Shakespeare

Play On Shakespeare

Lue Douthit is the creator and Executive director of Play On Shakespeare, a series of translations and adaptations of the entire Shakespeare canon written by some of the most interesting and talented playwrights working today. Lue talks about the program’s origins and aims, and underscores how these adaptations are not meant to replace Shakespeare’s originals, even though they frequently offer insight into them. Featuring the ability to treat Shakespeare as a living playwright and his works as “new plays;” the importance of putting the playwright in the room; the dangers of editing Shakespeare; how flexible these texts are; establishing rules and then bending them; the importance of contrast in Shakespeare; the genius of Shakespeare’s dramaturgy and structure; how 90% of current Shakespeare productions are already adaptations; and the bold and radical idea of giving living playwrights living wages. Recorded in February, 2020. (Length 27:39)

Podcast: Download (Duration: 27:39 — 32.0MB)

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By austin, ago

That Shakespeare Voice

Samuel Taylor (author of My Life with the Shakespeare Cult, Blueprints for a Shakespeare Cult, and co-founder of the Back Room Shakespeare Project) and Jasmine Bracey (actor, teacher, and stakeholder in Back Room Shakes) talk about their new online class, “Spitting Out the ‘Shakespeare Voice'”, which breaks down the racist and colonizing ways in which speaking Shakespeare’s language is taught — and gives students and actors new ways of finding and utilizing their authentic voices. Featuring a breakdown (in every sense) of the teachings of Edith Skinner; delighting in Shakespeare’s language like jazz; the danger of asserting the dominance of a certain culture; the frustration of overcoming barriers to authenticity in a world of pretend; showing multiple facets of an actor’s diamond; possible textual evidence for the only two characters in the canon who can legitimately use a “mid-Atlantic” accent; the importance of not being complicit; the beauty of experiencing and speaking Shakespeare’s words authentically, especially if he’s the greatest playwright in the English-speaking western canon; the distinction of holding the mirror up to nature but not telling you what to see in it; and breaking down the idea that there’s only one correct way to speak the speech. Speak YOUR speech! (Length 33:46)

Podcast: Download (Duration: 33:46 — 39.0MB)

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By austin, ago

Shakespeare And Trump

Jeffrey R. Wilson, a lecturer in the Writing program at Harvard University, has written the new book Shakespeare And Trump, which examines not just which Shakespearean villain or tyrant Trump most resembles, but the more richly Shakespearean world of the politicians who enable him and the populace that continues to support him. Jeff explains how reluctant he was to write the book, but how he was drawn to more of a cultural conversation (as opposed to character criticism); weak kings versus dangerous clowns; whether we’re living in one of Shakespeare’s Histories or one of his Tragedies; the trick to finding the comedy in tragedy; the value of using Shakespeare as a lens through which we can look at a specific historical moment; how using Shakespeare as a look at cultural history might reveal things more traditional history might not; and what Shakespeare play most resembles the whole year of 2020. (Length 19:06)

Podcast: Download (Duration: 19:06 — 22.2MB)

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By austin, ago

Gender-Flipping The Shrew

In 2019, the “other RSC” — in this case, the Royal Shakespeare Company — offered a gender-flipped production of Taming of the Shrew that underscored the play’s issues of hierarchy and power. Austin Tichenor and Dee Ryan saw the production as an NT Live broadcast and are joined by GoodTickleBrain’s Mya Gosling and dramaturg Kate Pitt (who saw the production live onstage in Stratford) and they discuss how the production landed in the two formats. This fascinating book club conversation touches on the play’s wonderful mutability; the comedy of straight male vanity; whether there’s a need to “fix” it; agreeing on the game of the scene; similarities to Henry and Kate in Henry V and other troublesome couples; woman-spreading and occupying space; surprising lack of sparks; transforming modern examples of masculine anger; and how (or whether) the play changes based on how (or whether) Petruchio changes. (Length 31:35)

Podcast: Download (Duration: 31:35 — 36.5MB)

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By austin, ago

Using Shakespeare’s Violence

Heidi Schmidt, assistant director of outreach and resident dramaturg for Colorado Shakespeare Festival, talks about Colorado Shakes’ program (now sadly on hiatus until the end of the COVID pandemic) for bringing Shakespeare into schools and using his characters and storylines as teachable moments. Featuring the dangers (and value) of the escalating pranks in Twelfth Night; the challenge and power of interdepartmental collaborations; the difference between good behavior and powerful drama; how companies gain both empathy and credibility; training actors to be teaching artists; ways of reframing Romeo and Juliet; fantastic quotes; the importance of under-promising and over-delivering; and the responsibility of giving young people (of any age) tools for dealing with crisis. (Length 20:47)

Podcast: Download (Duration: 20:47 — 24.1MB)

