting in the wings for 74 years, but audiences began to fully appreciate how understudies keep theatre going during a global pandemic. Understudies come in a variety of flavors, from covers to swings to alternates, and actors Loren Jones and Cindy Gold talk about which flavor they are in the Goodman Theatre’s 2022 production of A Christmas Carol. The conversation features lessons learned from the pandemic; how understudying can actually be a good paid gig; the difficulty of learning the lines without learning the moves; fast-tracking the understudies during rehearsal; the challenge of not just learning the role but the entire show; how old ways of doing things are changing; the identity of Scrooge’s overstudy; and tales of understudying both glorious and horrendous. (Length 19:43)

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By austin, ago

Goodman’s Christmas Carol

Jessica Thebus directs the Goodman Theatre’s annual production of A Christmas Carol, and this year she’s brought our own Austin Tichenor along to play Scrooge at ten designated performances. Jessica and Austin discuss how much the production changes from year to year (and, surprisingly, how little); how heaping helpings of Dickens’ actual text is present in the production; the willingness of returning veterans to investigate the script anew; the eagerness of artists and audiences to revisit this ritual; how a story is only as good as its bad guy; how everyone is invited to the Christmas Carol party; and how Ebenezer Scrooge is one of the great roles in the theatrical canon. (Length 17:43) (PICTURED: Larry Yando as Ebenezer Scrooge in the Goodman Theatre production of A Christmas Carol, directed by Jessica Thebus. Photo by Liz Lauren.)

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By austin, ago

Happy 16th Anniversary!

Mya Gosling, aka GoodTickleBrain, joins us to celebrate the 16th anniversary of the Reduced Shakespeare Company Podcast, new episodes of which have dropped weekly since early December, 2006. Mya interviews producer/host Austin Tichenor, who discusses the podcast’s origins and evolution; the greatest gift the podcast has turned into; how it was partially inspired by physical media; how much of a Shakespearean he was to begin with (and how much of one he’s become); how the RSC’s shows evolved into longer narratives; and the fun of filling existing spaces with your own stories. (Length 26:18) (Stick-figure Mya and Austin courtesy of Mya Gosling/GoodTickleBrain. Used by permission.)

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By austin, ago

Weird Al’s Guitarist

Jack Lancaster (above, left, with Daniel Radcliffe) plays Jim “Kimo” West, or at least a highly fictionalized version of him, in Weird: The Al Yankovic Story, the straight-faced and factually dubious biopic now streaming on the Roku Channel. Jack reveals the early musical training that helped prepare him for this (and many) roles; the challenge of standing out in an audition; the importance of great acting and great musicianship, especially when making something silly; dealing with a major case of Imposter Syndrome; buying his first grown-man suit; the thinking behind the decision of whether to be based in Chicago or Los Angeles; and the glorious fun of working with both Weird Al Yankovic and Harry Potter! (Length 18:33)

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By austin, ago

Doug’s Time Traveling

RSC Actor Doug Harvey (Hamlet in Hamlet’s Big Adventure! (a prequel)) performs his one-man show A Time Traveler’s Guide to the Present at the United Solo Festival in New York City on November 5, 2022 (an important date in the space time continuum). The show’s director Abigail Deser joins Doug to discuss how the show evolved for its run at last summer’s Edinburgh Festival Fringe; how the show helps them (and us!) survive in the worst timeline; the expedience of rehearsing over pizza; dealing with pandemic loss; finding the show’s spine; the excitement of virtuosity; the value of stripping away extraneous bells and whistles; the wonder of sacrificing your babies so as to not kill your momentum; how the best time travel stories are also love stories; and the beauty and satisfaction of fulfilling the promise of the time-travelly premise. (Length 21:57)

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By austin, ago

Actor/Singer David Benoit

Broadway veteran David Benoit works all over the country, including the current Chicago Lyric Opera production of Fiddler on the Roof and the recent world premiere musical Bruce at Seattle Rep. David discusses the various paths he’s taken to some of his favorite roles; how he considers the audition the job; learning lessons from Susan Stroman; how to partner in the dance between actor and director; the importance of avoiding cutesy pogroms; manifesting roles as far back as third grade; and how Jaws nerdery leads to work! (Length 21:33)

