Rough Magic

In the final episode of the season of Under This Light, we discuss with director Rosa Joshi empathy, triumph over the lie of not knowing enough about Shakespeare, explore women taking power, cock strut, and receive a warning from Will himself.

In which we draw parallels between Titus Andronicus and the world today, kiss some walls, congratulate Norman Lear, and name the extraterrestrials that walk among us.

In which she reveals how she found her voice as a disabled Black woman in the theatre industry, calls us out for our ignorance towards disabled artists, face our intimidation with The Bard, and visit an island of ourselves.

In this episode with playwright Yuseff El Guindi, we miss an opportunity to meet Samuel Beckett, demystify the acting process with a backstage fart, talk Shakespeare in Cairo, illustrate the rudiments of storytelling, and learn the truth from a djinn.

In this episode of Under This Light we uncover advocacy in our blood, are given the tools for representation by our theater community, reckon with Flow Drum Song, and dance with the queen of the Fairies.

In this episode with writer, director, actor, professor, and producer Valerie Curtis-Newton, we rediscover our cultural legacy and wade through the quagmires of academic Shakespeare. We accept an invitation to a neighborhood block party and are stopped on the way to the bathroom by our favorite Civil Rights leader.

In this episode with actor, writer, and producer Keith Hamilton Cobb, we peel back the racial layers in Shakespeare’s Othello; breathe life into a cartoon; decide which plays to cut from the canon; excavate the Bard’s eternal gifts; and travel back in time to rewrite history.

In this episode we delve into the revelations of solo performance with artist, activist, writer, director Sara Porkalob. She teases us with Broadway; strips supremacy from Shakespeare; and makes a life-altering choice with a family dragon.

In this episode Carey Wong (Scenic Designer, Visual Artist, Adjunct Professor) shares his experience as the only Asian-American boy in an all-white school during integration; talks about his love-affair with opera; his ideas for scaling Shakespeare for smaller stages; and muses about a futuristic production in the clouds.