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American Theatre Wing - Working in the Theatre
ATW - Working In The Theatre
For more than 30 years the American Theatre Wing has been bringing together performers, directors, playwrights, designers, choreographers, producers and behind-the-scenes personnel from the American and international theatre, the seminars offer a rare opportunity for students and audiences to see the people who create theatre engaged in thoughtful conversation with one another. With more than 600 past guests, the seminars have become an unequalled archive of theatrical talk, a chance to hear from the people behind the characters, stories and productions that draw us to the theatre.

  • Setting the Stage - June, 2013
    Working In The Theatre goes on location to NYC's Public Theater as host Patrick Pacheco talks with designer David Rockwell about his set design for the theatre (including "The Normal Heart" and "Lucky Guy"), his work with the Public Theater (including his newly designed restaurant, The Library) and George C Wolfe, among other topics. Later director Jack O'Brien and director/choreographer Jerry Mitchell join the conversation to talk about their collaborations with Mr. Rockwell ("Hairspray", "Dirty Rotten Scoundrels", "Kinky Boots", and more).

  • Critics and Social Media - May, 2013
    From the pages of newspapers to tweets, blogs, chat rooms and twitter, the role of the theatre critic has been changing. Guests Lisa Fung, Charles Isherwood, Peter Marks and Elisabeth Vincentelli, along with moderator Patrick Pacheco, discuss how social media has impacted their work, their influence, and the world of theatre.

  • Reimagining Musicals - April, 2013
    Director/Choreographer Rob Ashford, President and Executive Director of Rodgers and Hammerstein Ted Chapin and Director Scott Ellis talk with moderator Patrick Pacheco about re-imagining musicals for the stage and how directors approach a work to make it fresh and reinvented, how much change is allowed by the estates who control the pieces, and the challenges they face when classic works are re-imagined, rewritten or reinterpreted in any way.

  • The Anatomy of a Song - March, 2013
    Host Thomas Schumacher gives us a unique look at a song – what it is, where it comes from, the process from idea to stage, and how it fits in a show. He’s joined by Tony, Oscar and Grammy award winning composer Alan Menken who plays and sings us through the stages of some of his most memorable work including his numerous collaborations with Tom Schumacher and Disney Theatricals; Newsies lyricist Jack Feldman; and Newsies star, actress Kara Lindsay.

  • The Impact of Regional Theatre - February, 2013
    Among the topics our guests Alan Brown, Cynthia Hedstrom and Howard Shalwitz talk with moderator Ben Cameron about are how you measure the value of art and its' impact on audiences; what's important to audiences and how you make theatre interesting enough to draw them to a show and whether you can make them an active part of the experience or should their role simply be to observe and appreciate what is presented?

  • Theatre's Super Lawyers - January, 2013
    Theatrical lawyers Elliot Brown, Seth Gelblum and Nancy Rose talk with Patrick Pacheco about the behind the scenes work they do from negotiating rights and contracts to deals with unions and licensees and re-evaluating royalty pools.

  • America's New Theatre Companies - December, 2012
    The 2012 National Theatre Company Grant Recipients share their thoughts on attracting and cultivating audiences; the importance of regional theatre across the country; their role in reaching out to the communities they work in; the diversity of their work and the nurturing of new artists.

  • Exploring Musical Theatre - July, 2012
    The challenges and triumphs facing musical theatre today, both on and off Broadway, are discussed by actress Heidi Blickenstaff, Tony award winning choreographer Christopher Gattelli and Tony award winning composer and lyricist Robert Lopez. Our conversation is moderated by Julie James and takes an in depth look at the status of musicals today; early influences in our guests lives that led them to theatre; and whether television is helping to bring back interest in musical theatre.

  • The Tony Awards: History, Highlights and Backstage - June, 2012
    On a special Tony Awards edition of "Working in the Theatre" host Ted Chapin, Chairman of the American Theatre Wing, takes viewers behind the scenes with Ricky Kirshner and Glenn Weiss, Executive Producers of the Tony Awards, talks with past Tony winners Joel Grey and Jefferson Mays who share their feelings about winning and the TONY history-making achievement attached to each of their awards, and we'll hear from many of this year's nominees including Audra McDonald, John Lithgow, Cynthia Nixon, Linda Lavin, Nina Arianda, Harvey Fierstein and Christian Borle to name just a few!

  • The Publicists' World - May, 2012
    Super-Publicists Adrian Bryan-Brown and Rick Miramontez talk with moderator Thomas Schumacher about the new world of theatre publicity as it relates to social media; whether or not there's such a thing as "bad" publicity; handling negative stories; shaping stories for the press and potential audiences; the value of using quotes in advertising; and critics and the preview process; and how audiences are influenced by social media and traditional reviews.

  • Directors: Process and Collaboration - April, 2012
    Directors Sheryl Kaller, Pam MacKinnon and Stephen Wadsworth talked about their start in theatre; their process when beginning a new project; collaboration with playwrights and the challenges of handling the playwright in the room; listening to the audience; and what, or who, inspires and informs their work.

  • Featured Performers 2012 - March, 2012
    The point at which they knew they wanted to act was one of the first things discussed in our conversation with David Alan Grier, Judith Light and Condola Rashad. They also talked about the research they do when approaching a new role; interacting with, and reacting to, the audience; how they handle reviews; and their process and passion for the work they do.

  • Casting Directors 2012 - February, 2012
    Casting Directors David Caparelliotis, Tara Rubin and Daniel Swee and moderator Patrick Pacheco discuss the role of the casting director; their collaboration with directors; recasting shows; and whether stars are necessary for success on Broadway today.

  • The Playwrights' Voice 2012 - January, 2012
    Playwrights Lydia R. Diamond, David Henry Hwang and Suzan-Lori Parks discuss their work and other American playwrights and how they influenced them; the moment each was aware they wanted to be writers; their process; experiencing their work on Broadway for the first time; and the role mentors played in their lives and their role as mentors.

  • Producers: A Creative Approach - December, 2011
    Producers Jean Doumanian and Daryl Roth talk about creating a supportive environment for artistic teams bringing shows to the stage; collaborating with other producers; the benefits and challenges of casting stars in a show; and the economics and creative process of producing off Broadway vs. on Broadway.

  • Regional Theatre - December, 2011
    Our guests -- representatives from theatres receiving the American Theatre Wing 2011 National Theatre Company Grants: Buntport Theater Company, FUSION, Mo´olelo Performing Arts Company, Pig Iron Theatre Company, Rude Mechanicals, Synchronicity Theatre, TheatreSquared, TimeLine Theatre, Transport Group and Watts Village Theater Company -- discuss the challenges they face in tough economic times; their community outreach; and the creativity and diversity in the works they present.

  • The State of Theatre: Institutions and Producers - November, 2011
    Thomas Schumacher talks with guests, Ben Cameron and Kevin McCollum, about the state of theatre today in a wide ranging conversation that highlights how theatre can survive during difficult economic times; whether celebrities can affect sales and audiences; and dealing with government and foundation funding.

  • Behind The Curtain - October, 2011
    Disney Theatrical President and Producer Thomas Schumacher takes us behind the curtain and gives us an up close and personal view of how things work backstage. We'll meet the make up people from "The Lion King", share secrets from a premiere Broadway wig designer, watch just how those quick changes happen in "Mary Poppins", meet the man behind the puppets in "The Lion King" and hear one member of "The Lion King" orchestra as he demonstrates those signature sounds.

  • Challenges and Triumphs: Actors 2011 - August, 2011
    Actors Nina Arianda, Nikki M. James, Arian Moayed and Bobby Steggert share what drew them to the theatre; the difference between training and actually being on stage; the audition process; what they learn from more experienced actors; what they look for in roles and their relationship with the director.

  • Directors 2011 - July, 2011
    Directors Jo Bonney, Sheldon Epps, Michael Halberstam and Gregory Mosher talk about how they got started in the business; choosing their projects; their process when starting a new show; how the dual role of Artistic Director and Director informs their own work and working with other directors; and how they approach auditions.

  • Passion and Compassion: Actors 2011 - June, 2011
    Actors Bobby Cannavale ("The Motherf**ker with the Hat"), Renée Elise Goldsberry ("Good People"), Judith Light ("Lombardi"), Lia Williams ("Arcadia") and Tom Wopat ("Catch Me If You Can") talk about a performance that transformed or inspired them; pre-show rituals; how their day outside the theatre informs their performance; their relationships with other actors, the audience and the director; and working with the playwright during rehearsal.

  • Theatre Journalism: Online and Off - May, 2011
    The opportunities and challenges of online arts journalism started off the discussion for our panel - Chris Caggiano, Scott Heller, David J. Loehr, Jan Simpson and Terry Teachout. They also discuss how blogging is able to reach a more expansive and diverse audience than traditional journalism; what they look for online and if what they read affects their own writing; and how social media has been able to create national and even international conversations about theatre.

  • Don't Be Afraid: Stage Veterans 2011 - April, 2011
    The panel of stage veterans - F. Murray Abraham, Stacy Keach, Estelle Parsons and Lois Smith - discuss the rehearsal and audition process; how they deal with rejection; the pros and cons of directing vs. acting; their thoughts on how acting and directing have changed over the years; the difference between performing classical roles vs. contemporary roles and their advice for aspiring performers.

  • The Characters Start Talking: Playwrights 2011 - March, 2011
    The panel of playwrights - Annie Baker, Rinne Groff, Karen Hartman and Alfred Uhry - talk about their writing process; the role of the dramaturg; writing adaptations; collaborating with directors; whether they have a specific actor in mind when they're writing; and how they see the role of the playwright in theatre today.

  • Through Their Eyes: Actors 2011 - February, 2011
    Actors Colman Domingo, Elizabeth Marvel, Michele Pawk, Daphne Rubin-Vega and David Zayas discuss the influence of their early training; how they challenge themselves for each role; their feelings about participating in readings and workshops; collaborating with directors; their relationship with the audience and how it affects their performance; and roles that they'd like to play.

  • Compelling Stories: Playwrights 2011 - January, 2011
    The panel of playwrights - Kristoffer Diaz, Kate Fodor, Rajiv Joseph, Young Jean Lee and Tarell Alvin McCraney - discuss how and why they became involved in theatre; whether their writing comes from their own life experiences or that of others, or both; how their writing develops and evolves; what challenges their imagination; how their work is viewed by audiences in other countries; and the importance of diversity being reflected in theatre.

  • Getting the Show on the Road - December, 2010
    The panel of producers, presenters and bookers -- Meredith Blair, Mike Isaacson, Colleen Jennings-Roggensack, Steven Schnepp and Allan Williams -- discuss what works and what doesn't on the road; the challenges of educating audiences about a show; what content might be considered too risky for road productions; how important Broadway is for promoting road shows; whether plays have a place, and can be successful, in road tours; finding shows off-Broadway that can be put on tour; and how long a show needs to play to be profitable.

  • Embracing Process: Directors 2010 - December, 2010
    A panel of directors - Stafford Arima, Anne Kauffman, Rebecca Taichman and Henry Wishcamper - discusses the dynamic between themselves and the playwrights with whom they work; their first paying job as a director; the value of assistant directing; what process means to each of them; how they approach auditions and if they would like to have a job as an Artistic Director.

  • The Vocabulary of Dance: Choreographers 2010 - November, 2010
    Our panel of choreographers - Christopher Gattelli, Liza Gennaro, Ken Roberson and Sergio Trujillo - discuss their childhood and early adult life and how it influenced their start in dance; the amount of research they do for each show; how choreography enhances a performance; the relationship between choreographers and directors; how recent TV programming has brought back an interest in dance, especially among young people; the difference between musical staging and choreography and preserving dance history for future audiences.

  • Revivals: Return to Broadway - April, 1996
    The panelists - President/Executive Director of the Rodgers and Hammerstein Organization Ted Chapin, President of the American Theatre Producers Cy Feuer, writer/critic Martin Gottfried, actor Nathan Lane ("Guys and Dolls", "A Funny Thing Happened on the Way to the Forum"), actor Donna McKechnie ("State Fair"), book writer Joseph Stein ("Fiddler on the Roof"), director/choreographer Susan Stroman ("Big", "Show Boat"), and composer/lyricist Charles Strouse ("Annie") - discuss musical revivals in-depth, comparisons to new musicals such as "Big", the state of musical theatre compared to the 1960s, script revisions and new designs for revivals, and the overall economics of producing Broadway musicals including the need for out-of-town tryouts.

