This week’s theatre podcasts hit close to home, whether in terms of their local content or in terms of bedrock issues at the heart of producing theatre today. Without further ado…
Off and On This week, Bernardo Cubria plays host to our very own Eliza Bent, she of many talents and guises, for a free-ranging discussion of standup comedy, acting vs. writing, Italian culture, and much more. Worth a listen to learn Eliza’s middle name and hear her Mac Wellman impersonation.
Born Ready This unruly Bay Area theatre podcast gets even unrulier (and longer), but with good cause: They recorded this marathon whisky-fueled bender from backstage at the first ever TBA Awards for Frisco-area stage work. Our question is, who didn’t they talk to? Rob Ready and Ray Hobbs, in his backless tuxedo, even get to present an award. Are the bad boys going legit?
Theatre Process Speaking of TBA, Theatre Bay Area’s newest podcast sits down John Collins of Elevator Repair Service, which recently made its long-overdue Bay Area debut with Arguendo, across from Christopher White, a.d. of the Bay-based troupe Mugwumpin, to compare notes on devising theatre.
Theatre Geeks Two new episodes of this community-theatre-focused podcast out of Indiana chew over items from Brendan Kiley’s famous Stranger post from 2008 (“Ten Things Theaters Need to Do Right Now to Save Themselves”). First, the Geeks—Marcia Fulmer, John Jay Shoup and Dave Dufour—consider the merits of doing Shakespeare vs. actually getting audiences to pay to see it.
And here they talk about the pros and cons of booze as a theatrical “lubricant and bonding agent.”
Maxamoo This time the focus is on solo work—its creation, its aesthetics, the perceptions around it. Alongside host Lindsay Barenz is regular contributor Liz Richards, and together they interview Peter Michael Marino, a solo show creator and curator of SOLOCOM, a three-day solo theatre festival in NYC this weekend.
General Admission Meanwhile, in the Windy City, Tyler Greene and Don Hall take listeners to the WRITE Club, Chicago’s own competitive literary smackdown, then take listener recommendations for the best (and worst) kinds of storytelling nights.
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