Kurt Andersen talks with John Leguizamo about his latest one-man play, “Latin History for Morons,” and his career toggling between film and theater. The revival of “Oklahoma!” took a bold approach to updating the well-known musical, including the play’s famous “Dream Ballet.” The show’s choreographer, John Heginbotham, and dancer, Gabrielle Hamilton, discuss how they took it on, while dance journalist Gia Kourlas explains how the new dance impressed her, but perplexed some theatergoers. And “What Next” host Mary Harris talks with Cindy Chang, a reporter with the Los Angeles Times, about how the death of rapper Nipsy Hussle led to a cease-fire among some Los Angeles gangs.

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Here’s another edition of This Woman’s Work, a series of stories from Classic Album Sundays and Studio 360 where we highlight classic albums by female musicians, women who continue to influence the world of pop culture and inspire others.

This time, we’re looking at the debut album from a band who seems to have landed here from outer space. Four decades ago, the B-52’s arrived on the Athens, Georgia party scene with killer guitar riffs, their silly, but eerie lyrics, and their sky-high beehive wigs.

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An episode about singers, alone and in harmony. The latest installment of This Woman’s Work, a series from Classic Album Sundays and Studio 360 highlighting classic albums by female artists, focuses on “Lady Sings the Blues” by Billie Holiday, whose role as an innovator we are still coming to grasp. Kurt Andersen talks with composer Eric Whitacre about how his virtual choir is changing the game of choral music. And Aimee Mann explains how she wrote “Easy to Die,” about a friend’s overdose, for The Silver Lake Chorus, which commissions indie rock artists to write songs for them.

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Kurt Andersen talks with the director Lynn Shelton about how conspiracy theories and improvisation figure into her new film, “Sword of Trust,” which stars Marc Maron. Michael Bowen felt isolated growing up, but then he saw the animated feature film “One Hundred and One Dalmatians,” and oddly enough, its villain, Cruella de Vil, gave him hope that he would fit in. And it can be hard to know what to make of Ursula von Rydingsvard’s spectacular sculptures, but the mystery of how they’re made is solved with a visit to her Brooklyn studio. 

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John Leguizamo has a long and successful film and TV career. Early on he had recurring roles on Miami Vice and ER and worked with directors like Brian DePalma, Spike Lee, and Baz Lurhman. And he also provided a voice in the endless animated franchise Ice Age, playing Sid the sloth.

But alongside this life on screen, Leguizamo has also built a singularly successful theater career based on a form he helped pioneer — the funny autobiographical one-man play. 

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Our recent live show was recorded in New York on a glorious spring day on the High Line, the elevated park. It begins with Kurt Andersen welcoming to the stage Friends Who Folk, the music comedic duo of Rachel Wenitsky and Ned Risely, who perform and discuss how they’re truly devotees to the folk tradition, even though their songs are satirical. Next to join Kurt is former “Daily Show” correspondent Aasif Mandvi, who performs a stand-up set before talking with Kurt about his career as both a serious and comic actor. Finally, Yo La Tengo performs and members Georgia Hubley, Ira Kaplan and James McNew reflect on the band’s 35 years together.

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Kurt Andersen talks with Julio Torres and Ana Fabrega — two of the co-creators, writers, producers and stars of the new HBO series “LosEspookys.” Gauging how films have shaped — and skewed — our understanding of the Stonewall uprising, with Mark Segal, who participated in the riots, and Jude Dry, a film and television critic at IndieWire. And the phenomenon of “multiple discovery,” when artists come up with the same idea independently, but tend to suspect their idea was stolen.

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In 1971 Richard Roundtree stepped out of a subway entrance to the Oscar-winning sounds of Isaac Hayes, and changed American movie-making. The box-office success of Shaft, about a fiercely independent, courageous, and sexy private eye, led to an explosion of black action B-movies, and crystalized a version of black macho cool that hadn’t been shown on the big screen before. And it was all put together by one of the most important American photographers of the mid-20th century, Gordon Parks. The story of Shaft is told by those that made the movie, and those they inspired.

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Journalist Taffy Brodesser-Akner talks with Kurt Andersen about her first novel, “Fleishman Is in Trouble,” a book about divorce that has both humor and bite. John Cameron Mitchell was behind the punk musical “Hedwig and the Angry Inch,” and his latest project is “Anthem: Homunculus,” a podcast musical. Mitchell and composer Bryan Weller perform music from the podcast in our studio. And our latest installment of Day Jobs features Steve Von Till, the guitarist in the post-metal band Neurosis, who also has a decidedly more subdued career — as an elementary school teacher. 

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Los Angeles-based musician Nick Waterhouse weaves together classic rhythm and blues, jazz, and soul, lending his songs a ‘50s and ‘60s inspired sound. Waterhouse stopped by Studio 360 to tell Kurt Andersen about his self-titled fourth album.

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