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By austin, ago

West Side Story

Remember live theatre? Remember when the big story back in late February was the controversial Ivo Van Hove production of West Side Story on Broadway? Daniel Pollack-Pelzner, a professor of Shakespeare, English, and Gender Studies at Linfield College in Oregon, and a contributing writer to the New York Times and Atlantic magazine, wrote an article for the latter entitled, “Why West Side Story Abandoned Its Queer Narrative,” and, in this interview recorded on March 3, 2020, discusses the merits of the van Hove production and his insights into the original narrative. Featuring the peril of picking one’s prepositional poison; how a dorky 50s musical speaks to modern concerns about racism and police violence against communities of color; the struggle for Tony’s body; the problems with “I Feel Pretty;” Jerome Robbins’ lost play; expressing Jewish identity in the 1950s through ethnic minstrelsy; how Arthur Laurents “improved” on Shakespeare in particularly troubling ways; the rightness of questioning problematic aesthetics; the casting controversy in the recent Broadway production; and, most importantly, the feeling that when you love something you want to know and discuss everything about it. (Length 34:51)

Podcast: Download (Duration: 34:51 — 40.2MB)

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By austin, ago

Her Majesty’s Will

Missing summer blockbusters and live outdoor Shakespeare performances? Her Majesty’s Will by novelist (and actor and fight choreographer) David Blixt is your perfect substitute! It’s a fun and thrilling adventure about the young pre-genius Will Shakespeare who becomes entangled in a deadly and hilarious misadventure when he accidentally uncovers an attempt to murder Queen Elizabeth herself. David talks about his process and inspirations; how he’s attracted to gaps and Hope & Crosby shenanigans; some deceptive cover art; the difficulty of writing a funny novel when the world is in such an unfunny place; how it all comes from research; how he finesses the facts for fictional purposes; and how truth really is sometimes stranger than fiction. (Length 20:17)

Podcast: Download (Duration: 20:17 — 23.6MB)

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By austin, ago

Lockdown Shakespeare Pioneer

Rob Myles, along with his producing partner Sarah Peachey, is the creator of The Show Must Go Online, which, since March 19, 2020, has been creating fully if madly rehearsed productions of Shakespeare’s canon in the order in which they were written, once a week, using actors and fight directors from all over the world. With over 100,000 views on YouTube in just 12 weeks, Rob talks about how this has become huger than he ever imagined, and how he’s learned to work in this new space; how his early studies in psychology led to understanding characters and delivering an actor-driven experience; excellent new opportunities for both audience engagement and audience research; iambic discoveries expressed in actual iambic pentameter; developing his singular obsession; shout-outs to The Barnsley Civic; being leaders in a movement rather than a company; and the realization that our moment cried out for a Rob Myles — and thankfully we have one. (Length 28:16)

Podcast: Download (Duration: 28:16 — 32.7MB)

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By austin, ago

Globetrotting Shakespeare’s Tempest

Brave new world, indeed: Globetrotting Shakespeare is presenting a live and virtual performance of The Tempest on Saturday, July 11, 2020, featuring multiple actors in four different countries and at least six time zones from Shakespeare Napa Valley, Shakespeare by the Sea, Prague Shakespeare Company, Atlanta Shakespeare Company at the Shakespeare Tavern Playhouse, and Shakespeare at Notre Dame. Directors Jennifer King (l) and Suzanne Dean (r) discuss how the project came together; how they see challenges as opportunities to create relationships and communities through Shakespeare; how they’re seizing this opportunity to Rethink, Reframe, and Resume; the unfortunate problems with technology; how a disruptive pandemic has its own tempestuous qualities; and how we must continue finding (despite sometimes losing) our humanity in crisis. (Length 19:27)

Podcast: Download (Duration: 19:27 — 22.6MB)

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By austin, ago

Amy Acker’s Beatrice

Amy Acker starred as Beatrice in Joss Whedon’s 2012 film version of Much Ado About Nothing, and she discusses her initial trepidation over playing this great role onscreen; how her early training at SMU and experience at American Players Theatre in Wisconsin prepared her for it; how casual play readings lead to leading roles; the value of rehearsing; the fun of doing your own stunts; the joy of working with the Joss Whedon Dancers; the differences between preparing for a play and preparing for a movie; how the Whedonverse is more Shakespearean than the (David E.) Kelleyverse; and the counterintuitive marvel (no pun intended) of how making a movie is more relaxing than taking an actual vacation. (Length 22:10)

Podcast: Download (Duration: 22:10 — 25.7MB)

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By austin, ago

Chris Interviews Austin

It’s our 700th episode!! And because it happily coincides with the publication of Christopher Moore’s Shakespeare For Squirrels, the New York Times best-selling author turns the tables and interviews RSC co-artistic director Austin Tichenor in an epic un-reduced unabridged almost one-hour conversation. The two Fauxspeareans celebrate the release of Chris’s book by getting lost in the weeds of craft and discussing the importance of inoculating people against Shakespeareaphobia; the value of learning to keep 5-7 year olds entertained; the difficulties of working with living playwrights; understanding who got Shakespeare’s jokes and who didn’t; writing a Hitchcock adaptation for Disney animation; the dangers of unskilled labor; learning comic timing from stand-ups and Gilbert & Sullivan; using a five-act structure; the value of memorizing Shakespeare; the art of capturing Shakespeare’s exquisite mixture of tones; the perfectly understandable struggle to explain Shakespeare’s greatness; plausible explanations for why Shakespeare left his wife his second-best bed; snappy answers to listener questions; and being members in the small club of authors rewriting Shakespeare. (Length 58:17) 

Podcast: Download (Duration: 58:17 — 67.0MB)

