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(Length 21:15)Īdam Wesley Brown (left) and Ron E.
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Featuring: whether or not actors should be allowed to breathe conflicting definitions of “hugely successful ” the importance of writing the best thing you can, not what you think people will like fighting for gender parity at Second City in the early 1990s the mixed benefits of multiple streaming platforms getting close enough to the glass ceiling to fog it up but not break it the joys of working with TV legend Christine Baranski and finally, the ABCs of surviving in showbiz – Always Be Creating your own content.
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Barb also discusses her creative journey from sketch comedy in Chicago to writing and creating TV series in both Hollywood and New York. Wolfe created the TV series Welcome To New York (starring Christine Baranski and Rocky Carroll), talks about one of her biggest pet peeves, an almost indefinable bit of stage business that always feels forced (and is not to be confused with an actual exit). (Length 25:29)īarbara Wallace, who, along with her writing partner Thomas R. BONUS! Austin reveals how Kander & Ebb’s “New York, New York” became the official anthem of New York City. Matt explains how “The Troubies”, after more than 18 months, finally made the show go on hired a COVID Compliance Officer got advice from classical scholars received letters anyway from “concerned” patrons held a funhouse mirror up to nature…and hung it over the bed and were visited by royalty: the Divine Miss Liza with a Z herself. The Troubies’ most recent magnum opus, which just closed its sold-out run at LA’s Getty Villa, was Lizastrata, which combined Aristophanes bawdy political comedy with music associated with Liza Minnelli.
Matt Walker (left) is the founder and artistic director of the Troubador Theatre Company, the LA-based ensemble that combines classic texts with classic Top-40 songs to create such astonishing mashups as Much A-Doobie Brothers About Nothing, The Comedy of Aerosmith, Fleetwood MacBeth, Santa Claus is Coming to Motown, The Little Drummer Bowie, Julius Weezer, Abbamemnon, As U2 Like It, A Christmas Carole King, Hamlet – the Artist Formerly Known as Prince of Denmark, A Midsummer Saturday Night’s Fever Dream, and It’s a Stevie Wonderful Life.
Now playing – and streaming! – until Decemvisit for more information.
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(as Oedipus, left, and Othello, above) stars in the title role and discusses how he was brought in early in the process by directors Charles Newelland Gabrielle Randle-Bent, and shares fantastic insights about he approaches Shakespeare’s text how it’s sometimes better to find physical alternatives to the text the similarities between Shakespeare and August Wilson how you can’t stage a vehicle without getting a good driver the importance of specificity in language the power of presenting an epic tragedy on a human scale the valuable lesson that it’s not what or how the classics speak to us, but how and what we say to the classics and a determination to make the phrase #TheatreInTheSurround happen. Chicago’s Court Theatre is producing a powerful and intimate production of Shakespeare’s The Tragedy of Othello, The Moor of Venice, and they are absolutely leaning into the play’s full, proper title.