  • Performance - September, 1996
    The panel of performers - Jessica Boevers ("A Funny Thing Happened on the Way to the Forum"), Jim Dale ("Barnum", "Candide"), Justin Kirk ("Love! Valour! Compassion!"), Daniel Massey ("Taking Sides"), Jay Hunter Morris ("Master Clas"), Adam Pascal ("Rent"), and Jean Smart ("Fit To Be Tied") - discuss their backgrounds in diverse areas of performance such as dance, opera, rock music, and repertory theatre; pursuing acting in New York compared to Chicago and Los Angeles; early roles, training, and getting an agent; and reciprocal reactions between the performer and audiences.

  • Playscript - April, 1980
    The panel of playwrights - Edward Albee ("The Lady From Dubuque"), Eve Merriam ("The Club"), Samm-Art Williams ("Home"), Lanford Wilson ("Talley's Folly"), and Ruth Wolff ("The Abdication") - discuss producing their current plays, how much playwrights creatively collaborate with directors and producers, the responsibilities of an agent, how playwrights learn to direct, and advice for actors and new playwrights.

  • Performance - September, 1982
    The panel of performers - Karen Akers ("Nine"), Christine Baranski ("Sally and Marsha"), actor/playwright Harvey Fierstein ("Torch Song Trilogy"), Ben Harney ("Dreamgirls"), Lonny Price ("Master Harold...and the boys"), and Liv Ullmann ("Ghosts") - discuss the strong themes of their respective productions; how demanding their roles are, from character development to physical challenges to the emotional intensity of a role; training and audition experiences; how cast replacements effect a play; and developing new musicals out-of-town compared to workshopping in New York.

  • Production: Dancing In The End Zone - April, 1984
    The business team for the play "Dancing In The End Zone" - literary agent Mitch Douglas, producers Dasha Epstein and Morton Gottlieb, publicist Milly Schoenbaum, and general manager Richard Seader - talk about the responsibilities of the producer, the benefits of a workshop versus going out-of-town, the role of a press agent, comparing large off-Broadway houses to Broadway, and the evolution of opening night events including critics now attending previews.

  • Performance - September, 1984
    The panel of actors - Sinead Cusack ("Cyrano De Bergerac"), Frank Langella ("After The Fall"), Joe Mantegna ("Glengarry Glen Ross"), Theresa Merritt ("Ma Rainey's Black Bottom"), and Sigourney Weaver ("Hurlyburly") - talk about their training, auditioning for their first major roles, the rehearsal process, working in the ensemble, actors who are also playwrights, and establishing relationships as a result of stage work.

  • Production: Hurlyburly - September, 1984
    The production team behind "Hurlyburly" - advertising representative Rick Elice, agent Milton Goldman, legal counsel Jay S. Harris, stage manager Peter Lawrence, press representative Sandra Manley, and producer Frederick Zollo - discuss how David Rabe's play found a producer, director, and high profile cast for its debut at Chicago's Goodman Theatre, its successful off-Broadway run prior to Broadway, producing with a profit pool plan, production costs including the advertising budget, and the present state of the American play.

  • Performance - April, 1985
    The panel of Broadway actors - Matthew Broderick ("Biloxi Blues"), Jim Dale ("Joe Egg"), Charles S. Dutton ("Ma Rainey's Black Bottom"), Rosemary Harris ("Pack of Lies"), Glenda Jackson ("Strange Interlude"), and theatrical agent Lionel Larner - discuss how they left their various layman jobs to begin performing, their audition experiences, how they became involved in their current productions, what they look for in an agent, how they obtained one, and the role of an agent.

  • Playwright, Director and Choreographer - April, 1985
    The panelists - playwright P.J. Barry ("The Octette Bridge Club"), lyricist Ellen Fitzhugh ("Grind"), director John Going ("Inherit The Wind"), playwright Fay Kanin ("Grind"), playwright Jerome Lawrence ("Inherit The Wind"), agent Bruce Savin, and director Clifford Williams ("Pack of Lies") - talk about their formal training; the relationship between directors, playwrights and casting directors; the key to successful collaboration; comparing the author's rights for stage versus film; the boundaries of a director's vision; and rising production costs and ticket prices.

  • Production: Grind - April, 1985
    The producing team of the 1985 Broadway musical "Grind" - advertising representative Jeffrey Ash, group sales executive Ronald S. Lee, executive producer Ruth Mitchell, and producers Michael Frazier, Kenneth Greenblatt, Mary Lea Johnson, and John Pomerantz - talks about bringing the nearly $5 million production to Broadway after a tryout in Baltimore, working with director Hal Prince, the importance of advertising and group ticket sales in light of mixed critical reviews, comparisons to their previously produced hits "La Cage Aux Folles" and "Nine", and budgetting a new American musical with a controversial royalty structure that doesn't pay the creative team until the production turns a profit.

  • Performance - September, 1985
    The panel of actors - Don Correia ("Singin' in the Rain"), Tovah Feldshuh ("Springtime for Henry"), Glenne Headly ("Arms and the Man"), Judd Hirsch ("I'm Not Rappaport"), Barnard Hughes ("The Iceman Cometh"), Cleavon Little ("I'm Not Rappaport"), Elizabeth McGovern ("Map of the World") - and casting director Vincent G. Liff discuss how they have dealt with mishaps and missed lines, the extent of research done for roles, schooling and formal acting training, starting out in regional theatre such as Chicago before finding work in New York, and the responsibilities of the casting director.

  • Playwright and Director - September, 1985
    The panelists - director Clinton Turner Davis ("Two Can Play"), playwright Herb Gardner ("I'm Not Rappaport"), playwright/lyricist Tom Jones ("The Fantasticks"), playwright Shirley Lauro ("Open Admissions"), lyricist/director Richard Maltby Jr. ("Song and Dance"), playwright Marsha Norman ("Night Mother") and composer Harvey Schmidt ("The Fantasticks") - discuss how a playwright chooses a director, the role of a playwright, how much structure is provided by the text, and the varying degrees of collaboration between director, playwright, and actor.

  • The Next Generation 2010 - June, 2010
    Our panel of some of Broadway's brightest new performers - Jennifer Damiano, Robin de Jesús, John Gallagher, Jr., Jon Michael Hill and Krysta Rodriguez - discuss the first professional show they ever saw; the moment they realized they wanted to perform and how their families responded to the news; how their very first jobs came about; the challenges of choosing between school and work; whether they like to go to other shows and what kind of audience member they are; and what they learn from their professional colleagues.

  • Design - September, 1985
    The 1985 Joseph Maharam Foundation Awards for Scenic, Costume, and Lighting Design are awarded to Lawrence Eichler, Charles Ludlam, and Everett Quinton for The Ridiculous Theatrical Company's "The Mystery of Irma Vep"; Mel Carpenter, Angus Moss, and Blu for Ping Chong's Fiji Theatre Company's "NOSFERATU: A Symphony of Darkness"; and Heidi Landesman, Patricia McGourty, and Richard Riddell for Broadway's "Big River". The designers discuss their respective productions in-depth. In addition, Henry Hewes receives an award for Outstanding Service For His Recognition Of Theatre Design.

  • Performance - April, 1986
    The panel of actors -- Glenn Close ("Benefactors"), Maurice Hines ("Uptown...It's Hot"), Aidan Quinn ("A Lie of the Mind"), Marlo Thomas ("Social Security") -- discuss working with directors, agents, formal education and technical training, and the beginnings of their individual acting careers.

  • Developing Musical Theatre - April, 2010
    The development and production of musical theatre was the focus of the discussion with our panel of producers - Sue Frost, Robyn Goodman, Paulette Haupt and Scott Sanders. They talk about what attracts them to a project; if playing on Broadway is the ultimate success for a show; whether going out of town is helpful, or necessary, for a new show; the impact of audiences on the show; dealing with critical reviews that remain on line when trying to get a show launched; the difficulty of closing a show or halting a show in development; and advice for young producers who want to develop musicals.

  • Playwright and Director - April, 1986
    Playwright Brian Clark ("The Petition"), playwright/director Emily Mann ("The Execution of Justice"), playwright Arthur Miller ("Death of a Salesman"), literary agent Gilbert Parker, director Norman René ("Precious Sons"), and director John Tillinger ("Loot" and "The Perfect Party") discuss the division of responsibilities between playwright and director, how casting effects the original script, the significance of play titles, playing regional theatres versus New York versus London, escalating ticket prices, and whether working in theatre is preferred to film and television.

  • Production: Precious Sons - April, 1986
    The "Precious Sons" production team - producers Marty Bell and Roger Berlind, legal respresentative Patricia Crown, press representative Joshua Ellis, advertising representative Peter LeDonne, and general manager Peter Neufeld - discuss the steps taken to bring the show to Broadway such as obtaining rights, building a creative team, the casting process, Broadway versus off-Broadway, the risks in mounting a production, marketing planning and costs, varying advertising, and experimental ticket pricing.

  • Equal Exchange: Actors 2010 - April, 2010
    Our panel of leading actors - David Alan Grier, Anthony LaPaglia, Laura Linney, Jan Maxwell and Alfred Molina - shared their process about what they look for in a script; the kind and extent of the research they do for a role; how the audience influences their performance; handling a director's return to the show after opening; their collaboration with both the director and the playwright; and what they've learned that they'd share with actors just starting out.

  • Roles for Ourselves: Playwrights 2010 - March, 2010
    Our distinguished panel of playwrights -- Charles Busch, David Ives, Donald Margulies and Suzan-Lori Parks -- discuss the moment when they realized they wanted to be writers; who influenced them in their early careers; whether or not they have a specific actor in mind when they write; their collaboration with directors; and the theaters they consider to be their homes.

  • Performance - September, 1986
    The panel of performers - Vondie Curtis-Hall ("Raisin In The Sun"), Ossie Davis ("I'm Not Rappaport"), Swoosie Kurtz ("The House of Blue Leaves"), Jean Stapleton ("Arsenic and Old Lace", and Loretta Swit ("The Mystery of Edwin Drood") - discuss how they got started in the business, Stapleton's experience working at the Stage Door Canteen and attending the American Theatre Wing school, how dance training contributes to overall performance, working with agents and experiences with typecasting, and balancing a film and television career with stage work.

  • Playwright and Director - September, 1986
    The Playscript/Director panelists - Long Wharf Theatre artistic director Arvin Brown, playwright Howard Fast ("Citizen Tom Paine"), director/dramaturg Susan Gregg, playwright Israel Horovitz ("Today, I Am A Fountain Pen"), director Wilford Leach ("The Mystery of Edwin Drood"), playwright Leslie Lee ("The War Party"), playwright John Pielmeier ("Agnes of God"), and director Jim Simpson ("Citizen Tom Paine") - compare directing with the director's concept versus collaborating with the playwright and their vision; different interpretations and approaches in directing the same play; how a new approach manifests and influences everything from casting to the final production; why pre-production is a hands-off period for directors; and how theatre differs from the mediums of novels and films.

  • Waiting In The Wings - March, 2010
    Their roles as understudies on Broadway was the focal point for this panel of actors -- Tony Carlin ("Lend Me A Tenor"), Bryan Fenkart ("Memphis"), Corinne Melançon ("Mamma Mia"), Jay Russell ("Our Town") and Paul A. Schaefer ("The Phantom of the Opera") -- as they discussed the first time they went on as an understudy; what kind of preparation is involved for their roles; the differences of understudies, swings and stand-bys; whether or not they continue to audition for other roles; how they handle stepping into a role mid-performance and covering for a "name" performer; and how much of their own voice is given to a character when they perform the role.

  • Production: House Of Blue Leaves - September, 1986
    The producing team of the 1986 Tony-nominated play "The House of Blue Leaves" - press representative Merle Debuskey, executive producer Bernard Gersten, playwright John Guare, advertising representative James Russek, and director Jerry Zaks - discuss how they came to work on this mid-1960's domestic comedy at Lincoln Center Theatre, first in the off-Broadway Mitzi E. Newhouse Theater, then transferring to the much larger Vivian Beaumont Theatre which presented its own challenges, eventually moving to the Plymouth Theatre on Broadway; the economics of producing, subscriber base, and ticket prices at a not-for-profit theater; finding key designers; casting sessions, working with strong actors, and maintaining quality performances in an extended run.