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By austin, ago

Shakespeare For Squirrels

Christopher Moore talks about his new comic novel, Shakespeare For Squirrels, which sees his great creation Pocket of Dog Snogging (the Fool from Shakespeare’s King Lear) stranded in the Athenian woods amongst the characters from Shakespeare’s Midsummer Night’s Dream. It’s both a breezy entertainment and a tour de force and Chris explains how the research for one novel became the basis for another one; how he satirized lovers and reconceived fairies; the importance of grounding your mechanicals; taking inspiration from both Douglas Adams and Kurt Vonnegut, Jr.; being both fantastical and of the moment; giving important agency to Cobweb; why basing your novel on a comic play is more difficult; the struggle with titles; and the challenge of being affected as much by the world one’s writing in as by the world one’s writing about. (Length 20:08)

Podcast: Download (Duration: 20:08 — 23.4MB)

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By austin, ago

Shakespeare And Plague

Dr. Katy Reedy, a Visiting Assistant Professor of English at Lake Forest College who’s working on a book-length study of contagion and performance in the early modern era, discusses her research and what we can learn (and take small hope) from the plagues that forced the theaters to close in Shakespeare’s day. Featuring the importance of recognizing that this is a marathon, not a sprint; how her examination of early modern revenge plays led to research into plague and pestilence; spatial lexicons; scant evidence; scholarly suppositions; shout-outs to James Shapiro’s The Year of Lear, Stephen Greenblatt’s Will In The World, and Folger Shakespeare Library director Michael Witmore; temporal changes and the elastic nature of time; how playwrights became pamphleteers; the invention of social-distancing; and the dangers of calling attention to the pestilential potential of a communal art. (Length 22:10) 

Podcast: Download (Duration: 22:10 — 25.7MB)

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By austin, ago

692. J. Nicole Brooks

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)

Podcast: Download (Duration: 22:03 — 25.6MB)

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By austin, ago

691. Michael Morrow’s ‘Passage’

Michael Morrow stars in the Lifeline Theatre production of Middle Passage, Charles Johnson’s National Book Award-winning novel (“a novel in the tradition of Billy Budd and Moby-Dick,” according to the New York Times Book Review) adapted by Ilesa Duncan and David Barr III (and directed by Duncan). Michael discusses how he came to be cast in this epic production, and how he’s journeyed from the DePaul University BFA program to Cincinnati Shakespeare Company, Michigan Shakespeare Festival, and beyond; how he learned to buckle swashes and paint pictures with words; what it means to Choose; the miracle of a deus ex Quackenbush; shout-outs to David Blixt and the late PJ Paparelli; and the incredibly important power of telling stories for those who can’t. (Length 20:08) (Pictured: Michael Morrow and Patrick Blashill in the Lifeline Theatre production of Middle Passage, adapted by Ilesa Duncan and David Barr III from the novel by Charles Johnson. Directed by Ilesa Duncan. Photo by Suzanne Plunkett.)

Podcast: Download (Duration: 20:08 — 23.4MB)

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By austin, ago

690. Alchemy Of Gender

Lisa Wolpe, currently playing Cassius in Julius Caesar at Playmakers Repertory Company, is an actress, director, teacher, playwright, and producer; the founder of the Los Angeles Women’s Shakespeare Company; and the creator and performer of Shakespeare and the Alchemy of Gender, her solo show which explores the transformational power of empathy. Lisa, who’s “probably played more of Shakespeare’s male leading roles than any woman in history,”  talks about creating her show and exploring the masculine in Shakespeare’s plays; how this helped understand her father’s PTSD; reveals the true definition of ingenue; investigates a re-gendered Taming of the Shrew; and shares the urgency and importance of putting the quest in the question. (Length 23:59)

Podcast: Download (Duration: 23:59 — 27.8MB)

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By austin, ago

689. Seven Stages Shakespeare

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)

Podcast: Download (Duration: 20:23 — 23.7MB)

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By austin, ago

688. Sonnet Man Returns

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)

Podcast: Download (Duration: 25:09 — 29.1MB)

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By austin, ago

687. Gary Andrews’ #DoodleaDay

Gary Andrews is an animator and single dad whose #DoodleaDay visual diary chronicles his life, particularly how it transformed several years ago with the sudden death of his wife Joy (left). Gary discusses the rules he gives himself and how his daily ritual became a major part of the grieving process and a meaningful balm to an increasing number of followers and fans. Featuring touching chords, the marvel of having both talent and bandwidth, a beautiful film made from his drawings, the power of unpacking the day, the hardest thing one ever has to do, the mystery of laughter continuing through grief, how you can donate to the UK Sepsis Trust, Shakespeare being a constant, shout-outs to Fireman Sam and Horrid Henry, and connections to RSC founding member Adam Long! (Length 18:14)

Podcast: Download (Duration: 18:14 — 21.2MB)

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By austin, ago

Livermore Shakespeare Festival

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)

Podcast: Download (Duration: 20:57 — 24.3MB)

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By austin, ago

Comparing Twelfth Nights

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.)

