During his less than stellar acting career Michael Goldfarb spent a lot of time watching from the wings waiting to go on for his single scene. In this series, he talks about the plays he appeared in, their histories, and the lives of the actors who performed them.

In this essay, he's understudying in K2: a play about two climbers trapped on an ice ledge, having fallen on their way down from the summit of the mountain. It wasn't a very good play but had an amazing set with the capacity for near cinematic feats of climbing and falling.

The play made it to Broadway for a brief Tony-winning run and Michael talks about performing in a show where a huge Styrofoam mountain was the star and the jostling for supremacy among actors, directors and set designers.

Preparation for a performance on stage goes beyond just memorising lines, learning blocking and hoping it will be alright on the night. A diligent actor studies the history of the period of the play, learns about the intentions of the playwright, and absorbs from older colleagues knowledge of how the play has been done in the past.

In his less than stellar career as an actor, Michael Goldfarb went through this process many times.

In this essay, Michael recalls his admiration for John Gielgud. He remembers The Motive and the Cue, the play about John Gielgud directing Richard Burton in Hamlet. He also had a chance meeting with the legendary actor at the stage door of the Apollo theatre in London when Gielgud was starring in David Storey's 'Home'.

Preparation for a performance on stage goes beyond just memorising lines, learning blocking and hoping it will be alright on the night. A diligent actor studies the history of the period of the play, learns about the intentions of the playwright, and absorbs from older colleagues knowledge of how the play has been done in the past.

In his less than stellar career as an actor, Michael Goldfarb went through this process many times.

In this episode, it's the story of The Count of Monte Cristo, as performed by James O'Neill, father of playwright Eugene O'Neill. It was the play that made him rich and his family miserable, as depicted in Long Day's Journey Into Night. Nearly fifty years ago, it was revived by the Jean Cocteau Repertory Theatre, located on the Bowery in New York. The Cocteau was the only rotating rep theatre in New York and Michael Goldfarb was part of the company.

Preparation for a performance on stage goes beyond just memorising lines, learning blocking and hoping it will be alright on the night. A diligent actor studies the history of the period of the play, learns about the intentions of the playwright, and absorbs from older colleagues knowledge of how the play has been done in the past.

In his less than stellar career as an actor, Michael Goldfarb went through this process many times.

In this essay, he appears in Maxim Gorki's Summerfolk, a play about the Russian upper-middle classes at their summer homes, as their country teeters on the brink of revolutionary catastrophe. He remembers Russian theatre, theatrical friendships and after-show drinking.

Preparation for a performance on stage goes beyond just memorising lines, learning blocking and hoping it will be alright on the night. A diligent actor studies the history of the period of the play, learns about the intentions of the playwright, and absorbs from older colleagues knowledge of how the play has been done in the past.

In his less than stellar career as an actor, Michael Goldfarb went through this process many times. He recalls meeting John Gielgud at the theatre door and understudying in a play where a huge Styrofoam mountain was the star of the show.

In this essay: theatrical superstition says you shouldn’t mention the play Macbeth, by name. But how else to speak of the play on which Michael finally got his equity card?

Gold sequins, silk and vibrant colour threads might not be what you expect to find in a sampler stitched by a Quaker girl in the seventeenth century. New Generation Thinker Isabella Rosner has studied examples of embroidered nutmegs and decorated shell shadow boxes found in London and Philadelphia which present a more complicated picture of Quaker attitudes and the decorated objects they created as part of a girl's education.

Dr Isabella Rosner is a textile historian and curator at the Royal School of Needlework on the New Generation Thinker scheme run by the BBC and the Arts and Humanities Research Council to highlight new research. You can hear more from her in Free Thinking episodes called Stitching stories and A lively Tudor world

Producer: Ruth Watts

Who's Holding the Baby? was the title of an exhibition organised to highlight a lack of childcare provision in East London in the 1970s. Was this feminist art? Bobby Baker, Sonia Boyce, Rita Keegan and members of the photography collective Hackney Flashers are some of the artists who've been taking part in an oral history project with New Generation Thinker Ana Baeza Ruiz. Her essay presents some of their reflections on what it means to make art and call yourself a feminist.

Dr Ana Baeza Ruiz is the Research Associate for the project Feminist Art Making Histories (FAMH) at Loughborough University and a New Generation Thinker on the scheme run by the BBC and the AHRC to showcase new research into the humanities. You can hear her in Free Thinking episodes on Portraits and Women, art and activism available as an Arts & Ideas podcast.

Producer: Ruth Watts

Canvey Island: cradle of innovation for gas heating and home to music makers Dr Feelgood, who drew inspiration from the Mississippi Delta. New Generation Thinker Sam Johnson-Schlee is an author and geographer based at London South Bank University. His essay remembers the influence of Parker Morris standards on heating in the home, songs written by Wilko Johnson and the impact of central heating on teenage bedrooms, record listening and playing instruments.

Producer: Julian Siddle

You can hear more from Sam in Free Thinking episodes exploring Dust and Sound, Conflict and Central Heating

Gold sequins, silk and vibrant colour threads might not be what you expect to find in a sampler stitched by a Quaker girl in the seventeenth century. New Generation Thinker Isabella Rosner has studied examples of embroidered nutmegs and decorated shell shadow boxes found in London and Philadelphia which present a more complicated picture of Quaker attitudes and the decorated objects they created as part of a girl's education.

Dr Isabella Rosner is a textile historian and curator at the Royal School of Needlework on the New Generation Thinker scheme run by the BBC and the Arts and Humanities Research Council to highlight new research. You can hear more from her in Free Thinking episodes called Stitching stories and A lively Tudor world

Producer: Ruth Watts

A 1660s board game made by a Jesuit missionary sent to the Mohawk Valley in North America is the subject of New Generation Thinker Gemma Tidman's essay. This race game, a little like Snakes and Ladders, depicts the path of a Christian life and afterlife. Gemma explores what the game tells us about how powerful people have long turned to play, images, and other persuasive means to secure converts and colonial subjects.

Producer: Torquil MacLeod