"Friend of the pod" Daisy Tichenor talks about her wonderfully Shakespearean senior year in high school, where she played Beatrice in Much Ado About Nothing on the Philips Exeter Academy MainStage and directed Twelfth Night for the PEA Dramat at the same time. We talk about incredible opportunities; how informal clubs can accommodate a more diverse group of students; how stage managing the Scottish play can inspire; the wonder of getting to play a dream role; being born of all mirth and no matter; keeping the timelines straight; and the ultimate tribute to theatre people. Pretention or Science? Discuss. (Length 19:54) (Daisy Tichenor as Beatrice and Cody Nunn as Don Pedro, Much Ado About Nothing, Philips Exeter Academy, directed by Sarah Ream, 2018.)

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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)

Visiting ‘Shakespeare’s House’

Joel H. Morris discusses his debut novel All Our Yesterdays – no, not the penultimate episode of Star Trek: The Original Series – which tells the compellingly plausible story of the events that lead up to William Shakespeare's Macbeth. Morris reveals his multiple inspirations, both literary and personal; how investigations into the actual historical couple Shakespeare based his play on informed his novel; the ways in which writing is a process of discovery; how he balanced the political and the personal, the natural and supernatural; how he summoned the courage to explore one of literature's most famous characters; and the wonderful inability to let go of characters that won’t let you go. (Length 22:56)

All Our Yesterdays

What's Shakespeare's best speech? That question gets answered on this epic episode by director Nate Cohen and actor/educators Elizabeth Dennehy and Gregory Linington, who agonize over every match-up in this Sweet 16 selection of soliloquies and monologues. Highlights include remorse over the many speeches that didn't make the tournament; the differences between speeches and soliloquies; how Juliet is the female Hamlet; origins of the phrase “rolling thunder;” the unsurprising dominance of fulcrum speeches; a brief “Rap Othello” interlude; and most importantly, how a full March Madness field of 64 would have included many many more of your favorite Shakespeare monologues. (Length 1:22:47)

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