Podcast: Download (Duration: 27:50 — 32.0MB)

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By austin, ago

Advice For Actors

For the last podcast of the decade, we answer the two biggest questions we’re regularly asked: What advice do you have for young actors; and when will you tour the UK again?! Featuring advice both practical and philosophical; tips for auditioning; advice from Mister Rogers; Top Ten Shakespeare Monologues; the value of learning by doing; a tiny Twitter Q&A; what kind of people you should surround yourself with; and finally, what you can do to make a UK tour happen. Special thanks to Instagram follower Zach Gillam, and Twitter followers Liz Marsden and Bob Linfors for the questions. Happy New Year! Happy New Decade!  (Length 18:36)

Podcast: Download (21.6MB)

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By austin, ago

Director Robert Falls (Part 2)

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) (Pictured: (l-r) Disney Theatrical’s Thomas Schumacher, Elton John, and Robert Falls in rehearsal for Aida, 2000.)

Podcast: Download (Duration: 18:54 — 22.0MB)

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By austin, ago

Director Robert Falls

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)

Podcast: Download (Duration: 24:55 — 28.9MB)

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By austin, ago

Holy Land Hamlet

It’s a podcast bar mitzvah! The Reduced Shakespeare Company Podcast became a man last week when it celebrated its 13th birthday while we were performing Hamlet’s Big Adventure! (a prequel) in Israel. To honor that special occasion, we gathered in Molly Bloom’s, Tel Aviv’s traditional Irish pub, to talk about how Israeli audiences responded to the show. Featuring universal cultural references, slowing down the pace, dealing with the heaviest sword in the world, people surprised by the number of actors, miraculous costume changes, combining parodies in a The Court Jester/Hamilton mashup, and the pleasure of pleasing both Shakespeare nerds and neophytes. (Length 23:35)

Podcast: Download (Duration: 23:35 — 27.3MB)

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By austin, ago

Romeo And Juliet

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.)

Podcast: Download (Duration: 24:02 — 27.8MB)

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By austin, ago

Shakespeare Rocks Tonight

Shakespeare rocks every night, of course, but especially on Lou Carlozo’s new album By Me & William Shakespeare, a collection of songs in a variety of styles set to the words of the immortal dramatist poet. Lou discusses how his love of music and relationship to Shakespeare inspires this project, and reveals the dangers of over-reverence; talks about poetic goldmines and high-culture milestones; shares shout-outs to favorite inspirational teachers; and glories in the possibilities of constant reinvention. Rock on! (Length 24:39)

Podcast: Download (Duration: 24:39 — 28.6MB)

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By austin, ago

All About Ophelia

The RSC’s 11th stage show, Hamlet’s Big Adventure! (a prequel), is really all about Hamlet’s best friend Ophelia, at least according to Jessica Romero, who originated the role in the workshop production, and Austin Tichenor, who co-wrote the script and will be playing Ophelia this fall in California and Israel. Hear them chat about reconciling the many interpretations of Ophelia, and discuss professional memorization methods, weaponizing feelings, how one person’s comedy can be another’s tragedy, shared inspiration from Taming of the Shrew (both pirate- and commedia-themed), playing bucket-list roles, favorite Shakespeare characters, and the reality of the curse of saying the title of the Scottish Play. (Length 23:09) (Pictured: Jessica Romero as the King (with Peter Downey as Hamlet) and Ophelia (with Chad Yarish as Yorick) in the Shakespeare Napa Valley workshop of Hamlet’s Big Adventure (a prequel). Photos by Julie McClelland.)

Podcast: Download (Duration: 23:09 — 26.8MB)

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By austin, ago

Creating Hamlet’s Adventure

Authors Reed Martin and Austin Tichenor talk about how they’ve created the definitive backstory to Shakespeare’s great tragedy in Hamlet’s Big Adventure (a prequel). Featuring homage to Tom Stoppard, excerpts from the new show’s promo video, the difficulty of hitting moving targets, how the script has evolved from its workshop with Shakespeare Napa Valley, previewing performances at Spreckels Performing Arts Center and the London in Tel Aviv Festival in Israel, fascinating by-products, eliminating framing devices, answering all the unanswered questions you’ve ever asked about the greatest play ever written, milking tragedy for laughs, seeing Shakespeare’s tragedy in a brand new way, and the value of asking important marketing questions early. (Length 23:44)

Podcast: Download (Duration: 23:44 — 27.5MB)

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By austin, ago

Completing The Canon

Many people talk about it but Stan and Debbie Rea have actually done it: They’ve seen all 37 of Shakespeare’s plays live onstage (plus Two Noble Kinsmen and Edward III, if you count them) and they’re well on their way to doing it a second time. Stan and Debbie tell us how they did it and what they discovered along the way, including the fun of getting into different conversations with plays and their directors; the difficulty of bagging the three Henry VI plays; how different actors change the impact and meaning of the canon; the pride of seeing the plays while not reading them; the importance of adjusting your expectations; the frustrating necessity of resetting the Bard-O-Meter; the perils of driving in New York City; the value of supporting your community; and finally, the dramatic importance of Shakespeare’s most famous role, the Attendant to the King of France. Recorded on August 15, 2019, seventeen years to the day since Stan and Debbie saw The Complete Works of William Shakespeare (the RSC abridgment, not the entire canon)! (Length 21:32)

Podcast: Download (Duration: 21:32 — 25.0MB)