  • Performance - April, 1987
    The panel of performers - Trazana Beverley ("Death and the King's Horseman"), Mark Hamill ("The Nerd"), George S. Irving ("Me and My Girl"), Linda Lavin ("Broadway Bound"), Lynn Redgrave ("Sweet Sue"), and Colm Wilkinson ("Les Miserables") - discuss when they started performing and how they got their first roles; directors and effective directing styles; the power and influence of critics; audience response especially on opening night; finding the next job and how to cope with the audition process.

  • Producing's New Voices - March, 2010
    Injecting new energy and a new perspective into both commercial and not for profit theatre was among the topics discussed by our panel of producers - Patrick Catullo, Eric Falkenstein, Jenny Gersten and Jill Furman Willis. They also talked about the role mentors' played in their development as producers; where they find new material; how they find investors for their shows; the need to be creative in selling tickets during tough economic times; using new media to promote their shows and to reach new audiences; the responsibility they feel to bring new writing voices into the theatre; and the risks they're willing to take to bring new and different material to the stage.

  • Playwright and Director - April, 1987
    The panel - director Melvin Bernhardt ("The Beach House"), playwright Alice Childress ("Moms"), director Walter Dallas ("Moms"), playwright Nancy Donohue ("The Beach House"), playwright Patrick Meyers ("K2"), and director Terry Schreiber ("K2") - talk about where they started, how many acted before writing and directing, the relationship between directors and playwrights, developing a show particularly out-of-town, the challenges of casting a play, and the collaboration amongst actors, directors, and authors.

  • Production: Sweet Sue - April, 1987
    The production team of "Sweet Sue" - advertising representative Fred Golden, general manager Larry Goossen, playwright A.R. Gurney, casting director Donna Isaacson, and producer Arthur Whitelaw - discuss the path the play took to Broadway, each panelist's individual involvement, the challenges of casting, production costs, ticket prices, and how box office grosses effect the advertising campaign.

  • Performance - September, 1987
    The panel of performers - from "Driving Miss Daisy", Morgan Freeman and Dana Ivey; Robert LuPone ("Late Night Comic"); John Malkovitch ("Burn This"); Jane Summerhays ("Me and My Girl"); and Courtney B. Vance ("Fences") - talk about milestones at the start of their careers; their attitude towards auditioning, rehearsing, and reviews; working on unsuccessful shows; and the positive differences of matinee performances.

  • Production: A Few Good Men - September, 1990
    The production team for "A Few Good Men" - producer David Brown; president of the Shubert Organization, Bernard Jacobs; Serino Coyne advertising representative Linda Lehman; and general manager Stuart Thompson - talk about selecting a script by unknown playwright Aaron Sorkin; the details of general management including budget, advertising, ticket sales, government taxes; rising costs in the current economics of Broadway; film rights to plays and the effect of a film release; and what it takes to produce a Broadway show.

  • Performance - September, 1991
    The panel of performers - Jane Alexander ("Shadowlands"), Stockard Channing ("Six Degrees of Separation"), Sarah Jessica Parker ("The Substance Of Fire"), Jonathan Pryce ("Miss Saigon"), Ron Rifkin ("The Substance Of Fire"), Mercedes Ruehl ("Lost In Yonkers"), and Topol ("Fiddler on the Roof") - discuss playing the same role over the years, finding a rhythm in one's performance, learning about one's character during the rehearsal process, gaining discipline, and how each performer got their start.

  • Performance - September, 1991
    The panel of performers - Hinton Battle ("Miss Saigon"), Roy Dotrice ("The Homecoming"), Timothy Hutton ("Babylon Gardens"), Mary Louise Parker ("Babylon Gardens"), Teresa Wright ("On Borrowed Time"), Stephanie Zimbalist ("The Baby Dance") - discuss working in regional and repertory theatre; where they started out in show business, if it was a family profession; the process of getting an agent; how the stage compares to television and film; and how different theatre spaces, sets, and stage sizes affect a show.

  • Performance - April, 1992
    The panel of actors - Alan Alda (Neil Simon's "Jake's Women"), Jodi Benson ("Crazy For You"), Roscoe Lee Brown (August Wilson's "Two Trains Running"), Glenn Close ("Death and the Maiden"), Richard Dreyfuss ("Death and the Maiden"), Harry Groener ("Crazy For You"), Tracy Pollan (Neil Simon's "Jake's Women"), and Lynn Redgrave (Ibsen's "The Master Builder") - discuss how they got started in the business and their big break, the significance of the rehearsal process, keeping a role fresh and not repeating the same performance, doing classic plays and if they are influenced by seeing different versions, and the difference between London and New York stages.

  • The Play That Changed My Life - December, 2009
    What was "The Play That Changed Your Life"? Not only the title of a new American Theatre Wing book, which posed that question to 19 of America's most distinguished playwrights, but the start of a discussion by two of those playwrights, Tina Howe and Diana Son. They also talk about which of their own plays changed their lives; what role theatre played while growing up; if there were teachers who inspired them to get involved in theatre writing; what drew them to playwriting; how much of themselves are in their characters; and their role as mentors for young writers.

  • Playwright and Director - April, 1992
    The panelists - playwright Jon Robin Baitz ("The End of the Day"), playwright Charles Grodin ("One of the All-Time Greats"), director Mark Lamos ("The End of the Day"), playwright Ken Ludwig ("Crazy For You", "Lend Me A Tenor"), director Tony Roberts ("One of the All-Time Greats"), choreographer Susan Stroman ("Crazy For You"), and International Creative Management Vice-President Victoria Traube - discuss how they got started and their common backgrounds as actors and lawyers, directing the work of living and dead playwrights, the development and journey for each of their shows, and the seamless collaboration the "Crazy For You" creative team achieved.

  • Production: Crazy For You - April, 1992
    The production team of "Crazy For You" - advertising representative Nancy Coyne, press representative Bill Evans, general manager Tyler Gatchell, casting director Julie Hughes, and producer Elizabeth Williams - discuss how the show was adapted from the 1930's Gershwin musical "Girl Crazy", advertising as a new musical - not a revival, producing a television commercial, the financial cost of the large production, the role of the casting director, and the effect of positive critical reviews.

  • Performance - September, 1992
    The panel consisting of casting director Jay Binder ("Lost In Yonkers"), and actors Lucie Arnaz ("Lost In Yonkers"), Hallie Foote ("The Roads to Rome"), Gregory Hines ("Jelly's Last Jam"), Tonya Pinkins ("Jelly's Last Jam"), and John Schneider ("Grand Hotel") discuss how they started their careers, what casting directors look for, auditioning established actors, rehearsing and replacing in a role, and the panelists provide advice to people beginning in theatre.

  • Next To Normal: The Road to Broadway - November, 2009
    The creative team behind the hit musical "Next To Normal" - Director Michael Greif, Composer Tom Kitt, Producer David Stone and Book Writer/Lyricist Brian Yorkey - discuss the unique road the show took to Broadway beginning with its start at the BMI Workshop; the origin of the show's subject matter and the challenges of getting acceptance for it; the reasons behind a title change and what that represented for the creative process; why they took the unusual step of going from off-Broadway to out of town before Broadway; what influences the press and audiences had after the off-Broadway opening in their decision process; why some songs were dropped, others changed and the reasons behind the addition of new material; and 4 songs are performed in studio that illustrate the changes in the various stages of the production.

  • Playwright and Director - September, 1992
    The panel - playwright/director P.J. Barry ("A Distance From Calcutta"), lyricist Susan Birkenhead ("Jelly's Last Jam"), playwright/director Horton Foote ("The Roads To Home"), agent Wiley Hausam (International Creative Management), musical adaptor Luther Henderson ("Jelly's Last Jam"), playwright/director George C. Wolfe ("Jelly's Last Jam") - discuss how and why they got started in theatre, collaboration between authors and directors, whether playwrights should direct their own work, advice for young writers including how a play gets produced, finding a suitable director, and the advantages and disadvantages of readings.

  • Production: Jelly's Last Jam - September, 1992
    The "Jelly's Last Jam" production team - general manager Michael David, advertising representative Rick Elice of Serino Coyne, press agent Richard Kornberg, producers Pamela Koslow and Margo Lion, and legal counsel Jean Ward - discuss developing the musical for Music-Theater Group, working with director/performer Gregory Hines, creating a standout ad campaign, and fundraising with multiple workshops and finding corporate investors for the resulting $5 million production budget.

  • Amazing Affinity: Actors 2009 - November, 2009
    Our panel of actors -- Danny Burstein, Malcolm Gets, Bill Pullman and John Douglas Thompson -- share the particular moment when they realized they wanted to be actors; how the language of a play influences their portrayal of a character; what it's like to work in a show with just one or two other actors; how they recoup after going "off script"; what kind of pre-show rituals they go through; the most useful - and least useful - director's note they received; how it feels to step into a role made famous by another actor; and what kind of research they do to prepare for a role.

  • Unions and Guilds - September, 1992
    The panel of union and guild representatives - Jean Dalrymple, member of the Association of Theatrical Press Agents and Managers (ATPAM); Alan Eisenberg, Executive Secretary of Actors' Equity Association; actress Caroline Lagerfelt, former Equity Council member (Actors' Equity Association); David S. Rosenak, Executive Director of the Society of Stage Directors and Choreographers; and Peter Stone, President of the Dramatists Guild - talk about when and why their organizations were founded, their purposes and the services they provide; the need for contracts, salary minimums, and safety regulations; and the agreement between producers and all unions and guilds for the Broadway Alliance.

  • Design - September, 1992
    The panel - actress Brenda Braxton ("Jelly's Last Jam"), Mettawee River Theatre Company puppet/costume designers Casey Compton and Ralph Lee ("Wichikapache Goes Walking"), producer/lighting designer Jules Fisher ("Two Shakespearean Actors"), director Michael Greif ("Pericles"), and costume designer Toni-Leslie James ("Jelly's Last Jam") - discuss the significant roles of lighting and costume design, the relationship between designers and director, their education and early training, and design budgets; plus a demonstration of costumes and puppets.

  • Beyond Broadway: International Theatre - October, 2009
    The expansion of the Broadway brand to Asian markets was among the topics discussed by our panel: Simone Genatt, Chairman of Broadway Asia, Robert Nederlander, Jr, President and CEO of Nederlander Worldwide Entertainment and Alan Wasser, General Manager of Alan Wasser Associates. The wide ranging discussion also looked at what particular shows work best in the international market; the challenges of taking Broadway productions overseas to China and Korea and what's entailed in bringing a show from China to the US; navigating the cultural differences, labor rules and legalities of foreign countries; the emphasis in both China and Korea for more cultural programming; the preponderance of small theatres and small productions throughout Asia; the costs involved and the issues of marketing shows outside the US; and the next international markets to welcome Broadway.

  • Production: Anna Christie - January, 1993
    The "Anna Christie" production team - scenic designer John Lee Beatty, O'Neill biographer Barbara Gelb, Artistic Director of Roundabout Theatre Todd Haimes, actors Anne Meara, Liam Neeson, Natasha Richardson, and Rip Torn, and lighting designer Marc B. Weiss -- discuss in-depth the 1993 Tony Award-winning revival, including the scenic and lighting design, how the characters relate to contemporary lives, the actors' differing acting styles, and Eugene O'Neill's early career.

  • Regional Theatre - October, 2009
    The role of Regional Theatre in supporting and presenting new works to their communities was among the topics discussed by our panel: Christopher Ashley, Artistic Director of La Jolla Playhouse, Gordon Edelstein, Artistic Director of Long Wharf Theatre, Sara Garonzik, Producing Artistic Director of the Philadelphia Theatre Company, and Eric Rosen, Artistic Director of Kansas City Repertory Theatre. They also explored how they share works and resources; the kind of show they feel best serves their audiences; their interaction with the local community; how they deal with competition within the theatrical community in their cities; what they learn from visiting Directors to their theatres; and the effect it has on their theatres when one of their shows moves to Broadway.

  • Performance - April, 1993
    The panel of performers - Joan Copeland ("Another Time"), Jeff Daniels ("Redwood Curtain"), Christopher Durang (Sondheim's "Putting It Together"), Robert Foxworth ("Candida"), Robert Klein ("The Sisters Rosenszweig"), Mary McCann (David Mamet's "Oleanna"), Steven Rea ("Someone Who'll Watch Over Me"), Martin Short ("The Goodbye Girl"), and Mary Steenburgen ("Candida") - compare the different styles of their current productions, their performing backgrounds, discipline and stamina, actors who write, and returning to the stage after working in television and film.