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By austin, ago

‘Owning Shakespeare’ Podcast

The first season of Rob Myles’ extraordinary Owning Shakespeare podcast is now available on all the usual platforms, and it’s a fantastic collection of six noted Shakespeare actors tackling (in real time) a speech they’ve never looked at before, and sharing their process, stumbles, and successes with the listener. Rob’s a wonderful guide, and he joins us to discuss how the podcast came together; how the RSC’s Austin Tichenor was a briefly unwitting test subject; what this and future seasons will accomplish; how he blushes at praise for his knowledge of Shakespeare and skills as a director; the joy of taking both Shakespeare and actors off pedestals; how a rushed rehearsal process led to a kind-of triage of Shakespeare; the importance of demystifying the idea that actors are only using “intuition;” how to avoid “impenetrable babble;” the value of showcasing the new generation of Approved Shakespeareans; and the hoped-for possibility of getting an Avenger on Season Two. (Length 21:40) (PICTURED, clockwise from top left, the six “text detectives” from Season One of Owning Shakespeare: Isabel Adomakoh Young, Austin Tichenor, Miguel Perez, Debra Ann Byrd, Paterson Joseph, and Adjoa Andoh.)

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By austin, ago

Tyla Abercrumbie’s ‘Relentless’

Tyla Abercrumbie is an actor, director, and playwright whose play Relentless was produced by Chicago’s Timeline Theatre Company, called “The best new work here in years,” by the Chicago Tribune, then subsequently presented by the Goodman Theatre. Relentless tells the story of two sisters who return to Philadelphia in 1919 to settle the estate of their mother and make family discoveries that change their knowledge of the past and will possibly determine their future. Tyla talks about her play came to be; what inspired it but also (more importantly) what motivated it; how her acting informs her writing; her goals for a large canon; the joy of costumes, both wearing them and writing for them; the fun of doing it the way Shakespeare did it; and how disparate ideas come together as if they were meant to be – which they probably were. (Length 21:40) (PICTURED: Ayanna Bria Bakari and Jane Ladymore in the Timeline Theatre Company’s production of Tyla Abercrumbie’s Relentless, at the Goodman Theatre, directed by Ron OJ Parson.)

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By austin, ago

Adrian’s Alan Adaptation

Two-time Olivier Award winning actor Adrian Scarborough has written The Clothes They Stood Up In, an adaptation of the novella of the same name by Alan Bennett (The Madness of King George, Talking Heads, The History Boys, and The Lady in the Van), about a mild-mannered couple (played by Adrian and Sophie Thompson) who return home from the opera one evening to find their flat completely bare and every single item they own stolen. What happens next is the action of this very funny play, which opens this week at the Nottingham Playhouse, and Adrian talks about about how his adaptation came to be, and how many versions he’s had to learn; the challenges of wearing both his actor and playwright hats; his successful preview at The Berko Speakeasy; finding (and imitating) Bennett’s voice; the value of getting microphones in the toilet; the privilege of getting to sit on the other side of the table; and the enormous satisfaction of challenging one’s self to come up with the goods. (Length 21:38)

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By austin, ago

Playing Henry V

Chicago actor Sam Hubbard just finished playing the title role in the the Michigan Shakespeare Festival production of Henry V, directed by artistic director Janice L. Blixt. Originally scheduled for the summer of 2020, Sam talks about what changed with two additional years to think about his performance; where he got the freedom to let go of the bad ideas; how Henry succeeds (or doesn’t) in rallying his men; the joy of getting to play dream roles; investigating what effective leadership looks like, both centuries ago and now; the richness of adding memorable unspoken moments to Shakespeare; the temerity of imagining a God-appointed king as actually human in 1598; the gratitude of avoiding the “Intern Drop-off;” and finally, the great good fortune of considering doing the Don Knotts version of Henry V – and then rejecting it. (Length 24:25) (PICTURED: Sam Hubbard in the title role of Henry V, Michigan Shakespeare Festival, directed by Janice L. Blixt. Photo by Victor Yang.)