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By austin, ago

Tales Of Edinburgh

The Edinburgh Festival Fringe is on and sadly, we’re not there! So we’ve dug into the archives to find some of our favorite Edinburgh moments. Thrill to tales of discovery; amazing performing experiences; reconnecting with old friends and meeting new ones; the only (horrible) way to become a Catholic martyr; special appearances by Rachel Parris, Yisrael Campbell, and Tim Fitzhigham; the real-life inspirations for the Red Wedding and Shakespeare’s “The Phoenix and the Turtle”; fun-loving Puritan numpties; new Jews, old Jews, and faux Jews; the joys of both seeing and performing multiple shows during a single Fringe; the dangers of flyering; excerpts from The Complete Millennium Musical (abridged), which performed at the Assembly Rooms exactly twenty years ago; international tour dates for the Fall of 2019; and discovering how the theatre can become your temple and John Malkovich your lord and savior. (Length 25:51)

Podcast: Download (Duration: 25:51 — 29.9MB)

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By austin, ago

Dueling Chicago Hamlets

Chicago is lousy with Hamlets this spring/summer of 2019! Friend of the pod Samuel Taylor was involved with two of them – at Chicago Shakespeare Theatre and with the Back Room Shakespeare Project, the latter of which Sam co-founded – and he discusses how all this activity supports and complements both companies and the Chicago theatre community. Featuring the beauty of electricity, fruitful studies in contrasts, asserting control over the laughs, being invested in turtle races, celebrating America’s Mike Nussbaum as the First Gravedigger, hearing about Hamlet being put on trial and Quicksilver Shakespeare actors pulling Hamlet’s characters out of a hat, continuing work on Hamlet’s Big Adventure (a prequel), the best possible scheduling of Titus Andronicus, the fascination of watching somebody doing something very difficult, and the wonder of understanding both the history of Shakespeare in Chicago and of Chicago Shakespeare. (Length 24:24) (Pictured: Mike Nussbaum as the First Gravedigger, in the Chicago Shakespeare Theatre production of Hamlet, directed by Barbara Gaines. Photo by Liz Lauren. Old Style Hamlet logo courtesy of the Back Room Shakespeare Project.)

Podcast: Download (Duration: 24:24 — 28.3MB)

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By austin, ago

Shakespeare Cult Blueprints

Samuel Taylor is the co-founder of the Back Room Shakespeare Project, the author of My Life with the Shakespeare Cult, and now its two-volume followup, Blueprints for a Shakespeare Cult, which explains how you too can embrace and replicate the work of the BRSP in your own city or country. Sam talks about BRSP’s origins and its twin inspirations, the glories of having very little rehearsal, the difference between being actual and real, replicating late-night whiskey-soaked debates and the more sober morning-after conversations, great taglines, the difference between good chaos and unhelpful chaos, how you can order your very own copy of Blueprints for a Shakespeare Cult by going to Kickstarter.com, and how you can be part of this growing international movement. (Length 26:54)

Podcast: Download (Duration: 26:54 — 31.1MB)

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By austin, ago

The Winter’s Tale

Dramaturg Neena Arndt and actor Nathan Hosner (Polixenes) discuss The Winter’s Tale, currently running at the Goodman Theatre until June 9, 2019 in a production directed by Robert Falls. Featuring the importance of leaning into the tonal shifts; how the play plays in our current historical moment; the dangers of a record-scratch; eliminating thee’s and thou’s; acknowledging aspects of the play that may be either bugs or features; changing the first-person from plural to singular; identifying the hinge of the play; shout-outs to actors Dan Donohue (Leontes), Christiana Clark (Paulina), Gregory Linington (Antigonus), and Philip Earl Johnson (Autolycus); casting clowns; some notes for Will Shakespeare; possibly changing one’s mind about the quality of the play; different treatments of Time; and the very first question one must address when you decide to do The Winter’s Tale — how do you handle the Bear? (Length 24:20) (Pictured (l-r): Dan Donohue (Leontes) and Nathan Hosner (Polixenes) in the Goodman Theatre production of The Winter’s Tale, directed by Robert Falls. Photo by Liz Lauren.)

Podcast: Download (Duration: 24:20 — 27.9MB)

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By austin, ago

Balancing Twelfth Night

We continue the conversation with Professor Katy Reedy and her class at Lake Forest College, taking student questions about Austin Tichenor’s approach to directing Twelfth Night for the Cincinnati Shakespeare Company in the fall of 2018. Austin talks about the trick to balancing the comedic and dramatic elements in his production, Shakespeare’s anachronistic examples, illustrating sisters in loss, staging the subtext, taking actor suggestions, creating a world in which both comedy and drama can co-exist and where certain kinds of storytelling can happen, underlying tensions, potentially anti-climactic reunion scenes, going on a journey with your characters, the importance of working with really great people, and discovering that not everything is actually in the text. (Length 17:29) (William Oliver Watkins as Orsino, Caitlin McWethy as Viola, and Abby Lee as Olivia in Twelfth Night at Cincinnati Shakespeare Company, 2018. Directed by Austin Tichenor.)