  • Playwright and Director - April, 1993
    The panelists - theatrical agent Joanne Nici, playwright Frank Pugliese ("Aven'U Boys"), director/writer Geraldine Fitzgerald ("Sharon"), choreographer Wayne Cilento ("Tommy"), and producer Frederick Zollo ("Aven'U Boys") - discuss the expanse of their careers and their backgrounds, the role of an agent, and developing plays from the page through casting and rehearsals to production.

  • Leading Ladies - September, 2009
    Our four Tony Award winning Leading Ladies -- Laura Benanti, Beth Leavel, Bebe Neuwirth and Alice Ripley - discuss performances they've seen that have made a lasting impact on them; the moment when they realized that a life in the theatre was what they wanted; what it's like originating a role, playing a character in a revival and replacing someone in a show; the roles they never seem to get cast in; their relationship with the audience during a show and after at the stage door; and their thoughts on the audition process.

  • Production: Fool Moon - April, 1993
    The "Fool Moon" production team - producers Jeffrey Ash, Dori Berinstein, and James Freydberg, actor/creator Bill Irwin, press representative Jackie Green, general manager Robert Kamlot, company manager Daniel Kearns, and actor/creator David Shiner - discuss bringing the two-man mime revue to Broadway, the responsibilities of each production member, the strategic marketing and publicity plans, ticket and production costs, and the wildly varied responses from audiences of all ages.

  • Regional Theatre/New Play Development - April, 1993
    The panelists - theatre critic Howard Kissel, Artistic Director of Manhattan Theatre Club Lynn Meadow, actor/director Zakes Mokae ("The Song Of Jacob Zulu"), producer/general manager Dorothy Olim, producer/general manager Albert Poland, general manager Ben Sprecher, and playwright Wendy Wasserstein ("The Sisters Rosensweig") - discuss how not-for-profit and regional theaters differ from commercial productions, developing plays out of town, escalating production costs, and viable stage careers compared to television and film.

  • Performance - September, 1993
    The panel of performers - David Cassidy and Petula Clark from "Blood Brothers", Julie Harris ("The Fiery Furnace"), Jeff Hyslop ("Kiss of the Spider Woman"), and Joe Mantello and Stephen Spinellafrom "Angels In America" - talk about how their families encouraged them to pursue performing professionally, appearing on a Broadway stage for the first time, differing audience reactions between the West End and Broadway, and working on the multi-part play "Angels in America".

  • Playwright and Director - September, 1993
    The panelists - playwright/director Edward Albee ("Marriage Play"), director Arvin Brown ("The Twilight of the Golds"), agent Joyce Ketay, playwright Tony Kushner ("Angels In America"), playwright Timothy Mason ("The Fiery Furnace"), and playwright Jonathan Tolins ("The Twilight of the Golds") - talk about playwrights directing their own work, how directors and playwrights collaborate, gauging audience response, and the evolution of their respective productions.

  • Production: Kiss of the Spider Woman - September, 1993
    "The Kiss of the Spider Woman" production team - producer Garth Drabinsky, lyricist Fred Ebb, composer John Kander, playwright Terrence McNally, director Harold Prince, and actor Chita Rivera - discuss adapting the novel and film, starting as a "New Musicals" development at SUNY Purchase through productions in Toronto and London before reaching Broadway, how the script has changed over the years, the budget required for the long creative process, and the business of producing and marketing a new Broadway musical.

  • Design - September, 1993
    The design panel - scenic designer John Arnone ("The Who's Tommy"), costume designer Elizabeth Fried ("Brother Truckers"), special effects designer Wendall K. Harrington ("The Who's Tommy"), lighting designer Mimi Jordan Sherin (New York Shakespeare Festival) - moderated by costume designer Patricia Zipprodt ("My Favorite Year"), Professor Tish Dace, and author/designer/producer Jean Dalrymple discuss their creative childhoods; how the role of designers has evolved from directors, stage managers, and technicians; working with varying production budgets; and the colors and projections used in "The Who's Tommy".

  • New Play Development - April, 1994
    The resident theatre panelists - Randall Arney, Artistic Director of Steppenwolf Theatre; Zelda Fichandler, Artistic Director of the Acting Company; Emily Mann, Artistic Director of McCarter Theater; Mac Pirkle, Artistic Director of Tennessee Repertory Theatre; Michael P. Price, Executive Director of Goodspeed Opera House; and Lloyd Richards, Artistic Director of Eugene O'Neill Theatre Center - discuss the beginnings of regional theatre as a place to develop new plays and playwrights, relationships with commercial theatre, marketing and building a subscriber base, and diversity in playwrights and audiences.

  • Playwright, Director and Choreographer - April, 1994
    The panel - director Martin Charnin ("The Flowering Peach"), "Best Little Whorehouse Goes Public" playwright Larry L. King and director/co-writer Peter Masterson, choreographer Rob Marshall ("Kiss of the Spiderwoman"), director/writer Lonny Price ("Sally Marr and Her Escorts"), Second Stage Theatre dramaturg/literary manager Erin Sanders, director Robert Jess Roth ("Beauty and the Beast"), Ernest Schier director of the National Critics' Institute at the Eugene O'Neill Theatre Center, and Tazewell Thompson Artistic Director of the Syracuse Stage - talk about the different ways that writers collaborate, the role of a dramaturg, how choreography and directing can be intertwined, developing a production in workshops, and reimagining an animated film as a stage musical.

  • Production: Beauty and the Beast - April, 1994
    The "Beauty and the Beast" production team - press representative Chris Boneau, producer Michael David, associate producer Donald Frantz, production supervisor Jeremiah Harris, producer Robert W. McTyre, marketing consultant Margery Singer - discuss creating a stage musical from an animated film, costume designs, production budget and ticket prices, marketing and publicity including a literacy program, and Disney's plans on Broadway.

  • Performance - September, 1994
    The panel of performers - Michel Bell ("Show Boat"), Charlotte D'Amboise ("Damn Yankees"), Rosemary Harris ("An Inspector Calls"), Audra McDonald ("Carousel"), and Lonette McKee ("Show Boat") - discuss working with elaborate sets, their performing backgrounds, developing technique and discipline, and bringing classics back to the stage.

  • Playwright and Director - September, 1994
    The panelists - director/playwright Vernel Bagneris ("Jelly Roll!"), playwright David Ives ("All in the Timing"), actor Nancy Opel ("All in the Timing"), director Lawrence Sacharow ("Three Tall Women"), Playwrights Horizons artistic director Don Scardino ("A Cheever Evening"), choreographer Matthew West ("Beauty and the Beast") - discuss their current productions, the relationship between director and playwright, and the role of a dramaturg.

  • Production: Damn Yankees - September, 1994
    The "Damn Yankees" production team - legal counsel Robert Barandes, press representative Peter Cromarty, advertising representative Rick Elice, producers Mitchell Maxwell and Victoria Maxell, and general manager Charlotte Wilcox - discuss obtaining the rights, using a two-level structure of producing starting with an out-of-town production at the Old Globe, the finances of booking a Broadway theater, a new logo for an extensive ad campaign, and how the baseball theme provided many PR opportunities.

  • Design - September, 1994
    The design panel - lighting designer Beverly Emmons, costume designer Ann Hould-Ward, and scenic designers David Schulder and Tony Walton - and co-moderater lighting designer Jules Fisher talk about where they studied their craft, how the props can overlap with costuming, how lighting design has evolved, the Ridiculous Theatrical Company's production of "Movieland", and a demonstration of Gary Beach's costume from "Beauty and the Beast".

  • Performance - April, 1995
    The panel of performers - Mary Alice ("Having Our Say"), Matthew Broderick ("How To Succeed In Business Without Really Trying"), Alan Campbell ("Sunset Boulevard"), Gloria Foster ("Having Our Say"), John Glover ("Love! Valour! Compassion!"), Robert Sean Leonard ("Arcadia"), and Helen Mirren ("A Month In The Country") - talk about how they got started performing, what lessons and training they had, the challenges of working on their current productions, and the playwright's involvement in a production.

  • First and Loudest: The Marketing of Broadway - June, 2009
    Our guests - John Barlow, Damian Bazadona, Nancy Coyne and Drew Hodges - discuss what is involved in marketing, advertising and publicizing a Broadway show; how they work one-on-one with producers and creative teams; the marketing obstacles they face; who their target audience is; how they handle a show that isn't a hit, or that they don't like; the internet's influence on sales; whether or not a known title helps sell a show; how to sustain the buzz after a show opens; and whether "Broadway" can be sold as a brand.

  • Playwright and Director - April, 1995
    The panel - playwright/actor Dan Butler ("The Only Thing Worse You Could Have Told Me"), playwright Tom Dulack ("Breaking Legs"), director Scott Ellis ("A Month In The Country"), playwright Keith Glover ("Dancing On Moonlight"), director Sean Mathias ("Indiscretions"), director Gregory Mosher (Cryptogram), director Lisa Peterson ("Slavs"), and literary agent Jack Tantleff - talk about where they began their careers, playwrights who direct their own work, funding for non-profit and regional theatres, and the role of casting directors.

  • Production: Love! Valour! Compassion! - April, 1995
    The production team of "Love! Valour! Compassion!" - general manager Victoria Bailey, press representative Helene Davis, managing director Barry Grove, director Joe Mantello, playwright Terrence McNally, and artistic director Lynne Meadow - discuss giving playwrights a home at Manhattan Theatre Club, director and playwright working together for the first time, transferring to a Broadway production, ticket pricing, and participating in the Broadway Alliance.

  • Regional Theatre: Goodspeed Opera House - April, 1995
    Goodspeed Opera House's team - director/lyricist Martin Charnin ("Annie"), press representative Max Eisen, associate producer Sue Frost, musical supervisor Michael O'Flaherty, director Charles Repole ("Gentleman Prefer Blondes"), and general manager Howard Sherman - discuss Goodspeed's history and focus on the American musical, the business aspects of a regional theatre, being a part of the community, and the advantages of developing production at a distance from New York.

  • Performance - September, 1995
    The panel of performers - Betty Buckley ("Sunset Blvd"), Liz Callaway ("Cats"), Valerie Harper ("Death Defying Acts"), Brian Murray ("Racing Demon"), Roger Rees (Tom Stoppard's "Indiscretions"), Frances Sternhagen ("The Heiress") - talk about the different ways they started in the business, training at the Royal Shakespeare Company, notable acting teachers, how to prepare for auditions, replacing in a show with an abbreviated rehearsal period, and how to keep performances fresh during a long run.

  • Playwright, Director and Choreographer - September, 1995
    The multi-disciplined panelists -- director/choreographer Jeff Calhoun ("Busker Alley"), director/playwright Michael Leeds ("Swinging on a Star"), actor/playwright Anne Meara ("After-Play"), director Mike Ockrent ("Big, Crazy For You, Me and My Girl"), director/choreographer Lee Roy Reams ("Hello, Dolly!" revival), director Lloyd Richards ("Fences"), and director John Tillinger ("Deathtrap") -- discuss the director's role in relationship to the playwright, the differences in developing of musicals and plays, directing revivals, the challenges of auditions, and the pros and cons of workshops.

  • Fluidity and Change: Directors 2009 - May, 2009
    Five of the stage's most talented Directors - Thomas Kail, Moisés Kaufman, Bartlett Sher, Leigh Silverman and Kate Whoriskey - talk about how they work with, and interpret, the author's work; the relationship between directors and designers; managing change as the work evolves; why they feel actors should be more involved in the process; the different approach they take when working with classics as opposed to original works; how they work with casting directors and then work with the various actors and acting techniques; their desire to be a support system for each other; and whether they feel directing can be taught.

  • Production: Moon Over Buffalo - September, 1995
    The "Moon Over Buffalo" production team -- press representative Adrian Bryan-Brown, designer/producer Heidi Landesman, producer Elizabeth Williams, general managers Wendy Orshan and Jeffrey M. Wilson of 101 Productions, and Serino Coyne advertising representative Ruth Rosenberg -- discuss the process of bringing Ken Ludwig's play to Broadway, from the first reading, casting Carol Burnett, finding a director, creating the $2.4 million budget including an out-of-town tryout, to advertising, press coverage and opening night reviews.

