SDCF Podcast Series

Edward Albee: Famed playwright Edward Albee sat for an interview with frequent collaborator Larry Sacharow before an audience of professional theatre artists and students at Fordham University in December of 2000. In a room composed predominately of professional and aspiring directors, Albee was quick to distinguish himself as a professional director. He recalled that his first inclination to become a director spawned from the process by which he writes for the stage. While developing his early plays, he began to understand that he had a good idea of what the play looked and sounded like in his mind, giving him the initial confidence to stage some early productions of his work. But, it was not until a self-directed production of Zoo Story, which he called "the worst production" of his work that he'd ever seen, that it ever occurred to him that there was craft involved in being an effective director. For the remainder of this 90-minute discussion, Edward Albee explains his experience with this craft - approaching it as both a director and playwright. He outlines the circumstances under which a director and playwright should collaborate, maintaining that directors should never direct plays that they don't admire, and that playwrights must learn to become 'sub-textually flexible' in order to let actors be effective. He describes why he kept on directing and how developing as a director serviced his development as a playwright. And he explains the "schizophrenia" necessary to effectively act as director to his own work, recounting conversations with himself about problems in prior productions. Above all he asserts the importance of the director's ability to stay true to the intentions of the playwright, admitting that he always tells his casts "I want you to do whatever you want, as long as you end up with exactly what I intended." Originally recorded - December 1, 2000. Running Time - 1:39:13 ©2000 SDCF

Howard DaSilva and Alfred Drake: Beginning in January 1985, SDCF held a series of interviews with Actors Who Direct in order to explore with live audiences of theatre enthusiasts, professional theatre artists, and SDC Members and guests the processes, experiences and craft of this brand of professional artistic hybrid. In the first installment of this series, moderator Ike Shambelan met with Alfred Drakeand Howard Da Silva for a discussion about these very issues at New Dramatists. Da Silva and Drake shared a malleable professional relationship, both as cast mates and taking turns directing each other professionally. To get to the bottom of what characteristics define a good director, the pair relayed stories of mentors George Abbott, Arthur Penn and Sidney Lumet. They spoke of the common characteristics of being an effective communicator with the entire production team, while also being eminently prepared before beginning rehearsals. The two admitted that these are the traits they most try to cultivate in their work as directors, and acknowledge that the development of the former has been facilitated by their careers as performers. They speak about their process, the joy of true collaboration, and how they deal with critics as both directors and actors. And as they ruminate on their life in theatre and what they hope for from a successful production, they conclude that the more truly gifted and creative a director is, the more concealed is their contribution to a show. Originally recorded - January 1, 1985. Running Time - 1:27:19 ©1985 SDCF

In January of 2000, Joe Dowling met with SDC Members and guests at Chicago Shakespeare Theatre to discuss his career in the classics. It is a career that began long before his appointment as Artistic Director at Minneapolis' Guthrie Theatre in 1995, and even before becoming the Artistic Director of Ireland's National Theatre, the Abbey, at the age of 27. As family legend goes, his first artistic note to an actor was at the age of three, and it was instant recognition that he would spend his life on stage. In this interview with former SDCF Executive Director, David Diamond, Joe Dowling tracks his theatre life beginning with stories from his decades as an actor with the Abbey Theatre Company. He began his directing career in the 1960's with children's theater at the Abbey's smaller space, the Peacock theatre, revolutionizing the energy of the company until he was appointed Artistic Director in 1977. He speaks of his time as the Abbey's AD, the collaborative relationships he developed there with playwrights like Brian Friel, and the politics that caused his resignation. He goes on to discuss his American career and its origins at D.C.'s Arena Stage and the Manhattan Theatre Club. Then he covers the process through which he directs a classic production; his methods for preparation and exploration, and his affinity for tech rehearsals. He calls himself an actor's director. He believes the director's role is that of an interpreter more often than a creator. And he maintains that he works best with collaborators he enjoys as people, no matter how good the concept, idea or the design. Originally recorded - January 1, 2000. Running Time - 1:29:39©2000 SDCF

Harold Prince: In 2002, theatre icon Harold Prince gave the opening remarks to a packed house of esteemed theatre artists, professional directors and choreographers, and aspiring early-career post graduates at SDCF's annual Directing Symposium. The focus of Mr. Prince's address, as well as the focus of the weekend's series of panel discussions and lectures, was "Creating the American Musical". Throughout this ninety minute discussion 'Hal' embodies the ideal of the venerable Broadway veteran, lauding the importance of practical experience and mentorship to personal artistic development while enlightening the audience with stories from his early career. He speaks of his mentor, George Abbott and those of his collaborators. He outlines a "three halves" philosophy to becoming a successful musical director or choreographer: First, being grounded in the fundamentals of the craft; Second, cultivating courage to provide your audience with innovative work; Third, harboring such a healthy regard for the importance of information that it borderlines on pretension. He continues by proving the success of his philosophies by recounting his 50 year career as a director and producer. He covers his development process and the art of collaboration. He affectionately calls his producing ventures "second childhood time", and bemoans the current state of commercial productions with their armies of producers. He concludes by maintaining that the future success of the American musical is contingent upon the cultivation of the next generation of theatre artists - Specifically that of the neophyte creative producer. Originally recorded - January 1, 2002. Running Time - 1:19:55©2002 SDCF

