SDCF Podcast Series

Richard Foreman and Wilford Leach: SDCF's James Furlong sat down with two preeminent stage directors who also design, Richard Foreman and Wilford Leach, for a 90 minute discussion about navigating the often contentious relationship of collaboration. Sharing similar origins, both Foreman and Leach discuss how their affinity for designing sets came from a "do it yourself" mentality which developed from an early necessity of their productions. As they grew as artists the two began practicing different philosophies of design and collaboration; Leach crafting a set from the center outward to ensure it fits into any touring venue, while Foreman moves from a frame inward to give the actors a concrete foundation wherein the story can inhabit. Despite many differing philosophies of collaboration and design both agree that, for them, set design and stage direction are inextricably linked in their process of creating theatre. What follows is a conversation between two theatre artists who refuse to compartmentalize their work. They rather view themselves as artists endeavoring to make an entire object, as a result of which directing and designing follow as natural bi-products. Originally recorded - August 3, 1985. Running Time - 1:14:19 ©1985 SDCF

At St. Mary's Church in Manhattan on September 19, 1986 SDCF hosted the second installation in a series of interviews with "Actors Who Direct". This interview moderated by Ike Schambelan, features a discussion with the magnificent directors/ performers/educators Geraldine Fitzgerald and John Houseman. The focus of the talk is a simple one - good directors. Fitzgerald and Houseman lead the audience on a survey of the craft of directing. Throughout two 40+ year careers in stage and screen, these two worked with a veritable who's who of film and theatrical directors including Ciulei, Kazan, Reinhardt, Stanislavsky, Wells and Wyler; In this interview the pair discusses who their favorites are, and why. They outline the difference between the crafts of acting and directing for film and the stage. They engage in the eternal debates on methods of acting and the most effective means of collaborating with actors. Fitzgerald tells of her own experience as one of the first Tony nominated female directors for Mass Appeal while Houseman recounts the landmark productions of the Mercury Theatre, which he began with Orson Wells. They conclude by conceding that they are most effective as directors when they show the kind of personal vulnerability that encourages their actors to explore and create. Originally recorded - September 19, 1985. Running Time - 1:19:59 ©1985 SDCF

Ellen Stewart: Off-Off Broadway pioneer Ellen Stewart gave a candid interview to SDCF Executive Director David Diamond for a packed audience of theatre artists at ArtsConnection on June 13, 1994. The central focus of the interview is her founding and continued artistic leadership of La MaMa Experimental Theatre Club. She begins at the beginning, explaining the origins of the institution and the impetus behind its creation. Ms. Stewart reminisces on her early funding efforts for the company - by selling her fashion designs on Fifth Avenue as the first African American designer to work for Saks. She covers the struggle to produce the work of marginalized artists in the early 60's, her confrontations with city officials and landlords and the emergence of her organization as a "Theatre Club". Ellen then guides the audience through the inspiring history of LaMaMa's international experience, both working abroad and supporting international artists' work in the U.S. She confides that LaMaMa's first international expeditions were to services the careers of American playwrights; to expose their work to a more willing European audience who might positively review the productions. LaMaMa continues to work internationally as a result of the "give and take" mentality developed by the institution's commitment to producing work that is "more universal in their appeal". This fascinating interview concludes with Ms. Stewart looking ahead, expounding on what she sees for the future of LaMaMa and its cadre artists and resident companies. Originally recorded - June 13, 1994. Running Time - 1:17:56 ©1994 SDCF

Gillian Lynne: On February 4, 1996 the Drama League Directors Project co-hosted with SDCF a moderated discussion between Director/Choreographer Gillian Lynne and musical Director/Arranger Marvin Laird. In this candid discussion of Gillian's life in the theatre - the prolific dancer, choreographer, director of musicals and straight plays speaks of the mentors who helped her develop her comprehensive "theatrical vocabulary". She demystifies the true genesis of Cats, explaining that her participation began over a glass of wine with Andrew Lloyd Webber. She discusses how that musical changed the way actors would be trained in the UK, for the better. She covers her own training and her unlikely entrée into the business of choreographing; developing Jazz ballets with Dudley Moore. She speaks frankly on what it means to be a woman in show business and what steps she is taking to champion the cause of increasing dancer's respect in this industry. Originally recorded - February 1, 1996. Running Time - 1:18:15 ©1996 SDCF