Podcast: Download (Duration: 17:29 — 20.4MB)

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By austin, ago

Discussing Twelfth Night

Professor Katy Reedy invited our own Austin Tichenor to speak to her class at Lake Forest College about his production of Twelfth Night that he directed for the Cincinnati Shakespeare Company in the fall of 2018. Austin discusses all the things he wanted his production NOT to be; how this great comedy is fueled by great loss; how Olivia threw herself into the physical comedy; the treatment of the treatment of Malvolio; speculation as to why Orsino is such a poorly written character; how to lean into both the comedy and the pain; and the possibly blasphemous notion that maybe Feste isn’t as interesting as many people think he is. (Length 19:50) (Pictured: William Oliver Watkins and Caitlin McWethy as Orsino and Viola, plus the entire cast of the Cincinnati Shakespeare Company production of Twelfth Night, directed by Austin Tichenor.)

Podcast: Download (Duration: 19:50 — 23.1MB)

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By austin, ago

Other Famous Prequels

With Hamlet’s Big Adventure (a prequel) now being workshopped by Napa Valley College as part of its Emergence Festival, authors Reed Martin and Austin Tichenor consider other famous prequels in different media, and hope for more of a Godfather II than a Star Wars Episodes 1-3 vibe. Featuring being part of a specific cultural moment (we see you, Gary: A Sequel To Titus Andronicus); a form that Shakespeare probably invented; why sequels are more popular than prequels; wanting to know how we got here and discovering more about beloved characters; shout-outs to prequel authors Christopher Moore (Lamb; Fool), Nicole Galland (I, Iago), and Louis Bayard (Mr. Timothy; Courting Mr. Lincoln); creating a more challenging puzzle than “just” continuing the story; the desire to know how it all began; alternate titles (“Elsewhere in Elsinore”, anybody?); insight from Dr. Ronan Hatfull; absolutely no spoilers about Avengers Endgame; and finally a shout-out to Patton Oswalt’s great routine about eliminating certain disappointing prequels forever. (Length 20:21) (Jessica Romero as King Hamlet and Peter Downey as Hamlet, the prince of Denmark in the Napa Valley College workshop production of Hamlet’s Big Adventure (a prequel). Photo by Shelly Hanan. Title graphic by Chad Yarish.)

Podcast: Download (Duration: 20:21 — 23.6MB)

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By austin, ago

High School Bard

“Friend of the pod” Daisy Tichenor talks about her wonderfully Shakespearean senior year in high school, where she played Beatrice in Much Ado About Nothing on the Philips Exeter Academy MainStage and directed Twelfth Night for the PEA Dramat at the same time. We talk about incredible opportunities; how informal clubs can accommodate a more diverse group of students; how stage managing the Scottish play can inspire; the wonder of getting to play a dream role; being born of all mirth and no matter; keeping the timelines straight; and the ultimate tribute to theatre people. Pretention or Science? Discuss. (Length 19:54) (Daisy Tichenor as Beatrice and Cody Nunn as Don Pedro, Much Ado About Nothing, Philips Exeter Academy, directed by Sarah Ream, 2018.)

Podcast: Download (Duration: 19:54 — 23.1MB)

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By austin, ago
Hamlet's Big Adventure (a prequel)

Hamlet’s Big Adventure!

It’s the comedy of the prince of Denmark! Hamlet’s Big Adventure (a prequel) will be the eleventh stage show performed by the Reduced Shakespeare Company and the tenth RSC script by Reed Martin and Austin Tichenor, who discuss the origins of the script; where it’s being workshopped as part of Napa Valley College’s Emergence Festival; how the transitive property applies to ranking plays; the incredible insight given to us by our dramaturg Kate Pitt; echoes of Hamlet as well as Henry IV Part 1; the feeling of being both Queen Elizabeth demanding a new play about Sir John Falstaff and the Shakespeare who gets to write it; the hesitation of getting rid of our usual framing device; the challenge of creating a comedy that’s funny to people who don’t know the original; the balancing act of finding the right ratio of highbrow to lowbrow; and the fun of answering questions inspired by Shakespeare’s original tragedy. Poster art by the incomparable Lar DeSouza. (Length 20:45)

Podcast: Download (Duration: 20:45 — 24.1MB)

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By austin, ago

Shakespeare In The Shadows

One Camera. One Actor. One Bard. Joshua Dylan Mellars is the director of the new film Shakespeare In The Shadows, featuring actor Mark Cohen (above) performing Shakespeare in a variety of northern California locations and exploring themes of power: the getting of it, the abuse of it, the losing of it, and the transcendence of it. Joshua talks about his inspiration for the film, what it’s like having — and sharing — the best seat in the house, where you can see it, the advantage of keeping things, ahem, reduced, and what it really means when you say that “Shakespeare just keeps getting better.” (Length 17:03)

Podcast: Download (Duration: 17:03 — 19.9MB)

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By austin, ago

The Viola Project

The Viola Project is an organization in Chicago dedicated to training and empowering young women using the words and characters and plays of William Shakespeare. Program director Rebecca Dumain talks about about the history of the Project, how language can help you get what you need and advocate for yourselves and others, the difference between acting and teaching artists, a shout-out to Slings & Arrows, distinctions between process and product, the value of not glossing over things, advocating for STEAM (not just STEM), and whether any Viola Projects could be started up near where YOU live! (Length 18:11)

Podcast: Download (Duration: 18:11 — 21.2MB)

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By austin, ago

Episode 636. All Is True?