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By austin, ago

Mr. Javier Muñoz

Javier Muñoz (Hamilton, In The Heights) stars in The Devil Wears Prada, the new musical based on the film and novel, with songs by Elton John and Shaina Taub. Javier plays Nigel (instantly erasing any memories of Stanley Tucci), and discusses how creating a role is less about ego and more about serving the story and character; the challenges of rehearsing changes during the day while performing the existing show at night; how he gave his first Broadway performance of Alexander Hamilton in front of President Barack Obama and his First Lady Michelle; what originating the song “Seen” means to him and his activism (and how precious it is to work with his “Seen” partner); and how debuting a song written by Sir Elton John differs from performing songs written by Sir Lin-Manuel Miranda. (Length 33:05) (PICTURED: Above, Javier Muñoz in The Devil Wears Prada, directed by Anna D. Shapiro. Photo by Joan Marcus. Below, Javier Muñoz, Renée Elise Goldsberry, Leslie Odom Jr, and the cast of Hamilton greeting President Barack Obama backstage, July 2015. Photo by Pete Souza.)

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By austin, ago

Where We Belong

Madeline Sayet’s one-woman show Where We Belong tells the story of her journey from discovering Shakespeare as a child to studying him in England and directing him (and others, and opera) around the world. Madeline is a director, educator, and writer, a member of the Mohegan Tribe in Connecticut, and she discusses her play’s origins; how different audiences react to it; how Shakespeare became a part of her normal childhood fairy-tale world; the sometimes thorny challenge of adapting personal relationships to accommodate the art; an uncomfortable reminder about how history works; possible sequel titles; how everybody wants to be in the play now that it’s a success; the art – and importance – of loving a thing and still being able to criticize a thing; and how theatre can also be good medicine. Where We Belong ran at the Goodman Theatre and will play Hudson Valley Shakespeare Festival in August 2022, Seattle Repertory Theatre and New York’s Public Theatre in the Fall of 2022, and Portland Center Stage and Oregon Shakespeare Festival in 2023. (PHOTO: Madeline Sayet in Where We Belong. Photo by Liz Lauren.) (Length 21:33)

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By austin, ago

Starling Shakespeare Company

Heron Kennedy (left, below) and Jessie Lillis, the founding artistic directors of Starling Shakespeare Company, discuss the company’s origins, plans for the future, and the rewards and challenges – both artistic and practical – of performing Shakespeare with only five people. FEATURING: Exploring different institutional models; inspiration from Actors From The London Stage; the definition and comic possibilities of “extreme casting;” the importance of a playful rehearsal room; how they’ve added touring dates and educational residencies; and how, ultimately, Starling Shakespeare provides both an excellent focus on Shakespeare’s text – and a remarkable showcase for actors. (Length 21:40)

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By austin, ago

Michael Chiklis’s Red

Emmy- and Golden Globe-winning actor Michael Chiklis (The Shield) plays legendary Hall of Fame coach, president, and general manager of the Boston Celtics Red Auerbach in Winning Time: The Rise of the Lakers Dynasty (now streaming on HBOMax). Michael discusses why the role is so special; why he has a permanent resistance to typecasting, even (and especially) in grad school; the power of actors; the terror of complacency; tales of impulsive behavior in TV audition rooms; the dangers of stinking up the room; the joy of nothing going ‘snap’; a tease about his upcoming project; and how he manifested reinventing himself from “roly-poly affable guy” to someone who’s “adult, hard-hitting, smart…and has something to say.” (Length 24:40)

