Reduced Shakespeare Company Podcast

Chicago-based actor Dee Dee Batteast (above) plays the title role in Lynn Nottage’s Clyde’s at the Studio Theatre in Washington DC and she discusses the wild tonal swing between this role and her previous role as Scrooge's niece in the Goodman Theatre's A Christmas Carol. Dee Dee shares how much she loves monsters (both watching them and playing them); how she's doing the devil’s work; how she navigates dizzying extremes; the possibilities of redemption; how freedom looks different for different characters; some strange lobby encounters; insightful mob boss comparisons; the power of playing elemental forces and the fun of playing a badass; and the differences – and surprising similarities – between Clyde’s and A Christmas Carol. (Length 21:43) The post Clyde’s In DC appeared first on Reduced Shakespeare Company.

Author Ian Doescher wrote William Shakespeare’s Star Wars: Verily, a New Hope and others in the Quirk Books Pop Shakespeare series (The Taming of the Clueless, Much Ado About Mean Girls, Get Thee Back to the Future), which imagine popular movies adapted into plays as they might have been written by William Shakespeare. Ian discusses his Jane Austen/zombie inspiration; how his bar idea transformed into an actual best-selling series; figuring out how Yoda speaks in Elizabethan English; his personal connection to Shakespeare; how film action translates to the stage; the delight of inserting deep cut Easter eggs into the narrative; and the huge fun of embracing limitations and visualizing theatricality. (Length 20:54) (Skywalker Hamlet image by Nicolas Delort.) The post Shakespeare’s ‘Star Wars’ appeared first on Reduced Shakespeare Company.

Emmy- and Golden Globe-winning actor Michael Chiklis returns to discuss some of the roles he's played and some of the roles he'd like to play. Michael shares his pride in doing The Thing (not to be confused with 'the thing'); the downside of success in a specific kind of role; his love of music and performing live; how he deals with critics; receiving praise from Stan Lee; the importance of reinvention; which Shakespeare roles he'd like to tackle next; and his arguments for the person he thinks wrote Shakespeare's plays. (For those wanting an authoritative refutation of the various Authorship Theories, download the free PDF, Shakespeare Bites Back: Not So Anonymous, written by Shakespeare scholars – and RSC Podcast guests – Paul Edmondson and Sir Stanley Wells.) (Length 22:40) The post More Michael Chiklis appeared first on Reduced Shakespeare Company.

Director Jemma Levy discusses The Taming of the Shrew, now in rehearsal at Cincinnati Shakespeare Company and opening this week. Jemma shares her thoughts about this famously complicated play and reveals that she considers it a feminist romantic comedy; how she emphasizes its themes of performance and the shifting relationships of masters and servants; her belief that Shakespeare’s women are always the smartest people on the stage; how we watch Katherine and Petruchio's first "meet-cute," then fall in love and learn each other’s moves in real time; the theatrical and thematic value of including the audience; the fun of putting a bar onstage; and how Shrew compares with another complicated Shakespeare “comedy,” The Merchant of Venice. (Length 20:45) The post ‘Shrew’ In Cincinnati appeared first on Reduced Shakespeare Company.

Janice L. Blixt, the producing artistic director of the Michigan Shakespeare Festival, discusses the very tiny percentage of clumsy and unfortunate inquiry letters she's received, and the playfully helpful responses we wish we could send back. Blixt talks about how casting directors are genuinely rooting for every actor to be just what they’re looking for; the importance of self-direction; a Barbra Streisand example for young actors; how actors should be given opportunities to sit on the other side of the table; advice for young actors, or indeed, anyone who’s ever inquired about a job opportunity; how not to fly any unnecessary red flags; and the importance of not only learning about who you’re approaching, but not offering unsolicited advice to the person who has the power to hire you. (Length 22:56) The post ‘Dear Actor’ Letters appeared first on Reduced Shakespeare Company.

Tré Tyler (above left) joins the Reduced Shakespeare Company for this spring's tour of The Complete History of Comedy (abridged), and endures the RSC rite-of-passage known as the introductory podcast interview. Tré shares how he first worked with Reed Martin in the African-American Shakespeare Company production of The Complete Works of William Shakespeare (abridged) , and discusses how he first learned about the RSC; how his parents encourage and inspire; the unique training he's had as both an athlete and nerd; how he loves paying homage to the greats; the rewards and challenges of navigating personal relationships with fellow artists; and the danger of too much table work when what an actor really wants to do is get up and move! (Length 18:33) The post Meet Tré Tyler appeared first on Reduced Shakespeare Company.

Annabelle Higgins is the creator and host of "A Teenager's Take on Shakespeare" podcast (available on Spotify), a series of fascinating conversations with various Shakespeareans in which Annabelle brings exactly what it says on the tin: her teenage take on both the plays and the artist. Her passion for Shakespeare began when she was still in single digits and because it hasn't been tarnished by expectations of what Shakespeare is supposed to be, she's better able to see what Shakespeare actually is. Annabelle reveals how she created the podcast; the power of personal family connections to Shakespeare; how Shakespeare’s text spoke to her at a young age; the happy realization that you can share your voice; taking inspiration from The Show Must Go Online and the Protest Too Much podcast; the wonder of experiencing Shakespeare in other mediums; and the charm of charting one's appreciation of Shakespeare in real time. (Length 17:59) The post Teenage Shakespeare Take appeared first on Reduced Shakespeare Company.