Ron Lagomarsino: Fresh off of the successful opening of Driving Miss Daisy starring Dana Ivey and Morgan Freeman, Director Ron Lagomarsino sat down with SDCF's Steve Kaplan in January of 1988 to discuss directing comedy for the stage. In this, the third installation in a series of three interviews devoted to the topic, the listener will notice similarities in the directorial philosophies of these comedic helmers. (Other series interviews include directors Gene Saks and Jerry Zaks - available on Masters of the Stage at a future date or by request from SDC Foundation). Mr. Lagomarsino discusses what he looks for from actors in casting a comedy, and the trust he must develop with them once the cast is formed. He speaks fondly on the experiences of directing Dana Ivey in Daisy and collaborating with Christopher Durang on Laughing Wild, both at Playwrights Horizons. He concludes by revealing how he so adroitly shifts his style to fit pieces like Hay Fever, Laughing Wild and Noises Off - by not pretending to have all the answers. Ultimately, this organic process may be what endears him to his casts. Originally recorded - January 18, 1988. Running Time - 1:15:13 ©1988 SDCF

Robert Whitehead and Brian Clark: In April of 1986, the day after their play The Petition, staring Hume Cronyn and Jessica Tandy, began its short lived run on Broadway, writer/producer Brian Clark and producer/director Robert Whitehead sat down with colleague Robert Pesola to discuss bringing serious work to Broadway. The two frame the discussion somewhat ominously; beginning by acknowledging that in the 80's bringing a serious play to Broadway is somewhat of a "deadly" prospect. They cover the state of the theatre in America and the dearth of talented professional playwrights due to the draw of film and television. They candidly discuss the relevance of critics from the New York Times and their influence on the success of a show. Whitehead talks about theatre as a dicey investment and his methods for securing funds to produce shows. The pair concludes by demystifying the concept of a "Golden Age" of American theatre, explaining that in this industry there is always hardship. But, they resolutely maintain that even (and especially) in times of distress the theatre will and must go on. Originally recorded - April 1, 1986. Running Time - 1:16:25 ©1986 SDCF

Fritz Ertl sat down with George Ferencz to discuss Sam Shepard at New Dramatists in January of 1985. The conversation begins dominated by questions concerning the musicality of Shepard's earlier work and Ferencz's collaboration with Jazz legend Max Roach to stage them for the ShepardSets in the mid-eighties. The questions drift from the musical toward the more practical as Ferencz covers the nuts and bolts of directing a Shepard piece, his affinity for his newer work and the notion of Shepard's as "American myth maker". At the time of this recording, despite several successful Ferencz productions of Shepard's work, George Ferencz had never met, written or talked with Sam Shepard. Originally recorded - January 1, 1985. Running Time - 1:24:24 ©1985 SDCF

Richard Foreman: Professor/Playwright Steven Drukman sat down with theatre artist Richard Foreman in April of 1997 at Artsconnection to discuss theatrical innovation in an interview co-sponsored by SDCF and the Drama League Directors Project. Foreman illuminates an early career of set design as a teenager in Westchester, NY; as an actor at Brown University; as a playwright at Yale. He confides that his origins as a director stem from an unwillingness of his contemporaries to direct his pieces. Drukman questions the reasoning behind the geometric, psychologically-charged staging of his earlier minimalist works in New York and his progression to the maximally theatric. Foreman discusses his 8-12 week rehearsal process, his admiration for film and irrational imagination. This enlightening interview gives listeners the opportunity to experience the mind of one of avant-garde theatre's pioneers, and his theatre of "infantile impulses". Originally recorded - April 10, 1997. Running Time - 1:23:40 ©1997 SDCF

Mitchell, Ashley, and Mayer on Directing: In 2001, Charles Repole and Joe Miloscia of the Stage Directors and Choreographers Foundation had the opportunity to bring together a trio of Broadway's hottest hit-makers for a special conversation. Michael Mayer, Christopher Ashley, and Jerry Mitchell spent an evening catching up, reminiscing and discussing the intricacies of creating comic plays and musicals. Originally recorded - March 28, 2001. Running Time - 1:22:50 ©2001 SDCF

On April 27, 1986 frequent SDCF interviewer and legendary acting coach Ada Brown Mather sat down with director Sir Jonathan Miller to discuss Eugene O'Neill's work one day before his revival of Long Day's Journey Into Night opened on Broadway. In this conversation Sir Miller covers his career as a performer, his recommitment to working in the theatre despite a career as a doctor, his affinity for directing opera, the accidental manner in which he accepted the position as director on Long Day's Journey and how he tackles working on such a seminal piece of American theatre. Originally recorded - April 27, 1986. Running Time - 1:29:46 ©1986 SDCF