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By austin, ago

Shakespeare In Detroit

Sam White (left) is the founding artistic and executive director of Shakespeare In Detroit, currently presenting the African-American Shakespeare Company production of The Complete Works of William Shakespeare (abridged) , directed by Reed Martin. On their first opening night in years, in their new home at Marygrove Conservancy, Sam sat down to discuss the history of @ShakesInTheD; her own origin story; how she has a new appreciation for King Lear after caring for aging parents; the important distinction between loving Shakespeare’s works and loving Shakespeare the man; the dangers of taking Shakespeare too seriously; the importance of changing the idea of who Shakespeare is for; how the best actors are funny; the crazy delight of becoming BFFs with Margaret Atwood; and how the pandemic has enriched and deepened our understanding of Shakespeare’s plays. (Length 18:15) (PICTURED: Tre Tyler, Lijesh Krishnan, and Gabe Ross in the Shakespeare In Detroit / African-American Shakespeare Company co-production of The Complete Works of William Shakespeare (abridged) , directed by Reed Martin. Photo by @chuknowak.)

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By austin, ago

Staging “Athena”‘s Fencing

David Blixt is the co-fight choreographer of the Writers Theatre production of Gracie Gardner’s Athena, directed by Jessica Fisch and featuring two stand-out performances by Aja Singletary (right) and Mary Tilden (left). David discusses the things that make this production unique in his experience; the importance of being a storyteller; the language of the body; the value of creating theater as an ensemble; how distance equals danger; why the actors had to actually hit each other; and how stage violence is always a story of desire and denial. (Length 16:24)

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By austin, ago

Hail, Richard II

The African-American Shakespeare Company production of Richard II, in a new Play On! translation by Naomi Iizuka, runs this weekend and next April 15-24, 2022, at the Marines Memorial Theatre in San Francisco. Director L. Peter Callender and star Lijesh Krishnan discuss the creation of this production; the return to live performances with The Complete Works of William Shakespeare (abridged)  (and how it will travel to Shakespeare in Detroit in May, 2022); the open secret of how Shakespeare gets adapted and translated all the time; unnecessarily nice words about Reed Martin; the distinction between common people and the masses; the difference between the quality of the jokes and the people saying the jokes; the promise of opening night drinks; and the importance of rewarding audiences for returning to live performances. (Length 21:31)

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By austin, ago

Are You Here?

A veteran of film, TV, and Broadway, Jim Ortlieb stars in John Kolvenbach’s Stand Up If You’re Here Tonight, a tour-de-force one-person play about what it means to struggle to survive, to move on, to connect, and to find community again. Now in its Chicago premiere at the American Blues Theater, the noted film, stage, and TV actor talks about the challenge of acting by himself…but with an entire audience; how behavior reveals meaning; how the death of Hal Holbrook inspired the play; the importance of mourning and how we, as a culture, aren’t that good at at; that moment when spouses figure you out; how this one play might become a life’s work; and navigating that line where the character stops and where the actor begins. (Length 19:53)

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By austin, ago

Back To Rehearsal

Last week we gathered in the RSC’s hometown of Sonoma, California to finally return to Hamlet’s Big Adventure! (a prequel) since the last time we performed it back in 2019. Original cast members Doug Harvey, Austin Tichenor, and Chad Yarish talk about what it’s like to back on their feet; how they survived this “long intermission;” how it was time to retire from cracking nuts; the promise of a possible live RSC D&D one-shot; some important pandemic pivots; the importance of crystallizing our purpose; the (hopefully only temporary) end of an RSC tradition; and how the themes of Hamlet’s Big Adventure! (a prequel) have become surprisingly resonant and more comically powerful in the intervening two years. (Length 18:41)

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By austin, ago

Untamed Shrews Podcast

Dawn Tucker, Hannah Fontes, and Becki Zaritsky are the hosts of the Untamed Shrews Podcast, a production of Flagstaff Shakespeare Festival (where Dawn and Hannah are the Executive and Marketing Directors, respectively, and Becki is the former production manager). The three Shrews discuss their work with Flagstaff Shakes and how the pandemic inspired the podcast’s creation, and how they bring their irreverence and humor not only to podcasting but to Shakespeare and theater. FEATURING: an RSC Podcast first; how Dawn is livin’ the dream; how shrews need love, too; how their specific skillset allows a trapeze Winter’s Tale; the state of the arts in Arizona (or at least in Flagstaff); wisdom from a Shakespearean elder; and how FlagShakes may be the only theater company in Arizona that doesn’t own a fog machine. (Length 25:05)