  • Design Awards - September, 1995
    The design team of "The Heiress" -- scenic designer John Lee Beatty, lightning designer Beverly Emmons, costume designer Jane Greenwood, director Gerald Gutierrez and actor Cherry Jones -- discuss the interwoven details of their production, from natural period lighting for the enclosed sets, to background colors complementing the costumes, and the advantages of collaborating on previous works. Mask/puppet designer Ralph Lee demonstrates the large puppets worn by actors in "Heart Of The Earth: A Popul Vuh Story".

  • At Work and Play: Lead Actors 2009 - April, 2009
    Beginning the discussion with the question of when, or if, work becomes fun, our guests, lead actors all--Jane Alexander, Bill Irwin, Angela Lansbury, Cynthia Nixon, and Geoffrey Rush--also talk about how they choose roles and whether they'd consider playing smaller roles on the stage today; what they feel from an audience and how they react as audience members; their relationship to, and the role of, the stage manager; how much they consciously set the tone for the company; how they balance the thoughts of the playwright and the director -- and how they handle it when the two don't agree; and whether they follow stage directions from the existing script.

  • Playwright and Director - April, 1996
    The discussion panel - director Leonard Foglia ("Master Class"), director Michael Greif ("Rent"), playwright Betsy Howie ("Cowgirls"), lyricist Tom Jones ("The Fantasticks"), composer/lyricist Mary Murfitt ("Cowgirls"), and director George C. Wolfe ("Bring In 'Da Noise, Bring In 'Da Funk") - talk about how their pieces evolved from concept to production, the role of a dramaturg, casting performers with a range of experience, and bringing actors into the creative process.

  • For The Record: Inside Cast Albums - April, 2009
    Our guests -- Ted Chapin, Kurt Deutsch, Brian Drutman, and Thomas Z. Shepard -- take us inside the world of producing cast albums. Highlights of the discussion center on how these albums get made; the cost of producing them; where they fit in today's market; how technology has affected their production; how much collaboration there is - or isn't - with the shows' directors; changes to the production model; marketing and distribution; digital vs. traditional retail release of albums; and what they mean to the legacy of a musical.

  • Playwright and Director - September, 1987
    The panel - playwright Allan Knee ("Late Night Comic"), director Ron Lagomarsino ("Driving Miss Daisy"), director Lloyd Richards ("Fences"), casting director Meg Simon ("Fences"), playwright Alfred Uhry ("Driving Miss Daisy"), and playwright August Wilson ("Fences") - discuss directing styles, collaboration between playwright and director, developing and casting their current productions, and the emergence of casting directors for the stage.

  • Crafting Worlds: Theatrical Design - March, 2009
    Our guests - Scenic Designer David Gallo, Sound Designer John Gromada, Costume Designer Susan Hilferty and Lighting Designer Peter Kaczorowski - discuss how a design team enhances a production; when they are brought into the production and how they interact with one another as the show unfolds; their process in preparing for each show; their collaboration not only with each other but also with the director and the actors; the logistical challenges they face with each new show; how they got involved in theatre design and what training they did or didn't receive; advice they'd give to young designers; how they handle creative differences with other designers and the director; and where they find inspiration for their designs.

  • New Writers, New Musicals: Jonathan Larson Grants 2009 - March, 2009
    Our guests - 2009 Jonathan Larson Grant® recipients Mark Allen, Dave Malloy, Thomas Mizer and Curtis Moore - tell us what these Grants and others mean to them and their work; how they became involved in musical theatre; the programs and workshops that helped their work move forward; what parameters they work within when writing for musical theatre; how much license they give to others to interpret their work; what they do to sustain themselves financially while pursuing their musical passion; dealing with the business aspects of writing and composing; and what Broadway represents for them.

  • Design - September, 1987
    The 23rd annual American Theatre Wing Design Awards honor the best theatrical design in New York for the 1986-1987 season. The award winning designs are demonstrated by "Starlight Express" assistant costume designer Ann Emonts, "Worstward Ho" assistant lighting designer Mary Louise Geiger, "The Hunger Artist" actor Anthony Holland, Brooklyn Academy of Music's "The Civil Wars - Act 5: The Trees" production manager Paul King, and "Fences" scenic designer James D. Sandefur.

  • Performance - April, 1988
    Broadway performers Patti Cohenour, Michael Crawford, and Judy Kaye from "The Phantom of the Opera"; Blythe Danner ("A Streetcar Named Desire"); "M. Butterfly"'s John Lithgow and B.D. Wong; and agent Erica Spellman (ICM) discuss auditioning, preparing special skills for unique roles, crossing over from drama to musicals to opera, and working on different types of stages.

  • Consolation and Provocation: Playwrights 2009 - February, 2009
    Our guests - playwrights Gina Gionfriddo, Stephen Adly Guirgis, Tina Howe, Lisa Loomer and Christopher Shinn - explore whether they write to console or provoke an audience; to what degree current events, including the election of a new president and the economic freefall, has on their work; who they write for; if playwriting can be taught; how they react to reviews, both negative and favorable; when they knew they wanted to write for the stage; their relationship with directors; and they share their thoughts about connecting with the audience.

  • Playwright and Director - April, 1988
    Director Paul Benedict ("Frankie and Johnny in the Clair de Lune"), playwright Timothy Crouse ("Anything Goes"), playwright David Henry Hwang ("M. Butterfly"), director Robert Kalfin ("Rashomon"), playwright Terrence McNally ("Frankie and Johnny in the Clair de Lune"), legal representative Jeremy Nussbaum, and playwright John Weidman ("Anything Goes") talk about how they began their careers in theatre, writing stage directions, revising "Anything Goes", the real life inspiration for "M. Butterfly", and the advantages of a lengthy preview period.

  • Production: M. Butterfly - April, 1988
    The production team of "M. Butterfly" - advertising representative Jeffrey Ash, stage manager Bob Borod, general manager Steve Goldstein, producer Stuart Ostrow, and press agent John Springer - talk about the many components involved in bringing the groundbreaking play to Broadway, including the play's themes, casting, ad design, publicity campaign, costume design, budget and ticket prices.

  • Performance - September, 1988
    The actors - David Dukes ("M Butterfly"), Anne Jackson ("Cafe Crown"), Sylvia Miles ("Tea with Mommy and Jack"), Kate Nelligan ("Spoils of War"), Eli Wallach ("Cafe Crown"), and Paul Winfield ("Checkmates") - discuss how they first became interested in acting, auditions, and performing in front of an audience.

  • Production: Spoils Of War - September, 1988
    The "Spoils Of War" production team - legal representative John Breglio, press representative Joshua Ellis, producer Robyn Goodman, producer David Mirvish, and general manager Peter Neufeld - discuss transferring the play from not-for-profit Second Stage Theatre off-Broadway to a $1.5 million commercial Broadway production.

  • Stage Veterans 2009 - February, 2009
    With more than 200 years of combined theatre experience among them, our guests - stage veterans Philip Bosco, John Cullum, Marian Seldes and Carole Shelley - discuss the breaks that got each of their careers started; how they handle the situation on stage when they or their co-stars forget their lines; how they feel about serving as understudies; the audition process; their successes and failures; and they share stories of working with such other legends as Sir John Gielgud, Joseph Papp, Morris Carnovsky, Lee J. Cobb, George C. Scott, Geraldine Page, George Cukor, Myron McCormick and Ruth Gordon. "Stage Veterans 2009" also includes a short tribute to the late Robert Prosky, who appeared on the prior "Stage Veterans" edition of "Working in the Theatre" in 2005.

  • Performance - April, 1989
    The panel of Broadway actors - Joan Allen ("The Heidi Chronicles"), Ed Asner ("Born Yesterday"), Philip Bosco ("Lend Me A Tenor"), Pauline Collins ("Shirley Valentine"), Nancy Dussault ("Into The Woods") and Madeline Kahn ("Born Yesterday") - talk about the first time they fell in love with performing, auditions, how their careers have evolved, and the difference in stage and film work.

  • Playwright, Director and Choreographer - September, 1988
    The creative teams of "Legs Diamond": director Robert Allan Ackermam, playwright Harvey Fierstein, and choreographer Alan Johnson, "Paul Robeson": playwright Phillip Hayes Dean and director Harold Scott, and "Spoils of War": director Austin Pendleton and playwright Michael Weller -- discuss their productions, and how they began their careers in theatre.

  • Making Ogre Broadway - January, 2009
    In a broadcast devoted to an in-depth look at one Broadway show, our guests are the creative team behind "Shrek The Musical" -- Book writer and Lyricist David Lindsay-Abaire, Producer Bill Damaschke, Director Jason Moore, Producer Caro Newling and Composer Jeanine Tesori. Highlights of the discussion centered on how the team was chosen; the development process that led "Shrek" to Broadway; how material from both the book and movie guided them in shaping the musical; how they approached taking the story to another level; striking a balance in making the show appealing to both children and adults; what they used, or didn't use, from producers' notes; and some of the technical "secrets" used to create the musical.

  • Playwright and Director - April, 1989
    Director Pamela Berlin ("Steel Magnolias", "Crossing Delancey"), playwright Cindy Lou Johnson ("Brilliant Traces"), playwright/director Garson Kanin ("Born Yesterday") and playwright Wendy Wasserstein ("The Heidi Chronicles") discuss how they first got involved in playwriting and directing from other areas of writing and theatre, their first professional shows, and play development at Playwrights Horizons and the Eugene O'Neill Theater Center Playwrights Conference.

  • Production: The Heidi Chronicles - April, 1989
    Playwrights Horizons artistic director Andre Bishop, legal counsel Marsha Brooks, stage manager Roy Harris, advertising representative Mike Mones, and producer James Walsh discuss Wendy Wasserstein's Pulitzer Prize-winning play "The Heidi Chronicles" and its transfer to Broadway.

  • Performance - September, 1989
    Stage performers Blair Brown ("The Secret Rapture"), Kevin Conway ("Other People's Money"), Beth Fowler and Bob Gunton from "Sweeney Todd", Pamela Payton-Wright and Tony Randall from "M. Butterfly", Vanessa Redgrave ("Orpheus Descending"), Elaine Stritch ("Love Letters"), and casting director Rosemarie Tichler talk about their chosen careers, how they got started in theatre, and the differences and challenges that audiences bring to each performance.

  • Production: Orpheus Descending - September, 1989
    The production team of Tennessee Williams' "Orpheus Descending" -- attorney John Breglio, advertising representative Nancy Coyne, general manager Barbara Darwall, press representative Joshua Ellis, and producer Elizabeth Ireland McCann -- talk about the steps taken in bringing Peter Hall's revival with actress Vanessa Redgrave to Broadway.

  • 99 and Under - December, 2008
    Our guests -- Jonathan Bank, Artistic Director of The Mint Theater, Sarah Benson, Artistic Director of Soho Rep., Susan Bernfield, Artistic Director of New Georges and David Van Asselt, Artistic Director of Rattlestick Playwrights Theater -- all share the distinction of running theatres that are quite different from Broadway...venues with 99 seats or under. They discuss their mission statements and how each of their companies got started; making sure they are able to balance new voices in playwriting with more established writers when choosing and presenting plays; how, instead of competing with one another, their companies serve as resources for each other; the wealth of material, and talent, available to them; who their base audiences are and marketing strategies for broadening that base; funding challenges, particularly in difficult financial times; the pros and cons of subscriptions for their companies; how pricing structure for their smaller theatres affects the bottom line; and their goals for expansion beyond their current theatre size.

  • Performance - April, 1996
    The panel of performers -- Mark Linn-Baker ("A Funny Thing Happened On The Way To The Forum"), John Cullum ("Show Boat"), Ann Duquesnay ("Bring In 'Da Noise, Bring In 'Da Funk"), Judith Ivey ("A Fair Country"), Donna Murphy ("The King And I"), Michael Nouri ("Victor/Victoria") and Daphne Rubin-Vega ("Rent") -- discuss how they auditioned for their current roles, and what education and training they received at the start of their careers.

  • Production: Master Class - April, 1996
    The production team of "Master Class" -- producer Lewis Allen, producing associate Doris Blum, actress Karen Day Cody, press agent Bill Evans, casting director Alan Filderman, stage manager Dianne Trulock, and advertising representative Jim Weiner -- traces the show from its Montana workshop, to stagings in Philadelphia, L.A., and D.C., to opening in New York; how the creators, designers, and operatic cast were put together; developing the publicity and advertising campaigns including the casting of Zoe Caldwell's replacement Patti LuPone; and producing under the Broadway Alliance contract.