Playwright Sara Gmitter (In the Garden: A Darwinian Love Story) returns to Chicago's Tony-winning Lookingglass Theatre for the world premiere of her adaptation of Charlotte Brontë's novel Villette – and returns to the Podcast to discuss how the production came to be and why the novel isn't as famous as Brontë's other work, Jane Eyre. Sara talks about the challenge of channeling Brontë’s voice (in both language and staging); who to credit (or blame) for this adaptation; the joy of working with characters that demand to be brought to life; gratitude to directors and designers who help visualize the story; how the relationship between the protagonist and audience mirrors the one between an author and reader; the undeniable fact that Charlotte Brontë is funny; and the unassailable right of an unreliable narrator to keep some things to herself. (Length 20:35) (PICTURED: Debo Balogun, Mi Kang, Ronald Román-Melendez in the Lookingglass Theatre production of Villette, written by Sara Gmitter, directed by Tracy Walsh.

Our 'London Entertainment Correspondent' (!) Elizabeth Dennehy reviews the transformative Almeida Theatre production of Tennessee Williams' A Streetcar Named Desire, directed by Rebecca Frecknall and starring Paul Mescal and Patsy Ferran (above). Elizabeth discusses how the direction and performances made it feel as if she was hearing Streetcar for the very first time, and how they scrape off the barnacles of affectation from previous productions; redefine the tragedy of Blanche DuBois; how her feelings are perfectly expressed in David Benedict’s review in Variety; how the magic of theatre is not an illusion and more effective when it doesn’t try to be; and the fundamental importance of trusting the words, trusting the actors, and most of all, trusting the audience. (Length 20:54)

Part speakeasy bar, part magic theater, the Chicago Magic Lounge presents live magic shows seven nights a week in its two performance spaces, its bar, and at your own table. It's incredible immersive theater and the brainchild of Joey Cranford, the founder, co-owner, and CML CEO. Joey talks about his Magic Lounge's inspiration and how its roots are firmly embedded in Chicago history; the relationship of Chicago’s magic community to its improv community; the art of building anticipation and developing a speakeasy aesthetic; the fun of making a clubhouse; and the revelation that (to paraphrase Soylent Green) “Magic is people!” (Length 21:20)

David Razowsky has written A Subversive’s Guide to Improvisation: Moving Beyond “Yes, And”, a fascinating, helpful, and inspiring new book that features incredibly insightful advice and exercises improvisers (actors!) can do on their own or in groups. An alum of both the Reduced Shakespeare Company and Chicago's famed Second City (where he worked with Steve Carell and Stephen Colbert),  Dave discusses his own journey as an artist; from his roots as a young actor to a teacher with students all over the world; his book's unique structure; how actors must and can develop their own self-awareness; the importance of bringing one's authentic self to every scene; the joy of creating more monsters; and the rewards of improvising with Dee Ryan. (Length 23:14)

Bryan Cogman, a four-time Emmy-winning writer and co-executive producer of Game of Thrones and a consulting producer on The Lord of the Rings: The Rings of Power, discusses the rise of televised fantasy and how a grounding in Shakespeare enabled his ability to navigate fictional dynasties. Bryan shares his journey from acting at Juilliard to writing for films and television; insights about how Shakespeare begat Game of Thrones, which in turn begat The Hollow Crown; how early bafflement led to eventual success (and imitators); the challenge of failing at the business of being an actor; how the best fantasy is grounded by relationships; and how it’s a golden age for TV-watching geeks. Featuring a special appearance by the man who wrote the book about Shakespeare and Game of Thrones, Jeffrey R. Wilson. (Length 24:36)

Allen Gilmore (above, right) plays Ebenezer Scrooge in A Sherlock Carol, a holiday mashup of Charles Dickens and Sir Arthur Conan Doyle now running in both New York (where Allen is) and London. A veteran Scrooge (having played him for many years at the Goodman Theatre in Chicago), Allen discusses how Ebenezer Scrooge is one of the great roles, comparing him to Leontes from Shakespeare’s A Winter’s Tale; how we stand on the shoulders of the Scrooges who’ve come before us; how the role is self-cleaning; how actors bring their own nasty to Scrooge; and how audiences recognize their nastiness in the character; and how the possibility of redemption is part of what makes A Christmas Carol so popular and enduring. (Length 18:30) (PICTURED: Drew McVety as Sherlock Holmes and Allen Gilmore as Ebenezer Scrooge in Mark Shanahan's A Sherlock Carol, directed by Jen Waldman. Photo courtesy of Evan Zimmerman for MurphyMade.)

