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)

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. Photo by Sandro Miller.)

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)