Playwright Lauren Gunderson returns to discuss her new play Billie Jean, about tennis and civil rights legend Billie Jean King, now having its world premiere at Chicago Shakespeare Theatre. Gunderson reflects on the similarities between sports and theatre and how they inform this spectacular new work; its surprisingly fast and enviable development process; the parallels to her earlier plays; the echoes of Shakespeare’s Henry V and how Wimbledon resembles Agincourt; and how Billie Jean, as Brandi Carlile said, "came out at 50 so that come out at 15.” (Length 18:56) (PICTURED: Chilina Kennedy as Billie Jean King in Chicago Shakespeare’s world premiere production of Billie Jean by Lauren Gunderson, directed by Marc Bruni. Running July 18–August 10, 2025, in The Yard at Chicago Shakespeare. Photo by Justin Barbin.)

Amanda Giguere is the director of outreach for Colorado Shakespeare Festival and her research and work putting together touring productions of Shakespeare in schools has resulted in her new book Shakespeare & Violence Prevention. Amanda discusses how valuable this work is and how it began; addresses the counter-intuitive notion that Shakespeare – the author of such violent plays – can be so useful in this kind of work; how Twelfth Night is a perfect tool, even for elementary school students, and why Titus Andronicus really isn't; the importance of climate awareness; the vital distinction that it’s not the “Shakespeare Prevention Program,” it’s the “Violence Prevention Through Shakespeare Program;” and how violence, like heart disease, is preventable. (Length 20:44)

Author and professor Daniel Pollack-Pelzner returns to talk about his new biography, Lin-Manuel Miranda: The Education of an Artist, which charts the growth of the award-winning 21st-century composer, lyricist, and cultural juggernaut, and details the many ways in which "artistic genius is a team sport." Pollack-Pelzner shares how he wanted to write something that would inspire his students; and reveals how Miranda agreed to open up his digital rolodex; how he can cite formative influences going back to elementary school; how early book buyers in the UK can win two tickets to see Hamilton in the West End; and most importantly, he stresses the extreme value of editors, especially if they’re related to us. (Length 26:00)

Breon Arzell is the choreographer for the Goodman Theatre production of The Color Purple, directed by Lili-Anne Brown with musical direction by Jermaine Hill, and he shares how their extraordinary Chicago cast transforms a show this team has worked on before. Breon reveals the importance of making art with the artists you’ve actually got in the room; how this show honors our ancestors; how we find find community both in the story and in life; how the Greek chorus breaks the fourth wall and cues the audience that they’re allowed to laugh; and the ultimate grace and blessing of finding divinity within. (Length 21:33) (PICTURED: Brittney Mack (Celie) and Shantel Renee Cribbs (Nettie) in the Goodman Theatre production of The Color Purple, directed by Lili-Anne Brown, choreographed by Breon Arzell, and musical directed by Jermaine Hill. Photo by Brett Beiner.)

Playwright and screenwriter Madhuri Shekar returns to talk about Dhaba on Devon Avenue, now having its much-delayed world premiere at Chicago's Writers Theatre in a co-production with Timeline Theatre. Shekar reveals the comic book origin stories of both herself and the play; the happy accident of writing a family play that resonates with older audiences; how Shakespeare and Bollywood have much in common; how superhero films have taught us important history our schools have missed; embracing the unintentional gift of time; and the Proustian power of a saag grilled cheese sandwich. (Length 20:32) (PICTURED: Anish Jethmalani and Tina Munoz Pandya in the Writers Theatre/Timeline Theatre co-production of Dhaba on Devon Avenue by Madhuri Shekar, directed by Chay Yew. Photo by Michael Brosilow.)

'Tis the season for Shakespeare in the park(s)! Ian Gallanar, the founding artistic director of Chesapeake Shakespeare Company in Baltimore, discusses CSC's touring program Shakespeare Beyond, which is taking Ian’s highly localized but still mostly Shakespeare adaptation It’s the Comedy of Errors, Hon to parks and outdoor venues all over Maryland. Gallanar reveals how Shakespeare Beyond combines the best of Shakespeare, vaudeville, and circus; the beauty and versatility of the Shakespeare Wagon; the art of deploying local slang and specific Maryland references; having to deal with the withdrawal of already-earmarked NEA funds; shout-outs to the Atlanta Shakespeare Tavern; and the importance of blurring the false distinction between "Shakespeare" and "entertainment." (Length 20:42)

Actor, improviser, and founding member of Upright Citizens Brigade Matt Walsh (Veep, Manhunt) is touring this summer with Bluebird Improv and returns to the RSC Podcast to discuss how improv differs from acting (and sometimes doesn't). Matt reveals how improv is less about creation and more about discovery; the importance of and method for learning the value of patience; how he combined both acting and improv on Veep; why scripted punchlines are sometimes not as funny as improvised punchlines; the challenge of playing a racist monster in Manhunt; and (to unintentionally paraphrase Austin Powers) the importance of remembering that when onstage, just behave. (Length 27:46)

Host Austin Tichenor returns to Chicago's Back Room Shakespeare Project to perform in their production of William Shakespeare's Coriolanus on June 16, 2025 at the Hideout, and he discusses with the show's captain and first mate Sam Pearson and Gage Wallace how this cast and crew came together to embody the Project's ethos of "Serious actors. No director. One rehearsal. In a bar." Building on co-founder Samuel Taylor's notion these productions are "bad ideas," Gage and Sam reveal the core values that guide every Project production; how modern bars most resemble Shakespeare's original rowdy playhouses; how "youthful arrogance" is just another word for "incredible generosity;" and how audiences continue to flock to BRSP productions because they know their presence is not simply important, it's required. (Length 20:20) (Logo art by Collin Quinn Rice.)

Actor, author, and comedian Jon Glaser (Parks and Recreation, Delocated, Inside Amy Schumer, Neon Joe Werewolf Hunter) is turning his recent comedy album Jon Glaser's Soothing Meditations for the Solitary Dog into a live show that combines interactive artwork with storytelling, silly comedy, and support for shelters and organizations that care for pets and their owners. Jon reveals his desire to find an outlet for passion projects that are stupid but also do great work; how the project is evolving and reaching new people; how his new Instagram page highlights portraits created at his "VIP Sip & Paint" live events; and how meditations designed for dogs can help soothe our own very real anger and existential despair. (Length 17:37)

Beth Wolf, the founding producing artistic director of Midsommer Flight, discusses her company's upcoming production of Love’s Labour’s Lost, which has been performing for free in parks throughout Chicago since 2012. Beth reveals the planning that goes into her season; why Love's Labour's is such an important comedy right now; how for some reason outdoor summer Shakespeare is not everybody’s jam; her invaluable partnership with the Chicago Park District; the value of having a non-dogmatic approach to the text; the importance of theatre people being able to wear multiple hats; and how Midsommer Flight is a valuable stepping stone for early-career actors on the rise. (Length 19:53)