Reduced Shakespeare Company Podcast

Alexander Gelman has created a new translation of Anton Chekhov's Uncle Vanya, and the director, translator, and outgoing director of the School of Theatre and Dance at Northern Illinois University, discussed how it came about and why he waited until now to write it. Our discussion features talks about Alex stepped in where others have already succeeded; the relationship between directing and translation; how Chekhov discovered people whose stories were worth telling; how great plays frequently don’t read well; the tantalizing possibility of a pantomime dame Lady Macbeth; how writing plays is more akin to writing music than novels; how we speak in order to hide, not reveal; the importance of one’s “envelope of truth;” how actors are translators, too; and how there are worse collaborators for a playwright than Anton Chekhov. (Length 23:17) The post Translating ‘Uncle Vanya’ appeared first on Reduced Shakespeare Company.

This week, we continue our conversation with Daniel Pollack-Pelzner, a tenured professor who has been fired from, and is now filing a lawsuit against, Linfield University, which would prefer to try to silence its critics rather than address the serious accusations of sexual misconduct against current and former members of Linfield's board of trustees. Featuring: a special appearance from Washington Post theatre (and "Shipoopi") critic Peter Marks; comic bestiality, William Goldman’s observation about what the real drag of a story can be; nostalgia for ancient things called “video stores;” shout-outs to In The Heights, Brigadoon (and its modern counterpart Schmigadoon!), Fiddler on the Roof, The Music Man, Ben Franklin in Paris, Rodgers & Hammerstein, Lerner & Leowe, Cabaret, and Sweeney Todd; and most fundamentally, important childhood connections to great musicals of the past. PART ONE OF OUR CONVERSATION CAN BE FOUND HERE. (Length 16:00)  The post Living In “Schmigadoon”! appeared first on Reduced Shakespea

Cultural observer and embattled professor Daniel Pollack-Pelzner (who has appeared on the podcast before discussing Mary Poppins' racist imagery and the queer narrative of West Side Story) discusses his $4 million lawsuit against Linfield University, which fired him for publicizing the serious accusations against...four members of the Board of Trustees at Linfield University. Featuring the disgusting nature of “himpathy;” how the helpful acronym “DARVO” articulates the process by which institutions betray their trust; the risks of telling truth to power; Shakespearean (and musical theater parallels) in real-life social justice dramaturgy; the dangers of boards of trustees who account to no agency; whether we’re in a Tragedy, Comedy, Romance, or Musical; the possibilities of a happy ending; and why the people who shine a light on the problem are never the problem. (Length 25:54) The post Firing The Messenger appeared first on Reduced Shakespeare Company.

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

Gaps in the historical record are treasure troves for playwrights and novelists, and this week we talk to novelist Louis Bayard (Mr. Timothy, Courting Mr. Lincoln) about two of his historical novels, The School of Night and The Pale Blue Eye. Lou discusses how he stumbles into these historical gaps and how he excavates what he does or doesn't find there, and he reveals the pain of eliminating unnecessary characters; the difficulty in finding the heart of your mystery; meditations on both Dupin and Lupin; fan fiction about artists, scientists, and thinkers; the delight of dropping Easter eggs; the rewards of going on Google crawls; finding the balance in his promiscuous mix of fact and fiction; and what’s coming next down the Bayard pipeline. (Length 23:30) The post The Historical Gap appeared first on Reduced Shakespeare Company.

Abbey Harris is the co-creator and co-host of Broadway Bullshit, the seasonal weekly podcast that examines Broadway musicals and discusses whether they should “fly, die, or retry,” and strives to provide contextual analysis, while also reminding fans why they love Broadway. FEATURING: bleeding edge hot takes; looking at classic material in new ways; the power of being a double threat; the importance of editing; some recording tips; and addressing the danger of running out of musicals. (Length 19:18) The post 760. Some Broadway B.S. appeared first on Reduced Shakespeare Company.