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By austin, ago

Netta Walker’s ‘Homecoming’

Netta Walker, one of the stars of All-American: Homecoming and a stage actor who spent time in Chicago, discusses how her stage experience compares with her TV experience, and, amazingly, how one of her early formative experiences was with the Reduced Shakespeare Company (!). FEATURING: her debut on the stage of Lincoln Center; where she got her early professional experience; being blessed with supportive parents; the value of seeing Shakespeare performed (even by us) before studying it as literature; being part of the original cast of Lauren Gunderson and Margot Melcon’s The Wickhams: Christmas at Pemberley; how to avoid the stress of trying to guess what a director wants in an audition; and where she gets her (for want of a better word) confidence. (Length 16:07) 

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By austin, ago

Surviving Theatre School

Gina Pulice and Jen Bosworth-Ramirez are the hosts of the “I Survived Theatre School Podcast”, which started as a pandemic project, but has become a fantastic ongoing conversation about the things we learned in theatre school, the things we didn’t learn, and how we’ve all managed to survive: some of us in the theatre, and some of us in other fields. Austin Tichenor was a guest on their podcast and now returns the favor, letting Gina and Bos talk about how their podcast came to be and what it’s now become. FEATURING: the value of active listening, both within the theatre and without; the counterintuitive freedom of a rigid schedule; the joy of “psychological spelunking;” how one can become a reimagined artist; and how something that didn’t start out to be a “self-help” podcast has turned out to be, for its listeners, remarkably healing. (Length 19:15)

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By austin, ago

Amanda Drinkall’s Desdemona(s)

Amanda Drinkall plays Desdemona in Othello, The Tragedy of the Moor of Venice, at the Court Theater in Chicago – and, as it happens, she’s also played Desdemona before with the Back Room Shakespeare Project. Amanda discusses the differences between the two productions and reveals why she continues to be drawn to the role; the appeal of approaching the text irreverently; the advantages of intimacy; further attempts to make #TheatreInTheSurround happen; the question of whether Desdemona is a victim; how we see her through Othello’s eyes; how Desdemona is like other Shakespeare heroines like Juliet and Viola; and the importance of grounding tragedy in fierce love. (Length 17:25) (PICTURED: Kelvin Roston, Jr. and Amanda Drinkall in the Court Theatre production of Othello, The Tragedy of the Moor of Venice, directed by Charles Newell and Gabrielle Randle-Bent. Photo by Michael Brosilow.)

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By austin, ago

Remembering Princess Diana

In celebration of the RSC Podcast’s 15th Anniversary, artistic directors Reed Martin and Austin Tichenor remember the surreal week they spent performing The Bible: The Complete Word of God (abridged) at the Gielgud Theatre in London in the wake of the death of Diana, Princess of Wales. Featuring memories of how the country came together; how all the performing arts suffered at the box office; how we were the only West End show to perform during Diana’s funeral; how news traveled via Town Crier; the joy of meeting Bernard Shaw (not George Bernard Shaw); and how something always happens when we perform in London. (Length 18:17)

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By austin, ago

Othello’s Powerful POV

Chicago’s Court Theatre is producing a powerful and intimate production of Shakespeare’s The Tragedy of Othello, The Moor of Venice, and they are absolutely leaning into the play’s full, proper title. Kelvin Roston Jr. (as Oedipus, left, and Othello, above) stars in the title role and discusses how he was brought in early in the process by directors Charles Newelland Gabrielle Randle-Bent, and shares fantastic insights about he approaches Shakespeare’s text; how it’s sometimes better to find physical alternatives to the text; the similarities between Shakespeare and August Wilson; how you can’t stage a vehicle without getting a good driver; the importance of specificity in language; the power of presenting an epic tragedy on a human scale; the valuable lesson that it’s not what or how the classics speak to us, but how and what we say to the classics; and a determination to make the phrase #TheatreInTheSurround happen. Now playing – and streaming! – until December 5, 2021; visit courttheatre.org for more information. (Length 20:34) 

