Working in the Theatre
Season 8
Bringing together performers, directors, playwrights, designers, choreographers, producers and behind-the-scenes personnel from the American and international theatre, the program offers 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, "Working in the Theatre" has become an unequaled archive of theatrical talk, a chance to hear from the people behind the characters, stories and productions that draw us to the theatre.
Where to Watch Season 8
6 Episodes
- Performance
E1PerformanceThe 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. - Playwright & Director
E2Playwright & DirectorPlaywright 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. Jean Dalrymple & Brendan Gill moderate. - Production: Precious Sons
E3Production: Precious SonsThe "Precious Sons" production team - producers Marty Bell and Roger Berlind, legal representative 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. Jean Dalrymple moderates. - Performance
E4PerformanceThe 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. Jean Dalrymple and George White moderate. - Playwright & Director
E5Playwright & DirectorThe 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. - Production: House of Blue Leaves
E6Production: House of Blue LeavesThe 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. Jean Dalrymple moderates.