Stephanie Crugnola is the creator and host of Protest Too Much, a Shakespeare Showdown podcast that pits Stephanie against performers, educators, and scholars in a weekly battle of Shakespearean comparisons, challenges, and 'best ofs'. Recently, Stephanie debated with Austin Tichenor the question of what is “Shakespeare’s Funniest Non-Comedy,” a conversation that lasted 45 minutes, and a 15-minute abridgment of which you can hear below. Featuring: Shakespearean pet peeves; the danger of sleeping on the Histories; how Shakespeare is all about contrasts; backup from Samuel Johnson in 1765; the comedy of ‘sad-off’s; comparisons to Monty Python and The Death of Stalin; and how Shakespeare is the king of tentpole media! (Length 20:38)  The post Protest Too Much appeared first on Reduced Shakespeare Company.

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

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

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

Our last two scripts -- William Shakespeare's Long Lost First Play (abridged) and Hamlet's Big Adventure! (a prequel) -- have been written largely in iambic pentameter, and this week we talk to lecturer and playwright Richard O'Brien (who, as his very helpful Twitter handle @NotRockyHorror explains, is not the author of that legendary classic) about what that all means. Featuring essential differences between poets and dramatists; the only problem with doing a surprisingly good Fletcher impression; how formal poetic structure can deepen character; how verse pulls off the wonderful double act of lending gravitas and making jokes land; showing off the precision and pyrotechnics of language; the floated possibility of guest lecturing (let’s make this happen, Shakespeare Institute!); and how one of the pleasures of writing (and watching) verse plays is how much they resemble musicals (but without the expense and difficulty of getting them on). (Length 21:08) The post Writing Like Shakespeare appeared first on Red

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

Director and outgoing chair of the Cornish College of the Arts Theatre Department Richard ET White returns to discuss the reciprocal nature of directing and educating: about how creating art leads to the ability to teach the art, and how both creating and teaching leads to much unexpectedly wonderful learning. Featuring the value of simple acts of necessary communication vs. mad conceptual skills; the sting of painfully truthful recommendations; the advantages of them paying you vs. you paying them; an historic season at the Eureka Theatre in San Francisco; how using theatre to teach English in Japan opens up whole new worlds; the pomposity of holding forth; and the incredible universality of Marowitzian deconstruction. (Length 14:29) The post Doing. Teaching. Learning. appeared first on Reduced Shakespeare Company.

Richard ET White is the former artistic director of the Eureka Theatre in San Francisco, Wisdom Bridge Theatre in Chicago, and the outgoing and longest-serving chair of the Cornish College of the Arts Theatre Department in that institution’s 103-year-old history. Richard was also an acting and directing teacher at the University of California Drama Department where many RSC members got their early training. RSC co-artistic director Austin Tichenor talks with his former professor about how theatre can be anything and everywhere; how comedy about serious issues from the San Francisco Mime Troupe became life-changing; the influence of Richard Schechner and the Performance Group; sneering at prosceniums; what people forget about Brecht; the value of immaturity; the immediacy of improv; the storytelling and performance art of stand-up; being both expansive and inclusive; the value of sharing your lived experience; and how you want theatre to have the visceral impact of a great rock concert. (Length 24:06) The post

There's a reason this week's episode is shorter than usual, and it's because Austin's special guest is...himself! Austin talks about his new project -- The Shakespeareance -- a new monthly web series that talks about Shakespeare in our life and culture and features live Q&A conversations that you can be part of. He also shares how he offers private monologue coaching and play or novel manuscript review, and how you can become a Patreon supporter and get exclusive free content. If you've ever wanted to work with Austin, this is your chance! Join the Shakespeareance! (Length 13:39) (Shakespeareance Flag & Banner by Jennie Maizels.)  The post Introducing The Shakespeareance! appeared first on Reduced Shakespeare Company.