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By austin, ago

Kate And Petruchio

Friends of the pod Alejandra Escalante and Daniel José Molina are playing Kate and Petruchio in the five-actor American Players Theatre production of The Taming of the Shrew, directed by Shana Cooper, until November 14, 2021. Alejandra and Daniel discuss how they decided to do the play; how they approached their characters; what the play is about now; how the language defines the play; the advantages of seeing many previous productions; how it’s a play about navigating relationships, the various worlds of the play, marriage; and, ultimately, two misfits in a patriarchal, transactional society. BONUS: Here’s where you can watch this production online! (Length 26:27) (PICTURED: Alejandra Escalante and Daniel José Molina in Taming of the Shrew at American Players Theatre, directed by Shana Cooper, 2021. Photo by Liz Lauren.)

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By austin, ago

Adrian Scarborough Masterclass

Two-time Olivier Award winner Adrian Scarborough returns to the podcast to give a masterclass in learning to love Shakespeare, studying him in drama school, and performing him professionally. Adrian shares experiences of learning Shakespeare at his mother’s knee; playing Shakespeare’s clowns; getting direction from Sam Mendes; occasional rush-hour trains going by; the advantage of dance training in performing Shakespeare; an auspicious debut (playing young doomed Macduff as a child); an intensity of intention; how to root one’s self in rehearsal; the importance of heading for the full stop and the dogged pursuit of an idea; and the value of going for the truth instead of going for the comedy…because going for the truth gives you better comedy. (Length 22:51)

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By austin, ago

The False Exit

Barbara Wallace, who, along with her writing partner Thomas R. Wolfe created the TV series Welcome To New York (starring Christine Baranski and Rocky Carroll), talks about one of her biggest pet peeves, an almost indefinable bit of stage business that always feels forced (and is not to be confused with an actual exit). Barb also discusses her creative journey from sketch comedy in Chicago to writing and creating TV series in both Hollywood and New York. Featuring: whether or not actors should be allowed to breathe; conflicting definitions of “hugely successful;” the importance of writing the best thing you can, not what you think people will like; fighting for gender parity at Second City in the early 1990s; the mixed benefits of multiple streaming platforms; getting close enough to the glass ceiling to fog it up but not break it; the joys of working with TV legend Christine Baranski; and finally, the ABCs of surviving in showbiz – Always Be Creating your own content. (Length 21:15)

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By austin, ago

Star Trek Shakespeare

Elizabeth Dennehy discusses how teaching Shakespeare intersects with her experience playing Lt. Cmdr. Shelby on the classic Star Trek: The Next Generation episodes “The Best of Both Worlds, Parts 1 & 2”. Elizabeth shares behind-the-scenes stories about how she got the role and shot the episode; how her theatrical training (warp) factored into her ability to memorize sci-fi technobabble; how she and co-star Jonathan Frakes planted the seeds for any direction the narrative could take; how she prefers different kinds of costume fantasies; which Shakespeare characters and scenes resonate best with her students; how to measure photon torpedo hits; the further adventures of Sir Patrick Stewart: Matchmaker; and how she utilizes “The Price Is Right Guide to Shakespeare.” NOTE: This is edited from a longer conversation on The Shakespeareance. (Length 23:01)

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By austin, ago

Stephano & Trinculo

Adam Wesley Brown (left) and Ron E. Rains (right) played Stephano and Trinculo in the 2015 Chicago Shakespeare Theater production of The Tempest directed by Aaron Posner and Teller, and for no reason other than we’re huge fans, they discuss the rewards of playing Shakespearean clowns (these two in particular). Featuring the wonder of immediate connections at the auditions; the occasional difficulty of calling it ‘work’; shout-out to Zach Eisenstat and Manelich Minniefee from Pilobolus Dance Company, who played an eight-limbed, two-headed Caliban; the beauty of being a bit factory; the dramaturgical importance of clowns, and realizing that if the most memorable character in Hamlet is the Gravedigger you’ve done something wrong; how it behooves young actors to get some musical skills, and how a knowledge of music helps particularly with speaking Shakespeare; how you must always fight for the biggest flask; how we didn’t even discuss Ron also being The Onion’s Film Critic, Peter K. Rosenthal; and the importance of learning that, when in doubt about a joke, make it sexual. (Length 23:05)