Gene Saks: In January of 1987, SDCF brought one of Broadway's most beloved directors to New Dramatists for a conversation about comedy. Collaborators are quoted as saying "I would like to be surgically attached to his hip" and "I wouldn't mind if I never worked with another director again". In this 90 minute interview, you'll learn how Tony Award winner Gene Saks has engineered a career as one the most respected directors in American theatre. He is known for his understanding and protection of the actor's process, stemming from years as a performer on Broadway. Moreover, he is known for the rapport he develops with his casts. In this interview Saks admits that his relationships begin during casting where he looks for actors that he can "fall in love with", albeit for a limited period of time. He also looks for intelligence, and acknowledges that intelligence and a sense of humor go hand in hand. The discussion covers personal relationships with both Neil Simon and Simon's plays. He confronts what has changed about the nature of comedic entertainment as he explains that the world has become "more serious, today". He illuminates his process and his manner of "over-directing" in the early stages of a production, only to later trim down the stage business as a sculptor would excess. He talks of the humoristic mentality and maintains that he is not a director of comedy at all; rather, that he approaches all stories, serious or humorous, with an eye toward conveying its message through the vehicle of comedy. Originally recorded - January 29, 1987. Running Time - 1:11:09 ©1987 SDCF

Austin Pendleton: Renowned stage and film actor and Tony nominated stage director Austin Pendleton made time for an interview in April of 1999 with former SDCF Executive Director David Diamond. This 90 minute discussion features the always candid Pendleton discussing his life in the theatre. The conversation begins with an explanation of his origins in directing. From his 1st experience directing his mother in a community theatre production of The Glass Menagerie in his hometown of Warren, Ohio to a successful production of Tartuffe at the Williamstown Theatre Festival which landed him on Broadway, he recounts the steps which led him to develop the director’s craft. He reminisces on mentors Jerome Robbins, Bill Ball, Bob Lewis and others, crediting their influence on his early directing career. The discussion then turns toward his acting and how his life as a performer informs his process as a director, admitting he "used to be a very difficult actor before [he] started directing." This discussion covers a career that spans four decades and includes stories of his best and worst memories of working on the stage. Whether directing Elizabeth Taylor, developing new work with Michael Weller, or acting for greats like Jerome Robbins and Mike Nichols, Pendleton's story is one of a truly gifted theatre professional. Originally recorded - April 27, 1999. Running Time - 1:30:40 ©1999 SDCF

Days before the close of 1986's Tony Award winner for "Best Reproduction of a Play or Musical" Hay Fever, Director Brian Murray sat down with Ada Brown Mather to discuss Mr. Coward's return to Broadway. Murray brings to the conversation a simple, honest and eminently knowledgeable love of Noël Coward's work; a relationship he began as an eleven year old boy reading plays at the library. He speaks about how his direction of Hay Fever on Broadway, starring Rosemary Harris, and how it began with a sense of unfairness that this production of Coward's never got the New York City reception it deserved. Mather and Murray discuss early Coward as an artistic revolutionary whose naturalistic use of language bucked the trend of traditional high comedy. They explore Coward the musician and his incredible talents as a lyricist. Further, Murray tries to explain the delicate landscape of Coward's conversational rhythm and how integral it is to generating a laugh. These two Coward scholars debate which works of Coward should be considered satire, concluding that what defines a Coward comedy isn't its commentary on a single class or group, but the unifying characteristic of laughing at life in general. Originally recorded - March 2, 1986. Running Time - 1:16:01 ©1986 SDCF

Jerry Zaks: Just two months after the opening of his Tony Award winning production of The House of Blue Leaves, Director Jerry Zaks spoke to a packed house at Westside Arts Theater in the first installment of SDCF's three part "Directing for Comedy" lecture series, in July of 1986. One of America's greatest Directors of comedy opens up his process for the audience, taking us step by step from his first read of a script through the perils of keeping comedy fresh over a prolonged run of a show. He expresses his affinity for what he calls "crafted comedy", or moments that he has choreographed meticulously. When explaining the intangible quality of comedic timing, Mr. Zaks teaches us that comedy, by nature, is musical and that the actors he most enjoys working with are comfortable playing within the structure of its strict beat and measure. Above all, he expresses his love for "rich comedy", which he defines as comedy that is always grounded in recognizable human conditions and contains a basic understanding of human needs. As a director who has given us time and again funny, moving and meaningful plays, Jerry Zaks puts in to words the humor inherent to the Human condition, and the importance of connecting intimately to it through theatre. Originally recorded - July 8, 1986. Running Time - 1:30:45 ©1986 SDCF

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