It's William Shakespeare's Birthday Week! On this milestone 750th episode (!), Nicole Galland discusses the fun and intimidating challenge of making Shakespeare a character in her new novel Master of the Revels, and the chutzpah required to put words in the great poet and playwright's mouth. Nicole shares which parts of the novel are autobiographical (and to what degree), and how even a genius like Shakespeare had gatekeepers; how Edmund Tilney (Queen Elizabeth I’s master of the revels) was both censor and showman; understanding metrics of success (and then ignoring them); how even the greatest writers — maybe especially the greatest writers — walk around in a daze, lost in thought, figuring out story elements and language choices; and how her novel is, ultimately, a celebration of the countless unsung behind-the-scenes champions of playwrights and artists. PLUS: A special appearance by Gary Andrews, author of Finding Joy, and the artist behind the extraordinary portrait above. The post Depicting William Shak

Shakespeare's Birthday Month continues with Part Two with our conversation with Dr Edel Semple from University College in Cork, Ireland, and Dr. Ronan Hatfull from the University of Warwick, talking about Shakespearean Biofiction onstage, screen, and this week on the page, too. We share love for both Hamnet the novel by Maggie O’Farrell and Hamnet the play (by Irish companies Dead Centre and the Abbey Theatre); brushes with greatness (in the forms of playwright Edward Bond and comedian Eddie Izzard); and we discuss all the big questions: how intimidating it can be putting words into Shakespeare’s mouth; how biofiction can speculate realistically or fantastically about where Shakespeare’s genius comes from; whether Shakespeare is, in fact, worth it; how Shakespeare compares to Leontes in The Winter's Tale; how we can avoid spoilers for The Falcon and the Winter Soldier; what's amazing about Lauren Gunderson’s The Book of Will; and, amazingly, the good things in Roland Emmerich’s film Anonymous. (Pictured, cloc

Dr Edel Semple (bottom right, above) from University College in Cork, Ireland, and Dr. Ronan Hatfull (bottom left) from the University of Warwick convened a seminar entitled “Shakespearean Biofiction on the Stage and Screen” for this year’s annual conference of the Shakespeare Association of America, where we discussed the how and why of, among other things, we made William Shakespeare a character in William Shakespeare's Long Lost First Play (abridged). Edel and Ronan discuss how the seminar went and talk about the similarities between academic seminars and RSC performances; how incredible planning goes into making things casual and relaxed; what red leather pants really signifies (in both their American or British meaning); how adaptation is also a form of biofiction; shout-outs to all the contributors; layers of irony; what our version of Shakespeare might look like as played by teenagers; how the Shakespeare in Ben Elton’s Upstart Crow is and isn’t like Homer Simpson; climbing up on high horses; and, as a

Dramaturg Kate Pitt joins us for a deep dive into the creation of the script for Hamlet's Big Adventure! (a prequel), on which she cast her dramaturgical magic (and which we'll finally get to tour once this stupid pandemic is over). Kate discusses HBA's intertextual conversation with Shakespeare’s classic tragedy, and its biofictional elements, and reveals the identity of the most confusing Hamlet ever; how a prequel can (and should) reveal insights into Shakespeare's play; how old Hamlet is; the importance of double confirmation; how both Ophelia and Hamlet have All. The. Feels; the value of deploying random skills; the question of how old Hamlet is, anyway; how the gravedigger is an unreliable narrator; the struggle of theater as a career and what to say about it to your kids about it; and finally, possible spoilers (especially if you know anything at all about the career of UK comedian Tommy Cooper). Plus: jokes for everyone! Poster Art by Lar DeSouza. (Length 32:01) The post Hamlet’s Prequel Adventure! ap

Robert McDonald is the director of special events at The Book Stall in Winnetka, IL, and tell us exactly why supporting independent bookstores — and all small businesses, including theater companies! — is not only a good but an important idea. Featuring changing landscapes; romantic notions of bookstores, and the ways in which those notions are true (and not); ways to pivot; the importance of learning new skills and finding individuality; parental warnings and regrets; who the true essential workers are (aside from the obvious ones); important social niceties; who Bookshop.org is genuinely helping; and finally, how to measure convenience, and how Amazon is really not convenient and is probably doing more harm than good. (Length 21:39) The post Supporting Independent Bookstores appeared first on Reduced Shakespeare Company.