Heron Kennedy (left, below) and Jessie Lillis, the founding artistic directors of Starling Shakespeare Company, discuss the company's origins, plans for the future, and the rewards and challenges – both artistic and practical – of performing Shakespeare with only five people. FEATURING: Exploring different institutional models; inspiration from Actors From The London Stage; the definition and comic possibilities of “extreme casting;” the importance of a playful rehearsal room; how they’ve added touring dates and educational residencies; and how, ultimately, Starling Shakespeare provides both an excellent focus on Shakespeare's text – and a remarkable showcase for actors. (Length 21:40)

Starling Shakespeare Company

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Scott Bailey’s new book Romeo, Juliet, and Other Screwed-Up Teenagers: An Irreverent Guide to Introducing the World’s Most Staggeringly Inappropriate Play to a Classroom Full of Confused Freshmen is a funny and frank look at Shakespeare’s arguably most popular play, and a great resource for educators, students, and even professional actors. Scott reveals his Shakespeare background, both onstage and for almost 30 years in the classroom; how his Renaissance Faire origin story coincides with the early days of the RSC; the surprise of taking a year off and discovering you have a book in you; and finally, the wonder of constantly discovering new things about a 400-year-old play. (Length 22:47)

Screwed-Up Teenagers

He's fooled Penn & Teller three times, and now Ondřej Pšenička is fooling audiences every week at the Chicago Magic Lounge in his new show 52 Lovers. Ondřej reveals surprising secrets (but not all of them!) about how he builds his tricks; the difference between being a manipulator and being a conductor; how comedy can enhance the magic when it doesn’t accidentally ruin it; how his theatre background made him a better magician; the crucial importance of audience management; and magic’s inherent promise to bring audiences back to a place of wonder. (Photo by Martin Vecera.) (Length 21:24)

Ondřej Pšenička’s Magic

For his final production as thirty-year artistic director of Chicago's Tony-winning Court Theatre, Charles Newell transforms Tom Stoppard's Rosencrantz and Guildenstern Are Dead into an unexpectedly joyful celebration of legacy and theater. Newell reveals his lengthy relationship with not only Stoppard's plays but with the man himself, and shares how he cast two halves of a whole; how he chose to respond instinctively to what was happening in rehearsal rather than adhere to an intricate plan; and how he embraced the counterintuitive and seemingly-oxymoronic phrase “joyful requiem.” (PICTURED: Erik Hellman and Nate Burger as Guildenstern and Rosencrantz in the Court Theatre production of Tom Stoppard's Rosencrantz and Guildenstern Are Dead, directed by Charles Newell. Photo by Michael Brosilow.) (Length 20:20)

Rosencrantz And Guildenstern

Michelle Ephraim – a Professor of English and (with Caroline Bicks), the cohost of the Everyday Shakespeare podcast and the co-author of Shakespeare, Not Stirred: Cocktails for Your Everyday Dramas – joins us this week to talk about her frank and funny new book, Green World: A Tragicomic Memoir of Love & Shakespeare. Michelle reveals she discovered Shakespeare surprisingly late; how “fun” is a a perfectly fine description of her sometimes fraught memoir; the shared curse of meeting hero Stephens; how Shakespeare became a source of both pain and solace in the wake of a parent’s death; how her relatively cushy job became surprisingly hazardous; and, finally, how Shakespeare – a dead European white man – became a very relatable force for inclusion. (Length 19:31)

Michelle’s ‘Green World’

Richard Schoch discusses Shakespeare’s House: A Window Onto His Life and Legacy, his wonderful new history of not only the building in Stratford-upon-Avon that William Shakespeare was born in, but how that building survived and became ground zero in the Shakespeare tourism industry. Schoch reveals how he discovered the dual focus of his book; how it took almost 200 years for people to realize the treasure that still stood in their midst; the shenanigans played by people who first depicted Shakespeare’s birthplace; the important distinctions between restoring a house and remaking it; the trick of hitting that sweet spot between writing an academic history and a popular one; and how the most important person in Shakespeare’s birthplace is not Shakespeare but the visitor. (Length 18:52)

Starling Shakespeare Company

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