Posted on March 17th, 2010 at 7:28 am
by American Theatre Wing
Jessica Hecht
From A View from the Bridge.
Jessica Hecht, now on Broadway as Eddie Carbone’s long-suffering but cleared-eyed wife Beatrice in the Broadway revival of A View From The Bridge, talks about her role in the play’s tragic love triangle and why her preparation for this performance was so different than her usual practice. She also discusses how she began studying at Connecticut College, only to have the famed actor Morris Carnovsky send her off to New York to study at New York University; her earliest roles, including an appearance in Hamlet at Hartford Stage, near her hometown of Bloomfield CT, as a silent lady-in-waiting to Pamela Payton-Wright as Gertrude; her Broadway debut in The Last Night of Ballyhoo where, after being raised in an observant Jewish home, she appeared as part of a Southern family disconnected from their Jewish roots; how she handled portraying a character alternating between dawning love and heart-rending tragedy in the non-linear Stop Kiss; working on After The Fall at the Roundabout with Arthur Miller and her interaction with the legendary playwright; playing in Shakespeare’s Julius Caesar with Denzel Washington — and how that yielded the greatest entrance ovation she’s ever experienced; the joy and pain of opening in Brighton Beach Memoirs but never being able to perform for an audience in the prematurely closed Broadway Bound; and why she’s drawn back to the Williamstown Theatre Festival year after year.
Original airdate – March 17, 2010.
Running time – 1:00:51.
For more information, to listen online, or to download the episode go to Downstage Center’s Jessica Hecht program page.
You can also download directly the Jessica Hecht program (mp3).
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Posted on March 16th, 2010 at 10:49 am
by American Theatre Wing
Laurence Luckinbill
Actor Laurence Luckinbill who completed a run of Poor Murderer talks about the Tony Award and Pulitzer Prize-winning play The Shadow Box. Despite the difficult subject matter of terminal illness, The Shadow Box success is due to excellent word-of-mouth from audiences in Los Angeles and New Haven and now Broadway.
Running time – 03:47.
For more information, to listen online, or to download the episode go to TBL This Is Broadway’s Laurence Luckinbill program page.
You can also download directly the Laurence Luckinbill program (mp3).
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Posted on March 15th, 2010 at 9:04 am
by American Theatre Wing
Production: A Few Good Men
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.
Original airdate – September 1, 1990.
Running time – 1:30:00.
For more information, to watch online, or to download the episode go to Working in the Theatre’s Production: A Few Good Men program page.
You can also download directly the Production: A Few Good Men program (mp4).
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Posted on March 10th, 2010 at 9:23 am
by American Theatre Wing
Rondi Reed
From August: Osage County and Wicked.
The “resident character woman” of Chicago’s Steppenwolf Theatre Company, Rondi Reed, talks about her current stint as Madame Morrible in the Broadway juggernaut Wicked, a role she originated in the musical’s Chicago company, including why we’re suddenly seeing her in a big Broadway musical for the first time, after 30 years in Chicago’s best-known theatre ensemble. She also discusses her college years at Illinois State University, where she first met the team who would become the founders of Steppenwolf; why after graduation she decamped for Minnesota; when the invitation to join Steppenwolf actually came; why she didn’t journey to New York for the famed production of Balm in Gilead; her directing debut with John Guare’s Lydie Breeze; her extended tenure in the original production of Picasso at the Lapin Agile and the brief Broadway run of The Rise and Fall of Little Voice; whether she has the opportunity at Steppenwolf to ask for plays to be done specifically based on her interest; why the company seems to have so many meetings and how they’ve sustained that over the years; her reasons for initially declining the role of Mattie Faye, written by Tracy Letts with her in mind, in August: Osage County, as she sets the record straight about whether or not the company resisted bringing the show to New York; the remarkable experience of returning to August for its final performance at the last minute, playing the role she created for a single performance with a company of actors she didn’t know, including Phylicia Rashad, why she’s only in recent years begun appearing in roles outside of Steppenwolf; and how long we can expect her to stay in the magical world of Wicked.
Original airdate – March 10, 2010.
Running time – 1:03:44.
For more information, to listen online, or to download the episode go to Downstage Center’s Rondi Reed program page.
You can also download directly the Rondi Reed program (mp3).
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Posted on March 9th, 2010 at 1:24 pm
by American Theatre Wing
Frank Perry
Film director Frank Perry who spent the first 10 years of his career directing for the stage, returns to Broadway to direct Ladies at the Alamo. Perry explains why he has returned to Broadway now, and shares what’s next in his career.
Running time – 03:42.
For more information, to listen online, or to download the episode go to TBL This Is Broadway’s Frank Perry program page.
You can also download directly the Frank Perry program (mp3).
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