  • Arias to Showstoppers: The Worlds of Opera and Theatre - November, 2008
    Composer Michael John LaChiusa, and directors Diane Paulus and Stephen Wadsworth have all worked in the once mutually-exclusive worlds of opera and theatre. They share their thoughts about the nature of each of these entertainment forms, how they differ and what they share; the use of amplification and how it affects productions in both opera and theatre; the so-called "American Idol" effect on musical performers; changes in training for opera singers; the differing scale - and manner - of pay; whether super-titles enhance or distract from opera performances; and the importance of the director's role and how it differs in theatre and opera.

  • Playwright, Director and Choreographer - September, 1996
    The panel - director Melvin Bernhardt ("The Blues Are Running"), playwright David Henry Hwang ("Golden Child", "M. Butterfly"), composer Mary Rodgers ("Once Upon A Mattress"), playwright Nicky Silver ("Fit To Be Tied"), director David Warren ("Fit To Be Tied"), and choreographer Marlies Yearby ("Rent") - discuss how directors collaborate with playwrights, how actors may influence how a role is written, the purpose of the Society of Stage Directors and Choreographers union and Dramatists' Guild, and the panelists' individual education and training.

  • Actors Words, Writers Voice - November, 2008
    Daniel Jenkins, Lisa Kron and David Pittu - who have appeared both on stage and written works for the stage - talk about how they balance these dual roles; what they learn about being playwrights from their acting; where they get inspiration for their plays; how audiences help them enhance their performance as both actors and writers; whether or not it's more satisfying to act in a play they wrote; and their relationship with directors when they're performing the role of both playwright and actor.

  • Performance - April, 1990
    Kate Burton ("Some Americans Abroad"), Tyne Daly ("Gypsy"), Tom Hulce ("A Few Good Men"), Robert Morse ("Tru"), Kathleen Turner ("Cat On A Hot Tin Roof"), and Irene Worth ("Sweet Bird Of Youth") talk about being a part of an ensemble cast, the difference between screen and stage, the stamina needed for stage performances, and how they got their start in performing.

  • Production: Fit To Be Tied - September, 1996
    Playwrights Horizons' production team for "Fit To Be Tied" -- production manager Chris Boll, production stage manager Carol Clark, casting director Janet Foster, general manager Lynn Landis, managing director Leslie Marcus, Artistic Director of Playwrights Horizons Tim Sanford, playwright Nicky Silver and director David Warren -- talk about their individual jobs, their backgrounds, and the steps in bringing this play to the not-for-profit stage.

  • Design - September, 1996
    The panel of American Theatre Wing Design Award-winners -- Julie Archer, special effects designer for "Mabou Mines"; Christopher H. Barreca, scenic designer of "Chronicle of a Death Foretold"; Ruth Maleczech, actor/director/playwright/designer for "Mabou Mines"; Karen Ten Eyck, scenic designer of "An Epidog"; and Angela Wendt, "Rent" costume designer with "Rent" actor Aiko Nakasone -- talk about how they got started as designers, then demonstrate projections and a puppet from "An Epidog", a model set of "Chronicle of a Death Foretold", and a costume from "Rent".

  • Performance - April, 1997
    The panel of actors -- Nell Carter ("Annie"), Willem Dafoe ("The Hairy Ape"), Andre De Shields ("Play On!"), Paul Giamatti ("Three Sisters"), Joel Grey ("Chicago"), and Dana Ivey ("Last Night of Ballyhoo") -- talk about their past and present productions, their performing background and training, and finding the rhythm of a play.

  • Playwright, Director and Choreographer - April, 1997
    The panel of directors Walter Bobbie ("Chicago"), director/choreographer Wayne Cilento ("Dream"), Scott Elliott ("Present Laughter"), Ron Lagomarsino ("Last Night at Ballyhoo"), Gene Saks ("Barrymore"), and playwright Alfred Uhry ("Last Night at Ballyhoo") talk about how they got started, developing their current productions, a show's relevance to contemporary audiences, determining the length of a play, and how directors maintain an ongoing show.

  • Production: Stanley - April, 1997
    The production team of "Stanley" -- press representative Bill Evans, producers Gregory Mosher and Edgar Rosenblum, and marketing representative Evan Shapiro -- discuss the process of bringing the play from the Royal National Theatre in London to Broadway, working with director John Caird, extensive press coverage, and target marketing including a new $10 ticket program aimed at young people.

  • Unions and Guilds - April, 1997
    The panelists -- Julianne Boyd (Society of Stage Directors and Choreographers); Dean Brown and Muriel Stockdale (United Scenic Artisis); Shirley Herz and Bernice Weiler (Assoc. of Theatrical Press Agents and Managers); Conard Fowkes (Actors' Equity Association); and Barry Moss (Casting Society of America) -- talk about how and why their organizations were formed, the importance of unions, the specific roles of company managers and general managers, and production costs and ticket prices.

  • Producing - April, 1990
    The panel -- "A Few Good Men"'s director Don Scardino and playwright Aaron Sorkin, director George C. Wolfe ("Spunk") and director Luke Yankee ("The Cherry Orchard") -- discusses their current productions and how each show was conceived. The creative team of "Once On This Island" -- book writer/lyricist Lynn Ahrens, director/choreographer Graciela Daniele, and composer Stephen Flaherty -- talk about adapting the musical from a novel, and the show's development at Playwrights Horizons.

  • Production: Gypsy and Cat On A Hot Tin Roof - April, 1990
    The production team of "Gypsy" and "Cat On A Hot Tin Roof" - publicist Shirley Herz, casting director Stuart Howard, playwright/director Arthur Laurents, general manager/associate producer Alecia Parker, and producers Barry Weissler and Fran Weissler - talk about many aspects of production from casting to advertising to corporate investors, booking pre-Broadway tour stops, and their other productions of "Fiddler on the Roof", "La Cage aux Folles", and "My One and Only".

  • Performance - September, 1990
    Stage actors Mike Hodge ("A Few Good Men"), Robin Morse ("Six Degrees of Separation"), Ron Perlman ("A Few Good Men"), Faith Prince ("Falsettoland"), Margaret Tyzack ("Lettice and Lovage"), and James Whitmore ("About Time" and "Handy Dandy") talk about their education and when they began performing, the effect of cast size, audience response, and positive feedback.

  • Playwright, Director and Choreographer - September, 1990
    The panel of playwrights Vernel Bagneris ("Further Mo'") and Tom Cole ("About Time"), lyricist John Driver ("Shogun"), director Tony Giordano ("About Time & Handy Dandy"), lyricist Sheldon Harnick ("The Rothschilds"), Executive Director of the Dramatists Guild David LeVine, and director Lonny Price ("The Rothschilds") discuss how they got started in their careers, writing for the stage, and the role of the Dramatists Guild.

  • Performance - April, 1994
    Broadway performers F. Murray Abraham ("Angels In America"), Susan Egan ("Beauty and the Beast"), Victor Garber ("Damn Yankees"), Nathan Lane ("Laughter on the 23rd Floor"), Michael Learned ("The Sisters Rosensweig"), Burke Moses ("Beauty and the Beast"), and Bebe Neuwirth ("Damn Yankees") talk about how they got started in performing, their current roles, and teaching acting courses.

  • Performance - September, 1997
    Broadway performers - Chuck Cooper ("The Life"), Robert Cuccioli ("Jekyll and Hyde"), Pat Hingle ("1776"), Pamela Isaacs ("The Life"), Jeff McCarthy ("Side Show"), and J. Smith-Cameron ("As Bees in Honey Drown") - talk about how they got their start and have built their careers, the challenge of memorizing lines, the importance of discipline and stamina, and the support of family and friends.

  • Playwright and Director - September, 1997
    The panel -- playwright Douglas Carter Beane ("As Bees In Honey Drown"), director Mark Brokaw ("As Bees In Honey Drown", "How I Learned To Drive"), playwright/lyricist Bill Russell ("Side Show") and playwright Paula Vogel ("How I Learned To Drive") -- talk about their backgrounds and developing their crafts, the advantages of writing for the stage compared to being a screenwriter, and why these particular playwrights prefer not to direct.

  • Production: Side Show - September, 1997
    The production team for the musical "Side Show" -- producer Emanuel Azenberg, press representative Bill Evans, and general manager Abbie M. Strassler -- talk about the show's journey from presentation to workshop to Broadway; the role of producer, casting director, general manager, company manager, and press agent; casting principal and chorus members; and marketing a new show.

  • Design - September, 1997
    The panel -- Tony Award winning lighting designer Beverly Emmons for "Amadeus", "Passion" and "The Heiress"; costume designer Danny Gates ("When Pigs Fly"); 1997 Tony Award winners for Best Scenic Design for "Jekyll and Hyde" James Noone and director/designer Robin Phillips; puppeteer Basil Twist ("Peter and Wendy"); director Mark Waldrop ("When Pigs Fly"); and producer/playwright Liza Lorwin ("Peter and Wendy") -- talk about how designers work with directors, producers and writers; directing in addition to designing; creating pop-up sets; working with the late Howard Crabtree on "When Pigs Fly", with a detailed demonstration of costumes; "Jekyll and Hyde"'s movable plexiglass towers, backdrops, and lighting with new Varilights technology; and the unanswerable question of "what makes good design?"

  • Playwright, Director and Choreographer - September, 1998
    The panel of theatre professionals - playwright Michael J. Chepiga ("Getting and Spending"), choreographer Graciela Daniele ("Ragtime"), playwright/director Christopher Durang ("Sex and Longing"), director Garry Hynes ("The Beauty Queen of Leenane"), and director Joe Mantello ("Corpus Christi") - discuss how they got their start, auditioning actors, controversy surrounding a play, and taking on alternate roles of choreographer, actor, or director.

  • Production: Side Man - September, 1998
    The "Side Man" production team -- general manager Roy Gabay, producer Jay S. Harris, advertising representative, Drew Hodges, producer Peter Manning, marketing representative Nancy Richards, and press representative Gary Springer -- discuss moving the Roundabout production to a commercial Broadway run, marketing tactics, ticket pricing, breakdown of the production budget, working on multiple shows simultaneously, and the differences between not-for-profit and commercial theatre.

  • Design - September, 1998
    The panel of lighting designers Jules Fisher ("Ragtime") and Donald Holder ("The Lion King"), scenic designers Eugene Lee ("Ragtime") and Ming Cho Lee (The Public Theater), and "The Lion King" associate costume designer Mary Peterson discuss the challenges of designing their current shows, how sets, lighting, and costumes complement each other, display and detail a costume from "The Lion King", and present a model of one of the "Ragtime" sets.

  • Performance - December, 1998
    The international panel of performers -- Scottish actor Iain Glen ("The Blue Room"), Australian actress Nicole Kidman ("The Blue Room"), Irish actress Anna Manahan ("The Beauty Queen of Leenane"), and Filipino actress Lea Salonga ("Miss Saigon") -- discuss their training, the rehearsal process, taking a whole approach to both film and stage work, overcoming stage fright, how audience responses varies from London to Broadway to Australia, and how changes in the political climate of their respective countries have affected theatre.

  • Performance - April, 1998
    Actors Blythe Danner and Edward Herrmann both from "The Deep Blue Sea", Brian Stokes Mitchell ("Ragtime"), Alfred Molina ("Art"), Natasha Richardson ("Cabaret"), and John Vickery ("The Lion King") discuss how their training and first professional jobs, obtaining and preparing for their current role, what has been their biggest break in theatre, the difference between theatre audiences in London and New York, and anecdotes of flubbing lines.

  • Producing Broadway - May, 2008
    What is the role of a producer? That was the question that started the discussion among four of Broadway's top producers - Roger Berlind, Margo Lion, Jeffrey Richards and Jeffrey Seller - as the conversation turned to whether they produce for profit or passion and how they balance between the two; what the shows they produce reveal about themselves; what the opportunities are for new producers; the increased role the internet and other new media plays in theatre today; the escalating cost of producing a show on Broadway today; and what they feel are the major issues facing theatre producers as they look to the future.

  • Production: The Lion King - April, 1998
    "The Lion King" production team -- press representative Chris Boneau, composer Lebo M, advertising representative Rick Elice, producers Peter Schneider and Thomas Schumacher, and director, costume and mask designer Julie Taymor -- talk about the development of the animated film, the subsequent development of the theatrical show led by Taymor's vision, forming a creative design team, merging Western and African music into a unique collaborative sound, the publicity and advertising challenges, and marketing a nearly sold-out show for a long run.

