Reduced Shakespeare Company Podcast

Gregory Hirte (above) reflects on the twenty-five years (!) he's been in the Goodman Theatre's annual production of A Christmas Carol, and how both he and the show have changed in that time. Hirte reveals the benefits of being both an actor and a musician; the challenge of going where the work is; how he got started with Chicago's famed Piven Theatre Workshop; tales of onstage mishaps; his vote for, not the best, but the fastest Scrooge; and finally, how the beauty of the story keeps bringing back actors – and audiences – year after year. (Length 18:35) (PICTURED, above: Gregory Hirte in the 2023 Goodman Theatre production of A Christmas Carol, directed by Jessica Thebus. Photo by Liz Lauren.)

Matt Croke, Reed Martin, and Austin Tichenor remember the creation of the RSC's second radio show The Reduced Shakespeare Company Christmas in 1995, and how it paved the way for the RSC's eighth stage show The Ultimate Christmas Show (abridged). Matt, Reed, and Austin reveal their audio inspirations (like Firesign Theatre and 'Weird Al' Yankovic); how the new golden age of radio is called podcasts; how we failed to achieve novelty hit status with "Mrs. Santa Claus;" how we incorporated inside-baseball Ringling Brothers jokes and personal holiday memories; and how the heart the recording is its ten-minute reduction A Little Dickens: The Complete Christmas Carol (abridged); and how Austin went from playing parody Scrooge to playing the real guy for Chicago's Goodman Theatre. (Length 15:02)

Friend of the pod Katherine Scheil is the author of Imagining Shakespeare’s Wife: The Afterlife of Anne Hathaway and the co-editor of the upcoming Palgrave Handbook of Shakespearean Biofiction, is the perfect person to talk about Chloé Zhao's film version of Hamnet, Maggie O’Farrell’s 2020 novel. Scheil highlights some of the differences between the novel and the film; some head-scratching marketing choices; how the novel and (especially) Jessie Buckley's performance, empower Shakespeare's wife in a way we've never seen before; and a curious similarity between Paul Mescal in Hamnet and Tim Allen in Galaxy Quest. (Length 23:21)

Folger Shakespeare Library director Farah Karim-Cooper's new book All the World's Your Stage explores for readers of all ages the life and times of William Shakespeare through eight of his most popular plays. Dr. Karim-Cooper discusses how this was one of her hardest books to write and reveals the surprising title of her favorite Shakespeare play; the relationship between profanity and a love of language; Shakespearean mythbusting; the confessions of a Texan sailor’s daughter; the value of Shakespeare – as well as museums, arts, and humanities – beyond their “relevance;” ; how Shakespeare wrote what may be the first Black power speech; and the importance of studying Shakespeare on the stage as well as on the page. (Length 27:37) (Photo of Farah Karim-Cooper above by Henri T.)

Malkia Stampley (above) is directing the Goodman Theatre's 48th annual production of A Christmas Carol (in previews now, opening Sunday, and running through New Year's Eve), and reflects how her experience in other productions, as well as her background as both a performer and a person, informs her approach to Dickens's classic tale. Malkia reveals how she's amplifying the diversity the production has had for decades by allowing characters to sound like what they look like; how the story of Ebenezer Scrooge's redemption is perhaps more important than ever; how she's shaping the show around the talents the actors bring; how the story changes because of the way the world has changed; and how the timeless story of A Christmas Carol belongs to everyone. (Length 23:45)

To celebrate the start of the podcast's 20th Season, playwright and author Andrew Moorhead returns to talk about his play This Purple F***ing Pot, a new office comedy now getting a limited site-specific run off-Broadway. Andrew reveals the ah-ha moment when the play's title first came to him; how he loves the sound of characters speaking; the various inspirations that helped inform his voice (including a certain three-person vaudeville theatre company); what made him become a playwright; the dramaturgical value of archetypes; and how a day job in marketing enables you to write not only great plays, but great descriptions of your plays. (Length 22:09)

Chicago's Improvised Shakespeare Company celebrates its 20th anniversary in 2025, and founder/director Blaine Swendiscusses the company's humble origins and how it now performs regularly in Chicago and Los Angeles and tours all across America. Blaine shares performing secrets; the nature of the high-wire act of improvising in iambic pentameter; how this stuff can be learned; how several of every performance's signature moments began as an attempt to solve a technical problem; and how the audience is the key ingredient to the alchemical magic that makes each performance work. (Length 19:39)

The Bible: The Complete Word of God (abridged), an irreverent celebration of “the greatest story ever accepted as fact” that was nominated for a Helen Hayes Award for Best New Play, celebrates its 30th anniversary this year, and Matthew Croke, Reed Martin, and Austin Tichenor reminisce about its creation and how much the world has changed since it premiered at the Kennedy Center in 1995. The original cast members reveal how they bent over backwards to make an entertaining innoffensive comedy; the genius of Steve Smith, the former director of Ringling Brothers Clown College; rave reviews from a Virginia nun and a minister from the Church of Scotland; and how, perhaps paradoxically, some of the show's biggest fans are the most religiously devout. (Length 19:24)

Stage actor Shannon Cochran (August: Osage County) brings her horror movie bona fides (The Ring; The Hand That Rocks The Cradle) to the phenomenal new stage play Paranormal Activity, an original new story based on the successful film franchise now running at Chicago Shakespeare Theatre (followed by the Ahmanson Theatre in LA, American Conservatory Theatre in San Francisco, and the Shakespeare Theater Company in Washington DC). Shannon discusses the precision with which playwright Levi Holloway and director Felix Barrett ratchet up the tension; how everyone has demonic qualities they struggle to suppress (or, as actors, tap into); how to not play the ending; the importance of keeping audiences literally and metaphorically in the dark; and how making audiences laugh in a theatre is not even as great as making audiences jump, scream, and then laugh in a theatre! (Length 20:13)

A hundred years on from the Harlem Renaissance, Gerrad Alex Taylor has adapted Langston Hughes’s Shakespeare in Harlem, which is having its world premiere this month at the University of Maryland Baltimore County, running from October 30 to November 9, 2025. Taylor shares how he's collaborating with both Hughes and Shakespeare to canonize the Black experience; how we call upon our ancestors, both personal and literary;  the power of the written word, from dramatic poetry to a letter written to your city council; how Shakespeare takes us, in his "Seven ages of man" speech through a man's life, while Hughes takes us through a man's blues; and finally, Taylor’s mission to turn Shakespeare into a verb! (Length 21:48)