Dr. Paul Edmondson, the director of research for the Shakespeare Birthplace Trust in Stratford-Upon-Avon, served as a historical consultant on Kenneth Branagh’s new film All Is True, an elegiac imagining of the final days of William Shakespeare. Paul discusses his role in the film’s production and how he came to be involved, and also shares backstage glimpses as to how and where the movie was filmed, insight into the film’s original impulses, some clearly lifelong passions, the presence of VIPs, a different key for Ben Elton to write about Shakespeare in than Upstart Crow, navigating hot spots, how research is helping us evolve our understanding of Shakespeare’s personal life, and how even a creative genius sometimes just needs to be professional, even in moments of great loss. Featuring a special appearance by (and extreme gratitude to) National Public Radio’s film critic Bob Mondello. (Length 24:02)

Podcast: Download (Duration: 24:02 — 27.9MB)

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By austin, ago

Episode 634. Marya’s New ‘Tempest’

Marya Sea Kaminski is the new artistic director of the Pittsburgh Public Theatre and just opened her ambitious all-female production of The Tempest. Marya discusses how her production of is inspired by the Pittsburgh community and engages in fun and fantastical contemplations, reimagining a great text, honoring Shakespeare’s role as a producer and crowd-pleaser, developing partnerships with Pittsburgh’s civic and creative communities, recognizing the importance of time to reflect, and sharing her thoughts about what makes a great season and how one prepares them. (Length 20:00) 

Podcast: Download (Duration: 20:00 — 23.2MB)

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By austin, ago

Episode 631. Joe Dempsey’s Mechanical

Chicago actor Joe Dempsey plays William Shakespeare’s most autobiographical character, Peter Quince, in the Chicago Shakespeare Theater production of A Midsummer Night’s Dream. Joe talks about playing this prototypical actor-manager, the rehearsal process for this gloriously funny production, the importance of listening to director Joe Dowling, the joy of rehearsal invention, the freedom of actor ownership, the balance of hustling for auditions, the delight of working with T.R. Knight (TV’s Grey’s Anatomy) as Bottom, the incorporation of many Shakespearean deaths, memories of working with the late great John Mahoney (Frasier), and the fundamental difference between being interpretive and creative artists. (Length 18:33) Peter Quince (Joe Dempsey, with bullhorn) directs Francis Flute (Alec Silver), and helps Nick Bottom (T.R. Knight), assisted by Tom Snout (Jonathan Butler-Duplessis) and watched by Snug the Joiner (William Dick) in Chicago Shakespeare Theater’s production of A Midsummer Night’s Dream, directed by Joe Dowling, December 6, 2018 – February 3, 2019. Photos by Liz Lauren.

Podcast: Download (Duration: 18:33 — 21.6MB)

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By austin, ago

Episode 629. 2018’s Top Podcasts

Happy New Year! We kick off 2019 with excerpts of the Top Ten Most Downloaded Episodes of the RSC Podcast from 2018. Featuring novel excerpts from novelist Christopher Moore; testimonials regarding the efficacy of prison theatre programs; reviews of our favorite Broadway shows; the challenges of working on a new play about Mikhail Gorbachev; love for and from retired National Public Radio broadcaster Robert Siegel; actors from the Prague Shakespeare Festival; affection for Slings and Arrows; new plays inspired by Shakespeare’s plays and practices; confessions from an actual Lady Macbeth; and — finally! — an answer to the question, “What is Shakespeare’s greatest play?” Listen to the excerpts then click through to hear the entire episodes! (Length 23:03) 

Podcast: Download (Duration: 23:03 — 26.7MB)

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By austin, ago

Episode 624. Shakespearean Youth Theatre

Logan Verdoorn and Lukas Brasherfons, the artistic director and resident dramaturg of Shakespearean Youth Theatre talk about how SYT provides “a world class education in Shakespeare for Twin Cities Teens”, and reveal how the company formed, how it works, how it seems like it could be an excellent model for other communities, the delight of coming to Shakespeare without excess baggage, a shout-out to Pop-Up Shakespeare’s exciting crowning action, the goal of ennobling and empowering young people through the power of theatre, and the inherent danger of ever underestimating Shakespeare. (And Fletcher.) (Length 19:09)

Podcast: Download (Duration: 19:09 — 22.3MB)

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By austin, ago

Episode 623. Orsino And Othello

William Oliver Watkins plays Orsino (left, with Caitlin McWethy as Viola) in the Cincinnati Shakespeare Company production of Twelfth Night, after playing the title role in CSC’s production of Othello last season. Will talks about the similarities and challenges of the two roles and what it’s like to return to his home town of Cincinnati from where he lives now in New York City, gives shout-outs to mothers specifically and English teachers generally, reveals revelations about Tom Selleck’s mustache and the saga of Luke Cage’s little brother, explains the things they don’t teach you in acting school, and talks about the glory of doing Shakespeare in the Park (not that one). (Length 20:28) 

Podcast: Download (Duration: 20:28 — 23.8MB)

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By austin, ago

Episode 622. Viola And Olivia

Caitlin McWethy and Abby Lee play Viola and Olivia in the Cincinnati Shakespeare Company production of Twelfth Night directed by the RSC’s own Austin Tichenor, and prior to the show’s opening this week, sat down to talk about their characters and how this production differs from other productions they’ve seen and been in. Featuring the wonder of two women sharing scenes onstage (and the weirdly specific thing that makes it possible), Viola’s narrative burden, definitive roles we’re dying to play (lookin’ at you, Valentine), the question of why Olivia is not a more generally-desired role in the Shakespearean canon, Olivia’s similarity to Kate from Taming of the Shrew, the magic alchemy of shared grief, roles that allow for greater interpretive freedom, wonderful surprises, hitting that sweet spot between fun n’ games and tragedy, and the joy of laughing and crying in rehearsal. (Length 21:08)