  • Playwright and Director - April, 1998
    Playwright Jeff Baron ("Visiting Mr. Green"), director/playwright Moises Kaufman ("Gross Indecency"), playwright Warren Leight ("Side Man"), director Michael Mayer ("Side Man"), actor/director Lonny Price ("Visiting Mr. Green"), and director Matthew Warchus ("Art") discuss the working dynamics between a playwright and a director, the differences between screenwriting and playwriting, transitioning from acting to directing, and the development of "Side Man" and "Art".

  • Demystifying the Classics - April, 2008
    A trio of classical theatre veterans - Kate Fleetwood, Peter Francis James and Laila Robins - share their thoughts about the importance of language in performing the classics and the physical connection they feel to the language; why the classics force audiences to think; the reaction of younger audiences to classical theatre; tackling the pre-conceived ideas held by audiences about the classics; and their opinion on setting the plays in different eras.

  • Production: Ragtime - April, 1998
    Lyricist Lynn Ahrens, producer Garth Drabinsky, composer Stephen Flaherty, director Frank Galati, book writer Terrence McNally, and advertising representative Jon Wilner discuss the journey of the American musical "Ragtime" -- from adapting E.L. Doctorow's novel, to comparisons with the 1981 film, through numerous workshops, to the full-scale Toronto and Broadway productions.

  • Performing Musicals - April, 2008
    Actors Roger Bart ("Young Frankenstein"), Brian d'Arcy James ("Next To Normal"), Priscilla Lopez ("In The Heights") and Sherie Rene Scott ("The Little Mermaid") -- collectively veterans of more than 30 Broadway and off-Broadway musicals -- talk about the differences between performing in musicals and straight plays; acting techniques and voice training; how they prepare for a performance; dealing with the "triple threat" of acting, singing and dancing; balancing their lives on and off stage and their opinions on today's new composers.

  • Performance - September, 1998
    The panel of performers talk about their training and when they decided to become actors. "Power Plays" co-stars Richard Benjamin and Paula Prentiss talk about working together at Northwestern. Both Billy Crudup and Dana Reeve ("More To Love: A Big Fat Comedy") pursued Master of Fine Arts degrees in order to teach as well as act. In England, Roger Rees ("Nicholas Nickleby") trained primarily by observation. James Naughton ("Chicago", Williamstown Theatre Festival) discusses the Blue Light Theatre Company, started by his son Greg Naughton, where Billy Crudup is in "Oedipus". The panel also discusses what they've gained from working with brilliant directors, being both director and actor, and preparing for auditions.

  • Unexpectedly Theatre - March, 2008
    With backgrounds rooted in rock and roll, television comedy and comics, our 4 guests have made the leap from their day jobs to the stages of Broadway and Off Broadway with their musicals. Ben Katchor ("The Slug Bearers of Kayrol Island"), David Javerbaum ("Cry-Baby"), Heidi Rodewald ("Passing Strange") and Stew ("Passing Strange") discuss adjusting to the collaborative world of theatre, the rules of theatre they think were made to be broken, their reaction to producers' notes, and how they feel their shows fit within the context of traditional musicals.

  • Performance - April, 1999
    The five performers -- Matthew Broderick ("Night Must Fall"), Kathleen Chalfant ("Wit"), Brian Dennehy ("Death of a Salesman"), Elizabeth Franz ("Death of a Salesman"), and Swoosie Kurtz ("The Mineola Twins") -- discuss their current and past acting roles, how research and real life experience shapes one's portrayal of a character, how the audience completes the performance equation, stage versus film work, and where they started their performing careers.

  • Playwright, Director and Choreographer - April, 1999
    The panel -- director Scott Ellis ("That Championship Season"), director Robert Falls ("Death of a Salesman"), playwright David Marshall Grant ("Snakebit"), director/choreographer Robert Longbottom ("The Scarlet Pimpernel"), playwright Paul Rudnick ("The Most Fabulous Story Ever Told"), and director John Tillinger ("Night Must Fall") -- discuss working with rewrites, revisions and multiple versions of a script, the playwright's input during rehearsals, and the role of a dramaturg.

  • Steppenwolf: From Chicago to Osage County - February, 2008
    Ranging from their start in a church basement in 1976 to their current Broadway production of "August: Osage County", Steppenwolf Theatre Company Co-Founder Jeff Perry and Steppenwolf Ensemble Members Laurie Metcalf, Amy Morton and Rondi Reed discuss their formative years as a rebel theatre group in Chicago, what they did in those early years to attract audiences, how the ensemble has evolved, how Steppenwolf transformed from upstart to institution, the development of "August: Osage County", and the challenges that a New York success like "August" places on their work back home in Chicago.

  • Production: The Civil War - April, 1999
    The production team for "The Civil War" -- producer Pierre Cossette, producers Gary Gunas and Scott Zieger of Pace Theatrical, lyricist Jack Murphy, composer Frank Wildhorn, and marketing representative Norman Zagier -- cover the musical's journey from inception at Houston's Alley Theatre, through two studio albums, readings and workshops, to the Broadway production.

  • Critics - September, 1999
    The panel of theatre critics -- "New York Post"'s Clive Barnes, "Variety"'s Charles Isherwood, "New York Times"' Peter Marks, "NY1"'s Roma Torre, and "Newsday"'s Linda Winer -- discuss the difference between television and print media, writing styles, the change in opening night review deadlines, audience reactions, unbiased reviews, reading plays prior to attending plays, how the quality of a show influences the quality of a review, returning to a show for a subsequent viewing, and the job market for critics.

  • Directors on Directing - February, 2008
    Our distinguished panel of theatre directors - Anne Bogart, Scott Ellis and Daniel Sullivan - discuss their early influences in theatre and how that impacted their work as directors, why they have such a strong and emotional reaction to the idea of "concept" in the directing process, their opposing opinions on the role of assistants, what plays interest them and which works they wouldn't direct, whether they each approach the process differently when directing a new work or a revival, and whether they feel directing is something that can be taught.

  • Playwright, Director and Choreographer - September, 1999
    The panelists -- playwright Douglas Carter Beane ("As Bees In Honey Drown"), director/choreographers Kathleen Marshall ("Kiss Me Kate") and Rob Marshall ("Damn Yankees", "She Loves Me"), director Vivian Matalon ("Morning's At Seven"), and playwright John Pielmeier ("Agnes of God") -- discuss the impact of efficient cast sizes, casting for multi-talented performers, respectfully auditionining and rejectioning performers, their individual performing backgrounds, compromising with producers, and collaborating with playwrights and directors.

  • Production: Contact - September, 1999
    Producer/Artistic Director of Lincoln Center Theater André Bishop, Marketing Director and Director of Special Projects for Lincoln Center Theater Thomas Cott, Executive Producer of Lincoln Center Theater Bernard Gersten, director/choreographer Susan Stroman and playwright John Weidman discuss the Tony Award winning "Contact"; from Lincoln Center Theater's invitation to Stroman and Weidman to develop their original ideas, how the individual stories are connected, multiple workshops, the casting process, using pre-existing recorded music versus live musicians, deciding on the show's name, as well as producing for non-commercial theatre with a longstanding member base.

  • Design - September, 1999
    This broad panel of designers - lighting designer Michael Chybowski ("Moby Dick and Other Stories", "Wit"), scenic designer David Hays, sound designer Abe Jacob ("Pippin", "Evita"), special effects designer Greg Meeh ("Phantom of the Opera", "Miss Saigon", Cirque du Soleil) and costume designer Ann Roth ("Crucifer of Blood", "The Royal Family", "The House of Blue Leaves") -- discuss their purpose and accomplishments, collaborating with a production's creative team, apprentices and learning through hands-on experience, and the increase of sound and light levels over time.

  • Performance - September, 1999
    Performers Bryan Batt ("Saturday Night Fever"), Kristin Chenoweth ("Epic Proportions"), Boyd Gaines ("Contact"), Marin Mazzie ("Kiss Me Kate"), Tom Wopat ("Annie Get Your Gun") and Deborah Yates ("Contact") discuss working on preview performances, how audiences can vary wildly, the pros and cons of live music and amplification, reconceiving shows for revivals, and stories from their stage experiences.

  • Playwright, Director and Choreographer - April, 2000
    Director David Esbjornson ("The Ride Down Mt. Morgan"), director David Leveaux ("The Real Thing"), playwright Becky Mode ("Fully Committed"), director Richard Nelson ("James Joyce's The Dead"), and director/choreographer Lynne Taylor-Corbett ("Swing!") discuss how they became theatre professionals, their work ethic, and their reasons for remaining and working in theatre.

  • Featured Performers - January, 2008
    Our panel of stage performers -- Helen Carey, Elizabeth Franz, Jayne Houdyshell and Zeljko Ivanek -- discuss their roles as featured actors and actresses, the range of work available to them, how they become their characters, dealing with stage fright and forgetting their lines, the audition process, performing in regional theater and how they prepare for each evening's performance.

  • Off-Broadway Companies - January, 2008
    The Artistic Directors of four off-Broadway not-for-profit theatre companies -- Douglas Aibel of Vineyard Theatre, Charlotte Moore of Irish Repertory Theatre, Tim Sanford of Playwrights Horizons and Jim Simpson of The Flea Theater -- share their thoughts about attracting audiences to their shows, the cost of keeping their theaters going, the challenges they face competing with commercial productions, how they choose the works performed on their stages and what they hope to accomplish for their companies in the next several years.

  • Performance - April, 2000
    Actors Jennifer Ehle (Tom Stoppard's "The Real Thing"), Cherry Jones ("Moon for the Misbegotten", "The Heiress"), Adam Pascal ("Aida", "Rent"), Tonya Pinkins ("The Wild Party", "Jelly's Last Jam"), John Shea ("The Director"), and Patrick Stewart ("A Christmas Carol", "The Ride Down Mt. Morgan") discuss how and why they chose to be performers, their education and training, their work ethic, how one embodies a character, the craft of acting, and why they work in the theatre.

  • Playwright, Director and Choreographer - September, 2000
    Playwrights David Auburn ("Proof") and Charles Busch ("The Tale of the Allergist's Wife"), director/choreographer George Faison ("For Colored Girls"), choreographers David Marques ("The Adventures of Tom Sawyer") and Jerry Mitchell ("The Full Monty"), and director John Rando ("The Dinner Party") discuss their experiences in professional theatre, including their backgrounds, creative processes, rehearsals, and transfers to Broadway from off-Broadway and out-of-town productions.

  • Composers and Lyricists - December, 2007
    A panel of acclaimed, Tony Award-winning composers and lyricists - Lynn Ahrens, Stephen Flaherty, William Finn and Adam Guettel - discuss their first theatrical experiences, the process of writing and composing, what's involved in working with a partner, early influences on their music, and where they find inspiration; offer advice for students; and demonstrate their craft by playing a bit of their work.

  • Production: The Full Monty - September, 2000
    The creative and production team of the Broadway musical "The Full Monty" -- producer Thomas Hall, press representative Michael Hartman, producer Lindsay Law, director Jack O'Brien, general manager Charlotte Wilcox, and composer/lyricist David Yazbek -- follows the show from its inception as a work for the stage, adapted from the 1997 hit comedy film, through to the production on the Great White Way.

  • From New Dramatists - December, 2007
    A panel of current New Dramatists playwrights -- Carlyle Brown, David Grimm, Quiara Alegría Hudes and Lucy Thurber -- talk about their differing styles of playwriting, what inspired them to start writing, how the world of the playwright has evolved and changed, what influences their writing and the challenges in getting their work produced. The program also includes an interview with New Dramatists Artistic Director Todd London, discussing how New Dramatists serves as haven for emerging playwrights and describing the new voice of the playwright, the opportunities for playwrights on and off Broadway and the different types of work being written today.

  • Composer and Lyricist - September, 2000
    Oscar, Emmy and five-time American Theatre Wing Tony Award winner, Peter Stone moderates this discussion with lyricist Susan Birkenhead ("Triumph of Love", "Jelly's Last Jam"), composers/lyricists John Kander and Fred Ebb ("Cabaret", "Chicago", "Woman of the Year", "Steel Pier", "The Act"), composer Marvin Hamlisch ("A Chorus Line", "They're Playing Our Song", "The Sweet Smell of Success"), and award-winning country songwriter/composer Don Schlitz ("The Adventures of Tom Sawyer"). The panel talks about the process of musical songwriting, collaboration with other writers, writing songs in conjunction with the book, learning from influential composers, through-composed shows compared to book musicals, pros and cons of workshops, their backgrounds, and their first shows.