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By austin, ago

King Lear’s Edgar

Daniel José Molina (who’s appeared on the podcast discussing his performances of Hal in both parts of Henry IV and Henry V), discusses playing the even more difficult role of Edgar in the St. Louis Shakespeare Festival production of King Lear starring Andre De Shields. Daniel reveals the challenge of playing a purely reactive character; the value of recognizing that Edgar only realizes when it’s almost too late what play he’s in; the trick of honoring Shakespeare’s intent to make ‘Poor Tom’ a crude performance, not a Daniel Day-Lewis transformation; the tricky irony of when performed mental illness meets genuine decline; gives a shout-out to Leland Fowler, who played one of the best bastards ever; a special appearance from Netta Walker, one of the stars of the upcoming CW series All-American: Homecoming; a preview of Daniel’s next Shakespeare challenge; and, ultimately, how Edgar is actually four or five characters in one. (Length 24:18)

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By austin, ago

Drawing On Shakespeare

Drawing on Shakespeare is a 16-episode webseries hosted by Austin Tichenor and the ridiculously talented Gary Andrews, where we talk about Shakespeare with witty, wonderful, and wise people while Gary draws what we’re talking about. As a possible second season/series gets closer, Gary and Austin remember how Drawing on Shakespeare began, discuss how different actors bring new meaning to a character; how every conversation leads to new insights about a play; how Puck from A Midsummer Night’s Dream can be like Keith Richards; and how audience figures are staggering into the several. (Length 17:40)

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By austin, ago

Emily Carding’s ‘Quintessence’

Our friend Emily Carding performs their solo show Quintessence this week at the Brighton Fringe Festival (where it won the “Outstanding Theatre Award” in 2019) and talks about how the show was inspired by their love of Shakespeare, science-fiction, and Frankenstein. Featuring the embodiment of an artificial intelligence onstage; starting out life as a commission from the London Science Museum; influences ranging from Shakespeare’s Ariel to Star Trek’s Data; the power and profundity of silliness; the elimination of barriers provided by Fringe performing spaces; upcoming pub garden performances of As You Like It with the Open Bar Theatre; and real-life warnings about how humanity will ultimately be destroyed — and possibly be reborn. (Length 20:22)

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By austin, ago

Teaching During Quarantine

Two Northwestern University professors — Cindy Gold (above, right) from the Theater department and Dee Ryan (above, bottom left) from the Radio, Film, and Television department — talk about how their classes and teaching methods changed and evolved over the fifteen months of the COVID pandemic. Featuring the reinvention of mask work; cancelled performances and career opportunities; being an adorable drunk; how many students got COVID (surprisingly few); being paralyzed by fear (not of COVID, but of technology); spectacular threshing metaphors; a mention of and appearance by Jill Talley (the voice of Karen from SpongeBob SquarePants); and the incredible value of Zoom’s Chat feature. (Length 20:58)

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By austin, ago

My Favorite Hamlet

John Vickery (above, as Antonio in The Tempest at the Stratford Festival in 2010 and Orak the Klingon on Star Trek: Enterprise in 2003) starred as Hamlet in Richard E.T. White’s production at the California Shakespeare Theater (then the Berkeley Shakespeare Festival) in 1982, and it remains, almost 40 years later, Austin’s favorite performance of that role he’s ever seen live. Richard discusses how that production came to be; how returning to Shakespeare allows such powerful explorations of class, wealth, and power; what favorite scenes we share; the danger (and rewards) of rewriting copyrighted material; the frustrations of college drama departments everywhere; how the streets of New York City became Telegraph Avenue in Berkeley; interesting collaborations and treasures discovered in the second quarto; how Shakespeare is open and available to any culture and any society; and who Hamlet’s final climactic sword should really be with. (Length 21:27)

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By austin, ago