Cabaret ZaZou's “Luminaire,” an intimate, interactive cabaret/cirque production performed inside a European spiegeltent on the 14th floor of the Cambria Hotel in downtown Chicago, is one of Chicago’s best-kept theatrical secrets. Frank Ferrante, the legendary actor and comedian who co-created the show and plays your host "Forte," discusses the origins of the piece; how one best describes this particular circus-music hall entertainment; not just playing but embodying Groucho Marx; the art of making audience “volunteers” look good; the mixed blessing of missing the glory days of vaudeville; receiving actual blessings from Groucho’s son; admiring both the truth and range of Zero Mostel; celebrating the anarchy of the Marx Brothers; drawing on one’s heritage for both comedy and truth; the ability to use all the skills in an actor's toolbag; and the power of an entire audience saying, as one, “All is forgiven.” (Length 20:27) (PICTURED: Frank Ferrante as Forte in Cabaret ZaZou's "Luminaire.")

A family affair this week as host Austin Tichenor is joined by his brother John Tichenor and sister Amy Tichenor Moorhead to discuss their early years performing The Nutcracker for the Metropolitan Ballet Company in Oakland, CA, in the 1970s. The siblings share memories of teacher, choreographer, and director Vern Nerden; discuss favorite Nutcrackers; celebrate the rewards of following in your sister’s footsteps; remember the exact craving tech rehearsals and the smell of greasepaint continue to trigger; how one is connected to Tchaikovsky’s music on almost a cellular level; how the Nutcracker is an almost religious experience; and how early exposure to ballet led to lifetimes in the performing arts. (Length 30:58) (PICTURED: Tom Larson's poster for the Metropolitan Ballet's Nutcracker, circa 1970. Courtesy of Amy Tichenor Moorhead.)

Christopher Moore returns to talk about his wise comic novel Lamb: The Gospel According to Biff, Christ's Childhood Pal, which celebrates its 20th anniversary in this year of our Lord 2022. Chris discusses how wanted to create a tale of friendship and ended up getting taught in divinity schools; the rewards of swinging for the fences and wading through Thomas Aquinas; getting the facts and theology right when not getting it wrong on purpose; the secret of what actually went on during Jesus’ rumspringa; the challenge of not having conversational Aramaic; and constant vigilance against the ever-present danger of losing your reader. (Length 29:57)

“Stand-ins of the world, stand up!” (Tom Stoppard, The Real Inspector Hound) 2022 will be remembered as the Year of the Understudy – not only did the Patron Saint of the Understudy King Charles III finally step into the leading role after waiting in the wings for 74 years, but audiences began to fully appreciate how understudies keep theatre going during a global pandemic. Understudies come in a variety of flavors, from covers to swings to alternates, and actors Loren Jones and Cindy Gold talk about which flavor they are in the Goodman Theatre's 2022 production of A Christmas Carol. The conversation features lessons learned from the pandemic; how understudying can actually be a good paid gig; the difficulty of learning the lines without learning the moves; fast-tracking the understudies during rehearsal; the challenge of not just learning the role but the entire show; how old ways of doing things are changing; the identity of Scrooge’s overstudy; and tales of understudying both glorious and horrendous. (Lengt

Jessica Thebus directs the Goodman Theatre's annual production of A Christmas Carol, and this year she's brought our own Austin Tichenor along to play Scrooge at ten designated performances. Jessica and Austin discuss how much the production changes from year to year (and, surprisingly, how little); how heaping helpings of Dickens' actual text is present in the production; the willingness of returning veterans to investigate the script anew; the eagerness of artists and audiences to revisit this ritual; how a story is only as good as its bad guy; how everyone is invited to the Christmas Carol party; and how Ebenezer Scrooge is one of the great roles in the theatrical canon. (Length 17:43) (PICTURED: Larry Yando as Ebenezer Scrooge in the Goodman Theatre production of A Christmas Carol, directed by Jessica Thebus. Photo by Liz Lauren.)

Mya Gosling, aka GoodTickleBrain, joins us to celebrate the 16th anniversary of the Reduced Shakespeare Company Podcast, new episodes of which have dropped weekly since early December, 2006. Mya interviews producer/host Austin Tichenor, who discusses the podcast's origins and evolution; the greatest gift the podcast has turned into; how it was partially inspired by physical media; how much of a Shakespearean he was to begin with (and how much of one he's become); how the RSC’s shows evolved into longer narratives; and the fun of filling existing spaces with your own stories. (Length 26:18) (Stick-figure Mya and Austin courtesy of Mya Gosling/GoodTickleBrain. Used by permission.)

Jack Lancaster (above, left, with Daniel Radcliffe) plays Jim "Kimo" West, or at least a highly fictionalized version of him, in Weird: The Al Yankovic Story, the straight-faced and factually dubious biopic now streaming on the Roku Channel. Jack reveals the early musical training that helped prepare him for this (and many) roles; the challenge of standing out in an audition; the importance of great acting and great musicianship, especially when making something silly; dealing with a major case of Imposter Syndrome; buying his first grown-man suit; the thinking behind the decision of whether to be based in Chicago or Los Angeles; and the glorious fun of working with both Weird Al Yankovic and Harry Potter! (Length 18:33)