  • Performance - September, 2000
    Actors Len Cariou, Patrick Cassidy, Andre De Shields, Michael Learned, Mary Louise Parker, and Marian Seldes talk not only about their careers and their training, but also about the drive, the passion, and the knowledge needed to achieve a career in the theatre.

  • Horton Foote's America - November, 2007
    In a one-on-one interview with playwright Horton Foote he talks about his early career as an actor, who was responsible for his becoming a playwright, how his connection to the past inspires his writing, what it was like to write for television's Golden Age, writing for different mediums, including his Oscar winning screenplays, and the influence his hometown of Wharton, Texas has had on his life and his work. He's then joined by four artists who have worked with him in recent years - his daughter, actress Hallie Foote; James Houghton, Artistic Director of Signature Theatre; Andrew Leynse, Artistic Director of Primary Stages; and Michael Wilson, Artistic Director of Hartford Stage - who discuss their roles in interpreting Foote's stories, the impact regional theatre has had in presenting his works, and how Horton Foote's plays relate to today's audiences.

  • The Next Generation - November, 2007
    Four of Broadway's newest and brightest stars - Ashley Brown ("Mary Poppins"), Jonathan Groff ("Spring Awakening"), Alison Pill ("Mauritius") and John Lloyd Young ("Jersey Boys") - discuss their road to the Broadway stage, the mentors who helped them, where their drive to perform comes from, their earliest roles, how they handle the audition process, facing their fears, keeping their voices in shape and what roles they'd love to play in the future.

  • Production: Aida - April, 2000
    The production team of Elton John and Tim Rice's "Aida" - musical director Paul Bogaev, press representative Chris Boneau, director Robert Falls, book writer David Henry Hwang, vice president of creative affairs "Stuart Oken", and producer "Thomas Schumacher" - follows the show from its creative inception, through its early production at the Alliance Theatre in Atlanta, the Chicago tryout, to the Broadway opening.

  • Playwright, Director and Choreographer - April, 2001
    This panel of artists - playwright/actress Pamela Gien, playwright/director/actor Lonny Price, choreographer/director Randy Skinner, director Rebecca Taylor, playwright August Wilson, and director Joel Zwick - who provide the creative heart of the theatre and breathe life into their stage productions discuss their work, backgrounds, and education; becoming a choreographer; building a book show around pre-existing songs; and how poetry relates to stage work.

  • Production: The Producers - April, 2001
    The production and creative team for the musical "The Producers" - press representative John Barlow, creator and producer Mel Brooks, producer Richard Frankel, general manager Laura Green, book writer Thomas Meehan, and director and choreographer Susan Stroman - discuss taking the cult film to the Broadway stage, including the out-of-town run in Chicago, budgeting a huge musical, and the overwhelming interest from producers, investors, publicists, and ticketbuyers.

  • Performance - April, 2001
    Six leading performers - Alan Cumming ("Design For Living"), Daniel Davis (Tom Stoppard's "Invention Of Love"), Heather Headley ("Aida"), Faith Prince ("Bells Are Ringing"), Maximilian Schell ("Judgement At Nuremberg"), and Lily Tomlin ("The Search For Intelligent Life In The Universe") - talk about their training; audition experiences; and their drive, passion and knowledge needed to achieve a career in the theatre.

  • Playwright, Director and Choreographer - September, 2001
    Choreographers Rob Ashford and Wayne Cilento, playwright Michael Frayn, playwright/lyricist Greg Kotis, and directors Sean Mathias and Lynne Meadow discuss various aspects of their respective crafts, including the focus on storytelling, the benefits and challenges of collaboration, bad reviews, and the evolution of the director/choreographer relationship.

  • Production: Mamma Mia! - September, 2001
    The creative team of worldwide hit musical "Mamma Mia!" - press representative Adrian Bryan-Brown, producer Judy Craymer, book writer Catherine Johnson, director Phyllida Lloyd, and composer/lyricist Björn Ulvaeus - discuss the multi-year journey that brought ABBA's songs to Broadway.

  • Performance - September, 2001
    Actors Kate Burton ("Hedda Gabler"), Christine Ebersole ("42nd Street"), Peter Gallagher ("Noises Off"), Valerie Harper ("The Tale of the Allergist's Wife"), and Robert Sean Leonard ("The Music Man") discuss performing on Broadway with respect to humor, the truth in acting, analyzing a script, building a character, acting influences, auditions, training, directors, pre-performance preparations, and on-stage mishaps.

  • Design - September, 2001
    The panelists -- lighting designer Ken Billington, costume and set designer Robert Jones, costume designer William Ivey Long, scenery designer Thomas Lynch, costume and scenery designer Tony Walton, and costume designer David C. Woolard -- discuss the fields of study that led them to design; perceptible styles; the design of "Six Degrees of Separation"; how actors are effected by design details; how lighting influences audience reaction; contemporary audiences' expectations for brighter, quicker-moving shows; and creating The Yellow Dress in "Contact" through costume and lighting.

  • Women Producers - September, 2002
    This panel of producers (all of whom just happen to be women) -- Tisa Chang, Elizabeth Ireland McCann, Amy Nederlander, Daryl Roth, Fran Weissler, and Elizabeth Williams -- talks about the role of women in theater, how they are percieved, how they have come to the forefront of the theater community and how they have significantly impacted productions on Broadway and off-Broadway.

  • World Theatre - January, 2002
    The international panel consisting of Valery Fokin (Artistic Director of The Meyerhold Centre in Moscow and the Alexandrinksy Theatre in St. Petersburg), Marita Gochman (writer/director, Nordic theatre), Fiona Shaw (Irish actress, "Medea"), Anatoly Smeliansky (writer/scholar/critic, Moscow Art Theatre), Elise Thoron (writer/director, Russian theatre), and Shu Xiao (Cultural Counselor, China) discuss the role of theatre in their respective countries; American curiosity in foreign productions and exposure to culturally-rich material; and exporting Broadway shows worldwide.

  • Playwright and Director - April, 2002
    Playwrights Jon Robin Baitz ("Hedda Gabbler"), John Guare ("Sweet Smell of Success"), Peter Parnell ("Q.E.D."), and directors Gene Saks ("Mr. Goldwyn"), Daniel Sullivan ("Proof"), and Mary Zimmerman ("Metamorphoses") discuss their approaches to writing, directing, and adaptations; the collaboration process with directors, writers, producers, sets, and actors; reactions to a production's first preview; and the source of ideas for playwrights.

  • Production: Thoroughly Modern Millie - April, 2002
    "Thoroughly Modern Millie"'s creative and production team -- choreographer Rob Ashford, general manager Nina Lannan, producer Hal Luftig, director Michael Mayer, book writer/lyricist Dick Scanlan and composer Jeanine Tesori -- discuss the Tony Award winning musical's journey to Broadway; obtaining the rights to the 1967 Universal Pictures film written by Richard Morris and starring Julie Andrews; years of development in workshops and readings; how the production team came together, including Rob Ashford's choreographer audition; the mixture of existing songs and new Tesori compositions; the advantages and disadvantages of mounting the show in partnership with La Jolla Playhouse; the many producers involved, including road presenters; the decision and budgetary considerations in opening on Broadway with a rigious preview period versus a second out-of-town tryout.

  • Performance - April, 2002
    Actors Frank Langella ("Fortune's Fool"), John Lithgow ("Sweet Smell of Success"), Andrea Martin ("Oklahoma!"), Estelle Parsons ("Mornings at Seven"), Mercedes Ruehl ("The Goat, Or Who Is Sylvia?"), Jeffrey Wright ("Top Dog/Under Dog") discuss playing a range of roles, what influences their performances including daily life and audience response, how to prepare for a performance, and working with directors in finding courage and confidence.

  • Performance - June, 2002
    Actors Julie Harris ("The Belle of Amherst"), Marilu Henner ("The Tale of the Allergist's Wife"), Richard Kind ("The Tale of the Allergist's Wife"), Hal Linden ("Cabaret"), Brad Oscar ("The Producers"), Steven Weber ("The Producers") discuss what makes for good entertainment; how actors collaborate with the rest of the creative staff, especially directors; and what makes an audience laugh. Additionally, there is a short tribute to producer Robert Whitehead ("Master Class, A Few Good Men, Medea") who recently passed away.

  • Playwright and Director - September, 2002
    Director and lyricist Martin Charnin ("Annie"); director and choreographer Graciela Daniele ("Annie Get Your Gun"); lyricist and book writers Rupert Holmes ("Say Goodnight, Gracie") and Michael Kunze ("Dance of the Vampires"); and directors Marion McClinton ("King Hedley II") and Lawrence Sacharow (Director of Fordham University Theatre Program) talk about the evolution of both play and musical writing in the United States today and the changes in directorial style and direction over the years.

  • Design - September, 2002
    Set designer John Arnone ("The Goat, or Who Is Sylvia?"), costume designers Jane Greenwood ("Morning's at Seven") and Martin Pakledinaz ("Thoroughly Modern Millie"), set designer Scott Pask ("Amour") and lighting designer Richard Pilbrow ("Our Town") talk about what it means for a designer to collaborate on a show; how that collaboration works with other designers, and the cast and director; and how they keep up with their hectic schedules.

  • Performance - September, 2002
    Actors John Cullum ("Urinetown"), Edie Falco ("Frankie and Johnny in the Clair de Lune"), Lea Salonga ("Flower Drum Song"), Stanley Tucci ("Frankie and Johnny in the Clair de Lune"), Marissa Jaret Winokur ("Hairspray") and Charlayne Woodard ("In Real Life") meet and discuss the changes taking place in the theatre world today; how they came to be in their current shows; and the fluidity of an actor's life - moving between theatre, television and movies.

  • Production: Hairspray - December, 2002
    The creative team behind the Broadway musical "Hairspray", producers Richard Frankel and Margo Lion, co-book writer Thomas Meehan, choreographer Jerry Mitchell, director Jack O'Brien, co-book writer Mark O'Donnell, composer Marc Shaiman and lyricist Scott Wittman outline the journey the piece took from being a John Waters and Divine cult movie to hitting the Broadway stage; offer a peek at the process that created this smash hit and discuss the social messages that the show sends, both in its content and it's non-traditional casting.

  • Playwright and Director - April, 2003
    Director Bob Balaban ("Y2K"), playwrights Richard Greenberg ("Take Me Out") and Suheir Hammad ("Russell Simmons Def Poetry Jam"), choreographer Luis Perez ("Man of La Mancha") and director David Petrarca ("A Year With Frog and Toad") discuss the condition of American theatre both in New York and around the country, and some of the shifts that are occurring both in audience expectations and the direction of new works.

  • Artistic Directors - June, 2007
    The artistic directors of four major not-for-profit companies - Susan V. Booth of the Alliance Theatre, Oskar Eustis of The Public Theater, Emily Mann of the McCarter Theatre Center and Michael Wilson of Hartford Stage - discuss the unique task of the artistic director, touching upon issues including how they balance their personal artistic goals as directors with the institutional needs of their companies, whether their focus is on the local community or the larger national artistic community, the relationship between not-for-profit theatres and commercial producers, how they measure success, and their responsibility for developing the next generation of theatre artists.

  • August Wilson's Legacy - May, 2007
    The extraordinary legacy of playwright August Wilson and his 10-play cycle of African-American life in the 20th Century is explored in a two-part program. First, a panel of Wilson's collaborators -- producer James Houghton (Signature Theatre Company), dramaturg Todd Kreidler, director Kenny Leon ("Radio Golf", "Gem of the Ocean"), actor/director Ruben Santiago Hudson ("Gem of the Ocean", "Seven Guitars"), producer Jack Viertel ("Radio Golf") -- discuss the process of developing and producing Wilson's plays. In the second half, the depth and variety of Wilson's characters are explored by Stephen McKinley Henderson ("Jitney", "King Hedley II"), Harry Lennix ("Radio Golf"), Tonya Pinkins ("Radio Golf") and Phylicia Rashad ("Gem of the Ocean"), joined by director Kenny Leon.