Four men of color pull up to a mic and talk diversity, inclusion and race in the Philadelphia Theatre Community. While this is not a complete reflection of our cultural makeup, these voices paint a picture that may not be as clear to all but, are views through a lens that is worth a look. This, I hope, will be the start of many conversations that bring to light the extremely complex mission of a great cultural community as change is demanded and the conversation continues. Today, I am joined by Terrell Green, Ozzie Jones, and Brian Anthony Wilson. Stay Tuned.
On today’s podcast, Philadelphia Theatre Company played host to 6 influential voices who were brought together to discuss Arts Journalism in conjunction with “Mike Daisey’s This Is Not Normal & The End of Journalism”. Stay Tuned!
A panel discussion, moderated by award-winning playwright Jackie Goldfinger, featuring Michael Riedel, New York Post columnist and author of Razzle Dazzle: The Battle for Broadway; John Timpane, Media and Fine Arts Editor for the Philadelphia Inquirer; John Moore, Senior Arts Journalist for Denver Center for the Performing Arts; Chris Jones, Chief Theatre Critic for the Chicago Tribune; and Wendy Rosenfield, Editor-in-Chief for the Broad Street Review.
On today’s podcast, we get to know Theatrical Trainer. Health and wellness are a huge part of everyday life. Of course, we know that the life of an artist can be an adventure. If only there were a team of dedicated artists who understand the plight and has a direct focus on the maintenance required to be a working artist. That is what I sought to find out when I sat down with Theatrical Trainer, a Personal Training Company by Theatre artists, for theatre artists and beyond. With the understanding of be working artists combined with health and wellness practices, all signs point to, let’s find out. So, here’s our interview with Theatrical Trainer at Rep Radio, Studio D, for The Drake. Stay Tuned!
ABOUT THEATRICAL TRAINER
Theatrical Trainer is a theatrical conditioning and In-Home Personal Training company located in Center City, Philadelphia.
With the help and support of our staff at Theatrical Trainer you’ll get personal training in the comfort of your own home or local park and get results without the commitments or expense of a gym/studio. Workouts are fun, challenging, convenient, semi-private/private, affordable and completely safe. Our staff not only provides general personal training, but workshops, movement coaching and choreography as well. We service the theater and film industry, both conditioning actors and providing physical theater training to your cast, educational program or company.
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On today’s podcast, we meet Almanac, an interdisciplinary theatre group whose production of “Leaps of Faith and Other Mistakes” runs through Fringe Arts at the Painted Bride Arts Center. I have been aware of Almanac for a while now, often in the building they are performing in for another production. Now, we get a chance to find out more about their work, process, practices and inspirations. Stay Tuned!
ABOUT LEAPS OF FAITH AND OTHER MISTAKES
From the company behind Exile 2588 comes a re-envisioning of Almanac’s acclaimed tale of sublime human idiocy, isolationist seafarer cults, & the absurdity of believing too hard. Breathtaking acrobatics & earnest theatricality combine with brand new live music. What do people do when they find themselves lost at sea?
Called “The little dance theatre troupe that could” by Philadelphia’s City Paper, Almanac was founded in 2013 by Nick Gillette and Ben Grinberg, graduates of the Pig Iron School for Advanced Performance Training, with Adam Kerbel, a graduate of the Headlong Performance Institute. The company pursues present performance at the edge of what is possible, through playful honesty.
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On today’s podcast, I met with Kash Goins whose GoKash OnSTAGE is in residency at Arden Theatre Company. Following his work over the years, it was great to chat with him about the production, “Seventy IV seconds…to judgement”, the second installment of his justice series.
ABOUT “SEVENTY IV seconds…to judgement”
What is “Justifiable Homicide”? What roles do paranoia, race, and fear play in a split decision to kill? Should social class, personal histories, or individual assumptions factor into a months’ long evaluation of justice? Is there enough space for the application of law in a killing which takes seconds to commit? Who are we, who decide? How are we to decide?
In the next installment of his justice series, “Seventy IV Seconds… to judgment”, Kash Goins introduces us to a jury of 6 who have been deadlocked for over a week. In an attempt to uncover the truth buried in the facts as presented in the case, the youngest juror who is not much different from a central figure in the killing, offers a unique tactic. An exercise purposed to move the jury beyond feelings which are buried beneath the cover of what they’ve come to accept as their personal truths. To be heard. To listen. To process the law as instructed.
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On today’s podcast, Dany Guy talks about his time at Interact Theatre Company as Director of Operations as he begins to transition into his new role as Managing Director of 11th Hour Theatre Company. From Intern to Director, Dany’s growth is similar and so valuable to our community and that is why we gave him time to talk about it.