Podcast: Download (Duration: 21:08 — 24.5MB)

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By austin, ago

Episode 620. Tom Hanks’ Falstaff

Director Kristen Osborn talks about serving as assistant director to Daniel Sullivan on the Shakespeare Center of Los Angeles production of both parts of Henry IV earlier this summer, which starred Tom Hanks as Falstaff, Joe Morton (Scandal, Brother From Another Planet) as Henry IV, and Hamish Linklater (Fargo, Legion, The Newsroom) as Hal. Kristen discusses how the script was abridged and cast and also shares insights into how the emphasis of Shakespeare’s History gets transformed by star quality. Featuring music by Michael Roth, shout-outs to our own Jeff Marlow, mysterious secrets of the pocket gopher, becoming invaluable, digging into the work, figuring out backstage traffic, transforming the space, changing class distinctions, putting in understudies, feeling like a fraud, what this gig might lead to, how to double a cast of “only” nineteen people, a growing love of Shakespeare, and how a young director shapes her career. Recorded live at The Celtic Knot in Evanston; Where else to talk about Henry IV but in a pub?! (Length 23:29)

Podcast: Download (Duration: 23:29 — )

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By austin, ago

Episode 616. Directing ‘Nell Gwynn’

Christopher Luscombe, who’s directed in London’s West End, at Shakespeare’s Globe, and for the ‘other RSC’ (the Royal Shakespeare Company), now directs Nell Gwynn, a charming new comedy with music about the famous (or infamous) 17th Century actress now having its world premiere at the Chicago Shakespeare Theatre. Also an alumnus of the Cambridge Footlights, Chris discusses Nell the play, Nell the actress, and Nell the production. Featuring a wonderful tribute to Chicago actors, the value of being authentically English, the absolute treat of continuing to work on a play over several years, the advantage of embracing contradictions, the great thing about not being afraid of comedy, and the importance of starting from scratch every time. (Length 18:21)

Podcast: Download (Duration: 18:21 — 21.4MB)

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By austin, ago

Episode 614. Taming Shakespeare’s “Shrew”

Shana Cooper directed Taming of the Shrew at the Hudson Valley Shakespeare Festival this summer, a production that received rave reviews from the New York Times and the Wall Street Journal. Shana, an assistant professor at Northwestern University, discusses how she made this troublesome play work in our slightly more enlightened (hopefully) and evolving era. Featuring key commedia influences, a classic battle of the sexes play that’s also a satire of same, being sold on the love story, the importance of clowns, the danger and absurdity of the patriarchy, one virtue of the Christopher Sly scenes, forging unknown and thorny paths, the importance of non-verbal text, radical and revolutionary individuals, and most importantly, finding alternatives to broken systems and masculine ideas of power. (Length 28:56) (Pictured: Liz Wisan and Biko Eisen-Martin as Kate and Petruchio in the Hudson Valley Shakespeare Festival production of Taming of the Shrew. Photo by T. Charles Erickson.)

Podcast: Download (Duration: 28:56 — 33.5MB)

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By austin, ago

Episode 613. ‘Complete Works’ Returns!

The Complete Works of William Shakespeare (abridged)  returns for its first US tour in almost ten years! Two of our actors prepared for the tour by performing un-reduced Shakespeare this summer: Michael Faulkner (above, right) performed in Othello and the Two Noble Kinsmen for Kingsmen Shakespeare Company in Thousand Oaks, CA, while Jeff Marlow (above, left) played three roles in the Shakespeare Center of Los Angeles production of Henry IV, which featured a young up-and-comer named Tom Hanks as Falstaff. Michael and Jeff discuss the importance of calf exercises, the strengths and limitations of LPMs (Laughs Per Minute) as an appropriate barometer, actor shorthand, honoring laughs, opening doors for yourself, unlikely expectations, the magic of theatrical alchemy, and the wonderful relationship between performing actual full-length Shakespeare — and then reducing it. (Length 18:32)

Podcast: Download (Duration: 18:32 — 21.6MB)

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By austin, ago

Episode 606. Composer Michael Roth

Composer and arranger Michael Roth has had a big summer, scoring not only the Shakespeare Center of Los Angeles production of Henry IV starring Tom Hanks, and Pamplona, the one-man play about Ernest Hemingway, starring Stacy Keach, currently having its world premiere production at the Goodman Theatre in Chicago. Michael has worked with such notable theatre artists as directors Robert Falls, Des McAnuff, and Daniel Sullivan, actors Christopher Plummer and Brian Dennehy, and songwriter Randy Newman, and he joins us to talk about with working with all these artists in a variety of media. Featuring the importance of first rehearsals, making sure Shakespeare’s songs are not perfunctory; small worlds; the challenges of writing a musical; and Shakespeare’s weird ability to be early-modern and post-modern at the same time. (Length 22:21)

Podcast: Download (Duration: 22:21 — 25.9MB)

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By austin, ago