Token Theatre Friends

In this episode, Alexi and Juan review Romeo Y Julieta at The Public Theater. The show’s bilingual translation reminded Alexi of the chismes in his family spilling the tea (some might say he himself is the chisme). Both agreed that maybe it was best to leave behind the old English and bring this Shakespeare classic into a full Spanish telenovela setting.

The friends also reviewed Twenty-Six by Ang Bey. The show was part of Jouska Play Works New Play Showcase at Simpatico Theatre. Juan points out that these characters are MESSY, but nothing less is expected as the play provides an unvarnished view of what it means to figure out your gender identity and sexual orientation.

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In this episode, Ayanna and Alexi get in their feels as they reminisce over the last in-person shows they each saw before the pandemic began 1 year ago (for most of us). They have high expectations for the first season of in-person shows and make one request: NO musicals about pandemics please! That means no theatrical adaptation of Michael Bay’s Covid-19 drama, Songbird.

The Friends review Monuments, a short film directed Sara Aniqah Malik in collaboration with Donmar Warehouse in the U.K. The film features the oral histories of BIPOC youth in London as they recount their experiences with racism. Ayanna gushes over the production of Simply Sondheim at the Signature Theatre and tells us how “Being Alive” takes on new meaning in light of the pandemic

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In this episode, Jose talks to Saheem Ali and Ricardo Pérez González. The director and playwright discuss their bilingual adaptation of William Shakespeare's Romeo and Juliet. Now titled Romeo y Julieta, the audio-play transforms Verona into a sonically layered version of Latin America. The star-crossed lovers are played by Juan Castano and Academy Award winner Lupita Nyong'o.

Ali talks about the first time he saw Nyong'o as Juliet almost two decades ago, while Pérez González recounts how the Spanish of San Juan, Puerto Rico shaped the adaptation. The two also discuss what it was like to work on a script remotely, and why audience members ought to let the beauty of the Spanish language wash over them. Even if they don't exactly know what the words mean.

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It's been one year since theaters shut down all over the world. We're all still processing our new reality in different stages. The way to commemorate this strange anniversary couldn't be one of just sadness over what we lost or admiration at the perseverance of artists. Instead, we thought our tone should reflect what's mostly in our hearts: gratitude.

This is the first episode in a series called "Thank You Theater-makers." We talk to artists who have been experimenting with new mediums, rediscovering skills, or realizing untried dreams. We talk to artists who have been holding space for their mental health and experiencing grief. We talk to artists who gave us their gift in new ways, and to those who we are sending love to, while they resume the practice of their craft.

We begin this series with one of our favorite guests, Daniel K. Isaac. The versatile actor who has charmed us with his warmth and immense love for theater. Over the past year he has showcased his natural talent as a playwright and delighted us on social media with his book recommendations. We talk to Isaac about returning to his TV work on Billions, and what's next for him as a writer.

Thank you, Daniel <3

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In this episode, Jose talks to Tony winner André De Shields. The legendary performing activist talks about his upcoming performance as Frederick Douglass in Mine Eyes Have Seen the Glory. The piece is part of Flushing Town Hall's Black History Trilogy, a celebration of Black History Month.

During the conversation, De Shields speaks about the clash of evolution and history, and his role as a messenger. He also talks about the circularity of history and the spirits of the theatre. It's a delightful talk emboldened by De Shields' charm and wisdom.

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In this episode, Andrew and Brittani celebrate carnival and discuss their favorite soca musicians. This leads them to imagine, and cast, a soca-driven Broadway show. Make it happen, producers! Then they review two pieces. First they talk about iN-Hale MEGA VEE's reading of All Boys Aren't Blue, by George M. Johnson. This is followed by a review of Judas and the Black Messiah, a biopic of Fred Hampton, the revolutionary socialist and chairman of the Black Panther Party in Chicago, who was murdered by the FBI at age 21.

This is followed by an interview with Kwame Kwei-Armah, the playwright/performer who is also the Artistic Director of the Young Vic in London. The three talk about their Caribbean heritage and wonder why it's taking so long for the "dam to break" when it comes to producing works by Black artists.

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Kathlynn and Jose commemorate Valentine's Day. Last time they reviewed two dark romances and promised to find happy endings for V-Day. First, they talk about Malcolm and Marie on Netflix, leading Kathlynn to ask: why is this billed as a romantic drama? Following that, they talk about The Gay Divorcees, a band of real-life divorcees, who put together a visual album about how their marriages fell apart. Ah, l'amour...

Jose talks to writer/performer Ryan J. Haddad about his melancholy Hi, Are You Single? A one-person show inspired by his experiences as a gay man with a high sex drive and cerebral palsy. The play is available to stream at Woolly Mammoth Theatre through the month of February. Jose and Ryan spoke about gay bars, Grindr, I Love Lucy, and specific word choices we make on dating apps.

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In this episode, Alexi and Jose go Gaga over J.Lo at the Inauguration. This leads Jose to ask: why are official ceremonies always so somber? This is followed by their review of Adrienne Kennedy's Etta and Ella on the Upper West Side. Furthermore, they talk about On Site Opera's The Beauty That Still Remains, a collection of operas delivered by mail.

Jose interviews Miranda Gohh and Rashad V. Chambers of Theatre Producers of Color. A new initiative that seeks to train BIPOC producers over ten weeks. Jose talks to them about what it takes to be a producer, which leads to anecdotes about the shows that made them love theater.

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In this episode, Kathlynn and Jose start by looking back at the attack on the Capitol by white supremacists. Furthermore, the way in which theatrical elements can be put at the service of terrorists. After that, they review two shows. First, they discuss Shotgun Players' production of Loy A. Webb's The Light. They follow this with a review of 1993, an audio drama by Finkle produced by the Keen Company.

Jose interviews Heather Christian and Joshua William Gelb. They are the composer and director/performer, respectively, behind Send Me the Sacred Face. The show explores the life of Mother Teresa of Calcutta, Gelb plays her, in drag. Christian speaks about the way in which digital theater lacks ritual. Gelb gives insight into directing and performing from inside his closet.

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Our last episode of 2020 is jam-packed with goodies. First up, Ayana and Jose review a new digital production of Meet Me in St. Louis, and an audio version of A Christmas Carol. Next, Jose speaks to Animals playwright Stacy Osei-Kuffour, and director Whitney White, about the process of transforming their original vision into an audio play.

This is followed by Ayana and Jose unveiling their favorite shows of the year. In addition, following a TTF tradition, we hear from some of our favorite artists as they reveal the art that made 2020 memorable for them.

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