ABOUT DANY GUY
Hails from Massachusetts and started with InterAct as a production intern for the 2009/2010 season. As an intern, he assistant stage-managed the Barrymore-nominated production of Lee Blessing’s WHEN WE GO UPON THE SEA, which was moved Off-Broadway to 59E59 Theatre. This is his 7th season working with InterAct. Other Philadelphia credits include: Tribe of Fools ZOMBIES…WITH GUNS!, TWO STREET, ANTIHERO, SHUT YOUR WORMHOLE, HEAVY METAL DANCE FAG (Production Manager) and DRACULA (Stage Manager); Shakespeare in Clark Park: WINTER’S TALE (Production Manager); Simpatico Theatre Project THE AMISH PROJECT (Lighting Designer), THE LYSISTRATA PROJECT, A BRIGHT NEW BOISE, THE BLACK MONK, THE MEEP PROJECT (Production Manager); Enchantment Theater Company’s THE VELVETEEN RABBIT national tour and HAROLD AND THE PURPLE CRAYON (rehearsal A.S.M. and A.D.). He currently serves on the board of Tribe of Fools and as a Barrymore Nominator. Daniel graduated from Muhlenberg College in 2008 and recently received his M.S. in Arts Administration in June from the Drexel University Westphal College of Media Arts & Design, where he was the 2014 recipient of the Karen Murdoch Scholarship for Visionary Leadership in the Arts.
On today’s podcast, I touch base with John Orr, Executive Director of Art-Reach. After the “Arts Funding Panel: Who Should Pay?”, I realized that we have known each other for 17 years and John’s path that lead to Art-Reach is an interesting one. We talk about Art-Reach’s mission and goals as well as the accessibility opportunities of our cultural community.
Eppchez!, who plays Max in Simpatico Theatre Company’s production of Taylor Mac’s Hir, is a nonbinary transgender Latinx performer who brings a wealth of talents to Philadelphia.
An Amherst, Massachusetts, native, Eppchez! (who uses the pronouns ey and eir) has worked with Pig Iron Theatre Company, the Mediums, and other groups with a focus on devising new work. Ey studied theater and writing at Wesleyan University. A playwright, choreographer, director, designer, puppeteer, songwriter, and vocalist, ey is also artistic director/conductor of Alma’s Engine, a process-focused creative ministry and self-producing platform for realizing eir work in music and theater. Among eir works is the album Self-Realized-Nation; A Song Cycle of the Occupation (2013), the original plays Junk Redemption (2012) and They Extract! (2014 and 2016), and a site-specific musical staged in Bartram’s Garden, Train-ing: A Duet (2017).
On May 15, 2017, Broad Street Review, in cooperation with the University of the Arts’ Corzo Center for the Creative Economy and with support from the Philadelphia Cultural Fund, hosted a panel discussion titled Arts Funding: Who Should Pay? Initially, the discussion was supposed to examine funding in light of impending cuts to the federal arts budget; surprisingly, those cuts didn’t happen. Even more surprising, our panelists mostly looked at the NEA as a nice bonus, but nothing to hang their shingles on.
Different disciplines, similar issues
Listen in as moderator and Broad Street Review editor-in-chief Wendy Rosenfield, Art Sanctuary executive director Valerie Gay, PHIT Comedy founder Greg Maughan, Art-Reach executive director John Orr, Headlong Dance Theater co-founder and co-director Amy Smith, and WRTI host, composer, and frequent BSR contributor Kile Smith discuss the challenges and opportunities that come with running an arts-focused business and watching its bottom line.
If you enjoy what you hear and read here at BSR, why not help us meet our arts funding challenges and make a donation or become a Friends of BSR member? Donate here.
On this podcast, on a beautiful night in Old City, I caught up with playwright, director, teacher, and actor James Ijames, whose latest play, WHITE, is enjoying a critically acclaimed world-premiere production at Norristown’s Theatre Horizon. Meanwhile, this Barrymore and F. Otto Haas Emerging Artist Award winner’s The Most Spectacularly Lamentable Trial of Miz Martha Washington opened at the Ally Theatre in Washington, D.C., on April 30, 2017; another, Kill Move Paradise, opens at New York’s National Black Theatre on May 31, 2017. Ijames also recently won the $50,000 Whiting Award for “emerging writers who exhibit great promise.”
“A jazz guy”
Philadelphia audiences already know he’s delivered on that promise. Here we discuss the creative process and how Ijames’s work was enhanced after development at PlayPenn’s new-play conference. We also touch on provocation in art, a playwright’s responsibility to their audience, and the Whitney Biennial’s Emmett Till controversy. While WHITE traverses some rocky territory, it’s very funny. Ijames explains, “I’m a jazz guy, not a blues guy.” So what play does Ijames really adore? The answer may surprise you.
For Wendy Rosenfield’s review of WHITE, click here.